The Gathering Storm UK Cover

Title: The Gathering Storm

Author: Robert Jordan & Brandon Sanderson

ISBN: 978-1-84149-232-2

First Published: 2009

Blurb:

THE LAST BATTLE LOOMS. AND MANKIND IS NOT READY.

Rand al’Thor struggles to unite a fractured network of kingdoms and alliances in preparation for the Last Battle, as his allies watch in terror the shadow that seems to be growing within the heart of the Dragon Reborn himself.

Egwene al’Vere is a captive of the White Tower and subject to the whims of their tyrannical leader. She works to hold together the disparate factions of Aes Sedai, as the days tick toward the Seanchan attack she knows is imminent. Her fight will prove the mettle of the Aes Sedai, and her conflict will decide the future of the White Tower – and possibly the world itself.

Review:

To be honest, I had begun to lose faith in The Wheel of Time series. The anticipation of this particular novel, the twelfth in the series, kept me going. The last two novels, Crossroads of Twilight and Knife of Dreams, felt very stagnant. Things happened, but incredibly slowly, and it felt as though the series would never end.

Part of that anticipation for The Gathering Storm was the ‘collaboration’ with Brandon Sanderson. Having read his Mistborn trilogy, I was really excited to see where he would take the final three books of The Wheel of Time, despite the tragic events that lead to him taking over from the late Robert Jordan.

Sanderson states in his foreword to the novel that “This is not my book. It is Robert Jordan’s book”. The story remains Jordan’s; only the words are Sanderson’s. This goes some way to appeasing long-term fans of the series. Sanderson claims not to emulate Jordan’s style, but the novel is still recognisable part of The Wheel of Time series. He, like Jordan, tells this epic tale from the highly introspective viewpoints of the characters. In turn, the characters remain highly recognisable and, in my opinion, have become even more likeable. Egwene and Rand evolve in especially satisfying ways.

The pace in The Gathering Storm has quickened immensely, a vast improvement to the frustratingly sluggish pace of the earlier novels. Things are happening that have huge significance, and there is a definite sense that this is the beginning of the end. Even though the ending of The Gathering Storm couldn’t wrap up every single loose thread that Jordan introduced over the course of the series, it is still very satisfying. Some long-running storylines, such as Egwene’s battle with the White Tower, and Rand’s battle with his insanity, are finally concluded.

It is no mistake that this novel is entitled The Gathering Storm. There is a strong sense of foreboding and apprehension. The Pattern is beginning to unravel, causing havoc, and the ‘bubbles of evil’ that cause deaths in horrifyingly random circumstances become more frequent. The Dark One touches the world, and it is more important than ever that Rand assembles the world’s armies to march to the Last Battle.

One criticism that I have had with previous novels in the series is that Jordan frequently introduced new viewpoint characters. It became difficult to maintain a hold on exactly who each character was, and what their motives were. Whilst Sanderson does introduce a few new characters, it is never for more than a few pages, and his focus remains on the main cast. This is a definite boon to the readability of the novel.

The Gathering Storm is an excellent beginning to the long-awaited final chapter of The Wheel of Time. Sanderson is successful in setting up an epic conclusion that seems set to satisfy expectations, and that will make the years of reading the series requires entirely worthwhile. Though fans rightfully mourn the loss of Robert Jordan, and some may not agree with the direction the new author takes, I feel that Brandon Sanderson is a very worthy candidate to complete this series twenty years in the writing.

Ratings:

Character: 10/10

Plot: 10/10

Style: 9/10

Overall: 10/10

The World of Robert Jordan's The Wheel of Time

Title: The World of Robert Jordan’s The Wheel of Time

Author: Robert Jordan & Teresa Patterson

ISBN: 1-84149-026-1

First Published: 1997

Blurb:

With never-before-told legends, fascinating histories of its peoples and lands, and portents of what may come to pass, this engrossing book, written by Robert Jordan himself in collaboration with Teresa Patterson, takes you on an unforgettable journey through the extraordinary world of The Wheel of Time.

