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Description:
Destined to destroy
empires, Mia Covere is only ten years old when she is given her first lesson in
death.
Six years later, the child raised in shadows takes her first steps towards keeping the promise she made on the day that she lost everything.
But the chance to strike against such powerful enemies will be fleeting, so if she is to have her revenge, Mia must become a weapon without equal. She must prove herself against the deadliest of friends and enemies, and survive the tutelage of murderers, liars and demons at the heart of a murder cult.
The shadows love her. And they drink her fear.
Six years later, the child raised in shadows takes her first steps towards keeping the promise she made on the day that she lost everything.
But the chance to strike against such powerful enemies will be fleeting, so if she is to have her revenge, Mia must become a weapon without equal. She must prove herself against the deadliest of friends and enemies, and survive the tutelage of murderers, liars and demons at the heart of a murder cult.
The shadows love her. And they drink her fear.
The first line lays it out how it is – this book is going to
hold nothing back:
‘People often shit
themselves when they die, did you know that?’
There will be no holding back.
The first chapter is very cleverly composed, and Kristoff
hooks you immediately with his skill. There is a brilliant linguistic and
syntactic equation of acts of sex and death in these opening paragraphs. For
the reader, they happen simultaneously and simultaneously they are opposites
and the same. They echo and mirror each other in so many ways and are
contrasted only by alternating italicised and roman paragraphs. Reading these
opening scenes is a visceral experience, and incredibly immersive.
The parallels between love and death re-emerge throughout
the book. On her way to earn her place at the Red Church, the training school for
assassins, Mia meets future fellow-student and friend, Tric. When he sees her
fighting for the first time he notes that she and opponent move ‘like first time lovers – hesitant at first,
drifting closer until finally they fell into each other’s arms, fists and
elbows and knees, block and counters and strikes’. There are sharp moments
of foreshadowing and the whole narrative is a puzzle coming together, twisting
into a hugely exciting, adrenaline-fuelled conclusion. The final third is
impossible to tear yourself away from. In a twisted way, I appreciated and
welcomed its brutality. It lures you into a false sense of security and then
shatters it, which I felt it was something it really needed to do to avoid
falling into certain clichés.
Mia’s full character and past is unveiled to us slowly and
in snatches but it is worth the wait and the whole story is better for it. Mia
is different to the other assassins-in-training – she is Darkin, and has an intriguing relationship with and degree of power
over, shadows. Her constant companion is a very mysterious shadow cat named
Mister Kindly. He consumes her fear and helps her sleep through the night – for
reasons revealed as you read. I think there is much more to come from him as he
is very much an enigma in this first book but their relationship is very unique
and one of the more intriguing and different elements of the story. There are
many books with training academies, trials, teens set against each other,
assassins etc. but Kristoff knows how to write fantasy and he infuses Nevernight with enough other elements –
foreshadowing, shocking twists, and stylistic flourishes that it embeds itself
in your conscious as you read and remains long after – leaving you wanting
more. I’ve pre-ordered the black sprayed-edges edition from Waterstones and
look forward to learning more about Mia and Mister Kindly in particular.
Reading a digital ARC, without proper formatting, did make
the footnote element of the narrator’s voice a bit disruptive. I’m reserving
judgement on the narrative voice until I’ve read more but at this stage it
feels an unnecessary extra, ‘telling’ things rather than allowing them to come
up naturally in the story. It’s tone is sometimes a little cloying – but
reading a finished copy may be a different experience in that regard and I’m
sure it’s purpose will be clear further down the line.
I do have one more spoiler-y point to raise for discussion
or general musing: I did have qualms about a certain practice in the Red Church
(and Mia consenting to it) – and that is essentially the plastic surgery
(weaving) they have to go through – to be made physically alluring (bigger
breasts etc). In some respects I thought the controversial, more complicated
aspects of this were glossed over, as Mia, and even Tric (who initially has
reservations) go along with it mostly without comment. In some ways, it’s a
shame because Mia is someone initially described as plain, small and scrawny –
but someone who has so much power and is so talented that her appearance has
never mattered. On the other hand, this could equally be more of a commentary
on the morally contentious nature of the Red Church and what it wants to
transform people into. It’s something to consider again once the series is
finished perhaps.
‘You are luckier than
you know. You were born without that which most people prize their loves for.
That ridiculous prize called beauty. You know what it is to be overlooked. Know
it keenly enough that you paid a boy to love you…’
After all, the Red Church is all about fashioning a new type
of being; a complete assassin, and will remake those it needs to. The stakes
are high and only the strongest will prevail and be accepted.
- ‘Forget the girl who had everything. She died when her father did … Nothing is where you start. Own nothing. Know nothing. Be nothing.’
- ‘It may not be right,’ Aalea said. ‘It may not be just. But this is a world of Senators and Consuls and Luminatii – of republics and cults and institutions built and maintained almost entirely by men. And in it, love is a weapon. Sex is a weapon. Your eyes? Your body? Your smile?’ she shrugged, ‘weapons. And they give you more power than a thousand swords. Open more gates than a thousand war walkers. Love has toppld Kings, Mia. Ended empires. Even broken our poor, sunburned sky.'
I find myself intrigued by this world that Kristoff is
weaving and I’m certainly going to read on. I like the darkness, the mystery
and the brutality; too many fantasies get bogged down in over-bearing,
contrived romance plots and it seems that Kristoff is dodging that trap for the
most part. It’s got its own distinct character but has many of the things I
enjoy in my favourite fantasies (Throne
of Glass, Game of Thrones…) and is certainly unafraid to push the
boundaries of your expectations. I respect that Mia is a complex, layered,
character who – by her own nature and belief- may be hard to love, and I look
forward to learning more about her and her shadow cat (‘who is not a cat’). I want to see this world and mythology grow
even more into its own in the sequels to come and anticipate them eagerly.
Some other choice quotes:
- 'Listen, girl,’ Aelius sniffed. ‘The books we love, they love us back. And just as we mark our places in the pages, those pages leave their marks on us. Indelible as the ink that graces them. I can see it in you, sure as I see it in me. You’re a daughter of words. A girl with a story to tell.’
- ‘A few thought her some thing from the abyss; some daemonic servant of the mother set on their trail. Others mistook her for a horror from the Whisperwastes; some monstrosity spat into being by the dark pull of twisted magiks. But as she wove and swayed among them, blades whistling, breath hissing, the swiftest among them realised she wasn’t a daemon. Not a horror. But a girl. Just a girl. And that thought terrified them more than any daemon or horror they could name.’
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