THE STOLEN HEIR

Tameem’s fantasy series starter sees formerly peaceable kingdoms go to war after the heir of two wealthy, magical families goes missing.

Thumeria and Paleria are the two major kingdoms on the continent of Krasoria. Most of the royals in these countries possess magical talents, including telepathy, and magic has become a prerequisite to sit on the throne. Thumeria’s Prince Caligon has no magical skills, so his younger brother, Jumen, will ascend to the throne. In Paleria, there’s no male heir, so for the first time, a woman—the gentle Princess Maloria—will succeed the king. As Jumen and Paleria’s Princess Auralia prepare to wed and strengthen the kingdoms’ bond, Caligon schemes. He envisions himself ruling both realms, regardless of his lack of magical ability, and Jumen and Auralia’s future child threatens this plan. Meanwhile, the mages Jeofrn and Mal discover a prophecy that says the person who will unite Krasoria must “be free of his royal shackles” and know “pain and suffering.” After Auralia gives birth to a son, the mages kidnap the infant and bring him to a remote village in Vetiria. The baby’s new parents, farmers Jacop and Bekka, raise him in secret as their own. However, the mages never imagined the two wealthy kingdoms blaming each other for the fact that the heir is missing. The two kings start a bloody war that drags on for a decade. Will the hidden royal, named Erik, become a casualty before he can save Krasoria?

Tameem’s medieval fantasy series bolts from the gate, depicting the complex relationships among Thumerian and Palerian families in a way that fans of George R.R. Martin’sGame of Thrones series will relish. Familiar fantasy elements, such as the mages’ use of portals, are effectively overshadowed by political and sociological themes. An ongoing food crisis among the peasants of both major kingdoms drives the plot, as the mages believe that only someone who’s suffered poverty and starvation would choose to spare others from the same. Tameem offers a balanced view of her medieval milieu through the character of Heclan, a historian who says that before the royals, “People didn’t eat scraps; they ate each other.” Fine details, like Jumen and Auralia’s genuine love, add depth to the characters—especially later, when the pair lead opposing armies. Depictions of violence are smoothly effective, as when a farmer insults a prince: “the man didn’t get to finish his sentence, his head rolling high in the air with one swift decapitating blow.” That said, there are occasional clumsy lines, as well (“He sat across his brother, legs equally crossed and looking him in the eyes”). Throughout, Caligon remains an entertaining manipulator. He stands out alongside Erik, the underdog prince, but most other characters display less agency than readers might desire; Jumen, for example, makes a grave decision based on Caligon’s word rather than his own investigation. A late twist brings readers to the dramatic precipice of the next installment.

Grand events sweep this fantasy along, leaving room for the characters to grow.