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This novel mixes supernatural and science-fiction to create an engaging page-turner. What makes it so good and better than most books written for young readers is the characters are very well developed. As a result the reader cares what happens to them, and quite a lot of exciting events challenge the characters.
Honestly, I have not enjoyed a young person's book this much since I read the Harry Potter series. Interesting plot and the author is creative with the development of characters. I want to read the whole series. This is definitely a book series i can share with my grandkids. I was very impressed by this indie book. I'm surprised it hasn't been picked up by a publisher.
Had my 11 year old son and 9 year old daughter on baited breath waiting for the next night's story time. A few scary parts but I felt that they were age appropriate. Creative ideas, with consistent character development. Totally enjoyed and listened while driving to and from work. Clean, no foul language. I am on my third book by this author in this series. This being the first one it grabbed by interest right away and made me want to continue reading the whole series.
The story is uniquely its own. I love a book that is not just a formula driven story.
Read More From TIME
This one made me stay up at night until I finished it. I will definitely read other books by this author. It is suitable for all ages and certainly taps into the psyche of the preteen child. You would think one would start getting bored, but that just didn't happen. Every now and again, a new series comes along to cross the age boundaries and be enjoyed by young and old alike. The story is set in a world where like in the Narnia series two worlds meet - our world, and the world of Fae creatures - like Dragons, Centaurs, Harpies, Ogres, Fairies, and other magical creatures.
The books are an easy read - about the same level as the Narnia series, and take about hours for a competent adult reader to finish, but are utterly engaging.
In My Wildest Fantasies
I immediately bought the second in the series after finishing the first, and will do the same for the next in the series. Buy them for your own enjoyment, as well as for your year old kids. Few things can brighten up a grim morning in a Scottish seaside resort besieged by an Atlantic storm. Yet while sheltering in a bookshop from the bullet rain and ferocious winds, I had a moment of sun-drenched revelation that took me a world - or worlds - away.
Stacked almost as high as my year-old self were copies of JRR Tolkien's The Lord of the Rings, with a cover illustration that promised mystery, magic and a place definably different from the land of the thin grey light leaking through the windows. My experience was not unusual - thousands of others became entranced at the same time thanks to that one book.
It was the s, and the second coming of Tolkien via a new paperback edition of The Lord of the Rings by Allen and Unwin, which sold through nine print runs in less than three years. That phenomenal success kick-started the fantasy genre. Editors sought out new visionaries who could fill Tolkien's shoes and brought in an entire generation of young readers. The genre went from strength to strength, but today we're in the middle of an unprecedented fantasy boom. Sales continue to rise year on year and it is now the biggest genre in publishing, dwarfing its former powerhouse cousin, science fiction, and the once-ubiquitous romance.
The more rational the world gets, with super-science all around us, the more we demand the irrational in our fiction. Publishers love the genre because it reaches all people - highbrow readers attracted to the skilful writing of M John Harrison, say, or those simply wanting a well-told adventure story by the best-selling Robert Jordan, men and women in equal measure, young and old. Received knowledge among non-readers suggests fantasy is simply a case of swords and sorcery or elves and dwarfs.
Yes, there is that by the shelf.
- by Lewis Carroll!
- The Best Fantasy Novels of All Time | Penguin Random House.
- Catulo, poeta latino (Spanish Edition).
But the genre really is as broad as the imagination. It contains events on this world and any other world, on this side of life and beyond it. The one defining characteristic is irrationality. The genre starts at the point where science ends. So fantasy can include the alternate history of Michael Chabon's The Yiddish Policemen's Union, a detective story set in a world where Israel was destroyed in and a Yiddish-speaking Jewish enclave was set up in Alaska. Or it could be the contemporary, urban mythology of Neil Gaiman's American Gods, in which characters from ancient religions are hiding out in modern America.
Anything is possible in fantasy, and the genre can exercise our ability to think, and to wonder. Yet like romance, fantasy also suffers from near invisibility in the cultural landscape. Its detractors point at pot-boiling adventure stories and mock notions of escapism - as if all fiction doesn't allow some avenue for escape. Certainly the genre has struggled to match its popularity with the kind of credibility that has been bestowed on, say, the crime genre.
11 of the Best Fantasy Novels, According to V.E. Schwab
It's a topic that usually sends the blood pressure soaring in most people who work in the genre, not least Jo Fletcher, the editorial director of fantasy publisher Victor Gollancz. I'm talking about Terry Pratchett, who may have the financial rewards commensurate with his talent - but where are the Booker prizes, or the Whitbreads? Where are the literary accolades? Whenever he's interviewed, it's usually with a faint air of surprise that someone who writes fantasy can be so erudite and funny. Yet for all the snobbery, one aspect of the current boom in the fantasy genre is that it is now increasingly crossing over to the literary audience, albeit with the equivalent of a false nose and moustache.
The Pulitzer Prize-winning author Michael Chabon is a staunch defender of the genre and has argued against the belief that fantasy shouldn't appeal to "the real writer". It's a case taken up by other literary fantasists such as Susannah Clarke, with her magical battles in Napoleonic times, or Alice Sebold, whose The Lovely Bones is about a dead girl spying on her family from heaven.
A search for the origins of fantasy will usually have academics muttering about Beowulf, the Epic of Gilgamesh or Homer's The Iliad, but they come from a time when all stories were fantasy: gods and monsters and supernatural artefacts with humanity caught in the middle. The first modern fantasy writer is usually considered to be William Morris. He combined imaginary worlds and the supernatural in the late 19th Century with a series of medieval-romantic novels including The Wood Beyond the World and The Well at World's End.
Both Morris and Dunsany are a tough sell for the modern reader with page after page of deliberately archaic prose. But with fantasy fiction it's always been more about visionary ideas than it has about the writing. You can get well-crafted words in plenty of literary fiction, but being able to see beyond the boundaries of the world around us - now that's a special skill. That quality made fantasy ripe for exploitation by the adventure writers who were paid by the word in the pulp magazines and novels that thrived up to the Second World War.
The literary godfather of this group was Edgar Rice Burroughs, the creator of Tarzan, who combined fantasy and science fiction for his enduring series of Mars novels that began with A Princess of Mars in