Review:

The World of Robert Jordan’s The Wheel of Time is essentially a reference book that details the history, the important characters, and the countries that make up Robert Jordan’s world. Written collaboratively by Robert Jordan and Teresa Patterson, this book gives a wealth of background information about most of the world.

The book begins with an explanation of what the Wheel of Time is, as well as an explanation of the True Source, in its two halves, saidar and saidin, and the ways in which it can be wielded.

It then continues to the history of the Age of Legends, the Age that came before the Third Age in which the series of novels is set. Though referenced occasionally in the series, there is far more information here than Robert Jordan could squeeze into plots without excessive amounts of exposition. Revealing the advanced technology not dissimilar to our modern technology, we really see what the Forsaken mean when the call the world they wake up in ‘primitive’.

Through reading about the wondrous technology of the Age of Legends, a reader can see a much wider context, and can see exactly how much civilisation suffered with the Breaking. The history of the Age of Legends also reveals why saidin became tainted after the Dark One was sealed away, but saidar remained clean.

Another extremely helpful part of the book is the biography of each of the Forsaken. No longer are the Forsaken mindless evil villains; their motives for turning to the Shadow are revealed, and the reasons behind why they act the way they do is explained.

The geography of the world beyond the continent of the series is further revealed. Again, a wider context is created, and helps build the sense of a large picture that the series finds restrictive to unveil. Explanations of the various complicated class and ranking systems of each nation helps clarify them and cement them in the reader’s head. The class systems are used in the novels, but they are overwhelmingly intricate. The chapters in this book help solve that problem.

There are well-drawn and detailed maps of the world, its countries, and its major cities, as well as historical maps of the time before the novels. These maps are the same as those found in the novels themselves, but could be useful to have an indexed version for easier reference.

The close detailing of each nation does get a little tiresome at the end. Though each nation is different, similarities crop up again and again, and there is much repeated from the novels themselves. However, the knowledge of the political situations can help explain any subtle hints and phrases that Jordan uses to flesh out his novels. The novels can be difficult to read due to the amount of detail Jordan references, but this book enables the reader to read a quick overview.

I would only recommend this book to those interested in the wider context of The Wheel of Time. For those new to the series, it would provide an introduction, but would perhaps be too detailed to hold their interest. Those interested in writing fantasy and creating their own fantasy worlds may also found this book a brilliant resource. The information may be contained in the novels, but it is certainly helpful to have a place where it is collated separately from the complex plot and characters of the series. For long-time readers of the novels, The World of Robert Jordans The Wheel of Time is a fantastic reference that can help aid the understanding and readability of the novels.

Ratings:

Overall: 7/10

Though my interest in The Ninth Word may have been lacking, my love for reading hasn’t. Over the next few weeks, you can look forward to me attempting to backtrack my reading list with reviews.

The books I will be reviewing soon are as follows:

• The Hero of Ages, Brandon Sanderson
• Crossroads of Twilight, Robert Jordan
• Wizard’s First Rule, Terry Goodkind
• Knife of Dreams, Robert Jordan
• The Greatest Show on Earth, Richard Dawkins
• The World of Robert Jordan’s The Wheel of Time, Robert Jordan & Teresa Patterson

I’ve also undertaken a big step in my life recently, which I shall also be blogging about, with pictures. Though I’d like this blog to focus on book reviews, I’m sure the occasional life review won’t be completely out of place.

I look forward to resuming business as usual!

Brandon Sanderson Blog: UK Cover Art for THE ALLOY OF LAW.

Whilst I’d heard a little about another Mistborn novel, this is quite exciting. As far as I know (and I’m just remembering what I’ve heard about it), it’s unrelated to the main trilogy’s characters, and acts as a kind of prequel. I could be completely wrong, and I’ll do some more research into this novel.

I’m just excited that Sanderson is continuing the series. I haven’t completed the trilogy yet, but it’s nice to know that he’s not abandoning such a fantastic world.

