Fantasy Books

I received a review copy from the publisher. This does not affect the contents of my review and all opinions are my own.

The Red Winter by Cameron Sullivan

Mogsy’s Rating: 4 of 5 stars

Genre: Horror, Historical Fiction

Series: Stand Alone

Publisher: Tor Books (February 24, 2026)

Length: 535 pages

Author Information: Website

Historical horror with a generous heaping of sardonic humor. That’s the way I would describe The Red Winter by Cameron Sullivan, which draws inspiration from the real-life mystery of the Beast of Gévaudan, the name given to the man-eating creature that terrorized the French countryside in the 1760s, killing more than a hundred people. This novel is a retelling of those events, with a mythical twist.

Told as a memoir written by an ancient warlock named Sebastian Grave, the main plot is a detailed account of his involvement in the hunt for the Beast. Split into two distinct timelines, one follows him in the past as he is called to the region to deal with the creature, and then the second one follows him years later, when he has been asked to return once the killings start up again. Could the attacks from these two periods be related? The story jumps between these two timelines as Sebastian tries to figure it out, reliving the past to find clues that might connect them to the present.

At the same time, running through the story are also a few side threads that gradually connect Sebastian’s backstory to the larger picture. With his body serving as a vessel for a powerful demon named Sarmodel, he has been wandering the earth for centuries, the arrangement giving him immortality as well as access to certain magical abilities. An additional narrative which unfolds in a series of interludes details the succubus Livia’s exploits as she is tasked with carrying out a mission related to Joan of Arc, then later the relic associated with her remains. All these pieces come together to give the novel a wider scope, revealing the events that helped set the stage for the beast itself and the forces driving the violence in Gévaudan.

Despite the shifting timelines, the story is easy enough to follow, though certain sections are more interesting than others. But even with its complex structure, the mystery is engaging, becoming more solid as each perspective adds more context little by little. Sullivan does a good job of dropping just enough information in each chapter to keep the reader satisfied and feeling like the developments are earned rather than rushed. However, I did occasionally find the interruptions from Livia’s interlude chapters distracting, since more than once they pulled the reader’s attention away just as the main storyline was reaching its most important moments. And speaking of distractions, this might also be a good time to mention the footnotes, which The Red Winter uses quite liberally. The book really leans into this stylistic quirk, so how much you enjoy them will probably depend on what kind of reader you are.

The book also undoubtedly falls into the horror genre and gets pretty gory and intense when it comes to the beast side of things, especially its attacks. That said, the author balances the brutality and carnage with plenty of humor, especially through the narration and those aforementioned footnotes. Sebastian is a fantastic character to spend time with, and as you might expect after centuries of life, he’s amassed a vast amount of knowledge and has at least one cynical observation to offer on just about everything. He and his demon Sarmodel provide lots of lighthearted back-and-forth, adding a much-needed layer of levity to what could otherwise be a very grim and heavy story.

For a debut, The Red Winter is genuinely impressive. Sure, there are a few pacing issues to smooth out, along with some timing hiccups and moments where the character development could have gone a bit deeper. Still, these are relatively minor in the grand scheme of things, and the book remains highly readable. Sullivan clearly knows the kind of story he wants to tell, and his confident storytelling reflects that. The blending of history, occult magic, and a touch of werewolf lore results in a very distinct vibe, and it’s this creativity and overall polish that give it an edge, helping the novel stand out from your typical werewolf tale.

If you enjoy stories that mix real historical events with speculative elements like horror and the supernatural, then The Red Winter will likely be right up your alley. It’s an entertaining read packed with atmosphere, combining bloody horror with a streak of irreverent humor that helps it feel fresh even in a genre that’s already pretty crowded.

Good afterevenmorn, Readers!

I’ve been receiving a great many emails of late, of a kind that I’m sure many authors are getting, and I think I should probably talk about it, because it’s all such a scam. There are several flavours of scam emails that are circulating at present, of which I have personally experienced two, so let’s talk about them.

