Fantastic Firsts: Control Point by Myke Cole

I'm going to start this review off talking about an elephant. I know that doesn't track well, but bear with me. I found out about Control Point on Facebook. I like, many of my readers(I hope) have been following the career of Peter V. Brett, author of the Demon Cycle. Like those fans, I was intrigued by the idea that one of Brett's closest friends was debuting his own genre novel. I'll admit, my first thought was something along these lines; "Wow, it would be nice to have an a connection like that". We all know about nepotism, especially in this economy, where it seems that you almost have to know someone to get a job. This was the elephant in the room for me. So, with my cynical point of view, I didn't expect Control Point to be very good. In fact, I was expecting to find some joy in criticizing it. Imagine my surprise, when Cole strode up to that elephant, rolled his shoulders back and put a stream of high caliber bullets through its skull. Myke Cole is an rising star of genre fiction because he deserves to be, and Control Point is a fantastic beginning to what promises to be a long and noteworthy career.

Before I go any further, I'd like to point out the cover blurb from, you guessed it, Peter V. Brett. More nepotistic shilling you say? Black Hawk Down and the X-men? Really? But, once again, Brett pitches and Cole hits it out of the park. The folks who promised me Lost and The Italian Job on the front of Parker's The Company should take note. This is 'blurbing' done right. 

With that sort of promise on the cover, Cole wisely gets right to it. We are thrown into the middle of military assault on a bunch of terrorists at a public school. Except these terrorists aren't teenagers with guns and an axe to grind. These kids are slinging magic not bullets. Our protagonist, Oscar Britton, is attached to a military unit responsible for bringing in rogue magic users. These kids are 'Selfers', who are breaking the law by not turning themselves in for mandatory conscription or suppression by the government's Supernatural Operations Corps the moment their magical abilities manifest. Official governmental policy is that 'selfers' are to captured if possible but any resistance is to be met with lethal force. Understandably, Britton questions his orders when faced with gunning down teenagers. In the heat of battle with his men in danger, he makes the call to follow his orders. Cole wisely keeps the moral agonizing to a minimum during the battle, that practically explode off the page with its mix of falling helicopters, whizzing bullets, and a magical firestorm just in case you were getting bored.

While Britton absorbs and reflects on the implications and consequences of the nearly failed operation at the school he is faced with an even more pressing and thorny problem. He manifests a supernatural ability of his own. This seems fairly simple on its face, with Britton already being a soldier. He will just become a member of the SOC, a soldier of the more magical sort. But rather than manifesting a approved ability, Oscar manifests a prohibited one. As a 'probe' he faces swift and certain execution, so he abandons his post and runs. But in the chaos of dealing with his wildly out of control powers, Britton is captured by the SOC and conscripted into the world of Shadow Ops. Swiftly, transferred to the extra-dimensional world of the Source, Britton is made a member of Shadow Coven a group of 'probes' who are serving as black ops unit. The Source is full of indigenous creatures that seem to be the basis for many of the myths of Earth. Some are friendly, some are decidedly not. This conflict leads to plenty of action and dazzling use of magic follow allowing Cole the opportunity to show off his magic system. Brett's name dropping of the X-men is absolutely spot on here, but Cole's layering of military tactics and superstructure give Control Point a much more unique spin. 

Cole's world building is top notch drawing heavily on his first hand knowledge of the world of military service. Having been both a member of the armed forces and a civilian contractor Cole handles the military jargon and bureaucracy deftly, lending an authenticity that doesn't never bogs down the narrative. The relationship between the invading humans and the people of the Source, seems to speak to his experiences in Iraq in some ways and the handling of the Native Americans by the United States in the colonial period in others. Sure this isn't new ground, but Cole handles the conflict in an interesting if not completely novel fashion. 

Control Point really showcases Cole's love for comic books slammed against his experience of real world combat. Every action sequence is full of inventive and sometimes disturbing use of magic, frenetic pacing, and  generous helping of chaos. It practically begs for a big screen adaptation based on the set pieces alone. Cole wisely dips into this seemingly bottomless well just enough that readers are left wanting more, while balancing it nicely with character moments. The action sequences serve the plot without much in the way of gratuitous action disease. 

If you are looking for action without consequences and characters who know and accept their place in the world, this is not the book for you. Oscar Britton questions everything, from the motives of his government to his own choices. While many have listed Cole's choice of protagonist as a flaw in the novel, I disagree. Oscar Britton is flawed, and while I often wished Oscar would just make a decision about his moral trajectory and be done with it at times, watching him struggle with his decisions and fail spectacularly because of some of them was a nice counterpoint to the plentiful action.

Sadly, the sharp focus on Britton's first person narrative at times causes the secondary characters to become a little more two-dimensional than I would have expected. But they are by no means dull, in fact the majority of the cast are painted in vibrant colors and never feel like mere window dressing. It's just that Oscar seems so much more real, that they suffer by proximity. Confirmation that the sequel, Fortress Frontier will feature a new POV character in addition to Britton, fills me with joy.  

