THE IMMORTAL BLOOD

An ancient god’s resurrection causes turmoil in Asgard and on Earth in this fantasy.

Following up on The Ebony Queen (2020), this third installment of Lane’s series charts another imbroglio started by the witch Cynara, queen of Velez. She has unwittingly released the bloody essence of the Asgardian god Anastacio from an eons-old crystal orb while imprisoning the consciousness of Odin, king of the gods, in the same globe. Unfortunately for Cynara, stealing Odin’s divine knowledge leaves her a kind of prisoner, too, as she is left conscious but paralyzed at Camden castle. That leaves an opening for Lady Regana, the queen whom Cynara ousted, to try to kill her—unsuccessfully, since Cynara can’t swallow the poison her foe sticks in her mouth. With Cynara laid up, a succession crisis brings to the fore Keldan Ashburn, Regana’s secret son, who shows the privy council that “a royal emblem is branded between” his “ass cheeks” that establishes his right to the throne. But then Anastacio’s blood infuses the body of Velez’s former King Rickard, Keldan’s father and Cynara’s husband (and Regana’s ex), who is believed dead but is actually yet another conscious paralytic, mummified alive by Cynara in a statue. Anastacio takes over Rickard’s decaying body, rules competently over an astonished Velez, and spends much time bickering with a revived Cynara over all the cruel mischief she has wrought. But with Cynara converted by Odin’s knowledge from hellacious bitch to benign humanitarian, the true villain emerges: Daemonis, a fallen archangel whose duel with Anastacio over the goddess Freya started the orb business. A coalition of Valhallans, witches, and toxic geckos rallies to take him on. Lane’s labyrinthine yarn feels overstuffed with subplots; the characters are well drawn and energetic, but the novel lacks the space to do them all justice. Her writing features atmospheric prose, crude humor, and effective, ghoulish set pieces, including the disembowelment of a sniveling priest by a giant goshawk. There’s a delicious Game of Thrones vibe in scenes of royal intrigue. (“There’s doubt on both sides; no proof for Keldan, no proof for Rudrik. However, one man is moldable and the other is not.”) Lane’s imaginative worldbuilding, tart dialogue, and dramatic reanimations and showdowns are enough to keep readers forging ahead through the tangle of narrative strands.

A convoluted but entertaining sword-and-sorcery romance.