The cover art for the UK/Australia/New Zealand editions are brilliant. Eye-catching, simple, and elegant.

EDIT:

It turns out that Sanderson is planning a second Mistborn trilogy. Fantastic!

Can be found on this post:

http://www.brandonsanderson.com/blog/925/Another-Long-and-Rambling-Post-on-Future-Books

“Second Mistborn trilogy (It’s coming someday, I promise.)”

The post also includes info on his plans for the completion of the Wheel of Time series. He’s hoping it’ll be out in March 2012. Plenty of time for me to catch up. Or perhaps not. I’ve only just started Book 10 for the second time after a long hiatus.

Title: The Well of Ascension

Author: Brandon Sanderson

ISBN: 978-0-575-08993-8

First Published: 2007

Blurb:

THEY DID THE IMPOSSIBLE,

deposing the godlike being whose brutal rule had lasted a thousand years. Now Vin, the street urchin who has grown into the most powerful Mistborn in the  land, and Elend Venture, the idealistic young nobleman who loves her, must build a healthy new society in the ashes of an empire.

They have barely begun when three separate armies attack. As the siege tightens, an ancient legend seems to offer a glimmer of hope. But even if it really exists, no one knows where to find the Well of Ascension, or what manner of power it bestows.

IT MAY BE THAT KILLING THE LORD RULER WAS THE EASY PART…

Review:

The second book in Sanderson’s Mistborn trilogy, The Well of Ascension lives up to and exceeds the expectations set up in the first novel of the series.

Set a year after the events of The Final Empire, the city of Luthadel, recently rescued from the clutches of the tyrannical Lord Ruler, is under siege from three armies. Kelsier’s team of thieves are back, and they must do everything in the power to save the city from defeat.

The novel incorporates political intrigue, a unique magic system, and impossible odds into a plot that twists and turns. As a reader, I had no trouble keeping up with events, and gasped at sudden revelations. There were some things that I predicted would happen, but there were an equal number of things I was completely oblivious to.

Sanderson’s brilliant characterisation is what has made this trilogy a joy to read thus far. Every character is fleshed out in so much detail they feel like a real person. The team includes the obsessive Vin, the idealistic Elend, the manipulative, misunderstood, unappreciated Breeze (one of my favourite characters), and the honourable Sazed (one that unexpectedly became another favourite). Those are just a few of the large-but-not-too-large cast of characters that the reader finds themselves supporting.

I’m finding it difficult to judge the pacing of the novel since it took me so long to read it. My studies have left me with little time, and I took week-long breaks between picking it up. If I had the time, I imagine I could read the entire novel in a couple of weeks. The plot takes place almost entirely in the city of Luthadel. The way the characters are trapped by the three armies can make for slightly frustrating reading, but it is ultimately rewarding. The last 20% of the book in particular is fast-paced, exciting, and breathtaking.

Sanderson’s writing style is easily accessible and straightforward. It’s not overly poetic, but not so simple as to be dull. His tone is perfectly suited to the story, and he adapts it well between the slower scenes and the more exciting scenes.

The Well of Ascension is a book that you definitely must read. You’ll have to read The Final Empire first to understand who the characters are and how events unfolded prior to the novel, but I highly recommend it. I only just put the book down, but I want more. I’ll be buying The Hero of Ages as soon as I can, and I look forward to devouring it.

Ratings:

Character: 10/10

Plot: 10/10

Style: 10/10

Overall: 10/10

A view of the city from the City Walls

Since my partner is on holiday from work for two weeks, we decided to head up to York for a short break. I’d been before, but I was quite young and didn’t remember anything about it other than the Jorvik Centre.

On revisiting, it’s surprising that I didn’t remember any of it at all.

The Shambles; one of the best-preserved medieval shopping streets in the country

York has an incredible amount of history and charm. The city has done an excellent job at preserving its buildings, with topsy-turvy medieval buildings dominating the city centre. The winding cobbled streets can keep any explorer of the city occupied for hours, always with some new street or quaint alleyway to be discovered.