The best thing I can say about Myke Cole as an author is that he has something to say. Britton's conflicts between his duty to his country and his personal values, and the bigger question of what is his responsibility when he feels the government he swore to serve is no longer worthy of that service are the heart of this novel. Oscar's examination of these questions is never one sided and never certain. Oscar's attempts to choose a path vary and are all laden with consequences both great and small. Like the real world, there are no easy answers in Control Point, and I commend Cole's choice not to take the easy way out by giving them. This combination of style and substance will keep me coming back for more. That and I secretly hope we can have at least one "Aquamancers" joke. 

Fantastic Firsts: Of Blood and Honey by Stina Leicht

How to describe Stina Leicht's Of Blood and Honey? Imagine, if you will, a single delicate flower thrusting up from the cracked asphalt of a derelict alley in a war zone. Of Blood and Honey is that flower. Stina Leicht has penned a haunting and complex tale of urban fantasy set in the turbulent time of the Troubles in 1970's Ireland. But this first installment in The Fey and the Fallen series, is not your typical urban fantasy novel. There are no wisecracking detectives with magic crackling from their fingertips or ass kicking heroines with a taste for supernatural sexcapades here at all. Sure, there are fallen angels, fey warriors, shapeshifting, and a secret society operating under the auspices of the Catholic church but even these elements take a backseat to the meat of Leicht's tale. For all the wonderful flavor they add to the telling, it is the heart wrenching story of a young man battling against a world he hardly understands that makes Of Blood and Honey a strong contender for this year's Campbell Award, not the special effects.  

Sorry for the Amazon pic blurb but this was the best image I could find.

Amid the turbulence of violent conflict between the Catholics and Protestants of Northern Ireland, Liam Kelly is becoming a man. Raised by a violent and brooding stepfather and a mother who never speaks of his natural father, Liam seems set adrift in those all too critical years for a boy approaching manhood. When he falls victim to a senseless act of persecution by the British Army and finds himself in prison he finds himself nearly buried under the weight of the sins of his presumably dead father.

Liam's father is Bran, a Fey warrior, who fell in love with Kathleen Kelly many years ago, but abandoned his mortal lover and their child to wage war on the Fallen. These fallen angels were brought into the Fey's lands with the spread of Christianity and the war for dominance had waged ever since. Bran's enemy, the Redcap has sworn retaliation against Bran's loved ones and young Liam is his unwitting victim. Bran may only warn Kathleen about the potential dangers, because of an oath he swore forbidding him from contacting his son. But Kathleen's fear of telling Liam the truth about his heritage leaves her half-breed son exposed and woefully unprepared for what he finds in prison.

While jailed in Kesh, known for its harsh conditions and brutal treatment of Catholic inmates, Liam is singled out by guards in the employ of the Redcap. The harrowing victimization that Liam experiences at their hands awakens Liam's otherworldly heritage. It emerges with a savagery that protects Liam from the immediate danger but is both terrifying and a cold comfort to the demons his prison experience leave behind.

Once he is released from prison, Liam sets out to build a life for himself. His hatred for the British army leads him to join the IRA, which promises steady employment and a chance to avenge himself against the injustices committed against both himself and his neighbors. He finds support through a surprisingly diverse group of fellow IRA members, his new wife Mary Kate, and surprisingly his long time priest Father Murphy, who has known about Liam's true parentage for years.  But Liam's troubles are far from over. The Redcap hasn't given up, and Liam's involvement with the IRA promises its own dangers, and all of those pale to the voice of his primal self that batters at his mind in time of stress. Add in a secret branch of the Catholic church, that has been tracking and watching Liam for years and Leicht has quite the pot boiler on her hands.

Be forewarned. In spite of a premise that seems rife with potential action, Of Blood and Honey is a slow burn If I have any quibble at all with the book it is this. I felt a little cheated that things never seem to quite boil over. But it's a minor quibble, but largely forgettable because the pacing of this novel is pitch perfect and manages to make the lack of a more pronounced crescendo of an ending the only way the tune could possibly end. Something tells me the next novel in the series will more than address this possible criticism.

Now on to the good stuff, and there is lots of that. Since the story is set in setting not so different from our own, Leicht's world building is almost invisible. Better yet, she wrings as much atmosphere as possible out of the setting. From the constant mentions of check points and continuous harassment by the police to the threadbare descriptions of the living spaces of every character we see, we are reminded of how tense and desolate Liam's world can be. The image of Bran appearing from behind a gravestone in the shape of Celtic Cross saves the reader from being taken out of the story with misplaced exposition, using context instead. Even the bits of Gaelic thrown in, add a sense of realism and are well placed so as to merely remind readers of the setting without being the least bit jarring.

The diverse cast is exquisitely drawn with no one-note characters making an appearance. Liam runs the gamut of human experience and emotion, from moments of heartbreaking love to the darkest depths of grief, loss, and despair. Father Murphy is torn between his need to assuage his anger and his conscience. Kathleen has her own regret and guilt as constant companions. Even Liam's criminal cohorts in the IRA are nuanced and sympathetic. The rare exception to this rule are the supernatural elements to the story. Both Bran and the Redcap seem more like forces of nature than anything else.  In contrast, the police and other more mundane threats are shown to be viscerally dangerous and loathsome than anything seen from their supernatural counterparts, serving to point the reader's focus onto the more human heart of the tale.

