A brainy, action-packed fantasy outing even more complex and sophisticated than series opener Foundry’s Edge (2015)....
Phoebe Plumm and Micah Tanner bravely search for the mysterious Occulyth, which they hope will resolve all of their challenges in this second of the Books of Ore.
Phoebe blames herself for the loss of her father, Dr. Jules Plumm, a former key employee of the Foundry, the powerful Meridian-based technology company that exploits the metal creatures of Mehk. Meanwhile the Covenant, the resistance army made up of disaffected mehkans, is fighting back against the Foundry’s imperialism and looking to Phoebe and Micah to help. Phoebe, who turns 13 in this installment, is thrust into the limelight, seeking an illuminated path and wondering how to act around ardent warriors who treat her like a saint. Baity and Zelkowicz, both animators, enter into some heavy-duty worldbuilding in this volume, complete with an origin story, new allies and enemies, and an extensive original vocabulary. They even create a whole religion—including excerpts from Scripture—that is refreshingly female-dominated. The novel explores themes of political, environmental, and even spiritual plundering as well as what it means to be Waybound. Phoebe insists: “People will change….They’ll have to.”
A brainy, action-packed fantasy outing even more complex and sophisticated than series opener Foundry’s Edge (2015). (glossary) (Fantasy. 11-14)Pub Date: April 12, 2016
ISBN: 978-1-4231-6239-1
Page Count: 352
Publisher: Disney-Hyperion
Review Posted Online: Feb. 1, 2016
Kirkus Reviews Issue: Feb. 15, 2016
A trilogy opener both rich and strange, if heavy at the front end.
Riggs spins a gothic tale of strangely gifted children and the monsters that pursue them from a set of eerie, old trick photographs.
The brutal murder of his grandfather and a glimpse of a man with a mouth full of tentacles prompts months of nightmares and psychotherapy for 15-year-old Jacob, followed by a visit to a remote Welsh island where, his grandfather had always claimed, there lived children who could fly, lift boulders and display like weird abilities. The stories turn out to be true—but Jacob discovers that he has unwittingly exposed the sheltered “peculiar spirits” (of which he turns out to be one) and their werefalcon protector to a murderous hollowgast and its shape-changing servant wight. The interspersed photographs—gathered at flea markets and from collectors—nearly all seem to have been created in the late 19th or early 20th centuries and generally feature stone-faced figures, mostly children, in inscrutable costumes and situations. They are seen floating in the air, posing with a disreputable-looking Santa, covered in bees, dressed in rags and kneeling on a bomb, among other surreal images. Though Jacob’s overdeveloped back story gives the tale a slow start, the pictures add an eldritch element from the early going, and along with creepy bad guys, the author tucks in suspenseful chases and splashes of gore as he goes. He also whirls a major storm, flying bullets and a time loop into a wild climax that leaves Jacob poised for the sequel.
A trilogy opener both rich and strange, if heavy at the front end. (Horror/fantasy. 12-14)Pub Date: June 7, 2011
ISBN: 978-1-59474-476-1
Page Count: 234
Publisher: Quirk Books
Review Posted Online: March 30, 2014
BOOK REVIEW
BOOK REVIEW
BOOK REVIEW
Evocations of Narnia are not enough to salvage this fantasy, which struggles with thin character development.
A portal fantasy survivor story from an established devotional writer.
Fourteen-year-old Eva’s maternal grandmother lives on a grand estate in England; Eva and her academic parents live in New Haven, Connecticut. When she and Mum finally visit Carrick Hall, Eva is alternately resentful at what she’s missed and overjoyed to connect with sometimes aloof Grandmother. Alongside questions of Eva’s family history, the summer is permeated by a greater mystery surrounding the work of fictional children’s fantasy writer A.H.W. Clifton, who wrote a Narnialike series that Eva adores. As it happens, Grandmother was one of several children who entered and ruled Ternival, the world of Clifton’s books; the others perished in 1952, and Grandmother hasn’t recovered. The Narnia influences are strong—Eva’s grandmother is the Susan figure who’s repudiated both magic and God—and the ensuing trauma has created rifts that echo through her relationships with her daughter and granddaughter. An early narrative implication that Eva will visit Ternival to set things right barely materializes in this series opener; meanwhile, the religious parable overwhelms the magic elements as the story winds on. The serviceable plot is weakened by shallow characterization. Little backstory appears other than that which immediately concerns the plot, and Eva tends to respond emotionally as the story requires—resentful when her seething silence is required, immediately trusting toward characters readers need to trust. Major characters are cued white.
Evocations of Narnia are not enough to salvage this fantasy, which struggles with thin character development. (author’s note, map, author Q&A) (Religious fantasy. 12-14)Pub Date: Jan. 30, 2024
ISBN: 9780593194454
Page Count: 384
Publisher: WaterBrook
Review Posted Online: Oct. 21, 2023
Kirkus Reviews Issue: Nov. 15, 2023
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