Hidden Sun, Jaine Fenn

Received to review via Netgalley

Well, thank goodness for other people’s reviews.

I was enjoying reading this, intrigued by the world and rather appreciative of one of the main female characters’ and her drive to understand the world. I can definitely appreciate a scholar! There were a few things that I felt weren’t really set up well enough — rather than feeling like I was understanding the world as I read, I felt like I was missing key pieces of information. It took a long time to understand what was going on in terms of skykin/shadowkin, and I’m still not clear (having stopped around 30% of the way through the book) what’s going on with the shadowlands and the skylands.

I was quite prepared to sit tight and keep working through that, but I had a quick Google to see if the description of the book prepared me any better, or anyone’s reviews; maybe someone would say something that would make everything fall into place for me (and make me feel like an idiot).

Instead, I found The Captain‘s review. Thank goodness I did, because I’m fairly sure I would’ve found the described rape scenes upsetting; having skimmed ahead in the book, I know for sure that I find the behaviour of a main character’s brother, and the main character’s reaction to it, disgusting. It turns out, after a long search for him, that Rhia’s brother Etyan was part of gang-raping a girl who he then found dead after going to pay her off for her silence. Rightly fearing what would happen, having found her dead, he ran away. And Rhia decides to forgive him, because although he brutally raped a girl, he didn’t kill her. So she decides to forgive him, because he was just being young and stupid, and at least he wasn’t as bad as she’d feared.

Gag. Spare me. I’ll read something else. Some of the ideas in this book intrigued me, but I’m not going to invest the time for that payoff.

Rating: 2/5

The Dark is Rising, Susan Cooper

It strikes me, reading these books now, that just as Tolkien tried to write ‘a mythology for England’, so did Cooper try to write ‘a mythology for Britain’. This book is addressed rather insularly to the British reader — the Old Ones are ‘as old as this land’, not ‘as old as Britain’: the reader is assumed to be British. However, and this is a relief for me, the reader is rarely if ever assumed to be a child or to belong to a particular era or group of people. Cooper is more subtle in her editorial than Tolkien or Lewis (given here as examples because both of them speak directly to the reader a good deal).

All the same, it’s a mythology for Britain, or even of Britain (don’t get Tolkien scholars arguing too much about which he said and what he meant): even in the most juvenile of the books, Over Sea, Under Stone, there’s a good deal about invaders assimilating and becoming British, about the power of the British character. It’s explicit, oddly enough, when Will’s father speaks to Merriman: “You’re not English, are you?” And Will is surprised to notice hostility in his usually mild father’s eyes. (And I was surprised to note that he said English; I shouldn’t have been, given the historical gulf between Welsh and English, but I thought this series in particular would be better about that, given the setting of the fourth and fifth books, and the narrative importance of King Arthur and his very Welsh son.)

Perhaps a modern liberal writer would be inclined to paint the Dark not as the invader, but the insider who refuses to change. Not the waves of invaders (or migrants, or refugees, depending on how you view them) but those who insist upon Englishness as an inherent good that can be corrupted and ruined by contact with the non-English… Mind you, Cooper covers that angle too, in Silver on the Tree, so I’m getting ahead of myself.

Putting the insularity of the book aside, The Dark is Rising is the first in the series to give a real idea of what’s going on. It’s here that the mythology takes shape: the Light versus the Dark, the role that Merriman (and now Will, and the other Old Ones we’re introduced to) has to play, and some of the tangled British legends that contribute — Herne the Hunter, the anonymous king given a partially Viking ship burial (suggested by Drout as being the son of Scyld Scefing, from Beowulf), Merlin…

It’s also the first to evoke and try to portray more adult emotions. Instead of being purely focused on children, this book has an odd half-life. Sometimes Will is a child (and behaves as such, forgivably — his moment of jubilation when the Dark are drawn back, which leads to the Lady having to expend her power, is a lovely touch in my opinion) and sometimes he’s much older than his years, understanding of the nature of people, time, religion… So you have both his delight in snow on his birthday, and his lonely understanding that he is now set utterly apart from his family, from everyone he has ever loved. The story of Merriman and Hawkin is full of love and regret, and is not a simple story of betrayal and forgiveness: there is much going on between the two that a younger reader can simply ignore, but the older reader can savour as a more complex layer on top of the adventure story.

There are also some beautiful set-pieces in this book: some of the descriptions of awe and delight in the magic of the Light, but also the moments of being part of a family, the warmth of Will’s family Christmas.

It’s worn better than Over Sea, Under Stone because there is a lot more to consider, but all the same, I think I need to set it aside for a couple more years now so I can come back to it fresh. That I will come back, I have no doubt.

Rating: 4/5

Over Sea, Under Stone, Susan Cooper

At one point, I read The Dark is Rising trilogy at Christmas every year, lining up the timeline of The Dark is Rising itself with the season, as the most obviously timed event in the books. I still maintain that it’s a good series: Cooper did some clever things with mythology and history. I recently read an article by Michael D.C. Drout, ‘Reading the Signs of the Light’, which made that very clear (though that essay is more focused on the second book of the series onwards than on this one). Cooper also has a very deft touch with character: the children behave like real children, with their bursts of moodiness, sibling rivalries, etc.

The main issue, really, is that I’ve read these books too much. Everything is all too familiar — though there are scenes that bring back the old dread and excitement even so, like Barney’s journey alone into the cave under the rocks, and Simon’s chase scene when he escapes with the map. This is the most juvenile of the books, and has worn the least well, all the same. It’s focused on the story from the point of view of the children, without a real idea of the seriousness and significance of the quest.

Rating: 3/5

Rogue Protocol, Martha Wells

In this installment of the Murderbot series, our favourite SecUnit ends up protecting a new group of humans (at some risk to itself, as ever), finding out more conspiracies and hinky things going on, and making friends with a human-form robot who starts off too twee for words and yet somehow grows on both Murderbot and the reader. I do miss ART and dearly hope that all of Murderbot’s friends can come together somehow for Netflix and popcorn, but it’s another fun adventure all the same. The ending got to me, actually, more than I expected: Wells does a great job of making the companions of the week (so to speak!) relatable.

If you’re new to Murderbot, don’t start here. Despite the companion-of-the-week issue I slightly have with the series, the background information about SecUnits isn’t present in this book, which would make it unclear for a new reader, and Murderbot’s past is a big part of what drives it in the books too. Starting at the beginning and going through chronologically seems best to me.

I’m excited to see how the final novella wraps everything up: I have it open in my Kobo app. Here goes!

Rating: 4/5

Sandman Slim, Richard Kadrey

I’ve had this book for ages, so I felt it behooved me to finally pick it up! It turns out to be a fairly typical urban fantasy book: it feels very Supernatural, with the angels and demons and the humans stuck in between; the guns and blood and guts and gore (although of course I’m talking about later seasons when it comes to the apocalyptic stuff). The main character, Stark, always had a natural aptitude for magic, and let his arrogance about it suck him into a group that eventually sacrificed him to demons for power. Now he’s back, and he wants revenge. It’s all so familiar and a little tired, and Stark’s attitude is much the same.

I did enjoy his dedication to his murdered lover — he’s such a tough guy, but then he adores the very ground she used to walk on. However, that’s also a problem in terms of originality: a fridged girlfriend, really? Really?!

In the end, it’s fairly fast-paced (with one or two boggy parts) and amusing, but I’m not sold enough on the whole thing to actually pick up the rest of the series. Not enough room in one lifetime. It probably gets better later on in the series, but… the dark/gritty aspect is not really for me.

Rating: 3/5