The Kingdom of Cello is in crisis. Princess Ko’s deception has been revealed and the Elite have taken control, placing the Princess, Samuel and Sergio under arrest and ordering their execution. Elliot is being held captive by the Hostiles and Colour storms are raging through the land. The Cello Wind has been silent for months.
Plans are in place to bring the remaining Royals home from the World but then all communication between Cello and the World will cease. That means Madeleine will lose Elliot, forever.
Madeleine and Elliot must solve the mystery of Cello before it is too late.
A Tangle of Gold is the final book in The Colours of Madeline trilogy by Aussie author Jaclyn Moriarty. You can find my first two reviews here and here. I commented in my review of the second book that the series title didn’t quite work for me, because Madeline’s parts of the story in the first two books were the less engaging parts.
It’s fair to say that, in the third book, Madeline finally comes into her own. I can’t say much more than that, because it’d be spoiler-tastic, but at last she becomes more than bizarre homeschooling, her mother’s illness, and her quirky friends. Events in Cello rather than in the World (what they refer to Earth as) are definitely where the story is at, and they drive events. But there’s a lot more crossover, not just a parking metre-based postal service, so the World side of things gets a lot more interesting.
There are things that you need to know about these books if you are considering giving them a go:
- Moriarty’s prose is beautiful. It’s lyrical and strange at times, but always beautiful. I’m sad that she never truly described the Cello Wind (which is alluded to often but remains off camera, so to speak). It would have been glorious.
- Her world-building is astonishingly detailed. As a result, sometimes the story feels like it’s dragging a little, but things are always happening — even if their significance doesn’t become clear till later. Which brings me to…
- The plot twists. OMG. There are things resolved in the third book that were delicately foreshadowed in the first. And some of these twists blindsided me. I usually guess or at least suspect in the right direction of plot twists, but I was way off base on this one, several times.
If you have the patience to read three 500-page books, and love parallel world stories with a truly unique alternate world and intense, intellectual and quirky characters, then this is the series for you.
Princess Ko’s been bluffing about the mysterious absence of her father, desperately trying to keep the government running on her own. But if she can’t get him back in a matter of weeks, the consequence may be a devastating war. So under the guise of a publicity stunt she gathers a group of teens — each with a special ability — from across the kingdom to crack the unsolvable case of the missing royals of Cello.
Chief among these is farm-boy heartthrob Elliot Baranski, more determined than ever to find his own father. And with the royal family trapped in the World with no memory of their former lives, Elliot’s value to the Alliance is clear: He’s the only one with a connection to the World, through his forbidden communications with Madeleine.
Through notes, letters, and late nights, Elliot and Madeleine must find a way to travel across worlds and bring missing loved ones home. The stakes are high, and the writing by turns hilarious and suspenseful, as only Jaclyn Moriarty can be.
This is the second book in The Colours of Madeline trilogy by Sydney writer Jaclyn Moriarty. I finished it last weekend, and it’s taken me a while to sit down to write a review — largely because it took me more than a month to read, and I’ve been trying to put my finger on why.
Other than general life busyness and the danger of reading hardcover books in bed when you’re tired (ow), the obvious reason is that all the books in this series are quite long (and also heavy — ow). This one is almost 500 pages, and maybe my attention span isn’t what it used to be, but it just seemed like a lot. If you’ve read the first book in the series (or my review of same), you will know that the series is a parallel world tale where one of the two main characters, Madeline, is in England while the other is a boy named Elliot who lives in a magical modern-day equivalent of Earth that is called Cello. Moriarty puts a lot of work into world-building as far as Cello goes. Like, a lot. There are extracts from guide books, for example, and newspaper clippings, as well as the letters that the blurb mentions. They are relevant to the story, but gosh there are a lot of them!
There were some parts of the story that dragged and — despite the name of the trilogy — they are almost all Madeline’s sections. She doesn’t have as much to do in the second story other than live her quirky life, post some letters, and be increasingly interested in Elliot, who is (apparently) forever unattainable.
Elliot on the other hand is a very interesting character, as are the other members of the Royal Youth Alliance, Ko, Kiera, Sergio and Samuel. I far enjoyed reading about their meetings and efforts to rescue the royal family. That’s where all the action in the book is. (Sorry, Madeline.)
I realise this review might seem lukewarm, but I really did enjoy most of it — hence the four stars! I went straight into the last book in the series, and I’m hoping I can get it done more quickly than this one. 😉
This month on Aussie Owned and Read we’ve been doing a round robin series of interviews. I was interviewed by the lovely Heather Bosevski; you can find it here. I on the other hand interviewed spec fic author Sharon M. Johnston, and you can find that one here.
