McRath, Aged Traveler of the First Expedition (2012)

Manni McRath, Aged Traveler of the First Expedition. Self-Published, 2012. Pp. c.50. ASIN B007LTM7IQ. $0.99.

Reviewed by Kate Onyett

Ostensibly, this short story in three chapters is a thought-map of a man’s mind as he faces the long, empty years of a deep space mission to a new planet. He appears to be latching future hopes on this planet, and as his ‘story’ continues, it seems that he has much thinking and worrying to do about the ethics of the mission, his crewmates, his position on the mission and his wider concerns with his position as a universal man. The mission takes, we are told, the better part of fifty years to travel, study and return to the home-world. Unfortunately, it feels like fifty years in the reading.

Edwards, Dome City Blues (2011)

Jeff Edwards, Dome City Blues. Stealth Books, 2011. Pp. 316. ISBN 978-0983008569. $12.99.

Reviewed by Jessica Nelson

The year is 2063. Rampant disease has wiped out a third of the human population, and most of the other two thirds have been driven to living in dome cities for protection from pollution and harmful UV rays. This is where former detective David “Sarge” Stalin thinks he’s going to live out his retirement as a metal sculptor; that is, until he’s approached at a bar by a beautiful woman who needs his help. Suddenly, Detective Stalin finds himself perched on the edge of a war between man and machines as he tries to solve a string of serial killings that the police have already closed the books on... twice.

Ashcroft, Supervillain (2012)

Ras Ashcroft, Supervillain: The Concise Guide. Indie, 2012. c.26000 words. ASIN B0076ZZCIC. $0.99 / £0.77.

Reviewed by RJ Blain

Have you ever wanted to be a villain? Or, dare I ask, a supervillain? If so, Supervillain: The Concise Guide may just be the book for you. Written in a self-help style that openly mocks the finance world, this parody pokes fun at those who want to go from rags to riches based off of the help from a book by presenting reasonable methods of becoming a modern-day villain.

Lantz, Gnit-wit Gnipper and the Perilous Plague (2011)

T.J. Lantz, Gnit-wit Gnipper and the Perilous Plague. Amazon Digital Services, 2011. Pp. 42. ASIN B006AXG2Z8. $0.99.

Reviewed by Kate Onyett

This is one cute little button of a short story. Gnipper, an aspiring (an often disastrous) scientific gnome, dreams of earning her tall hat of honour within her community. However, every project she tries to prove herself has ended in disaster. The day we join her, she has a final, drastic plan to showcase her talents in the lab, dabbling with biological manipulation. Unfortunately, the cure she has created doesn’t quite work, and her subject falls into real danger. Even more unfortunately, it is her single remaining parent: her somewhat arrogant intellectual of a father.

Devenport, Spirits Of Glory (2011)

Emily Devenport, Spirits Of Glory. Self-published, 2011. Pp. 113. ISBN 978-1-4523-3158-4. $0.99.

Reviewed by Paul Wilks

Spirits of Glory, available through Smashwords, is a beautifully crafted young adult story based in the futuristic/speculative colony world of Jigsaw, where the existence of ghosts and gods is as normal and expected as driving down a highway and taking a toilet break. The protagonist Hawkeye is an astute, intelligent and refreshingly vulnerable character, and this is as much a coming of age tale as it is a curious and well-paced exploration of wider themes such as identity, otherness and disability.

Tyler, Shadow on the Wall (2012)

Pavarti K. Tyler, Shadow on the Wall. Fighting Monkey Productions, 2012. Pp. 215. ISBN 978-0-9838769-0-8. $11.95.

Reviewed by Kathryn Allan

Pavarti K. Tyler’s Shadow on the Wall: Book One of the Sandstorm Chronicles promises to be a new take on the superhero mythos by challenging the current trend of Islamophobia in the United States with its lead, Recai Osman: “Muslim, philosopher, billionaire, and Superhero” [backcover]. Set in modern day Elih, Turkey (Elih is the Kurdish name for the real Turkish city of Batman), Tyler creates a not-so-imaginary world of corruption and oppression that is “all in a day’s work for the nefarious RTK, the brutal, self-appointed morality police” [backcover]. Basically, the narrative follows the trials and tribulations of Recai, a spoiled—but disenfranchised—playboy who wakes up in the desert one day and must rely on the kindness of strangers in a hostile land. Recai is a difficult character to like, and Tyler takes her time with his transformation from mere man to the superhero, The SandStorm. Aiding him on his journey of self-discovery are an old Jew, Hasad, and a young Muslim nurse, Maryam.