The first and most frequent email I receive are from supposed authors who enthuse about how wonderful your book is, and how much it moved them and deserves a larger audience. Some of the emails feel like their quite detailed. It’d be easy to believe that the person sending the email had indeed read it, and loved it. Here’s an example I received regarding a book of mine.

My name is [redacting as I believe they used the name of a real author], and I am a fellow author working in emotionally driven, character-centred fiction. I recently came across your Kindle edition of Human, and I felt genuinely compelled to reach out in appreciation of the emotional restraint and moral tension shaping Aleksandar’s story.

What struck me first is how deliberately you frame power as inheritance rather than advantage. Aleksandar arrives in America not as a conquering figure, but as a custodian of collapse tasked with restoring a House already hollowed by violence and history. The political weight of the Shadow Council, and the ruined legacy of House Üstrel, create a quiet but persistent pressure that follows him into every decision. Authority, in your novel, never feels clean.

I was particularly drawn to the way you explore emotional awakening inside a character who has been trained to survive without it. Aleksandar’s connection to Alicia is not written as a sudden redemption arc, but as an intrusion into something disruptive, risky, and profoundly inconvenient to the life he is meant to lead. The feelings he thought long dead do not restore him. They complicate him. That choice gives the romance its credibility and its emotional danger.

The presence of Detective Brody adds an especially compelling moral counterweight. His knowledge of what Aleksandar is and his vow of vengeance creates a rare dynamic in supernatural fiction: one where neither man is positioned as morally comfortable. Their forced proximity under betrayal and crisis becomes less about reluctant partnership and more about confronting the human cost left behind by immortal decisions.

I also admired how you position the true antagonist not as spectacle, but as consequence. The cat-and-mouse pursuit of the kidnapper is emotionally effective because it targets what Aleksandar is only just beginning to care about. The threat is not only physical it is ethical. What happens when someone who has benefited from predatory systems is suddenly required to protect what those systems would normally discard?

As authors, we both know how difficult it is to write a story that balances political hierarchy, emotional vulnerability, and violent momentum without allowing any of them to dominate the others. Human succeed because they treat conscience as seriously as it treats danger. The tension comes not only from who might survive but from who Aleksandar chooses to become while survival is still possible.

The responses from your target audiences reflect something important: readers are responding to the emotional friction at the heart of the story. Many are not simply drawn to the vampiric world or the crime-driven pacing, but to the uneasy humanity you allow to surface inside a character shaped by power, tradition, and moral erosion.

As an author, I deeply respect books that are written not simply to entertain, but to examine responsibility inside violent worlds. Human feels shaped with emotional discipline and a genuine respect for the cost of change.

If you would ever be open to exchanging thoughts on how this novel continues to reach target audiences who value morally complex supernatural fiction and emotionally grounded character transformation, I would be glad to continue the conversation simply as one author recognising another whose work carries real depth and intent.

Sounds great on the surface, right? I mean… Holy shit. It sounds like they got it.

Except, upon further reflection, it’s clear that this is just a strung-out summary of the book, likely written by an LLM. There is nothing in there that couldn’t have been gleaned from the blurb of the book. The novel itself was never read. If a close examination of the email itself doesn’t raise any flags, that last sentence absolutely should.

If you would ever be open to exchanging thoughts on how this novel continues to reach target audiences…

There it is. A hook designed to elicit a response from the receiver that eventually leads to a request for money to “help” the book reach more people. Often times, that price can be in the hundreds, of not thousands of dollars.

Honestly, the above email might have worked on me if I hadn’t received so many like it from other sources. This was the first one that tried to build rapport by posing as a fellow author. Usually they’re “book marketing specialists” or something along those lines. Those emails I can at least respect, because they don’t hide who there are and so the reasons for their emails are obvious. Like this one.

My name is Mary Jesus, and I’m a book marketer. I recently came across your novel, The Lioness of Shara Mountain, and I want to sincerely congratulate you on creating such a gripping and imaginative story.

