RUNES OF FALL

A close-knit group of psychically gifted friends tussle with Nazi demigods in this installment of Faulkner’s long-running SF/fantasy series.

Love and romance brought Laurence Riley and Quentin d’Arcy together, but tragedy has shaped much of their lives. They now care for seven live-in teenagers in a California-based “weirdo home for wayward psychics.” Most of their wards struggle to overcome such traumas as abusive and otherwise cruel family members. The past catches up to Mel, their home’s newest addition, when one of her father’s associates somehow finds her. She refuses to go back to her dad, Nate Anderson, a Nazi with the blood of a god in his veins. But Nate won’t take no for an answer; he surrounds himself with fellow demigods and most certainly aims to grab Laurence, who harbors power from two gods, for his collection. Laurence, Quentin, and the others don’t quite realize the danger they’re in until they follow up a Disneyland outing with a helicopter ride to the desert and run afoul of Mel’s father. Nate (who can generate electricity and storms) and his powerful comrades are able to track down the weirdo-home residents with ease. Fortunately, the friends are willing and able to defend themselves and each other with gifts of their own: Psychic teen Estelita has an enhanced hearing ability, Laurence uses magic to summon a long-bladed knife, and Quentin has telekinesis and can fly (though he’s really telekinetically “lifting” himself). Vanquishing the formidable baddies may demand a fight to the death.

As was the case in the series’ preceding entries, Faulkner excels at character development. Laurence, for example, is still reeling from an ordeal he previously suffered, which made him, a recovering addict, once again crave heroin. Everyone living in the San Diego home is proudly queer and has also experienced various types of hatred and discrimination. Their psychic gifts make for exciting action scenes, which the author masterfully incorporates into the plot. The powers are thematically apt: In Quentin’s case, the ability to move things without touching them is perfect for a man who avoids bodily contact with most people. Another character, Alex, who uses they/them pronouns, is a shape-shifter who stays in the form of a man only to appease others while not truly being themself. While the villains are unmistakably abhorrent (they’re Nazis, after all), they’re just as vibrantly detailed, sporting powers such as enhanced healing and incredible speed. This installment boasts taut, dynamic combat sequences: “A touch as cold as death caressed his skin, passing through his clothes as though they didn’t exist, and it set off sparks of false nerve endings and ticklish twitches across his scarred body… His telekinesis found nothing to hold, and fire had nothing but his own energy to burn.” The plot takes a few shocking turns, from character deaths to the teenaged Soraya’s secret newfound gift. Series regulars Laurence and Quentin shine, as always; Windsor, a bright, talking raven (and Laurence’s familiar) steals numerous scenes. A gleefully ambiguous epilogue hints at more to come.

Another profound and exhilarating entry in this queer urban fantasy series.