It’s impossible to go to York and not experience the grandeur and sheer scale of York Minster. The medieval cathedral, built on the site of a Norman church, itself built on a Roman fortress, is immense in size and beautifully decorated. Sadly, the end of one wing was obscured by scaffolding, but it’s understandable that a building of this age takes a lot of work to keep in such good condition. The Chapter House is particularly stunning.

The awe-inspiring interior of York Minster

The City Walls are another attraction. They surround the city centre, and are easily accessible to the public. They command excellent views of the city, and particularly of the Minster. They make for a fairly easy stroll, though the stairs to reach them are rather steep and narrow. A must-see for any visitor.

As well as its focus on history, York has an abundance of tea-rooms and cafés. Yes, there are the usual Starbucks and Costas, but there are many independent places to enjoy a cream tea or a sandwich. There are also numerous second-hand bookshops, something other cities seem to lack. It’s a wonderful experience to wander around the small shops crammed to the ceiling with old books, even if one doesn’t buy anything.

On the edge of the city centre is the National Railway Museum, which contains a wide collection of engines. Amongst their exhibits is a Bullet Train, a working turntable, and they are currently working on restoring the Flying Scotsman; the workshop is available to the public for viewing. The museum has free admission, and is an excellent way to spend a few hours for any age.

The rain only acted to enhance York's charm.

The weather wasn’t ideal for sightseeing, but the rain we had did nothing to put us off enjoying the city to its fullest. In the evening, the wet cobbles reflected the streetlamps, and only added to the old charm of the city.

York was a fascinating and enjoyable trip. Two nights wasn’t really enough to see all the sights, but we did a fairly good job at seeing what we could. The size of the city is such that it’s easy to get from place to place on foot; it takes around half an hour to walk from one side of the city to the other, and there is much to see on the way. I will definitely return to this charming city.

Author: Hope Mirrlees

ISBN: 978-1-8579-8767-6

First Published: 1926

Review:

An early example of fantasy literature, Hope Mirrlees’ quirky novel, Lud-in-the-Mist tells the tale of Lud, the capital city of Dorimare. Dorimare is a country that borders on Fairyland, but its citizens have done their best to ignore their neighbours.

Told in the style of other authors in the 1920s (Mirrlees was a friend of Virginia Woolf), this is a beautiful fantasy novel that still has strong literary ties. The language is eloquent and precise, and Mirrlees goes into great detail in explaining the philosophies behind this civilisation. These philosophies bleed into our own reality, and alter the way we see life, death, and art.

Master Nathaniel Chanticleer is the haunted Mayor of Lud, and the central protagonist for the novel. As Lud-in-the-Mist falls in chaotic fear over the importation of fairy fruit, it is up to Nathaniel to solve a mysterious murder and catch the imposters. The plot unfolds with some interesting twists and turns, and the reader is always wondering what is going to happen next.

Lud-in-the-Mist reads more as a fairytale than as an epic fantasy novel, but it is no less enjoyable to read. The language can get a little difficult to wade through, but a reader can enjoy the very sounds of the ideas that are put across in the pages. The culture seems somewhat similar to England in the past, perhaps based on the society of the early 20th or late 19th century. It is easy to empathise with each of the characters, and the interest in their psychology is integral to the plot and to our understanding of their motives.

A strange novel, I would recommend it to anybody who enjoys fantasy literature. If compared to a modern text, I would say it has some relation to Susanna Clarke’s Jonathan Strange and Mr. Norrell and Neil Gaiman’s Stardust. Indeed, Gaiman has rated Mirrlees’ novel highly; “The single most beautiful, solid, unearthy, and unjustifiably forgotten novel of the twentieth century … a little golden miracle of a book”. Anybody who is interested in where our modern fantasy/fairytales come from should read this book.