Flowers, Gaelen’s Gold (2012)

M. K. Flowers, Gaelen’s Gold. Kestralane Publishing, 2012. Pp. 544. ISBN 978-0-9832429-0-1. $14.95.

Reviewed by Martha Hubbard

A common elf out hunting finds a mysterious box with a baby girl in it. He leaves her with a childless dwarven couple. Sixteen years later, the baby, now grown into a prodigious young woman named Gaelen, learns that she is a wizard and that the High Elves hunting her have decreed she must die because she is a powerful mana or magic user. This enormous book by father and daughter writing team M. K. Flowers, Gaelen’s Gold incorporates a number of familiar fantasy themes: coming of age, evil or misguided rulers and finding ones place in life—to list just a few. Along the way we meet more elves, scores of soon-to-be-dead goblins, dwarves, stone giants, wood fairies, more wizards and a cheerful dragon, Luminant. Dedicated to a dead brother and son, and described as “a labour of love,” I wish I could say I enjoyed reading this book. The authors have pulled together a vast assortment of tropes from Tolkien, Game of Thrones, the Bible and Walt Disney’s Fantasia. The description of the dwarf schoolhouse evokes The Flintstones. Just getting to the end of the pages was a prodigious task.

Sales (ed.), Rocket Science (2012)

Ian Sales (ed.), Rocket Science. Mutation Press, 2012. Pp. 314. ISBN 978-1-907553-03-5. £8.99.

Reviewed by Terry Grimwood

This is a drop of the hard stuff, raw science fiction, where the science informs and dominates. There are, as the editor points out in his introduction, no space ships in this book. The void is not seen as an ocean traversed by submarines and battleships with rocket engines, but a totally alien, inhospitable, nightmarish environment in which man struggles to travel, plunder, colonise and simply survive.

I approached the book with trepidation. Yes, I cut my reading teeth on Asimov, Clarke and Heinlein (they were all still very much alive and busy writing when I was a callow youth), I loved Niven, Leinster and Clement and will even dip in the odd Stephen Baxter now and then but I am usually more interested in the philosophical, political and sociological side of science fiction. Yet I was immediately at home here, comfortable and in many cases utterly riveted.

Shosty, Abattoir in the Aether (2012)

L. Joseph Shosty, Abattoir in the Aether. Untreed Reads, 2012. Pp.124. ISBN 9781611872439. $4.99.

Reviewed by Kate Onyett

In case you have never come across anything like Abattoir in the Aether before, ladies and gentlemen, strap yourselves in, because we are about to take a rumbling journey into the ether, with Victorians In Spaaaaaccceee! Otherwise known as the genre of Steampunk.

The plot is a standard one of peril and derring-do. An adventuring scientist and his ‘plucky’ female sidekick are drifting in the aether in a damaged craft, limping away from a previous escapade (this is one of a series of novellas based around the same characters). In an ‘alternative’ Victorian time, space is not a pure vacuum, but filled with the ever-present ‘aether’; a substance thought to exist in the 19th century, filling the void. Running low on fuel, hoping to make it back to Mars, they come across a space station under communication blackout. Taken on board, it transpires the rather beautiful station; decorated in high style with a view to being a future way-station of civilian travellers, is in danger. Its thrusters are not working, and it is drifting ever closer to the edge of an aether storm which will tear it apart.

While adventurer-scientist Nathanial just happens to be the best person to work on fixing the problem, he finds his investigations into the thrusters, and latterly, into strange goings-on and deaths aboard the station, thwarted by the sinister project director. Meanwhile, Annabelle, his companion, has become intrigued by the murders and starts investigations of her own. What they unearth is a dark plot involving a supremely dangerous piece of new equipment (the Steampunk equivalent of early nuclear power) and a lunatic inventor...