I was particularly drawn to the dynamic between Prince Lis and the Lioness the way tradition, duty, and rebellion collide to shape their bond, set against the vivid backdrop of Shara City and the Desert Market. Your world-building, combined with the intrigue of ancient vows and shadowed pasts, makes this story both thrilling and emotionally resonant.

I would truly love to understand more about your vision behind this work:

• What inspired you to create the Hnura’i Empire and the story of the Lioness?
• Who do you most hope connects with this novel fantasy readers, adventure enthusiasts, romance fans?
• Do you see this story evolving into a series or expanding further within this world?

As a marketer, I’ve seen that rich fantasy worlds with strong character-driven narratives have incredible potential for global engagement, particularly when positioned to reach readers who love immersive storytelling and epic stakes. I’d love to better understand your long-term vision so that any promotional approach highlights both the adventure and emotional depth of your novel.

I would be thrilled to learn more about your goals for The Lioness of Shara Mountain and explore how it can reach more readers worldwide.

Thank you again for crafting such a compelling and imaginative tale.

Which was much simpler and obvious. But also for a book of mine that is not yet published, so there’s that. I greatly wonder how they would know anything about “the way tradition, duty, and rebellion collide” at all.

The emails coming from supposed authors I find particularly insidious, because it frames the interaction differently, banking on creating a trust bond that will then be exploited. It’s gross, and makes me mad. It’s super underhanded. What really sticks in my throat is the thought that there are authors who were taken in by these kinds of emails. Hell, I nearly was. It’s not right.

For writers who are just now being exposed to this sneaky, underhanded way to extract money, I have but one piece of advice. Before you jump to reply to an email like this, consider if this is something you’d write to a fellow author. Should you message another author to let them know you loved their work? Of course! That would absolutely make their day. But would you do so with the intent to discuss how their novel continues to reach their target audience?

Probably not. I doubt many authors would (unless they were maybe asking for advice, and considering how few books I sell, no one ought to be coming to me for advice on how to get books in front of readers).

Image by Gaertringen from Pixabay

The other kind of email I’ve gotten frequently (though less so), are those coming from supposed book club organisers. They follow the same pattern. They’ll gush about a particular book, and then end with a similar call to action. I had one about Daughters of Britain recently that made me so sad that I deleted it, so I can’t quote it here. But this one had a different tactic. Simply put, they would enthuse about the book, and then talk about how they were an organiser of a book club, and they’d love to use the book for their next read. Of course, through the course of the conversation, you would learn that you would have to pay (something around $560.00 in my case) to have this happen.

Let me be clear — in situations like this, money should always flow towards the author, not the other way. If any book club organisers wants to use your book, and would like to organise a video conference with club members, the writer should be paid for their time. They shouldn’t pay for it. The best way to reply to an email like this is what I wish I had done. I should have replied that I’d be happy to participate, and then offer a tiered list of appearance fees.

I am extremely fortunate that I am a naturally suspicious person, and perhaps even more so that I have no money to spare. Even if I fell for these scams, I could in no way afford any of them. Silver linings, I guess.

It is an absolute minefield out there for writers both new and veteran. Nearly every single one of these predatory schemes are designed to prey specifically on an author’s desire to be successful at their craft. Near as I can tell, not one of them can deliver on the promises they offer. They’re a scam, through and through. Don’t fall for it.

With the exception of book publicists, who are usually more straight forward about their services and why their emailing (and there is considerable debate about whether these publicists actually manage to help books sales in any appreciable way), they are scams. When in doubt, follow this golden rule: money should always flow to the author, not the other way around. This includes publishing, and public appearances (yes, even book clubs).

When S.M. Carrière isn’t brutally killing your favorite characters, she spends her time teaching martial arts, live streaming video games, and sometimes painting. In other words, she spends her time teaching others to kill, streaming her digital kills, and sometimes relaxing. Her most recent titles include Daughters of Britain, Skylark and Human. The Timbercreek Incident is free to read on Wattpad.

