Fantasy Books

A millennia-old prophecy was given when the Forbidden Ones were driven from Achar. And now, the Acharites witness its manifestation: Achar is under attack by an evil lord from the North, Gorgreal-his ice demons strike from the sky and kill hundreds of brave warriors in the blink of an eye. All Acharites believe the end is near.One young woman, Faraday, betrothed of Duke Borneheld, learns that all she has been told about her people's history is untrue. While fleeing to safety from the dangerous land, Faraday, rides with Axis, legendary leader of the Axe-Wielders-and hated half-brother of Borneheld-and a man Faraday secretly loves although it would be death to admit it. She embarks on a journey, which will change her life forever, in search of the true nature of her people.This grand and heroic story tells the tale of one woman's plight to learn the truth of her people and change their hearts and their minds forever. She fights against oppressive forces to share this reality and will not desist until everyone knows. . . . . The truth of the Star Gate

The Seanchan invasion force is in possession of Ebou Dar. Nynaeve, Elayne, and Aviendha head for Caemlyn and Elayne's rightful throne, but on the way they discover an enemy much worse than the Seanchan.In Illian, Rand vows to throw the Seanchan back as he did once before. But signs of madness are appearing among the Asha'man.In Ghealdan, Perrin faces the intrigues of Whitecloaks, Seanchan invaders, the scattered Shaido Aiel, and the Prophet himself. Perrin's beloved wife, Faile, may pay with her life, and Perrin himself may have to destroy his soul to save her.Meanwhile the rebel Aes Sedai under their young Amyrlin, Egwene al'Vere, face an army that intends to keep them away from the White Tower. But Egwene is determined to unseat the usurper Elaida and reunite the Aes Sedai. She does not yet understand the price that others—and she herself—will pay.

A magnificent epic set against a history of seven thousand years of the struggles of Gods and Kings and men - of strange lands and events - of fate and a prophecy that must be fulfilled!THE BELGARIADIt had all begun with the theft of the Orb that had so long protected the West from the evil God Torak. Before that, Garion had been a simple farm boy. Afterward, he discovered that his aunt was really the Sorceress Polgara and his grandfather was Belgarath, the Eternal Man. Then, on the long quest to recover the Orb, Garion found to his dismay that he, too, was a sorcerer.Now, at last, the Orb was regained and the quest was nearing its end. Of course, the questors still had to escape from this crumbling enemy fortress and flee across a desert filled with Murgo soldiers searching for them, while Grolim Hierarchs strove to destroy them with dark magic. Then, somehow, they must manage to be in Riva with the Orb by Erastide.After that, however, Garion was sure that his part in these great events would be finished.But the Prophecy still held future surprises for Garion - and for the little Princess Ce'Nedra!THUS CONTINUES BOOK FOUR OF THE BELGARIAD

A magnificent epic set against a history of seven thousand years of the struggles of Gods and Kings and men - of strange lands and events - of fate and a prophecy that must be fulfilled! THE BELGARIADLong ago, so the Storyteller claimed, the evil God Torak sought dominion and drove men and Gods to war. But Belgarath the Sorcerer led men to reclaim the Orb that protected men of the West. So long as it lay at Riva, the prophecy went, men would be safe.But that was only a story, and Garion did not believe in magic dooms, even though the dark man without a shadow had haunted him for years. Brought up on a quiet farm by his Aunt Pol, how could he know that the Apostate planned to wake dread Torak, or that he would be led on a quest of unparalleled magic and danger by those he loved - but did not know? For a while his dreams of innocence were safe, untroubled by knowledge of his strange heritage. For a little while... THUS BEGINS BOOK ONE OF THE BELGARIAD'