Steampunk, while not lead by any Big Name (cyberpunk, for example, has William Gibson often cited as a ‘founding father’), has a devoted following beyond purely fictional into other formats. For a genre to be ‘punk’d, one takes a known genre and twists it a little; adds a spin. Steampunk is the juxtaposition of quite advanced technology, but with a Victorian slant; it is steam-powered or similarly engineered, hence the name. Set predominantly in an ‘alternative universe’ within the Victorian/ Edwardian era, it features exploration of space, riding strange, self-locomotive vehicles and communicating with long-distance devices. It borrows from the ‘scientific romances’ of Jules Verne and H G Wells, developing the futuristic proposals these authors visualised utilising the technology of their day. The ‘space’ travel showcased in Abbatoir, therefore, is more properly termed ‘aether-travel.’ For the purposes of fiction, projects human drama into new arenas in the great beyond. And Abbatoir is a story all about human interaction and human emotion. No grand speculations on alien thought processes, or on intangible uncertainties. Like the greater part of Victorian science (which reacted badly to too much uncertainty and strove for completion), problems are explainable with the right data. Steampunk is refreshingly confident about explication of events.

Steampunk has become something of a catch-all description for all settings that look a bit old-fashioned featuring anachronistically sophisticated technology. There has yet to be a satisfactory filmic version of ‘Steampunk.’ Ironically, one of the clearest attempts has also been slammed by film fans as an absolute lemon: Wild, Wild West! It is not, however, one of the largest single genus on bookshelves, perhaps because it easily combines with other speculative fiction genres and can become subsumed to other, larger themes; notably horror and fantasy. It is a very flexible speculative genre.

The most striking examples are more to be found among the devotees who helped to give it a solid continuance: among the very visual, immediate role-playing community. Steampunk is a very visceral genre; it’s grubby with coal dust, creaks with corset stays, swishes with tailcoats and gowns and sparkles with brass fixtures and features. The unisex signifier for Steampunk role-play is the ubiquitous set of goggles, mostly worn pushed back on the head. An item for racers, explorers and scientists, they symbolise the go-getting attitude of Colonialism that drives steampunk’s moral core. Colonialism as a concept also comes with attendant ideas of racism, exploitation and overruling white, rich male authority, and these are definitely considered outmoded and even offensive to a twenty-first century mind. Instead the confidence and adventurousness is up-played as a form of personal identity by role-players and are carried over as the main drivers for Abbatoir.

Reading like a ‘Boys’ Own’ adventure, Abattoir in the Aether manages to convey a sense of solidity and immediacy while steering clear of too much emphasis on the less desirable aspects of the Victorian mindset. Packed with chases, escapes and strong hyperbole, Shoshty has struck a chord of more innocent genuineness in his writing. By steering the plot to the human drama and leaning heavily on the gorier aspects of a series of murders, he colours his tale like a penny dreadful without having to expand too much on the (to a modern reader) necessarily sexist and mildly racist attitudes of his characters; people of their era.

A potential weak spot within Steampunk can be largely attributed to twentieth and twenty-first century story telling neglecting to remember that the characters must not come across too modern, too slick. A collision of cultural values is inherent in applying advanced tech to old-fashioned social mores and is the ‘punk’ing of an era. As mentioned above, genuine Victorian/Edwardian beliefs can clash with modern ideas of individuality and self-empowerment, and certainly there are more powerfully seductive and plucky adventuresses among the role-playing community than there are domestic women. But in writing, it takes longer to set a scene word by word than the immediacy of a fully dressed-up character approaching you in person. Plus, the act of role-playing itself is a statement of self-definition for the modern attendee. To achieve a real milieu that is plausible to a reader, it helps to take one’s source material more seriously. Perhaps unwisely, modern storytelling set in a recently-passed era, such as turn of nineteenth-to-twentieth-century (only 100 years ago, so still pretty ‘new’ by historical standards), has tended to instil rather modern ideas into its characters; effectively acting out modern concerns in fancy dress (back to role-playing). Shoshty’s figures are still firmly rooted in what does pass for a suitably ‘old fashioned’ mindset, and it suits them.

Annabelle is notable for bending the rules and being considerably pro-active. She is ‘allowed’ to do so because a) she is an adventuress of deep aether-space with a few adventures under her belt, b) she spent time among native Americans in their village, attributing her with an earthiness, and c) as is mentioned in the novella, she is the only woman there, and the all-male crew are at a bit of a loss to know what to do with her. Also, Nathanial is a thinker, not a fighter; his lower levels of physicality make a suitable counter-balance for her higher effectiveness. The ‘hen pecked’ male was a comedic response in an era that was struggling to come to terms with increasing push towards female emancipation. Her very transgressive behaviour is still very traditionally ‘female’: emotional and intuitive and is the opposite of Nathanial’s more considered, ‘scientific,’ male approach. Interestingly, she is also the one who is the most beaten up. She is attacked nastily on two separate occasions, yet she keeps on going. Nathanial, by comparison, is straightened by his overriding sense of respect for a chain of command—really the on-board class system—and while he bemoans Annabelle’s injuries, he takes some time to be able to get up his confidence, and those of other middle management males around him, to overcome his sense of propriety and start making headway in his own investigations. Once he does, he finds the truth faster than Annabelle, and with less wasteful action.