Here is LitStack’s review of The Reformatory, by Tananarive Due, daring readers to face chilling…

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I got the most amazing book mail at the end of February!Jeffe sent a package with both presents and books she managed to get hold for me, because I couldn't order them myself.
First the presents!
There was an ARC of Sea of Charms by Sarah Beth Durst.I'm reading it at the moment so check back soon for my thoughts on it.
Signed paperbacks of two of Jeffe's own books.
The UK edition of Never the Roses!(It's bigger than the US hard cover.)
And it's purple!
The Owlcrate edition of Never the Roses!
There's notes and other illustrations on the cover.
And Bad Bunny!
It has pretty painted edges.
Illustrations on the end pages.

Another bunny.And it's signed as well.
The dust cover is reversible and has gorgeous art as well.

Painted edges comparison.
And here are all my Never the Roses copies together!(In June I'll have to make room for the US paperback to join them)
Thank you, Jeffe!

Stay tuned for part 2 of this book haul.

Book links: Amazon, Goodreads

ABOUT THE AUTHORS: Douglas Preston is the author of forty books, both fiction and nonfiction, thirty-two of which have been New York Times bestsellers, with several reaching the number 1 position. He is the recipient of numerous writing awards in the US and Europe, including a shared Edgar Award and an honorary Doctor of Letters degree from Pomona College. From 2019 to 2023 he served as president of the Authors Guild, the nation's oldest and largest association of authors and journalists.

Lincoln Child is the co-author, with Douglas Preston, of such highly-acclaimed thrillers as CROOKED RIVER, OLD BONES, VERSES FOR THE DEAD, CABINET OF CURIOSITIES, and RELIC, the latter two of which were chosen by an NPR poll as among the 100 greatest thrillers ever written. He has also published seven thrillers of his own, most recently the Jeremy Logan books FULL WOLF MOON and THE FORGOTTEN ROOM. 26 of his joint and solo books have become bestsellers, 3 of which debuted at #1 on the New York Times list. He lives in Sarasota, Florida.

Publisher: Grand Central Publishing (January 27, 2026) Length: 384 p Formats: audiobook, ebook, paperback

I’ve been following this series for years, and I’m still eager to check a new Pendergast book out whenever it appears.

Pendergast: The Beginning isn’t a continuation of his latest adventures, but a prequel. Preston & Child go back to 1994 and watch Aloysius Pendergast start his FBI career in his hometown of New Orleans. He’s a rookie agent, and, as expected, already a problem for his superiors.
Pendergast’s new partner and mentor, Dwight Chambers, believes in procedure and paperwork. Pendergast believes in Pendergast. He goes undercover without clearing it and ignores protocol when it suits him. He also solves things no one else even sees.
They take the case of a corpse with its arm surgically removed. Soon there are more bodies and more missing arms. The case covers secret university experiments, psychic research, and a killer whose motives are rather peculiar.
For me, it was extremely fun. Pendergast himself is already fully formed. Pale, impeccably dressed, sharper than others. He’s also already driving his Rolls-Royce making Sherlock Holmes-level deductions while everyone else is still staring at the body. In other words, you won’t be getting a clumsy, uncertain young version of him. He arrives on the page exactly as we know him.
The villains lean toward the theatrical. The plot doesn’t try to be deep. You can often see where it’s heading, and while I guessed most of the turns, I didn’t mind.
If you’re already a fan, you’ll likely enjoy this return to the beginning. If you’re new, it’s an easy entry point since the end of the book leads directly to the events pictured in Relic 30 years ago.

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I’ve read 24 books so far this year, and 17 were audiobooks (we’ve already established I’m not going to say ‘books consumed.’ Listening and physically reading are distinctive, but they’re interchangeable here).

Of the 17 audiobooks, 15 were new. I re-read more than I read new books, but I’ve been using audiobooks to tackle things for the first time. 7 books were Clive Cusslers.