It took me a while to get into this, because I’m terrible at keeping up with series, and it has been a while since I read the previous Dragon Prince book. But, kudos to Melanie Rawn for creating such a memorable world and characters, because by the first couple of chapters I’d gotten my footing and could read the story without looking up who everyone was. (Thank goodness for character directories in fantasy novels!)Overall, I really enjoyed this series as a whole. The world is wonderful and I love how Rawn is able to create such different, vibrant characters. There are dozens of strong, independent women who are able to hold their own even in this brutal society, and in this book, she introduces a female character who isn’t so strong-willed, which was a nice change of pace, and I like that we got to see that someone can be strong and brave without being stubborn and physically or mentally powerful.My favorite part of this is the tension between Andry and his family. It’s masterfully grey, where his family supports him as a person, but doesn’t necessarily agree with his tactics as Lord of Goddess Keep. For me, this is the most interesting dynamic within the whole story, especially when you throw in his relationship with Pol. I’m interested in seeing this further developed in the sequel series.I do think that this book suffers a bit from not having high enough stakes. The drama is there, but the danger isn’t, since the characters are overly smart and powerful, there really isn’t much of a question of how everything is going to turn out. It’s exciting and interesting, but there isn’t as much tension as there could be. It’s also a bit tough to keep up with things since there are huge year jumps. I appreciate not being walked through every boring thing, but I wish there were more of a transition so the reader can get a feel of the time passing.Overall, this is a decent fantasy. Wonderful characters, beautifully crafted world, and a plot that works and provides enough excitement to be entertained. I am planning to eventually read the sequel series and hope it only gets better!Also posted on Purple People Readers.

Two masters of epic fantasy have combined in this brilliant collaboration to create a rousing tale of the sort that becomes an instant favorite. This is the story of Shana, a halfbreed born of the forbidden union of an Elvenlord father and a human mother. Her exiled mother dead, she was rescued and raised by dragons, a proud, ancient race who existed unbeknownst to elven or humankind. From birth, Shana was the embodiment of the Prophecy that the all-powerful Elvenlords feared. Her destiny is the enthralling adventure of a lifetime.