Shoshty maintains his period detail in expanding gender boundaries into clear social delineations. There are definite boundaries between workers and managers; eating and sleeping in very different quarters. The workers live and work in the station’s dark, steam-filled, overheated underbelly, nicknamed ‘Hell’, whereas the management live in relative comfort in ‘Heaven’ above. Feeding into these elements of clear separation, Shoshty is not ungenerous with the hyperbole, drawing thick, definite lines around each image projected. Structures are vast, beautiful, amazing; laying on thickly the idea of impressiveness. And Shoshty did not hold back when it came to describing the station’s Director.

This is a man completely bandaged, head to toe, following an accident that left him scarred, and he is introduced as no less than a ‘horror’. From there, the character has nowhere to go but remain on a Brian Blessed level of bluster and blow. Perhaps ironically, acting in this hysterical, ‘feminine’ fashion leaves him wide open to suffer the same fate as the other female character; to become physically assaulted and reduced. With adroit humour, Shoshty names this brooding, gothic leader van den Bosch. Not only foreign (oh, horrors!), but also amusingly generic (all Germans were ‘The Bosch’ to WWI allied soldiers). Following a Victorian preference for overdoing it in advertising, this tale is entitled ‘abattoir’. It is not actually wall to wall gore, but it is a good signifier for the passionately murky plot to come. Shoshty has done a very good job of creating a tale that feels steeped in its own authenticity via all this excess.

If some of the detail comes across as self-parodying, it can be considered that modern minds can often feel this way when reading genuine historical documents from the same time. Instead of becoming bogged down in such detail, however, Shoshty uses it to his advantage as a spring board for his narrative, which is exciting and driven. The hyperbole and recognisable gender/social positioning is a strength he exploits as a common ground of understanding with his reader, as well as a distancing factor that allows the action to become outrageous and generous in its profusion of emergencies, escapes and reveals.

Drawing back the focus a moment and considering where Shoshty is coming from, it is well to consider that this novella is one of a series based around a significant success story for Steampunk. I mentioned role-playing above because not only is it the main creative venture for Steampunk as a genre, but the ‘Space 1889’ title started life as a role-playing game, the name a playful nod towards the 1970s cult TV show Space 1999; itself a show expressing future ideas for humanity in space. ‘Space 1889’ has now become a cross-media event, with audio adventures and novellas, tying into the same characters and background under the umbrella title of ‘Space 1889 And Beyond.’ These further projects utilise the role-playing game’s original guide book as a primer for limitations and expectations, meaning the writers of the novellas have a broad, pre-sketched landscape to refer to. Some conformity to an original idea should be expected, and having heard the audio dramas, I can confirm that the ‘world’ created is consistent within this novella, although Shoshty has done a far better job of maintaining a more recognisably Victorian social situation, his action is pacey and intriguing. Frankly, having picked it up, I could not easily put it down, and comfortably read it in one very entertaining sitting.

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Hughes, Worming the Harpy (2011)

Rhys Hughes, Worming the Harpy and other Bitter Pills. Tartarus Press, 2011. Pp. 231. ISBN 978-1-905784-31-8. £14.95.

Reviewed by Meredith Wiggins

After submitting my PhD thesis I found myself unable to read anything, even for pleasure (and I’m a reader, a dyed in the wool, 2-3 books a week, voracious consumer of literature) for months. And then I picked up the second edition of Rhys Hughes’ Worming the Harpy.

I found this collection of short stories completely infuriating. I also found it darkly comic, delightfully irreverent and downright brilliant. In considering these stories, it seems very likely that Hughes has strayed into a parallel world and come back with battle scars and tales to tell. The world of the book is one in which Whitby serves as a sanctuary against the forces of darkness (‘The Good News Grimoire’), where ice has been discovered to be fundamentally impossible (‘Quasimodulus’), where mad men quest for the perfect tone to raze their lives’ works to the ground (‘The Forest Chapel Bell’) and where spectres, seemingly from faded fairy stories, stubbornly refuse to believe their time has come and gone.