CLIVE CUSSLER

I first talked about Clive Cussler back in 2019. He would die a half-year later, at age 88. He had created an empire, with other authors carrying on his five sometimes-intertwined series’. I revisited his works last Summer. I’ve listened to 7 of his books so far this year, as I am well behind on my Cussler.

Isaac Bell is a turn-of-the 20th Century private eye for the Van Dorn Detective Agency. Justin Scott co-wrote the first 10. Jack Du Brul (who had been co-writing The Oregon Files), took over for the next 5. Though I liked it, for some reason the series hadn’t resonated with me in paperback. They were slow reads through the first 5. But Scott Brick reading them aloud worked for me, and I’ve listened to books 6 through 9: The Striker, The Bootlegger, The Assassin, and The Gangster. I like listening to Bell. So, audiobooks have me invested in a series that I wasn’t into in print. I will continue on. This series has run from 2007 through 2025.

The Oregon Files are the only techno-thrillers I’ve ever gotten into. I’ve not read a single Tom Clancy book. Craig Dirgio ‘co-wrote’ the first 2, succeeded by Jack Du Brul for the next 7. Boyd Morrison took over for 7 books, with Mike Maden having written the last 4 in this 19-book series. I’m still in the Morrison phase, listening to books 12 (Typhoon Fury) and 13 (Shadow Tyrants). These are different from any other series I read, and I like them. I’ll continue on. This series has run from 2003 through 2025.

The Fargo Adventures feature married treasure hunters named Sam and Remi Fargo. These feel a little less intense than the other series’. As with Isaac Bell, listening to the books works better for me than actually reading them. Grant Blackwood wrote the first 4. Thomas Perry took over for the next 2. Russell Blake then wrote 2, and Robin Burcell has written the last 6 in the 13 book series. I listened to book 5 (The Mayan Secrets). This is my fourth-favorite series, just below Isaac Bell. But it’s WELL above Dirk Pitt. I’ll check out Russell Blake here soon. This series has run from 2009 through 2023.

My favorite series of them all feature Kurt Austin and the NUMA Files. There are 21 books, and I’ve read somewhat over half. I haven’t listened to any this year, but I should try to get caught up some on those, as well. I enjoy reading Austin in book form and will likely do that again. This series has run from 1999 through 2024.

As I’ve said before, I don’t read Cussler’s foundational series, featuring Dirk Pitt. There have been two movies from it, with Matthew McConaughey’s Sahara a big screen action flick. There have been 27 novels.

Starting with book 18, his son, Dirk Cussler, began writing them. He’s not as bad as Anne Hillerman (whose last name is the only qualification she has for continuing father Tony’s Navajo Tribal Police series. She is SO bad I quit mid-book and abandoned the series. She’s a disgrace), but I read the first two Dirk Cussler books, and gave up. I might try the next one after I’m 100% caught up on the other series’, but I doubt it. I didn’t enjoy them, and there’s too much good stuff out there to read and re-read. Including the earlier Dirk Pitt books. This series has run from 1973 through 2023.

Scott Brick narrates the books from all four series,’ which is unfortunate. There are multiple characters in each one, including a large team for The Oregon Files. Having the same person reading all the books kind of runs together. Brick is okay in each, but some variety would be nice.

JAMES LEE BURKE

Back in 2022, I talked about my favorite audiobook narrators, and Will Patton was one of them. He was the perfect choice to read James Lee Burke’s Cajun Noir featuring Dave Robicheaux. I am well behind, and I just read 20210’s The Glass Rainbow in hardback. Burke is a superb writer. One of the best of my lifetime. I’ve got 6 to go to get current, with the latest just having come out last month. I wrote about Tommy Lee Jones’ labor of love to bring Robicheaux to the screen.

