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Books : Science Fiction & Fantasy : Authors, A-Z : F
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Like a venerable patriarch, Magician stands at the head of a great tribe of fantasy writing. When Raymond Feist's enormous novel was published, critics called it "the best new fantasy concept in years", and Feist has refined and explored that concept over a dozen novels. His "concept" was to bring together two (and later, more) whole, intricately realised fantasy worlds. Midkemia is a Tolkienian realm, a European- Medieval series of kingdoms in which magic is prominent, and where men share the earth with dwarves and elves. Feist's genius was inventing another sword and sorcercy realm based more closely on eastern models, the Empire of Tsuranuanni, as vast as Ancient China, as formalised and devoted to the arts of war as a samurai Japan. A magical rift in time-space brings these two worlds clashing together, and the young boy Pug and his soldier friend Tomas are thrown into the ensuing maelstrom of invasion and epic battle, before embarking on a more fundamental magical journey towards the very roots of evil itself. Feist's two sequels to Magician, Silverthorn and A Darkness at Sethanon complete the richly conceived Riftwar Saga, and Feist has gone on to chronicle other aspects of his invented worlds. With Janny Wurts he wrote the Empire trilogy, which charts the rise, through the rigid patriarchy of the Empire of Tsuranuanni, of a remarkable female heroine, a woman who eventually reaches the heights of the imperial throne itself Daughter of the Empire, Servant of the Empire and Mistress of Empire. More recently he has returned to the world of Medkemia, and to his hero Pug, with the Serpentwar saga, beginning with Shadow of a Dark Queen and continuing with Rise of a Merchant Prince, Rage of a Demon King and Shards of a Broken Crown. Heroic Fantasy is a crowded-enough field, but Feist stands out in it for his sheer inventive power, the scope and range of his narratives, the diversity of his characters and his thundering battle sequences. Start reading here, and you may find yourself unable to stop until you have followed the saga right up to date. --Adam Roberts
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Silverhorn is the sequel to Magician, which, like a venerable patriarch, stands at the head of a great tribe of fantasy writing. When Raymond Feist's enormous novel was published, critics called it "the best new fantasy concept in years", and Feist has refined and explored that concept over a dozen novels. His "concept" was to bring together two (and later, more) whole, intricately realised Fantasy worlds. Midkemia is a Tolkienian realm, a European-Medieval series of kingdoms in which magic is prominent, and where men share the earth with dwarves and elves. Feist's genius was inventing another sword and sorcercy realm based more closely on eastern models, the Empire of Tsuranuanni, as vast as Ancient China, as formalised and devoted to the arts of war as a samurai Japan. A magical rift in time-space brings these two worlds clashing together, and the young boy Pug and his soldier friend Tomas are thrown into the ensuing maelstrom of invasion and epic battle, before embarking on a more fundamental magical journey towards the very roots of evil itself. Feist's two sequels to Magician, Silverthorn and A Darkness at Sethanon complete the richly conceived "Riftwar Saga", and Fiest has gone on to chronicle other aspects of his invented worlds. With Janny Wurts he wrote the "Empire" trilogy, which charts the rise, through the rigid patriarchy of the Empire of Tsuranuanni, of a remarkable female heroine, a woman who eventually reaches the heights of the imperial throne itself Daughter of the Empire, Servant of the Empire and Mistress of Empire. More recently he has returned to the world of Medkemia, and to his hero Pug, with the Serpentwar saga, beginning with Shadow of a Dark Queen and continuing with Rise of a Merchant Prince, Rage of a Demon King and Shards of a Broken Crown. Heroic Fantasy is a crowded-enough field, but Feist stands out in it for his sheer inventive power, the scope and range of his narratives, the diversity of his characters and his thundering battle sequences. Start reading here, and you may find yourself unable to stop until you have followed the saga right up to date. --Adam Roberts
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A Darkness at Sethanon completes the "Riftworld saga" which started with Feist's Magician. When Raymond Feist's enormous novel was published, critics called it "the best new fantasy concept in years", and Feist has refined and explored that concept over a dozen novels. His "concept" was to bring together two (and later, more) whole, intricately realised Fantasy worlds. Midkemia is a Tolkienian realm, a European-Medieval series of kingdoms in which magic is prominent, and where men share the earth with dwarves and elves. Feist's genius was inventing another sword and sorcercy realm based more closely on eastern models, the Empire of Tsuranuanni, as vast as Ancient China, as formalised and devoted to the arts of war as a samurai Japan. A magical rift in time-space brings these two worlds clashing together, and the young boy Pug and his soldier friend Tomas are thrown into the ensuing maelstrom of invasion and epic battle, before embarking on a more fundamental magical journey towards the very roots of evil itself. Feist's two sequels to Magician, Silverthorn and A Darkness at Sethanon complete the richly conceived "Riftwar Saga", and Fiest has gone on to chronicle other aspects of his invented worlds. With Janny Wurts he wrote the "Empire" trilogy, which charts the rise, through the rigid patriarchy of the Empire of Tsuranuanni, of a remarkable female heroine, a woman who eventually reaches the heights of the imperial throne itself Daughter of the Empire, Servant of the Empire and Mistress of Empire. More recently he has returned to the world of Medkemia, and to his hero Pug, with the Serpentwar saga, beginning with Shadow of a Dark Queen and continuing with Rise of a Merchant Prince, Rage of a Demon King and Shards of a Broken Crown. Heroic Fantasy is a crowded-enough field, but Feist stands out in it for his sheer inventive power, the scope and range of his narratives, the diversity of his characters and his thundering battle sequences. Start reading here, and you may find yourself unable to stop until you have followed the saga right up to date. --Adam Roberts
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Shards of a Broken Crown takes us again to the distinctive Fantasy worlds Feist created 15 years ago with the first of his Riftwar epics, the acclaimed Magician. The four-book Serpentwar Saga, which this novel concludes and which started with Shadow of a Dark Queen, is surely Feist at his most characteristic. He writes sword-and-sorcery in a rip-roaring old-fashioned manner, grand and magical, human an involving, by turns. Shards of a Broken Crown picks up where the previous volume, Rage of a Demon King, left off: there James, noble Duke of Krondor, defeated the evil of the Demon King and his army by sacrificing himself and his city--pouring Quegan fire oil into the sewers of Krondor and torching everything, including himself. Now a new menace has risen from the ashes, in the scarred shape of one of the army's surviving generals, Fadawah. Jimmy and Dash, grandsons of the dead Duke, try to piece together the wreckage of the shattered Kingdom of the Isles, the Shards of the title's Broken Crown.Feist isn't the world's most sparkling stylist, but there is a cumulative something, a genuine power, about the various treks his characters make across this desolated landscape. The characters themselves are diverse and appealing, and Feist's great strength is in the way he is able to deploy the conventions of heroic fantasy with which we are so familiar (even over familiar) --the sweeping landscapes, titanic battles, the maelstrom of the clash of good and evil--while never losing sight of the particular. He is good on aspects of his fantasy world other writers tend to gloss over (for instance, mundane things like the worlds of trade and work, the jobs ordinary people do--the Serpentwar saga in particular tells us as much about merchants as it does about warriors and magicians). A gripping read.--Adam Roberts
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