Harrad, All Lies and Jest (2011)

Kate Harrad, All Lies and Jest. Ghostwoods Books, 2011. Pp. 226. ISBN 978-1468064186. $4.99.

Reviewed by Giulia I. Sandelewski

Elinor, the main character and narrative voice of Kate Harrad’s debut novel, finds her sleepy hometown strict and unforgiving. This oppression is symptomatic of fundamentalism on a much larger scale: the United States have recently reinvented themselves as the Christian United States, and the United Kingdom looks shortly set to go down the same theocratic route. It is in this anxious climate of unwelcome change that Elinor’s inner city girl flees to the capital, in the hope of meeting kindred spirits. Through Stefan—sound engineer, vegan, vampire—she finds more than she bargained for in the shape of many, intersecting underground worlds, all on the brink of extinction.

A documentary-feel is promoted by the inclusion of website excerpts ranging from Satanist identification to mushroom trip memories. While their location at the beginning of chapters is distracting, their very presence hones in on the liminal space between fact and fiction. Any temptation to marginalise the realities Harrad describes as implausible is dispelled in the face of actual experiences and perceptions. The line between research and invention sapiently blurred, we are invited to embrace the strangeness, and question common sense. This leads us to negotiate, on a case-to-case basis, how willing—if at all—we are to suspend our disbelief. From the outset, we may choose to side with Stefan in his vampiric conviction, or with Elinor in her conviction that Stefan is ‘clinically insane.’ We will grant fanatics who believe themselves weapons in the hands of God, so what about the vengeful Old Testament deity itself? There is a rich playfulness here which allows us to approach the text either as a Thomas Covenant-esque world of real (if disbelieved) magic, or else as a secular world in which peculiar subcultures are precisely that—subcultures.

In all likelihood, whether or not vampires—or God, or manifestations of the preternatural in general—are posited to exist is immaterial. What remains at all times tangible and pressing is the seemingly unstoppable spread of fanaticism, intolerance, persecution, misinformation, brainwashing, and absolutism, together amounting to a dismantlement of freedom of speech and belief, on both sides of the barricade. Perhaps to aid the making of this point, polarised perceptions become mutually exclusive by the end, a loss of relativity which puts the book in danger of being more mainstream in its alignment than it probably means to be.

This is not to say that the ‘mainstream’ is not acknowledged to be a problematic concept. Throughout, deviance is romanticised, a tendency which renders the quest for expression and approval incredibly delicate. Barring a few cases of opposites attracting, the people who define themselves as ‘different’ appropriate the (ab)normality discourse which originally alienated them, simultaneously defining everyone else as ‘odd,’ ‘weird,’ ‘freaks.’ Further, those on the fringes of society are revealed to be just as susceptible to discriminatory assumptions regarding heritage, class, and sexuality as the mainstream culture they stand against—yet may never take the place of, if they wish to retain their accolade of perversion.

Elinor reads as a bookish, non-conformist feminist struggling to reconcile credibility and fulfilment in a post-Mills & Boon, post-Twilight world. The self-confessedly un-heroic heroine is at once weary of the same old dramatic clichés, and irresistibly fascinated by them—because ‘silly’ as they may be, would life not gain in excitement and meaning if butterflies at first sight were real? The conflict between expectations and reality in relationships is handled with tongue-in-cheek humour, though the investigation seems restricted to heterosexual connections. In terms of plot advancement, the queerness of certain characters is key; yet queer identity itself feels oddly under-explored. While this does not detract from the overall success of All Lies and Jest, a more analytical queer slant would have seamlessly woven into the novel’s exclusion and acceptance dialectic.

Marianne, the switch who goes through lifestyles like fashionable totes, is immediately remindful of Buffy’s Cordelia, according to whom the illusion of friendship ‘beats being alone all by yourself.’ Through Marianne’s experience, the path to belonging—or rather, to the vanquishing of loneliness—is presented as strewn with obstacles, mistakes, and scars; a measure of manipulation at the hands of others is shown to be not only inevitable but, for some, a basic human need. Even more central are the nature, necessity, and prerogatives of the manipulation of others, in the context of a preoccupation with difficult choices, personal accountability, and the price of ideals.