Ratings:

Character: 8/10

Plot: 8/10

Style: 9/10

Overall: 8/10

Year: 2010

Director: Darren Aronofsky

Starring: Natalie Portman, Mila Cunis, Vincent Cassel

Certificate: 15 / R

Trailer:

Review:

What can I say about this film? Creepy. Captivating. Weird. Beautiful. Dark.

Natalie Portman takes on the role of Nina Sayers, a ballerina in an eminent ballet company in New York. The director, Thomas Leroy, played by Vincent Cassel, wants to put on a production of Tchaikovsky’s Swan Lake, and needs a ballerina to perform both the innocent White Swan, and the seductive Black Swan. When newcomer Lily, played by Mila Cunis, threaten’s Nina’s chances of playing the part, the strange, dark events of the film begin to unfold.

Nina, incredibly dedicated to her art, becomes obsessed with the role, to the point that it becomes difficult to tell what is in her head and what is really happening. Stiff and controlled, Thomas advises her to “lose herself” in order to perform the part with the passion she lacks. The film follows her development from the virginal, precise White Swan, the part of the role that comes most easily to her, to the passionate Black Swan. She is an artist in search of perfection, and will do anything to reach it.

The film starts of rather slow, but soon picks up its pace. By the final scene, the tension has mounted to its highest, and the climax, helped by the timeless music of Tchaikovsky, is intense and unexpected. The music still runs through my head a day later, and it now carries with it a new, creepy feeling.

The camera-work is impressive, making one feel that something shocking is always going to be seen around the corner, or suddenly appear on screen. It is a somewhat gruesome film, showing a gritty side to the dedication and pain that ballerinas go through for their art.

Portman’s performance is convincing, and she plays both the innocent side of Nina and her evolution through the film well. The amount of training she has done for the role is impressive, and shows through well. Cunis and Cassel are excellent supporting actors, and it is clear that the three have great chemistry vital to the film.

Whilst not someone with a particular interest in ballet, I found the dancing scenes very impressive, helped by the camera-work that constantly weaves and spins around the room. The film does an excellent job of showing the energy and precision needed for the demanding art.

I would recommend this film to anybody interested in seeing an effective psychological thriller. It is scary, emotional, beautiful, and I for one would really enjoy seeing it again and again.

Performance: 9/10

Plot: 8/10

Filmwork: 9/10

Soundtrack: 9/10

Overall: 9/10

Theatre: The Belgrade, Coventry

Company: Propeller

Trailer: 

Review:

Normally, I wouldn’t read a script for a play I was about to see, but it just so happened that I was studying The Comedy of Errors in my literature seminar on the same day that I saw this production.

Even though I had read the script, and so knew the story and the characters, this production was wholly unexpected. The lines were the same (mostly), and the events happened in the same order with the same characters, but Propeller’s interpretation of the text and manipulation of what Shakespeare doesn’t put in his script allows for a very successful modernisation of the play.

Set in modern Mexico (judging from the sombreros the cast was wearing as I walked into the theatre, playing guitars, violins, trumpets, and maracas), this play is, condensed into one word, fun.

One might expect the story of two sets of twins who have never met happening to be in the same city to be fairly predictable. Naturally, there is a lot of confusion when interacting with members of the city; one of the twins has a wife, who does not recognise which is which. Each of the richer twins has a servant, each of whom is also a twin, and so a lot of confusion occurs on the orders they are given. Despite these obvious plot devices, The Comedy of Errors as performed by Propeller is a fast-paced romp full of slapstick comedy and playful language.

Propeller is an interesting group of actors, in that it is entirely made up of men. The female roles are performed by male actors, much as would have happened when the play was originally written. The over-the-top costumes for the female characters added to the hilarity of the entire play, particularly the love-scenes.

