Those attuned to the author's singular methods will rejoice. Otherwise, this is demanding and ultimately overwhelming.


Third part of a doorstopper epic fantasy in which a woman seeks revenge against an evil and insatiable empire.

In the first book, The Traitor Baru Cormorant (2015), we learned the reasons why Baru Cormorant seeks to destroy the Imperial Republic of Falcrest and something of the depth and nuance of her plan. Book 2, The Monster Baru Cormorant (2018), exposed new vistas, churned bravely, and accumulated flab. Book 3 succumbs to bloat while setting up a sequel. Once, Baru was a protégé of the cryptarch Cairdine Farrier, one of the secret powers running the empire. Now a cryptarch herself, she realizes that he's been subtly controlling her from Day 1. Under his orders, she's sought out the Cancrioth, a people ruled by immortal tumors in human form, in order to use them as a weapon. The Cancrioth are concealing the Kettling, a hemorrhagic plague that could kill hundreds of millions. Baru undoubtedly could unleash the plague and destroy Falcrest, but millions of innocents would die too. Another way to achieve her goal would require more devious tactics but run the risk of Falcrest’s becoming the world's supreme power. To implement either strategy, Baru must first survive murderous threats from allies and enemies alike. As before, the storytelling is intense, deftly handled, ingenious, and often absorbing. Dickinson is, however, a writer blessed with an exceptionally fertile imagination who can't resist packing in everything—to the point where needless overcomplication all but sinks a narrative heavy with plot threads, timelines, gore, torture, conspiracies, violence, intrigue, and war. Less would have been far more digestible. The book does work impressively well as an allegory about modern politics, economics, and global power projection (mark the eerie though entirely coincidental thread about the Kettling). Yet the final confrontation, building through three enormously long, dense, involved books, doesn't actually come off—as drama or as catharsis.

Those attuned to the author's singular methods will rejoice. Otherwise, this is demanding and ultimately overwhelming.

Pub Date: Aug. 11, 2020

ISBN: 978-0-7653-8076-0

Page Count: 656

Publisher: Tor

Review Posted Online: April 13, 2020

Kirkus Reviews Issue: May 1, 2020

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Mark your calendars, this is the next big thing.


From the Between Earth and Sky series , Vol. 1

A powerful priest, an outcast seafarer, and a man born to be the vessel of a god come together in the first of Roanhorse’s Between Earth and Sky trilogy.

The winter solstice is coming, and the elite members of the sacred Sky Made clans in the city of Tova are preparing for a great celebration, led by Naranpa, the newly appointed Sun Priest. But unrest is brewing in Carrion Crow, one of the clans. Years ago, a previous Sun Priest feared heresy among the people of Carrion Crow and ordered his mighty Watchers to attack them, a terrible act that stripped the clan of its power for generations. Now, a secretive group of cultists within Carrion Crow believe that their god is coming back to seek vengeance against the Sun Priest, but Naranpa’s enemies are much closer than any resurrected god. Meanwhile, a young sailor named Xiala has been outcast from her home and spends much of her time drowning her sorrows in alcohol in the city of Cuecola. Xiala is Teek, a heritage that brings with it some mysterious magical abilities and deep knowledge of seafaring but often attracts suspicion and fear. A strange nobleman hires Xiala to sail a ship from Cuecola to Tova. Her cargo? A single passenger, Serapio, a strange young man with an affinity for crows and a score to settle with the Sun Priest. Roanhorse’s fantasy world based on pre-Columbian cultures is rich, detailed, and expertly constructed. Between the political complications in Tova, Serapio’s struggle with a great destiny he never asked for, and Xiala’s discovery of abilities she never knew she had, the pages turn themselves. A beautifully crafted setting with complex character dynamics and layers of political intrigue? Perfection.

Mark your calendars, this is the next big thing.

Pub Date: Oct. 13, 2020

ISBN: 978-1-5344-3767-8

Page Count: 464

Publisher: Gallery Books/Simon & Schuster

Review Posted Online: July 14, 2020

Kirkus Reviews Issue: Aug. 1, 2020

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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. 30, 2020

Kirkus Reviews Issue: Oct. 15, 2020

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