It is difficult to pin down Harrad to a stable stance on any of the moral quandaries she raises. This seems to be intentional, and a logical extension of the fluidity of perception which characterises most of the novel. Perspective, omniscience, and objectivity are similarly blurred, a narrative choice leading to a final reveal which feels needlessly contrived. Less of a punch-line approach would have allowed greater psychological complexity, in turn leading to a more satisfying ending. As the novel stands, the discrepancies between what we are told and what we are not jar with the requests made of our emotional investment in the characters; a shame, as there is quite the depth, warmth, and humanity to invest in.

Bottom line: All Lies and Jest well suits the formally edgy, socially switched-on image young publishers Ghostwoods Books mean to project. Despite a style still in the process of defining and refining itself, Harrad awakens empathy and conscience in equal measure; her work should appeal to fans of subversive, other-centric speculative fiction in the vein of Clive Barker’s Cabal, and supporters of Ultraviolet’s commentary on political and theological extremism.

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Wolff, Sacrifices (2012)

Tarah L.Wolff, Sacrifices: Embraced by Darkness book one. Self-published/Amazon Digital Services, 2012. Pp. 398. ISBN: 978-0-9850228-0-8. $15.00.

Reviewed by Martha Hubbard

Four women strive to determine their destinies; to live with the choices they have made or that have been made for them. Sacrifices, a first novel from Tarah L. Wolff, deals with the struggles that women face to take control of their lives. The decisions they make will determine not only their own fate but the safety and future of their country. This is the first book of what is planned as an epic fantasy saga; the players are introduced and like the opening moves in a game of chess, at the end of this book they are all in place for the battles to come. With what seems like a cast of thousands and multiple intertwining plot lines, this is a very ambitious beginning for a new author.

We first encounter the Warlord Osondrous when, on a simple journey from her own Castle of the Wards to review her troops in a not so distant castle, she just barely survives an assassination attempt. After decades of peace, strange and unsettling events have begun to proliferate. Tempers flare that should not: Telenay, Osondrous’ human second in command strikes the an innocent woman. The King Ward is missing and now this attempt on the Warlord’s life makes it clear that the coming danger cannot be ignored.

This is a book full of strange and engaging characters, As well as Wards, Healers and Warlord—humans with powerful magical abilities—there are Centaurs, War Horses and Darkhalks, humans who have given away their personalities to serve the Castle of the Wards; and Implins, small creatures who exist to serve and be loved, much like useful pets. And this is only on the good guys’ side. While this could easily have descended into a kind of D&D-esque monster saga, Ms Wolff has succeeded in making the most of the major characters glow with authentic personalities.

This is no courtly Troubadour-inspired romantic fantasy. Life outside and inside the castle is dangerous and brutish. Unless a woman can claim a better reason for her presence, she exists to serve the soldiers of the castle in every way. They are waitresses, cooks and sexual gratifiers. The best they can hope for is that the soldier who claims them will be kind. Rape however is forbidden. Women who have risen to a more valued level (Warlord, Ward or Healer) are allowed and do initiate almost any kind of sexual licence.

For good or ill, the sexual mores of this unnamed country form the underpinnings of many of the decisions made by the protagonists. It is an area that the author has clearly given much thought to in her world building. This is why the absence of any hint of same-sex relationships seems to me to be a serious flaw. Despite the problems caused by various prohibitions on human / non-human intercourse, the possibility of LGBT contacts is never considered. Well known female authors of epic fantasy from Storm Constantine to Laurell K. Hamilton have been exploring these issues in their best-selling sex-pics for many years. There is no longer any justification for ignoring LGBT issues in a novel that has sexual relationships as one of its key themes.

The setting: to bring an end to the 500 year war between the Fae and the Draegoone, the ‘King’ Ward, Lionel created the Killing River, dividing the country into three sections. The Fae were sent to the West on the fringes of The Swoon, while the Draegoone occupied the East section along with a strange race known as the Vamepire. The humans and their supporters were given the middle section. The races are separated by a river so noxious and deadly that nothing can cross over or above. Only when a new King Ward is crowned does the power of the Killing River diminish enough for the Fae and Draegoone to cross and continue their deadly feuds.