”Life would be so dull without enemies.”This book is twice the paging and half the plotting of the Daughter of the Empire. And a love triangle.Do you remember Mara? A girl who had to grow up quickly after her father and brother were killed, and she had to lead her family? In the first volume of the series, Daughter of the Empire, Mara suffered humiliation and abuse but managed to defeated many adversities, and the enemies of the Acoma family in an incredible whirlwind of intrigue, plotting and being two moves ahead of everybody else.The Servant of the Empire picks up practically immediately after these events. Lord Minawanabi solemnly swears bloody revenge against Lady Acoma and her family. Mara, although having gained influence in the Tsuranuanni Empire, is well aware that her position is not secure. Herein lies my first problem with The Servant of the Empire: it’s really hard to play the same trick twice. While the Acoma family was at the verge of extinction in the previous book, this time thanks to Mara’s ingeniousness, things are much better both politically, and economically. And yet, the opening chapters try to convince the reader of a looming disaster of epic proportions. How could that be credible? The Acoma are not on the brink of ruin any more! The ruling lady is more experienced, has a wide margin for manoeuvres and more assets at her disposal. The febrile undertones of the narrative ring falsely and unconvincing.The only thing that saved the book is Mara herself. Her character is built very artfully and in great detail that offers a fully multidimensional figure. It would seem that after the heartbreaking events of the previous book, Mara will not be able to develop further and will only settle in and mature, but here, the novel is a very positive surprise. Mara-Anni decides to buy a group of barbaric slaves who arouse both her irritation and certain fascination. Among them, you will find one who will not only open the girl's eyes to the world around her but also open her heart (though, as I said before: brace yourselves for a triangle). What I also liked was the fact that the world presented is much richer than in the previous volume. There are more families, more names, more places, and although it may bring chaos, when we deal with it, you will notice how beautiful and multi-layered is the Empire and its social order. The more pity that the intrigues in this instalment are so awfully puerile. In some way, Feist and Wurts had lost their strength and the second volume is weaker; still good level, but definitely missing something.In her splendid review of the Daughter of the Empire carol. wrote: ”Mara develops the habit of keeping her plans to herself…This both aids and detracts the story; aiding because it keeps the reader in suspense about what she will do, but detracting because it means her actions are often not quite comprehensible to the reader…left with a culture and heroine that is just slightly incomprehensible.” To be honest, as much as I see the potential problem here, I loved the plotting in the Daughter of the Empire. Mara’s inscrutability, her ability to scheme in silence, to factor in other people’s virtues and vices into how events pan out, in the end, to take everything and everybody in one sweep and entirely by surprise - that was simply glorious and I enjoyed every page of this as it allowed me the double-guessing game. In this book we have two separate intrigues, so to speak. The first one is explained in detail by the plotting enemy so when things are put in motion, the reader can safely take a nap because the next couple of dozen hundred pages is obvious meeting predictable. The second plot is much wider. This is a very turbulent period for Kelewan: there is a devastating war with Midkemia, and the representatives of the families react against the removal of the Warlord and the Emperor's growing power supported by the Assembly of the magicians. But this power game sort of happens above Mara’s head rendering her a passive more often than active participant of the events. Additionally, this part of scheming is narrated by an outsider from another world for whom the majority of the imperial politics is as understandable as cold fusion. What it means is that we are told that something incredibly subtle and complex happens but how or why or in what precise way the moves and decisions are made - if you’d like to know that (I did!), you will be left wanting. What is described in detail is the senseless and chaotic violence of the imperial palace nights that not only reminded me the Hobbesian war of “all against all” but also proved all the intrigues obsolete in the face of naked force; playground games for bored, rich kids destroyed by brute power. This was the main reason why the intrigues created by the Authors failed to arouse any emotions in me. Descriptions of fights and landscapes, fantastic characters, delicate relationships between the families and the Council's Game itself, did not contribute too much to the main story.Here I need to put my two-pence against the antagonists too. All the scions of Minawanabi family make laughable enemies. The way they are portrayed, couples an inherent vicious streak and an unhealthy appetite for pain with telling, telling and more telling. To the contrary, Mara is both beautiful and smart and compassionate. She has the best set of advisers and warriors you could dream of. All her servants are as dedicated as sect members. Hint hint: Minawanabi are bad and dear reader you should shudder at the mere thought of them while your loyalty and heart should be inevitably invested in Mara - how crude a trick in a book about subtle schemes! We are repeatedly told how dangerous, smart and talented the Minawanabi are - we never see a shred of it. The Minawanabi suffer one defeat after another and are beaten by Mara or a twist of fate every single time. The near disaster moment at the end of the book just happens not because Mara does or does not do something and clearly not because the Minawanabi family has an upper hand. The convergence of various factors leads to a concatenation which plays out, without Mara’s merit. The barbarian slave is more important here as his views have a growing influence on the Lady’s decisions. It is under this influence that Mara changes her approach to tradition and honour, which are the most important values in Tsuranuanni society. As the Empire is at a turning point and it is a perfect time for change… change happens. And while it was nice to see how cultures are bared naked against each other (both figuratively and literally) and how things that were taken for granted need to be reexamined or else lose all rationale, it also meant that long (long!) buildups mount to nothing much (view spoiler)[the compromised spy network! or the enemies that become allies because (hide spoiler)]

While most continents float freely on the face of Mother Sea, the Land of Dhrall survives anchored by the will of the Gods. All Gods, Elder and Younger, share the people and the land of Dhrall equally. But the one place they never enter is The Wasteland: a barren and hideous wilderness ruled by the Vlagh -- a god-like creature whose young are evil spawn. Now, as the Elder Gods are about to transfer their power to the Younger Gods, the Vlagh plans to take advantage of their weakened state and neutralize them, eventually conquering the world. To do so, it is breeding a terrible force borne of monsters and demons. But one ray of hope shines through the darkness: four children called the Dreamers. They alone hold the power to change the course of history . . . and stop the Vlagh in its quest for total world domination.