Unfortunately, most of the Patton audiobooks still available are abridged. I’m not an abridged fan. Most of the books are now read by Mark Hammer. I don’t like his recordings at all. I re-listened to book 1 (The Neon Rain) -which I had by Patton – while I read The Glass Rainbow. Then I tried to listen to Hammer reading book 2 (Heaven’s Prisoners) and I simply quit, moving on to a Firefly audiobook. He just sounds like a boring old man. I won’t be listening to any more Hammer readings. It was disappointing. Wish I still had some of my Will Patton cassettes.

NIKKI HEAT

I talked about Castle, and Nikki Heat, back in January. I listened to books 7 (Driving Heat), 8 (High Heat), 9 (Heat Storm), and 10 (Crashing Heat). 8 and 9 were definitely the low points of the entire series, but it recovered in book 10 to close things out well enough. Overall, worth reading. As I said in the prior post, a female narrator would have made a lot more sense.

CASTLE PERILOUS

And back in February, I talked about revisiting this whimsical eighties fantasy series by John DeChancie. I listened to books 4 (Castle War!) and 5 (Castle Murder), then dove into Clive Cussler. I’ve got the rest of the series, from the 2025 Audible Big Sale, so I’ll listen to more.

MISC

I listened to some Douglas Adams (Life, the Universe, and Everything), and the two ‘radio play readings’ of Red Dwarf, by Chris Barrie. He does a really good job, and they’re as good as the audiobooks of the novel. Sadly, co-creator Rob Grant died on February 25.

I listened to the ten Firefly audiobooks a few years ago. They’re a mixed bag: some are good, some not-so-much. One of my favorites is book two, The Magnificent Nine, which is a Jayne story. And essentially a Firefly version of The Magnificent Seven. This was written by Sherlock Holmes – and Conan – author, James Lovegrove. James Anderson Foster sounds kinda like Nathan Fillion, and I think he was a good choice. I’d start your Firefly listen with this one. Lovegrove had to use a ‘story concept’ by someone else for book one, and it’s a weaker entry. Four of the first five are among the best in the series. I’m not as keen on the succeeding authors.

Prior Audio Posts:
What I’ve Been Listening To: November (II) 2025 (Dictator, Don’t Panic, Mistletoe Murders, Sword of Shannara)
What I’ve Been Listening To: November, 2025 (Conspirata, Stacy Keach, Gideon Lowry)
What I’ve Been Listening To: August, 2025 (Middlebridge Mysteries, Unlicensed, The Big Lie, 64th Man)
What I’ve Been Listening To: June, 2025 (Eve Ronin, Thieves World, SPQR, Egil & Nix, the annual sale)
What I’ve Been Listening To: February, 2025 (Isaac Steele, Sharpe & Walker, SPQR, Steven Saylor, The Trojan War)
What I’ve Been Listening To: November, 2024 (Mistletoe Murders, The Caine Mutiny, Mr. Rickey Calls a Meeting)
What I’ve Been Listening To: September, 2025 Desert of Souls)
What I’ve Been Listening To: August, 2024 (Part II) (Leaphorn and Chee, Tony Hillerman, Eve Ronin)
What I’ve Been Listening To: August, 2024 (Egil & Nix, Caleb York Westerns, Malazan)
What I’ve Been Listening To: July, 2024 (The Black Company, SPQR, Charles Willeford, Thieves World)
What I’ve Been Listening To: September 2022 (Robert R. McCammon, Ian C. Esslemont, Dirk Gently)
May I Read You This Book? – (My favorite audiobook narrators)

Bob Byrne’s ‘A (Black) Gat in the Hand’ made its Black Gate debut in 2018 and has returned every summer since.

His ‘The Public Life of Sherlock Holmes’ column ran every Monday morning at Black Gate from March, 2014 through March, 2017. And he irregularly posts on Rex Stout’s gargantuan detective in ‘Nero Wolfe’s Brownstone.’ He is a member of the Praed Street Irregulars, and founded www.SolarPons.com (the only website dedicated to the ‘Sherlock Holmes of Praed Street’).

