Black Gate

The Black Opera
By Mary Gentle
Night Shade Books ($15.99, trade paperback, 531 pages, May 2012)

I bought a copy of The Black Opera based on the sheer strength of its premise. A fat fantasy novel set in the baroque world of opera, centered around a production engineered to call Satan himself up from Hell? Sign me up for a first class ticket. If there’s anything that Andrew Lloyd Weber has taught us, it’s that opera is the perfect setting for burning passion, dark secrets, and adventure in the shadows. Adding a diabolical scheme into the mix seems like a perfect way to roll the awesome dial up past 11.

However, the first thing I noticed about The Black Opera is that it wasn’t anything close to the lurid, swash-buckling, cult-fighting novel I wanted. It is, in fact, a rather restrained and stately affair, more concerned with the enlightened intellectual climate of the early 19^th century than with blood, romance, and action.

Our hero is Conrad Scalese, an opera librettist living in Naples in the third decade of the 18^th century. His first great success, a heretical opera entitled Il Terrore di Parigi, has earned him the malicious regard of the iron-handed Inquisition. Only the intervention of the King Ferdinand saves him from imprisonment, but in return for the king’s protection, Conrad must accept a difficult task.

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The Mist-Torn Witches
by Barb Hendee
Roc (336 pages, mass market first edition May 7, 2013, $7.99)

The Mist-Torn Witches isn’t exactly the novel I wanted, but it fits into a category of novel I’d like to see more of. It’s modest in the best senses of the word: Focused on a handful of characters, limited to a single setting (a prince’s castle), and with a tightly focused plot, centered around a magically-enhanced murder investigation. It also manages to be relatively light in pacing and tone, something I’d like to see more of in a market seemingly saturated with the gruesome, grim, and gut-splattered.

Orphaned sisters Celine and Amelie are a likable pair. Celine was trained my her mother as an apothecary, but makes most of her income by pretending to have inherited her mother’s powers as a seer and distributing invented fortunes, while Amelie is an armed-and-dangerous tomboy who serves as the duo’s muscle. They’re forced to flee their rural home when Celine, for the first time, has a truly prophetic vision. Unfortunately for her, that vision is of local ruler Sub-Prince Damek murdering his betrothed after the wedding, which drives Celine to warn the girl away from marrying him.  Celine and Amelie are forced to seek refuge with Damek’s younger brother, Anton, and his brave guard captain, Jaromir.

Anton is a just ruler, and his people are happy, but not all is well within the walls of his castle. Young women are being murdered under mysterious circumstances, their bodies turning up as withered husks. Anton offers the sisters a deal: Use Celine’s newfound powers of true prophecy to find the killer and they’ll be rewarded with an apothecary shop inside his walls. Fail, and they’ll be turned out to make their way alone, vulnerable to the wrath of Sub-Prince Damek.

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The Black Prism
Brent Weeks
Orbit Books (640 pages, hardcover first edition August 2010, $25.99)

I’ll admit that, if I hadn’t already devoured Brent Weeks’s Night Angel novels, I probably wouldn’t have picked up The Black Prism (despite the cool, shadowy cover of a man in a magnificent goatee brandishing a mirror-polished blade).  The reason for that is a shallow one: The magic system sounded stupid. It is, in short, rainbow magic, sorcery based on splitting white light into one or more of its component colors to create a magical effect. But the Night Angel books were awesome, and I gave Weeks a chance to impress me again.  It took me ten pages to be thoroughly hooked on his story, and another hundred pages to be sold on his unique approach to magic.

In the world of the Seven Satrapies, trained drafters can draw color out of appropriately shaded objects (or white light viewed through a tinted lens) and draw it into their bodies to create a substance called luxin.  The properties of luxin differ dramatically based on its color: Red luxin is a hyper-flammable jelly, while super-violet luxin (just above the visible spectrum for most people) is as light and strong as spider-silk.  Each color also carries with it a particular emotional state that overtakes the person drafting it.  Green is wild and impetuous, orange slick and dissimulating.  It’s a simple idea with complex uses, both for war and for technology, and the applications Weeks finds for various kinds of luxin are a big part of the The Black Prism’s unique appeal.

Monochromes draft one color, and represent the majority.  Bichromes, the elite among drafters, have access to two, usually contiguous on the color spectrum (i.e., red and orange), and a small handful are polychromes, commanding three or four.  Only one man — the Prism — can split light into all seven stable colors, and he is regarded as high priest of the one god Orholam, the source of all light.  When there is imbalance in the world caused by one color being drafted more than another, it is his vocation to correct it.

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Of Blood and Honey
By Stina Leicht
Night Shade Books ($14.99, trade paperback, 296 pages, January 2011)
Reviewed by Sean T. M. Stiennon

Perhaps I’ll be accused of going below the belt by saying this, but the most damning criticism I can offer of Stina Leicht’s Of Blood and Honey is that it took me several weeks of intermittent reading to finish.  It’s not an awful book by any means, but I never felt as though it generated enough momentum or sympathy to pull me from one reading session to another.

But let me discuss what I did like, which is quite a bit.  Although Leicht is ultimately writing a tale of faeries, demons, and inquisitors, she opts for a clean, modern style that’s well in keeping with the setting in 1970s Ireland.  The sentences flow smoothly from paragraph to paragraph and page to page.  There are some nice snatches of dialogue which, to me at least, rang as distinctly Irish: “It’s married I am, and it’s married I’ll stay.”  Leicht never resorts to spelling out accents, instead relying on vocabulary and syntax to convey dialect, which is a far higher and finer art.

The picture the book paints is rather grim, but ultimately I thought the book came through strongest on atmosphere and milieu.  I know very nearly jack-squat about the Troubles (my ancestors left Ireland much earlier, more around the time of the Potato Famine), but the sense of constant fear and persecution Leicht evokes is powerful.

She tells the story of Liam, a young man who has never known any father besides his step-father Patrick.  His mother tells him that he’s the product of her forbidden union with a Protestant, but Liam has always suspected that there’s something more alien about his origins.

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Dark Jenny
Alex Bledsoe
Tor ($14.99, trade paperback, 352 pages, April 2011)
Reviewed by Sean T. M. Stiennon

Readers new to Alex Bledsoe’s Eddie LaCrosse series should brace themselves for culture shock, because while the book is set in a medieval world, all the characters have distinctly un-medieval names and mannerisms.  Be prepared for Gary, Eddie, Liz, and Angie to appear in the first few pages.  In keeping with their anachronistic names, all the characters speak in a modern conversational style.  Swords are referred to by make and model, like cars.

It’s a dramatic choice on Bledsoe’s part that will leave many readers feeling alienated, but I think it works.  The novels are hard-boiled crime fiction just as much as they are fantasy, and the casual style means that Bledsoe can give his hero Eddie a dry wit that requires no translation to be funny.  It also gives the story a freshness that the setting, which is your stand low-fantasy budget medieval, tends to lack.

For my part, I found that once I got past the anachronisms (first in The Sword-Edged Blonde, now in Dark Jenny), I was thoroughly captivated by the raw strength of Bledsoe’s writing and story-telling, and found myself with a book that seemed to stick to my fingers.

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