Marla Wolfblade is reeling from the loss of her closest confidant, Elizaar the Fool, who taught her the Rules of Gaining and Wielding Power, and helped shape her into a force in Hythria. But Marla's plans for revenge are disrupted when she discovers she has a dangerous adversary.... On the border, Fardohnya has massed its troops for an invasion, and Marla's eldest son, Damin Wolfblade, heir to the throne of Hythria, finds his ability to fight back is thwarted by tradition, politics, and the foolishness of the High Prince... Back in Krakandar, Mahkas Damaran awaits news of the battle and has sealed the city against Damin's return. With the city on the brink of starvation, it seems only theft on an unprecedented scale can free Krakandar from Mahkas's madness and tyranny... and destroy Hythria's web of secrets and lies.

SOUTHRON BLADE SKILL,NORTHERN SWORD MAGIC...He was Tiger, born of the desert winds, raised as a slave and winning his freedom by weaving a special kind of magic with a warrior's skill. Now he was an almost legendary sword-dancer, ready to take on any challenge--if the price was right...or the woman pretty enough.She was Del, born of ice and storm, trained by the greatest of Northern sword masters. Now, her ritual training completed, and steeped in the special magic of her own runesword, she had come south in search of the young brother stolen five years before.But even Del could not master all the dangers of the deadly Punja alone. And meeting Del, Tiger could not turn back from the most intriguing challenge he'd ever faced--the challenge of a magical, mysterious sword-dancer of the North

Librarian's Note: Alternate cover for this ISBN can be found here.The Dark Kingdom is preparing itself for the fulfillment of an ancient prophecy--the arrival of a new Queen, a Witch who will wield more power than even the High Lord of Hell himself. But this new ruler is young, and very susceptible to influence and corruption; whoever controls her controls the Darkness. And now, three sworn enemies begin a ruthless game of politics and intrigue, magic and betrayal, and the destiny of an entire world is at stake.