The group has done an excellent job of keeping the comedy funny for a modern audience. Slapstick may seem purile to some, but the exaggerated beatings throughout the play are funny, and had the audience laughing. It was Dromio’s description of Nell, the “spherical” kitchen wench, that had the entire audience in stitches for the first time. It loosened the atmosphere set up by the long, somewhat dull introduction by Egeon, describing how the twins came to be separated. This may have been improved by enacting the story in the background, rather than having one man on stage giving an excessively long speech. But after this, the play picks up speed quickly, building to an energetic climax, leaving the audience gasping for air.

The relationship between audience and actors was helped by the interval. In the lobby, the actors performed various 80s songs to help raise money for charity. There’s something inherently amusing about a group of men singing Material Girl and a Eurythmics medley. It was great to see the actors clearly enjoying themselves; their enthusiasm and energy was infectious.

A definite feel-good play, the ending brought out a resounding “awww!” from most of the audience, followed swiftly by raucous applause. This is a play that anybody, even those who see Shakespeare as dull and boring, will enjoy. The Comedy of Errors is far from “stuffy” Shakespeare. It’s a fantastic romp through an energetic story, and Propeller do a brilliant job at maintaining the momentum.

This production is touring around UK theatres until August 2011, so I urge you to look out for it.

Overall: 10/10

Author: William Morris

E-book URL: The House of the Wolfings

First Published: 1890

Review:

The House of the Wolfings is one of the novels that inspired Tolkien in writing his Middle-Earth series of books, and so it is an excellent tale for those interested in discovering the literary history of not only Tolkien’s work, but fantasy literature as a whole.

Set in the Mirkwood, a quasi-fictional forest, The House of the Wolfings tells the tale of the various tribes or Houses that live in and around the forest and their war against the encroaching Romans. The way the Houses act, with very formal rituals, is reminiscent of Beowulf, and it is likely that Morris got a lot of inspiration from that Old English epic.

The hero of the tale, Thiodolf, is very much a Beowulf-esque character; he is extremely strong, well-loved by his people, and wise in battle. He also shares the same pride in war as Beowulf. He is ashamed when he swoons in battle due to his “cursed” hauberk, and prefers later to fight without its protection, though this leads to his demise. Though the tale reads similarly to an epic poem, the prose allows for a greater fleshing out of his character than the Beowulf poet gives its hero. This gives the reader greater sympathy for the hero, and shares in the sadness felt by the army at his eventual heroic death.

The plot is fairly simple; the Romans are set to invade the Houses of the Mirkwood, and so the Houses band together, lead by Thiodolf and Otter, to prevent it. However, it is a little meandering. It switches regularly between the army and those left at home, and the breaks between the action can be laborious to read through. There are long, detailed speeches from several characters that provide vital information, but the length of these expositions is a little excessive at times. The romantic interludes between Thiodolf and the Wood-Sun still make interesting reads, and adds an extra facet to what might have been a rather one-dimensional plot.

The style of the tale is very archaic, and although this makes it difficult to read, it feels very authentic, as though the tale is being read aloud by a member of the Houses. Some of the vocabulary used requires a dictionary, but on the whole, the tale is very understandable.

Morris intersperses a large amount of poetry in amongst the prose passages; characters, particularly the foreseeing Hall-Sun and Wood-Sun, fall into verse when giving their cryptic prophecies, and also when giving important speeches to the army. This poetry is very well-written. The rhyme schemes are simple but powerful, and there are lines of exquisite language. It provides a welcome break from the sometimes lengthy paragraphs of prose.

The House of the Wolfings is a great read for anybody interested in the literary history of fantasy fiction. It is thanks to Morris’s pre-Raphaelite interests that this tale contains such passion and attention to medieval detail. The world is brought to life by descriptive passages and poetic language. If compared to Tolkien, I would say it was more in the style of The Silmarillion than The Lord of the Rings, although some similarities with the latter are very clear. Though the world is not quite as expansive as Middle-Earth, The House of the Wolfings has the same epic scope and vision.

Ratings:

Character: 9/10

Plot: 7/10

Style: 9/10

Overall: 8/10