The first in a rousing, funny, genre-busting trilogy from bestseller Jaclyn Moriarty!
This is a tale of missing persons. Madeleine and her mother have run away from their former life, under mysterious circumstances, and settled in a rainy corner of Cambridge (in our world).
Elliot, on the other hand, is in search of his father, who disappeared on the night his uncle was found dead. The talk in the town of Bonfire (in the Kingdom of Cello) is that Elliot’s dad may have killed his brother and run away with the Physics teacher. But Elliot refuses to believe it. And he is determined to find both his dad and the truth.
As Madeleine and Elliot move closer to unraveling their mysteries, they begin to exchange messages across worlds — through an accidental gap that hasn’t appeared in centuries. But even greater mysteries are unfolding on both sides of the gap: dangerous weather phenomena called “color storms;” a strange fascination with Isaac Newton; the myth of the “Butterfly Child,” whose appearance could end the droughts of Cello; and some unexpected kisses…
At the end of last year, fabulous teen blogger Emily Mead did a huge post with a mini-review of the 100+ books that she read in 2016. I added a bunch of books to my TBR pile as a result (curse you, Emily), and the first of these was A Corner of White.
This is actually quite a difficult book to review. It’s a parallel world story (partly set in our world and partly in a fantastical other world — think Alice in Wonderland or, well, a bunch of other books). But it’s even more of a parallel world story than usual, in that the main characters, Madeline and Elliot, live very similar lives. Both live away from their fathers and are missing them. Both come to see what they believe are problematic elements of their fathers in their own personalities. Both of them are dissatisfied with their situation and want to leave it for one reason or another. Both are charming and loved by those around them.
But in some other ways, this book is quite baffling. I spent maybe the first third of it being dissatisfied and somewhat unengaged by Madeline’s real-world antics and her life, which was so quirky that it seemed, well, unrealistic. By comparison, Elliot’s life — in the magical kingdom of Cello — actually seemed more normal. Certainly he had more things going on than strange “homeschooling” classes and slightly deranged (albeit generally well-meaning) friends. His world and story were kept me guessing, whereas Madeline’s, well, didn’t.
If you’d asked me at 100 pages how I thought I’d be rating A Corner of White, it would have been three-star at best, despite the lovely prose and the unique world of Cello. Which made me sad, because I wanted to love it. Luckily for me, it turns out that once Moriarty got the bit in her teeth and got going, the story picked up and I raced through the rest of it. I didn’t see the plot twists coming, and I loved the way that Moriarty wove them all together at the end. I loved how Madeline’s introspective rambling about science and history drove Elliot nuts, but also taught him something valuable about his own world.
The way that the book ended, while not exactly cliff-hanger-y, definitely left me wanting more. Happily books two and three have already been released! Yay! (Now, hurry up, Mr Postman!)
Overall, this was a four-star read for me, based on simple maths: three for the start, five for the end. I feel like Madeline would approve of that approach.
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 Red Church is no Hogwarts, but Mia is no ordinary student.
The shadows love her. And they drink her fear.
Given the whole girl-goes-to-assassin-school vibe of the blurb, I had originally thought this book might be YA. You’d think the “assassin” part of “assassin school” would have tipped me off. Still, by the end of the first chapter I knew very well that Nevernight wouldn’t be for younger readers. Jay Kristoff doesn’t pull his punches.
The book is violent, and doesn’t make any excuses for that. There are sex scenes that are just shy of erotica in their level of detail, though I never found them gratuitous. And in the opening chapter we actually get both, the scene flipping back and forward in time between a sex scene and a stabbing, highlighting the, erm, rather obvious parallels.
There are a lot of flashbacks in Nevernight, especially early in the book. The main storyline picks up when Mia is 16 and seeking to be accepted into the Red Church (said assassin school), but we get glimpses into the formative events of her past. I found the flashbacks interesting, but they were presented in italics to differentiate them from the main story, and I found them harder to read as a result (physically harder; large blocks of italics are painful. Maybe I’m just getting old!).
The other stylistic quirks of Nevernight are the use of footnotes, where the narrator provides extra detail about the world — generally amusing anecdotes and trivia that don’t really have a place in the main story but give a glimpse into the narrator’s personality. The other quirk is that we don’t actually know who the narrator is, just that it’s not Mia herself. (My money is on her shadow companion, Mister Kindly.)
There is magic in the world of Nevernight, which is a lush combination of Ancient Rome and slightly less ancient Venice, but it’s the sort of magic that imposes a cost on the user. I really liked that as a mechanic; it stopped the various magic-users from being completely overpowered and silly.