The first series that showed it was possible to do an uninspired rewrite of Tolkien and make a mint was Shannara. After that the doors were flung wide, and the next to profit off the scheme was was Robert Jordan. Of course, I'm not suggesting it's bad to take inspiration from older authors--all authors do this, as Virgil did from Homer, and Milton from Virgil, and Byron from Milton. Tolkien himself drew on the Norse Eddas, Welsh myths, English fairy tales, and Blake's myth-making.But when a skilled author takes inspiration, they expand and change what came before, combining many influences to produce their own unique voice and vision. Jordan didn't have the knowledge of language, history, or culture to truly copy Tolkien's style, nor was he able to add a unique spin.The Eye of The World is a more accessible version of Tolkien, but Tolkien is already a simplified version of the Norse Sagas, meaning that Jordan felt a need to dumb-down the accessible, which doesn't leave his book with much personality.Jordan also takes influence from the Sword & Sorcery tradition, particularly R.E. Howard (Jordan even wrote and published some of his own Conan stories). However, unlike other authors of rollicking adventure Fantasy, like Leiber or Charles Saunders, Jordan kept Tolkien's plodding length. It is difficult to comprehend how an author could take such a simple, familiar story and stretch it out over so many pages.The hero is an orphan who looks different, he gets his father's magic sword, he goes on a quest with an old, wily mentor, gets attacked by evil (dark-skinned) mongoloids from the mysterious East, meets the princess by accident, becomes embroiled in an ancient prophecy, discovers a magic 'force' which controls fate (and the plot), &c., &c. Stop me if you've heard this one before. Like a lot of modern fantasy, the plot and characters are nothing new. If you've seen Star Wars, then you know it by heart. Every fantasy fan has read this same story again and again from countless authors--some, apparently on purpose. Of course, when this old story is told well, with slick pacing and vivid characters, we can forgive the cliches, or even enjoy them freshly, recognizing their universal appeal. But when an author is simply trotting out an old, tired story and doing nothing to make it shine anew, then the only appeal it can lay claim to is bland nostalgia.There's no reason for this sort of repetition: a new book should be more than just fanfic of an older, financially successful book. There are countless different influences out there, long before Tolkien or Howard ever touched pen to paper (many of which can be found in the link at the end of this review), so it's disappointing to see authors continually rehashing the same tedious cliches completely unchanged half a century later.Jordan's long-winded style can't even boast the wealth of meticulous details with which Tolkien filled his pages (often to the detriment of his story). It's clear that Jordan's trying to build a one of those massively detailed worlds so prevalent in pop fantasy, but it's not an interesting, original world--it's just another generic, pseudo-Medieval Europe without any of the genuinely interesting bits that made that time period unique. It's just modern characters with modern psychology swinging around magic swords in a Disneyland version of history.It might not be so bad if the lengthy asides were actually interesting, in and of themselves. If each little piece was amusing in its own right, we might forgive. If they gave us some odd bit of defamiliarization that caused us to look at our own, modern world in a new way, that would be something. Instead, we get dry, lengthy explanations of extraneous facts that we had no reason to be curious about in the first place.Some readers have pointed out that these facts show up in later books of the series, which is probably true, but then, what are they doing in this book? If Mary doesn't appear until book three, it is not useful or interesting to stop in the middle of book one and tell us she has blonde hair. Facts should not be evenly distributed throughout a series, they should be placed in close proximity to scenes that relate to them. That way they make sense to the reader and we have a reason to care about them. That's the difference between foreshadowing and a word search puzzle.If an author has to stop the story every few paragraphs to explain what's going on, then his writing is simply not working. The world should be revealed to us through characters, through their interactions, through small details of verisimilitude that are lovely or interesting on their own, and through scenes designed specifically to illustrate a point without losing focus and falling into lengthy digressions.But Jordan's characters are dull and shallow, his dialogue bland, and his plot (though it possesses many parts) lacks twists or turns. We are given an unending parade of new characters and lengthy asides, which masterfully suck all the drive, purpose, and life from an otherwise simplistic story. At half this length, the book would have been merely another two-star fantasy rehash. At a third the length, it might have started to show some pep--but Jordan had to stretch out his all-to-familiar story to doorstop proportions.In Tolkien, the first hundred pages takes place in quaint Hobbiton. This prelude prepares us for the rest of the book, allowing us to understand the strange world and characters and setting a mood. When the action takes us away, we find we have formed a certain attachment to the bucolic charm of Hobbiton (sickly-sweet as it may be). Finally, when we do depart, the world we meet is much grander in comparison. In Eye of the World, you spend the first hundred and fifty pages in a drab farming community, so that when the characters finally leave, it will seem like something is happening. This is only an illusion.Some of Jordan's fans have pointed to the 'Wheel of Time' aspect as his unique contribution to the genre--mixing Eastern philosophy and the idea of eternal recurrence in with his mock-feudal world, but it's the same thing that E.R. Eddison was doing in the 1920s, and which Michael Moorcock has been exploring and expanding on since the sixties. As such, I don't see it as some new twist that Jordan has added to fantasy, but as another bland rehash of an interesting idea some other author had decades before.Also, like most fantasy authors, Jordan seems to have a problem writing female characters. They are either whiny and snotty, or emasculating ice queens. They all speak in the exact same voice--and the joke in the writing community is that anyone who has met his wife know exactly where every one of his female characters comes from. I couldn't count on both hands the fantasy authors who seem to think 'strong woman' means 'insufferable, unapologetic shrew'. Then again, it isn't as if his male characters aren't any more interesting or fleshed-out, even if they do get a more flattering depiction.I've also been led to understand that later on in the series, we get a magical band of lipstick lesbians who 'go straight' when they grow up (and meet 'real men', like our heroes), plus a bunch of sex-fetish weirdness about punishment by naked public spanking. But I suppose that if Jordan resembles other genre writers in terms of plot, length, setting, and character, he might as well go all the way and throw in some of his own unprocessed sexual hangups.And as the series goes on, the many problems with pacing, plotting, and unfocused asides only grow worse. If Jordan can't keep everything straight in his opening book, how will he possibly deal when the story starts branching out (as stories inevitably do)? It is hardly surprising that such a tenuous grasp will inevitably slip away--as it has for so many other authors in pop fantasy, from Martin to Goodkind, who start off intending to write a trilogy and end up with ten books, each of which takes five years to write, and none of which even manage to finish the plot started in book I.So, take the plot of Star Wars, add the long-windedness of Tolkien, the piecemeal structure of Howard, the cosmology of Moorcock, add in a pinch of awkward sexual hangups, and you have yet another crap pop fantasy, ready to sell a million copies to folks who want nothing more than to read the same story over and over as written by a succession of chubby, bearded, awkward dudes. I'm sure a violent, breast-baring miniseries is already in preproduction.UPDATE: one might point to the endless repetition in modern literature as a sure sign that there is no God, no grand plan, and no purpose to the universe. A benevolent power would surely spare us the pain of such unending mediocrity.However, if there were some deity, and he had a sense of humor, then he would allow the uncreative authors to publish, to gain fame, win awards, and rake in the cash, until their series piled self-indulgently to the length of a minor encyclopedia. Then our clownish deity would let the author announce that he is finally approaching The End (for real this time!), only to perish on the cusp. Since this is precisely what happened to Jordan, I will have to keep an eye out for other signs of this humorous demiurge, possibly in the form of leper-curing banana peels and hagiographic fright wigs.My Fantasy Book Suggestions

