An immensely satisfying final volume in Carlton’s humans-and-insects saga.
The conclusion to a fantasy trilogy in which embattled tiny humans vie with insects.
This final volume in Carlton’s epic Antasy series takes readers back to a world where people have evolved to insect size and are surrounded by terrifying predators on land and in the air. The first book, Prophets of the Ghost Ants (2016),introduced readers to a wretched human underling named Anand, who dreams of freeing his people from the terror of the Ghost Ants and eventually founds the new and enlightened nation of Bee-Jor. As the series progressed through the second volume, Prophet of the Termite God (2019),readers followed Anand’s journey through scenes of war, torture, and hairbreadth adventure. That adventure concludes in this final volume, in which the realm of Bee-Jor is tottering due to outside and internal threats, including one that’s represented by one of the book’s most intriguing characters: the mad Queen Trellana, who threatens the new nation’s very existence in these pages. This plot of this series entry involves a blinded and desperate Anand being captured by a mysterious group, among whom he makes new friends and allies while in captivity; meanwhile, he agonizes over his ignorance of what’s happening in faction-torn Bee-Jor, where war is looming and a tense situation isn’t being helped at all by Queen Trellana’s delusional histrionics.
Carlton skillfully manipulates readers’ feelings of anticipation about the fate of Bee-Jor and about Anand himself, and he does so right from the beginning of this complex volume. The saga of Anand, also known as “Roach Boy,” is still central to the sprawling narrative, but many other important plotlines converge in this concluding entry, which the author fills with engaging characters and gritty, often violent Game of Thrones–style action and realpolitik. Over the course of three books, the author has been pursuing this story with gusto and intense readability, often through the use of vivid, gripping language—as when Anand is in the midst of traveling, exhausted, and Carlton sets the scene by noting that “Night slithered in, as cold and damp as an earth worm.” Overall, this is an extensively fleshed-out world that’s raw and brutal but very satisfyingly imagined. Unlike in many other epic fantasy novels, the characters in this story (human and otherwise) really seem to live in this strange world; the internal consistency of the reality Carlton has imagined is solid to the last detail. This third volume is very much aimed at existing fans of the series; it begins with a large glossary of dramatis personae, but it lacks the kind of series-to-this-point recap that’s common in other fantasy tomes, and that’s sorely needed here; without it, there’s little chance that new readers can come onboard with this book. This is unfortunate, as the various aspects of Anand’s character are more effectively rendered in these pages than in previous entries, and Carlton’s handling of the multifaceted story has never been more confident.
An immensely satisfying final volume in Carlton’s humans-and-insects saga.Pub Date: June 29, 2021
ISBN: 978-0-06-242979-7
Page Count: 592
Publisher: Harper Voyager Impulse
Review Posted Online: June 16, 2021
Review Program: Kirkus Indie
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A deep and grimly whimsical exploration of what it means to be a son, a father, and an artist.
A retelling of Pinocchio from Geppetto's point of view.
The novel purports to be the memoirs of Geppetto, a carpenter from the town of Collodi, written in the belly of a vast fish that has swallowed him. Fortunately for Geppetto, the fish has also engulfed a ship, and its supplies—fresh water, candles, hardtack, captain’s logbook, ink—are what keep the Swallowed Man going. (Collodi is, of course, the name of the author of the original Pinocchio.) A misfit whose loneliness is equaled only by his drive to make art, Geppetto scours his surroundings for supplies, crafting sculptures out of pieces of the ship’s wood, softened hardtack, mussel shells, and his own hair, half hoping and half fearing to create a companion once again that will come to life. He befriends a crab that lives all too briefly in his beard, then mourns when “she” dies. Alone in the dark, he broods over his past, reflecting on his strained relationship with his father and his harsh treatment of his own “son”—Pinocchio, the wooden puppet that somehow came to life. In true Carey fashion, the author illustrates the novel with his own images of his protagonist’s art: sketches of Pinocchio, of woodworking tools, of the women Geppetto loved; photos of driftwood, of tintypes, of a sculpted self-portrait with seaweed hair. For all its humor, the novel is dark and claustrophobic, and its true subject is the responsibilities of creators. Remembering the first time he heard of the sea monster that was to swallow him, Geppetto wonders if the monster is somehow connected to Pinocchio: “The unnatural child had so thrown the world off-balance that it must be righted at any cost, and perhaps the only thing with the power to right it was a gigantic sea monster, born—I began to suppose this—just after I cracked the world by making a wooden person.” Later, contemplating his self-portrait bust, Geppetto asks, “Monster of the deep. Am I, then, the monster? Do I nightmare myself?”
A deep and grimly whimsical exploration of what it means to be a son, a father, and an artist.Pub Date: Jan. 26, 2021
ISBN: 978-0-593-18887-3
Page Count: 208
Publisher: Riverhead
Review Posted Online: Sept. 29, 2020
Kirkus Reviews Issue: Oct. 15, 2020
Weird and haunting and excellent.
The much-anticipated second novel from the author of Jonathan Strange and Mr. Norrell (2004).
The narrator of this novel answers to the name “Piranesi” even though he suspects that it's not his name. This name was chosen for him by the Other, the only living person Piranesi has encountered during his extensive explorations of the House. Readers who recognize Piranesi as the name of an Italian artist known for his etchings of Roman ruins and imaginary prisons might recognize this as a cruel joke that the Other enjoys at the expense of the novel’s protagonist. It is that, but the name is also a helpful clue for readers trying to situate themselves in the world Clarke has created. The character known as Piranesi lives within a Classical structure of endless, inescapable halls occasionally inundated by the sea. These halls are inhabited by statues that seem to be allegories—a woman carrying a beehive; a dog-fox teaching two squirrels and two satyrs; two children laughing, one of them carrying a flute—but the meaning of these images is opaque. Piranesi is happy to let the statues simply be. With her second novel, Clarke invokes tropes that have fueled a century of surrealist and fantasy fiction as well as movies, television series, and even video games. At the foundation of this story is an idea at least as old as Chaucer: Our world was once filled with magic, but the magic has drained away. Clarke imagines where all that magic goes when it leaves our world and what it would be like to be trapped in that place. Piranesi is a naif, and there’s much that readers understand before he does. But readers who accompany him as he learns to understand himself will see magic returning to our world.
Weird and haunting and excellent.Pub Date: Sept. 15, 2020
ISBN: 978-1-63557-563-7
Page Count: 272
Publisher: Bloomsbury
Review Posted Online: June 16, 2020
Kirkus Reviews Issue: July 1, 2020
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BOOK REVIEW
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