After a long period of peace and stability in the central, human-ruled area, someone, possibly a mysterious Red Man, wants to use the next King Ward ascension to launch a war against the Castle of the Wards and its inhabitants. From the rape-seduction of Jezeline, which brings on her powers, to the murder of the unstable and ineffectual King Ward, Shankan, we only slowly become aware of the dangers posed by the Red Man. The structure of the book with the POV shifting from woman to woman in successive sections, works very effectively here. As each woman’s story unfolds from her perspective, there is little need to interrupt the forward motion with excessive info-dumping.

Four human women, lives intertwined, each have critical roles to play in the coming battle:

My favourite character in the book is Osondrous. Trained from childhood as a warrior, she has fought to achieve the highest military position in her country. She is the Warlord. Still young and inexperienced in the ways of managing people, when the King Ward is discovered dead, she must deal with strange almost supernatural pressure to have herself crowned. She does not know that on the day of a new King Ward’s ascension the Killing River diminishes enough for it to be crossed. For me Osondrous is the most interesting of the key women. In her struggle to master the people skills needed to do the job being forced on her, we see a fully realised human: bored, angry, loyal, passionate, imperfect but determined to do her best. Wilful and trained as a solder, her struggle to become worthy of the challenge she faces is monumental and engrossing.

Karaly, a young healer, deeply troubled by a forbidden love for her Darkhalk protector, does not consider what problems her actions will cause for colleagues in the Castle of the Wards. I find her the least likeable of the four women as she seems so wrapped up in her own emotional issues that I want to reach out and shake her. In many ways, the standard ‘wilful woman’ whose foolish actions advance the plot, her character is the least fully developed of the four.

In Jezeline, the author has created another complex and fully rounded character. Born and brought up on a horse breeding farm in a distant province, she had never imagined that her life would be anything different. On her sixteenth birthday, she encounters a powerful red-headed man who seduces her, bringing on the magical powers of a Ward. The insatiable sexual hunger created by the Red-headed Man sends her on a journey that will lead her to become the lover not only of the King of the Vamepire but also the heir apparent of the Draegoone.

Constance is a cipher. Her story seems to be an icon for the situation of women in this world. Attached to the castle as a servant, she hopes to one day be accepted as a trainee Ward. Just before her sixteenth birthday when she must choose her first lover, she is raped by a guard, Marcus and two friends. In a spectacularly gruesome scene, that provides still another picture of how brutal and violent this world is, Osondrous punishes the rapists with what are truly fates worse than death.

In Sacrifice, Ms Wolff has created an entire stage full of interesting and complex characters, many with their own unique identities. However another issue for me, is the universal whiteness of the characters. We get a vast array of human and non-human characters, centaurs, draegoone, vamepire, fae and so on but no indication that any of these has any skin colour but white. This seems retrogressive. Nowadays, people of colour now do make valuable contributions to many successful fantasy epics. After the success of books like The Hunger Games, their absence in a planned epic of this type is troubling. The story itself is compelling and believable and the writing moves along briskly. Despite the vast number of characters and a complex plot, the information is presented in such a vivid and clear fashion that I had no difficulty following the action.

A few weeks ago there was a Twitter discussion about women writers of epic fantasy. Among the issues raised was: why do men not want to read epic fantasy by women. I did some research on this topic and unearthed this discussion started by Katie Elliot, herself a fine writer of epic fantasy, Do females write epic fantasy differently than males do? If so, how and why? The question elicited over 200 passionate responses, but for our purposes Kari Sperring’s trenchant analysis seems the most useful:

“Oddly, I've been thinking about this, too. I think there's a perception of difference—there is an assumption that the women will be all emo and relationships and misunderstood witches, while the men deal with the Big Stuff—the swords but also the Important Politics. But the truth is that I think there's not that much real difference and that women in epic fantasy are writing some very interesting, important, subversive, political stuff and not being recognised because the assumption gets in the way.”

Sacrifices offers a multitude of awesomely bloody fight scenes, political intrigues and a full array of emo inducing exotic sexual activities, including several inter-species couplings. All are described in enough luxurious detail to satisfy almost any reader.

From the biographical material provided at the end of the book, it seems that the writing was in part an attempt to exorcise a number of traumatic personal events. If so, I say BRAVA! Far cheaper than a course of psychotherapy and far more useful.

Embraced by Darkness, Book Two, Stricken is due Christmas, 2012. As well looking forward to seeing how the characters’ lives develop, it will be interesting to see how the conflicts between the Fae, Draegoone and the Vamepire are resolved and what kind of King Ward Osondrous will become.

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