Leicht handles the fantastic elements in her story with very little exposition. My favorite example of this is the subtle way she conveyed the ill effects of iron on the Fey. Especially when you see it through the experiences of Liam as he navigates the unknown waters of his supernatural parentage. I get a feeling that this series, like George R. R. Martin's Song of Ice and Fire, may see a slow revelation of more and more magical elements as the series continues. I enjoyed having to keep a keen eye out for clues, since I couldn't just wait for Bran to tell Liam all about the benefits and limits of his Fey blood.

Leicht's prose is sparse yet busting with character with surprising bursts of unexpected imagery. I find that to be my favorite aspect of this excellent novel. Leicht has a strong authorial voice that is part Neil Gaiman and part Cormac McCarthy. An elegant bleakness, not unlike a flower bursting forth from war shattered stone. I'll be anxious for the sequel and the chance to spend a few more hours with Liam Kelly and friends.

Fantastic Firsts: Throne of the Crescent Moon by Saladin Ahmed

I love discovering new authors and finding new worlds to explore. This year has been a good year for discovery with stand out debuts from Myke Cole, Erin Morgenstern, and Douglas Hulick to name a few. I've decided to do a series of posts on debut authors in addition to the regular reviews and other features on the blog. Deciding who to start with was quite the challenge but I decided to start with an author that may not have gotten as wide reaching attention as some of the others, due to the fact that his novel doesn't have the immediate appeal that some of the others may enjoy. Saladin Ahmed's novel The Throne of the Crescent Moon falls into a category I hadn't heard of until recently. Silk road fantasy is a departure from the usual faux-European settings of the majority of the books on the fantasy shelves. Ahmed's heritage gives him a fantastic springboard from which to launch into this exciting and engaging novel.

Sorry for the small size but enlarging blurs the image.

Throne of the Crescent Moon tells the story of aging ghul hunter Dr. Adoulla Makhslood and his protegee the young holy warrior Raseed bad Raseed as they investigate a series of brutal murders in the sprawling city of Dhamsawaat. Dhamsawaat is a city on the verge of open revolt as the charismatic Falcon Prince stirs up dissent against the unpopular and cruel Khalif and the tensions between these two factions is underscored in the world view of the story's twin protagonists.

In many ways it is the contrast between Adoulla and Raseed that makes Throne of the Crescent Moon such a pleasure to read. While both men are heroes fighting to protect the people of Dhamsawaat from the forces of Traitorous Angel, Adoulla with his knowledge of magic and Raseed with the steel and martial prowess gained from his time with a militant religious order they two men couldn't be more different in their world view and personality. Ahmed deftly juxtaposes the readers expectations by making the older ghul hunter more brash, cynical and quick tempered in contrast to the milder mannered, idealistic Raseed. This is a welcome change of pace that frames the heart of the book.

This is a story of idealism versus cynicism, the weariness of age versus the exuberance of youth, extremism versus tolerance. The dialogue between the Doctor and his protege are richly steeped in these themes and lends both personality and context to the actions taken by both. Ahmed manages to weave these thematic elements into the narrative smoothly making sure that they always serve the story first and foremost.

There are many other characters that play important roles as well. All are equally well conceived and serve as far more than window dressing or extra hands on deck for action sequences or sources of information necessary for advancing the plot. Some would likely say that they are protagonists on par with Adoulla and Raseed, and in at least one case they are probably correct. I'm sure the shape shifting tribeswoman Zamia will appear in later books in an even more prominent role. The important thing is that Ahmed manages to make even tertiary characters matter. Case in point, when a minor character dies late in the story I was genuinely sad. Not because that character was important to the story or to me as a reader, but because I understood through just a few brief interactions with one of our heroes the whys and hows of his importance to that hero.

Many fantasy readers will tell you that the most important character in any other world fantasy is the setting itself. The Throne of the Crescent Moon shines here as well. Ahmed's Dhamsawaat and its surrounding environs are described in lush detail. This is not a typical fantasy story dressing in flowing silks and replacing its longsword with a scimitar. The descriptions of foods, furnishings, architecture, and even the particulars of dialect feel authentic and after just a few chapters even the most myopic reader of Euro-fantasy will feel right at home. Compared to other fantasy novels steeped in unfamiliar real world cultures that I've read in the past, Ahmed makes it look easy.

The action sequences were well scripted with some high tension moments complete with excellent use of psychology that made even these scenes reflect the character of the participants. The magic system used was flavorful if not intricately explained. There is a real feeling of sword and sorcery novels, where magic systems and world building fade into the background and it is all about the characters and their journey. I'm certain all of those details are there, but they stay respectfully behind the curtain so as not to distract us. Ahmed's light touch makes it easy to forget you are reading at all.

The pacing is brisk, except for a slow section in the middle while injuries are allowed to heal and information is gathered, but it gave me room to breathe for a minute. The book is short, but the story is complete, engaging, and most of all fun. I eagerly await more tales from Dhamsawaat.