This series is absolutely one of the fantasy genre's treasures! It's wonderfully light-hearted and humorous; the author revels in puncturing any number of fairy-tale conventions. Princess Cimorene, for instance, isn't kidnapped and enslaved by a dragon --she voluntarily becomes housekeeper for the Dragon King to escape an arranged marriage. (And the draconian king is female; dragons use that title for monarchs of either gender to keep things "simple.") But though her main characters often don't do the conventionally "proper" thing, they always try to do the genuinely right thing.Practicing Roman Catholic Wrede [pronounced "Reedy":] writes good clean fantasy (both serious and humorous), free of bad language, unwholesome sexual content, or gratuitous violence. (Here, for instance, Cimorene and her cohorts deal with dastardly wizards simply by melting them into goo with soap and water, like the Wicked Witch of the West in The Wizard of Oz --but they always eventually regenerate.) Her work is informed by an equalitarian feminism, in the best sense of the word, which is not at all anti-male. IMO, she's one of the very best fantasy writers of our generation. Readers who like this series should explore her other work; I can personally recommend The Book of Enchantments and Caught in Crystal.

I've had a few people tell me I absolutely had to read Mary Brown, I would love her.If I could remember who those people were I would curse them to a year of bad book reading.This was excruciatingly long, boring, and it sucked.I hate fantasy books that are all about the death of magic (Tolkien aside), especially where the death of magic is supposed to be some sort of metaphor for growing up. If I wanted to read about no magic I would pick up something other than a fantasy. And there seems to be this idea that being an adult means losing touch with your imagination, with fun, with magic. That only by becoming some boring, serious person who works and sleeps and nothing more, will you be an adult. Books like this wallow in the idea that giving up what you love, what makes you happy, is what makes you an adult. I suppose so we can be just as miserable as all those that came before and believed the same crap.So lesson one from this book: Growing up means abandoning your friends and all joy, but in return you can be labeled as a "responsible adult".Lesson two from this book: No matter how wonderful, loyal, giving, and loving you are, a beautiful face and high social standing are always more important. (view spoiler)[ The stupid arrogant knight says something along the lines of "I loved you as poor ugly Thing, but I adored you once I saw the beauty of your face and knew the truth of your heritage." Her face and her heritage have nothing to do with her thoughts or emotions, they are the most shallow things to judge her by, yet to the knight they are apparently the most important. (hide spoiler)]