As far as the characters go, Mia is — unsurprisingly — hard as nails. But there’s an empathetic side to her that is rather out of place in a school of murderers, and as a result she makes herself some good friends and snags a sort-of boyfriend among the other novices. Of course, there’s the obligatory mean girl (who has a very good reason for hating Mia, so she’s not your typical shallow archetype) and the Snape-like teacher (though he makes Snape look soft and cuddly). And the classroom politics and scheming tends to wind up with people dead.
Story-wise I won’t say too much, except to say that there’s a plot twist I didn’t see coming and all sorts of other awesomeness in there. I did have one head-scratching moment over Mia’s apparent inability to remember one particular event in her past — I wasn’t clear on the reasons for that, though maybe I missed something.
I’d recommend this book for people who like their fantasy gritty, their prose rich with metaphor and their heroines stabby.
Centuries after the Mistborn trilogy, Scadrial is on the verge of modernity — railroads, electric street lights, and skyscrapers. Waxillium Ladrian can Push on metals with his Allomancy and use Feruchemy to become lighter or heavier at will. After 20 years in the dusty Roughs, in the city of Elendel, the new head of a noble house may need to keep his guns.
The Alloy of Law is the fourth book (of six) in the Mistborn series, but — because the series is divided into two trilogies — it’s actually the first book in the second trilogy. As a result, you don’t have to have read the preceding three books in order to make sense of this one (though the religious references won’t be as interesting if you don’t).
I’m in more than a little awe of Sanderson. The first three books were a somewhat traditional (though not really) epic fantasy series. The Alloy of Law is set 300 years later in the same world — a world where technology has advanced to something resembling the 19th century. There’s still magic, in the form of Allomancy and Feruchemy, the metal-based Mistborn magic system. But there are also guns, trains and electricity. As a result, in some ways this book defies characterisation. Is it steampunk? Fantasy? An alternate world Western set in the big city? I don’t know … and that’s always an exciting thing to find!
Wax is your traditional Western action hero (with superpowers): highly competent and with a tragedy in his past that means he shies away from love. Wayne is a hilarious and crass master of disguise who “trades” for things rather than stealing them (although the trades generally occur without the other party’s consent). Both of them are fun characters, though I didn’t enjoy them as much as Sazed, Breeze or Elend from the first three books.
Lady Marasi, the noblewoman who is studying to be a legal attorney, is a lot more interesting, to my mind. She’s easily embarrassed but also a crack shot with a rifle, and she has a crush on Wax from before she meets him. She and he are well-matched in terms of both their interests and their intelligence, so Wax’s denial of the fact she’s clearly perfect for him is a little frustrating.
Overall, this was a fun book, though a little bit more predictable and less compelling than the first trilogy was. There was only one plot twist I didn’t see coming, and I wasn’t as invested in it as maybe I should have been. (That could be a result of the fact I listened to this book on either side of my son breaking his arm and spending a night in hospital, though — I had other things on my mind!)
Still, I enjoyed The Alloy of Law and have already started on the next book, Shadows of Self.
Tricked into releasing the evil spirit Ruin while attempting to close the Well of Ascension, new emperor Elend Venture and his wife, the assassin Vin, are now hard-pressed to save the world.This adventure brings the Mistborn epic fantasy trilogy to a dramatic and surprising climax as Sanderson’s saga offers complex characters and a compelling plot, asking hard questions about loyalty, faith and responsibility.
To all those people who told me Brandon Sanderson is a man who knows how to write a mind-boggling story: you were right and I owe you a coffee. I don’t think I’ve ever read a trilogy with such intricate world-building, with so many layers and plot twists, and bits of what turned out to be foreshadowing in the first book that are only explained in the third.
The amount of plotting Sanderson must do before he starts writing that first page truly blows my mind.
The Hero of Ages is the third book in the series, and it nicely wraps up the trilogy, giving me explanations for questions I hadn’t even realised I was asking — not really. For example, I remember thinking pretty early on in the series that it was strange that burning tin lets an allomancer see through the Mists. It turns out there’s a reason for that. There’s a reason for everything! There’s even a reason for Sazed’s frustrating naval-gazing and waffling on about dead religions (because, oh my god, I wanted to shake him so badly; those waffle-y bits are actually what made me love this book slightly less than the other two).
Given I’ve been fully immersed in this trilogy in the past month, I had enough depth and currency of understanding to see a lot of the plot twists coming this time around. However, I feel a bit like Vin and Elend must have, fighting an all-powerful god like Ruin: like I thought I knew what Sanderson was going to do, but he only let me feel that way so he could lull me into a false sense of security. Then BAM.
That last plot twist is a doozy. I have an epic book hangover, and a need to buy another Sanderson trilogy ASAP.
