CHILDREN OF THE DYING HEARTH
From the Annals of Tessian series, volume 1
by Martin R. Nelson
In Nelson’s epic-fantasy series-starter, a group of monks tries to find a kingdom’s lost heir to stave off government corruption and monsters.
In the world of Tesseris, four continents meet in a city called the Crux—a massive realm that’s full of foul and manipulative people. Long ago, before a cataclysmic event, the Kai’loth royals ruled. A sect of monks called the Patient established the Order of Drake Knights to find that royal family’s young heir. Miles is a Knight of Drakes who’s been searching for 10 years. Accompanying him on his quest is a wise elder, Alcwyn; a tough bar worker named Kendra; and a mountainous woodsman called Sig. Meanwhile, in the jungles of southern Tol’thuran, the elf ranger Qel searches for his older brother, Qerym, and any lost knowledge that might be worth bringing back to his people in Tol’gorul. When he does finally find his sibling, Qel becomes enmeshed in the fellow ranger’s transgressions. Also in play is the pirate ship Leviathan, which is run by Capt. Hakaan; he and his men set out from the Snakepit, a secret enclave of pirate vessels tethered together. The captain’s reckless cruelty sets a 14-year-old crewmember known as Sea Rat on a transformative journey. Meanwhile, back in the Crux, Damien is a reluctant pentarch representing the Kai’loth. He deals with morally bankrupt men, such as Pasaan, who want slavery to be legalized.
Over the course of the novel, Nelson follows the epic-fantasy formula of a tracking multiple characters in various locations to express the world’s breadth. Politicians such as Damien reveal aspects of the wealthy echelons of society, while those such as the half-elf seamstress Fei illustrate the lives of those who struggle. The most intriguing moments are when plot threads darkly connect, as when Qerym lies about knowing the fate of Miles. Readers who are searching for more profane medieval tales, such as that found in the genre’s most popular series (including George R.R. Martin’s A Song of Ice and Fire) will find lines like this: “And I been pirating since ’fore your gran’m’ther spread ’er legs for whichever man made yer own whore of a mum.” The story also revels in instances of savage comeuppance, though occasionally, as when Fei giggles while killing, the effect is ghoulish. The stately prose effectively depicts the Crux’s politics, as when one character suggests that one should “do a little wrong so you could see the right thing done in the end.” Sometimes, however, simpler prose would serve the narrative better (“He was not unhandsome, rather quite the opposite”). Overall, this series opener is a bulky fantasy buffet. Giant creatures and elves recall classic works such as Dune and the Lord of the Rings trilogy. Yet here, as in many modern narratives, children and teenagers suffer the worst, apparently for emotional effect. Whether this strategy will translate into memorable character arcs in future installments remains to be seen.A complex and occasionally grotesque series opener with elements that will be familiar to genre fans.