In her magnificent new novel, New York Times bestselling author Mary Balogh sweeps us into a world of scandal and intrigue—glittering Regency England—and introduces the youngest Huxtable: Stephen, the only son. Here Stephen will risk his reputation and his heart as he enters a scandalous liaison with the infamous beauty intent on seduction. But when passion turns the tables on them both, who can say who has seduced whom?He must be wealthy, wellborn, and want her more than he wants any other woman. Those are the conditions that must be met by the man Cassandra Belmont chooses for her lover. Marriage is out of the question for the destitute widow who stands accused of murdering her husband and must now barter her beauty in order to survive. With seduction in mind, she sets her sights on Stephen Huxtable, the irresistibly attractive Earl of Merton and London's most eligible bachelor. But Stephen's first intriguing glimpse of the mysterious, alluring Lady Paget convinces him that he has found the ideal woman to share his bed. There is only one caveat. This relationship fuelled by mutual pleasure must be on his terms. As the two warily circle each other in a sensual dance of attack and retreat, a single night of passion alters all the rules. Cassandra, whose reputation is already in tatters, is now in danger of losing the one thing she vowed never to give. And Stephen, who wants Cassandra more than he has ever wanted any woman, won't rest until she has surrendered everything—not as his mistress—but as his lover and wife...

THE DRIVE OF PROPHECYThe quest was over. The Orb of Aldur was restored. And once again, with the crowning of Garion, there was a descendant of Riva Iron-grip to rule as Overlord of the West.But the Prophecy was unfulfilled. In the east, the evil God Torak was about to awaken and seek dominion. Somehow, Garion had to face the God, to kill or be killed. On the outcome of that dread duel rested the destiny of the world. Now, accompanied by his grandfather, the ancient sorcerer Belgarath, Garion headed toward the City of Endless Night, where Torak awaited him.To the south, his fiancée, the princess Ce'Nedra, led the armies of the West in a desperate effort to divert the forces of Torak's followers from the man she loved.The Prophecy drove Garion on. But it gave no answer to the question that haunted him: How does a man kill an immortal God?

The Redemption of Althalus is the first stand-alone, single-volume high fantasy saga written by the bestselling husband and wife team of David and Leigh Eddings. Their previous beloved series include the Belgariad, the Malloreon, and the Elenium, and although Althalus is bursting with all the daring escapades their multitude of fans expect, it is also an engaging departure for the authors. Althalus is a grand adventure that is bound to enthrall readers of the authors' previous, multivolume epics, but it features a precision of plot and language that can be achieved only by having an actual resolution. Althalus is a young thief and occasional killer known for his skill and incredible luck. A number of capers end without much monetary reward for him, until he stumbles into a shrine built to the fertility goddess Dweia. Soon afterward he meets with the wizard Ghend, who hires him to steal the Book, a magical tome that can be found in the bizarre House at the End of the World. There, Althalus discovers Dweia in the form of a black cat and learns that she has chosen him to aid her in a war against Ghend and her evil brother, the destroyer god Daeva. Together Althalus and Dweia use the power of the Book and gather together a small team of questionable heroes who must battle Ghend's supernatural forces and armies. The thief Althalus can only hope his luck holds out for this one last task, since the very fate of humanity is at stake.A stand-alone epic fantasy is a rarity in the modern-day publishing world and a concept that should be embraced more often. The Redemption of Althalus gives us all the action, sorcery, humor, and soaring imagination of a grand series but doesn't leave any loose threads, fractured subplots, or loss of momentum. A great deal of fun action and generally good-natured exploits are punctuated by the authors' usual satire on religion and high society. In one clever turn, Althalus enters a city where the wealthy are forced to hide their riches and live even worse than the poor in order to avoid taxation. Althalus is well-polished and smoothly constructed, with real storytelling muscle and a gratifying finale. The Eddingses should be praised for their willingness to put a cap on this particular story in an effort to offer other wonderfully developed worlds to their readers.

Living in peaceful Shady Vale, Shea Ohmsford knew little of the troubles that plagued the rest of the world. Then the giant, forbidding Allanon revealed that the supposedly dead Warlock Lord was plotting to destroy the world. The sole weapon against this Power of Darkness was the Sword of Shannara, which could only be used by a true heir of Shannara--Shea being the last of the bloodline, upon whom all hope rested. Soon a Skull Bearer, dread minion of Evil, flew into the Vale, seeking to destroy Shea. To save the Vale, Shea fled, drawing the Skull Bearer after him....