RIDER OF THE WIND

In Himeda’s fantasy novel, a long-simmering conflict is about to boil over, and two immensely gifted protégés stand in the middle.

The third book in The Bardic Isles series takes place over 200 years before Kaelin, the musical protagonist of both Master of Music (2023) and Cry of the Kestrel (2024), is even born. In the land of Eire, the Bardic and Druidic Orders are engaged in a longstanding but rapidly disintegrating alliance. Despite this, the Bards continue thriving, with many in the order able to hear the music contained within natural elements and thus manipulate them to their bidding. A series of strange events—such as the discovery of a secret meeting between Druidic leaders—indicates that trouble is finally coming to a head. Master Ferghus is the only Bard to recognize this crisis, and he attempts to equip his gifted apprentice, Cyral, for the danger that lies ahead. Meanwhile, Daithi, a Druidic Grovekeeper who can see and travel through energy lines, trains the young village boy Shay in his own growing powers. As the Bards face annihilation from the mounting Druid forces, Cyral and Shay’s unique gifts might just save them all. While some readers may find the dialogue a bit saccharine (“Must I define you to yourself before you believe in who you are, in what you have so magnificently become in just two seasons’ time?”), there is no denying the powerful positivity infusing the novel’s strong and elegant prose. And while knowledge of the previous series entries provides additional context to the significance of the Bard and Druid conflict, it is by no means necessary to enjoy Cyral and Shay’s adventure. Himeda has once again crafted a lyrical saga that manages to balance plenty of action with a thoughtful meditation on friendship, chosen family, and the power of believing in oneself.

A melodic adventure that plumbs the depths of art and politics in a series entry that can more than stand on its own.