The impossible has been accomplished. The Lord Ruler – the man who claimed to be god incarnate and brutally ruled the world for a thousand years – has been vanquished. But Kelsier, the hero who masterminded that triumph, is dead too, and now the awesome task of building a new world has been left to his young protégé, Vin, the former street urchin who is now the most powerful Mistborn in the land, and to the idealistic young nobleman she loves.
As Kelsier’s protégé and slayer of the Lord Ruler she is now venerated by a budding new religion, a distinction that makes her intensely uncomfortable. Even more worrying, the mists have begun behaving strangely since the Lord Ruler died, and seem to harbor a strange vaporous entity that haunts her.
Stopping assassins may keep Vin’s Mistborn skills sharp, but it’s the least of her problems. Luthadel, the largest city of the former empire, doesn’t run itself, and Vin and the other members of Kelsier’s crew, who lead the revolution, must learn a whole new set of practical and political skills to help. It certainly won’t get easier with three armies – one of them composed of ferocious giants – now vying to conquer the city, and no sign of the Lord Ruler’s hidden cache of atium, the rarest and most powerful allomantic metal.
As the siege of Luthadel tightens, an ancient legend seems to offer a glimmer of hope. But even if it really exists, no one knows where to find the Well of Ascension or what manner of power it bestows.
The Well of Ascension is book two in Sanderson’s Mistborn trilogy, and I would strongly suggest not trying to read it as a stand-alone novel. I reviewed the first book here if you want to decide whether this series is for you. That review also largely holds true for book two. I’ve given this book 4.5 stars as well, though my niggles are different this time around. (I considered a 4-star rating instead for this one, but the plot twists deserved that extra half star!)
Still, let’s recap.
Things I loved
A little slice of a big world. Despite the fact that almost the entire story is set in or immediately around Luthadel, there is a sense of a much bigger world out there, one that has an impact on Luthadel and the fate of the former empire. Still, I liked the narrower focus — sometimes, fantasy novels that involve army-scale warfare start to read like a book on military tactics. That is never the case here, which is — to me — a good thing.
A cast of characters who aren’t black and white. We gained a sense in the first book that even the Lord Ruler, the tyrant demigod who ruled for 1000 years, might not be 100% evil (maybe 90%? 85%?). On the other side of the coin, Kelsier, the supposed hero of the piece, had grand ideals but was just as brutal in his own way. That trend continues in the second book. Elend is sweet but idealistic to the point of foolishness, while Vin is highly competent but torn and indecisive. We get to see snippets from a much broader range of characters in The Well of Ascension, giving us a greater sense of what motivates them, why they think they are the good guy. My most unexpected favourite is Breeze, the lazy and manipulative soother who somehow turns out to be very sweet, in his own way.
The plot twists and turns (like a twisty turny thing). I thought I had a pretty good idea of where the second book might go, and in some ways I was right, but in others … yeah, there were some massive reveals in The Well of Ascension that I did not see coming. I love it when that happens! 😀
The ending struck a balance between completion and dun-dun-DUN. Writing a series with a meta-plot over three books can be tricky. But there is enough of a resolution in The Well of Ascension to make me happy, while there is also enough left unresolved (and we’re talking big ticket items here) to keep me reading. I expect I’d be less sanguine if I’d found this series back when it was first released, though. Knowing I have the third book sitting here, ready to go, really helps.
Things I was less fond of
I wanted to shake some of the characters. One plot device that sets my teeth on edge is when there’s a disconnect between characters that could easily be resolved if the two of them would just say what they are thinking. I know people aren’t always 100% honest in real life, and I can see how the misunderstandings came about in the book … but at the same time, gah! I wanted to shake both Vin and Elend until their teeth rattled. (But mainly Vin. Though she’d kill me in a messy fashion if I tried.)
I wanted to give some of the characters advice. There were times when I could see potential solutions to problems that the characters didn’t even seem to consider. For example, early on in the book, Vin and Elend discover there’s a potential shape-changing infiltrator in the palace, leaking information to one of their enemies. Vin discovers that said shape-changer is immune to emotional allomancy (magic); she also knows due to circumstance that Breeze, the best emotional allomancer in the city and probably in the world, absolutely cannot be the imposter. Why not tell Breeze about the issue, set him to testing people’s reactions? Even if it wouldn’t have helped in the end, it would have made the characters seem slightly less ineffectual at times. (Of course, maybe the goal was for them to seem ineffectual, in which case, good job, Sanderson!)
The fight scenes are truly brutal, but if this were a romance you’d describe the heat level as “sweet”. I gather that could be said of all of Sanderson’s books, so if that’s what you look for in a fantasy novel — as well as an intricate world that focuses on people rather than large-scale politics — then you should definitely read this series.