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LORD OF RAVENS

From the Inheritance series , Vol. 3

A grand entry in a consistently gripping and remarkable urban fantasy saga.

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Two lovers discover new paranormal gifts and enemies in this third installment of a series.

Things seem to be looking up for Laurence Riley in San Diego, California. The god Herne the Hunter appears before him and tells him that, along with other abilities like precognition, Laurence is capable of magic. Actually learning magic will necessitate seeking out a man named Rufus Grant, whom Laurence first saw in a vision. Meanwhile, Laurence’s romantic relationship with British Earl Quentin d’Arcy has become decidedly more fervent. Unfortunately, the earl has an unwelcome encounter with his own father, the Duke of Oxford, who Quentin is convinced killed his mother. The duke demands his son return home, and Quentin, who has essentially been hiding out in the United States, suspects his father tracked him down via magic. Sadly, the duke’s presence casts a dark cloud over the lives of both lovers. Laurence subsequently has a glimpse of the past involving 5-year-old Quentin suffering his father’s abuse. The vision is so horrifying it nearly sends Laurence back to his heroin habit. Soon, Black Annis, a “blue-tinged” creature, threatens the youngsters with special abilities whom Quentin has befriended and cares for. Alarmingly, the creature vows to eat the children. In order to defeat Black Annis, Laurence will have to acquire a weapon from the Otherworld, a place outside of the mortal realm. But as he can only use the weapon for a specific purpose, Laurence must resist the temptation to slay both the blue-tinged creature and Quentin’s depraved father with it.

Faulkner (Knight of Flames, 2019, etc.) excels at creating individual stories within a cohesive urban fantasy series arc. For example, this book spotlights Quentin’s frayed connection to his father. But earlier installments had teased this with Quentin’s outburst at his mother’s funeral (which Laurence also sees in a vision in this story) and the earl’s scars, courtesy of the duke. As in the preceding novel, the couple’s relationship and shared intimacy show progress, having begun with virginal Quentin’s hesitancy. This time their scenes are unmitigated erotica, as they’re much more explicit than before. The author beefs up the pages with characters from folklore (including Black Annis) while Laurence’s trek through the Otherworld features a few recognizable faces (and objects) from Arthurian legend. Despite the story’s overall grimness, there are occasional lighter touches, like periodic appearances of the couple’s loyal dogs, Pepper and Grace. Similarly, Herne’s gift to Laurence is a raven egg. The resultant “bald little pink baby” raven, named Windsor, is like a child, as Laurence regularly feeds him and sometimes needs others to birdsit. Eventually, the raven, Laurence’s familiar, will be able to relay messages to the god. Readers anticipating the author’s knack for indelible prose won’t be disappointed: Laurence “lowered his hand to the pendant as he spoke the final word, and the universe became a vacuum….His life flashed from heart to fingertips, and he saw whorls of green flow from his fingers and into the pentagram.”

A grand entry in a consistently gripping and remarkable urban fantasy saga.

Pub Date: Oct. 1, 2019

ISBN: 978-1-912349-13-5

Page Count: 380

Publisher: Ravensword Press

Review Posted Online: Jan. 14, 2020

Kirkus Reviews Issue: March 15, 2020

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SUMMER ISLAND

The best-selling author of tearjerkers like Angel Falls (2000) serves up yet another mountain of mush, topped off with...

Talk-show queen takes tumble as millions jeer.

Nora Bridges is a wildly popular radio spokesperson for family-first virtues, but her loyal listeners don't know that she walked out on her husband and teenaged daughters years ago and didn't look back. Now that a former lover has sold racy pix of naked Nora and horny himself to a national tabloid, her estranged daughter Ruby, an unsuccessful stand-up comic in Los Angeles, has been approached to pen a tell-all. Greedy for the fat fee she's been promised, Ruby agrees and heads for the San Juan Islands, eager to get reacquainted with the mom she plans to betray. Once in the family homestead, nasty Ruby alternately sulks and glares at her mother, who is temporarily wheelchair-bound as a result of a post-scandal car crash. Uncaring, Ruby begins writing her side of the story when she's not strolling on the beach with former sweetheart Dean Sloan, the son of wealthy socialites who basically ignored him and his gay brother Eric. Eric, now dying of cancer and also in a wheelchair, has returned to the island. This dismal threesome catch up on old times, recalling their childhood idylls on the island. After Ruby's perfect big sister Caroline shows up, there's another round of heartfelt talk. Nora gradually reveals the truth about her unloving husband and her late father's alcoholism, which led her to seek the approval of others at the cost of her own peace of mind. And so on. Ruby is aghast to discover that she doesn't know everything after all, but Dean offers her subdued comfort. Happy endings await almost everyone—except for readers of this nobly preachy snifflefest.

The best-selling author of tearjerkers like Angel Falls (2000) serves up yet another mountain of mush, topped off with syrupy platitudes about life and love.

Pub Date: March 1, 2001

ISBN: 0-609-60737-5

Page Count: 336

Publisher: Crown

Review Posted Online: May 19, 2010

Kirkus Reviews Issue: Jan. 15, 2001

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LAST ORDERS

Britisher Swift's sixth novel (Ever After, 1992 etc.) and fourth to appear here is a slow-to-start but then captivating tale of English working-class families in the four decades following WW II. When Jack Dodds dies suddenly of cancer after years of running a butcher shop in London, he leaves a strange request—namely, that his ashes be scattered off Margate pier into the sea. And who could better be suited to fulfill this wish than his three oldest drinking buddies—insurance man Ray, vegetable seller Lenny, and undertaker Vic, all of whom, like Jack himself, fought also as soldiers or sailors in the long-ago world war. Swift's narrative start, with its potential for the melodramatic, is developed instead with an economy, heart, and eye that release (through the characters' own voices, one after another) the story's humanity and depth instead of its schmaltz. The jokes may be weak and self- conscious when the three old friends meet at their local pub in the company of the urn holding Jack's ashes; but once the group gets on the road, in an expensive car driven by Jack's adoptive son, Vince, the story starts gradually to move forward, cohere, and deepen. The reader learns in time why it is that no wife comes along, why three marriages out of three broke apart, and why Vince always hated his stepfather Jack and still does—or so he thinks. There will be stories of innocent youth, suffering wives, early loves, lost daughters, secret affairs, and old antagonisms—including a fistfight over the dead on an English hilltop, and a strewing of Jack's ashes into roiling seawaves that will draw up feelings perhaps unexpectedly strong. Without affectation, Swift listens closely to the lives that are his subject and creates a songbook of voices part lyric, part epic, part working-class social realism—with, in all, the ring to it of the honest, human, and true.

Pub Date: April 5, 1996

ISBN: 0-679-41224-7

Page Count: 304

Publisher: Knopf

Review Posted Online: May 19, 2010

Kirkus Reviews Issue: Feb. 15, 1996

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