I am a great fan of Tad Williams' work, in all its many incarnations. The Witchwood Crown is his most recent release and is a fitting continuation of the original story featuring four great characters, Simon Snowlock, Miriamele, Binabik, and Jiriki.
But first, THE BLURB:
The Dragonbone Chair, the first volume of Memory, Sorrow, and Thorn, was published in hardcover in October 1988, launching the series that was to become one of the seminal works of modern epic fantasy. Many of today’s top-selling fantasy authors, from Patrick Rothfuss to George R. R. Martin to Christopher Paolini credit Tad with being the inspiration for their own series.
Now, twenty-four years after the conclusion of Memory, Sorrow, and Thorn, Tad returns to his beloved universe and characters with The Witchwood Crown, the first novel in the long-awaited sequel trilogy, The Last King of Osten Ard.
More than thirty years have passed since the events of the earlier novels, and the world has reached a critical turning point once again. The realm is threatened by divisive forces, even as old allies are lost, and others are lured down darker paths. Perhaps most terrifying of all, the Norns—the long-vanquished elvish foe—are stirring once again, preparing to reclaim the mortal-ruled lands that once were theirs....
This book is not a light read. Tad Williams' work is brilliant and complex because he understands the character arc and the importance of agency and consequences. Change and growth or degeneration happen to each character over the course of the story—no one is allowed to stagnate. With a character-driven plot set in a fantasy world, the growth of the characters is the central theme. The events, shocking and yet unavoidable, are the means to enable that growth.
The story opens some thirty years after final passages of To Green Angel Tower. Many events have occurred in that time, leaving scars on those who have lived through them. Prince Josua and his family have vanished. The League of the Scroll is no longer what it was, death and age having taken most of the people who had the knowledge. Simon and Miriamele have lost a son to a deadly fever, and are deeply concerned about the behavior of Prince Morgan, their grandson and heir. They have reservations about their son’s widow and fear her influence has ruined him. They also fear for their very young granddaughter, Lillia.
There are other problems for Simon and Miri to contend with. Political unrest, lack of hospitality and rudeness by the King of Hernystir, trouble in Nabban, and rumors that the Norns are stirring. Simon, who has always been gifted (or cursed) with prophetic dreams, is no longer dreaming. A council is held, and it emerges that Binabik the troll also has concerns.
Prince Morgan is more than just a womanizing young noble, but he doesn’t know it. Jiriki and the Sithi will have a large part to play in Prince Morgan’s journey, as they did in his grandfather Simon’s journey to manhood. Whether or not Prince Morgan is the kind of man his grandfather is, remains to be seen.
The Witchwood Crown is an epic fantasy which will put some hoity toity literary purists off. It is literary, illuminating the internal lives of the many characters, and is centered upon how the perception that the king is dying has gendered plots and plans for coups among many factions. This lack of focus on one primary hero will put off the genre purists who need more noise and sixty-second sound bites in their literature. Those readers will find it difficult to follow the many threads.
Osten Ard is a place of contrasts. Dark, in many ways Gothic, negotiating the rough waters of this dark-age world is not easy. The three main cultures differ greatly from each other and are worlds of extremes. These contrasts drive the plot and frame the story in such a way the world of Osten Ard seems more real and tangible than this world. The room in which I read grows colder when the Norns breeze into the narrative.
In the years since the original publication of Memory, Sorrow, and Thorn, Tad Williams has matured as an author. His prose is beautiful, almost poetic yet not going there. Harsh, lush, and carefully designed with layers of allegory and subtext, some readers will find the narrative too literary, difficult to read. Williams has a large vocabulary and sometimes takes the long way rather than dumping you into the fray immediately. He isn’t afraid to use compound sentences, which makes it an adult read. Other, more avid readers, like me, will devour it, savor it, and think about the deeper concepts long after closing the book on the final page.
I give this novel five stars for its complexity, maturity, and sheer originality. A powerful narrative, this book left a different kind of mark on me as a reader than the original series did. That series is young and brash, detailing the early days of kitchen boy who became king. A young and brash author wrote that first amazing series. This book is mature, not only because the author has matured in the craft but because the king is older—it shows us who that boy became, what kind of man he is, and offers us a glimpse of who might succeed him.
I look forward to the next chapter in this very large story.
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