He organized Black Gate’s award-nominated ‘Discovering Robert E. Howard’ series, as well as the award-winning ‘Hither Came Conan’ series. Which is now part of THE Definitive guide to Conan. He also organized 2023’s ‘Talking Tolkien.’

He has contributed stories to The MX Book of New Sherlock Holmes Stories — Parts III, IV, V, VI, XXI, and XXXIII.

He has written introductions for Steeger Books, and appeared in several magazines, including Black Mask, Sherlock Holmes Mystery Magazine, The Strand Magazine, and Sherlock Magazine.

You can definitely ‘experience the Bobness’ at Jason Waltz’s ’24? in 42′ podcast.

 

FORMAT/INFO: The Book of Fallen Leaves was published by Orbit Books on March 17th, 2026. It is available in paperback, ebook, and audiobook formats.

OVERVIEW/ANALYSIS: Nearly two decades ago, the Gensei clan was nearly wiped out after their failed attempt at rebellion. Prince Sen, one of the only survivors, managed to barely escape due to the help of Rui and her peasant family. Now new tensions are stirring in the imperial court as two factions try to usurp power from the weak hold of the current emperor. Sen is soon forced to choose between remaining neutral with his adopted clan or joining an army intent on war and avenging the Gensei household. But the most pivotal person in the coming conflict may be the peasant Rui, who is slowly realizing that the gods are using her to enact schemes of their own.

The Book of Fallen Leaves makes a valiant attempt to be the next great dark political fantasy, but is just too slow and muddled to succeed. I usually avoid comparisons to Game of Thrones at all costs, as it is a highly overused comp, but you can definitely see the touchstones here. There's a huge cast of characters, multiple clans and vassal clans forming alliances and plotting betrayals, and a splash of mystical elements in the background. And when the story finally gets going in the back half of the book, a lot of those elements really clicked and came together.

Unfortunately, it takes a very long time to get there. The first half of the story spends a significant amount of time with Sen and Rui, two characters who I ultimately did not really care about. We spend a lot of time getting to know them as they go through a year of events, watching lots of angst as they grapple with their futures. We don't spend nearly enough time in the first half of the book with characters who are actually influencing the diplomacy and politics of the empire.

The writing style itself was very flowery. On the one hand, there were definitely some beautifully written sequences that painted the scene of the dawn on the day of a big battle or as a character is making a pivotal choice. On the other hand the prose tended to refer to characters indirectly, using titles or descriptions, or by having a character obliquely talk about them in reference to some past event. This all made it hard initially to understand the faction alliances, even with a hand character list at the front of the book.

I'm all for authors making me piece together a fantasy world through context, but understanding alliances and factions in a political fantasy is key to enjoying the story. If I can't track who is working with who (or supposed to be working with who) then the impact of the political maneuvering fails to land. Once I had untangled those threads, the story worked a lot better for me, but it took far too long to get there.

Lastly, the magical fantasy elements of the story were a bit haphazardly used. No one uses magic in this world; instead, there are gods and supernatural creatures that roam and have their own agendas. But after an initial intriguing opening chapter with such a creature, the supernatural elements vanish from most of the story. When they finally re-enter the scene, they talk in riddles and never give a direct answer, to the point that for some of these beings, I never figured out what their agenda was. At least one god had a use for Rui, but I honestly can't tell you if Rui fulfilled her destiny in this book, or if it's a reveal in the sequel.

At the end of the day, The Book of Fallen Leaves had a lot of potential, but just couldn't suck me in. I will say that the back half of the book was significantly more engaging than the beginning. By that point, however, my overall frustration couldn't be surmounted. I wish this was a story I wanted to recommend to people, but ultimately I can not.

Reading Level: Adult
Genre: Urban Fantasy
Length: 393 pages
Publisher: Tor Books
Release Date: September 30, 2025
ASIN: B0DQJ76DMG
Stand Alone or Series: 19th book in the October Daye series
Source: eGalley from NetGalley
Rating: 3.5/5 stars

“Something is rotten in Faerie. In the aftermath of Titania’s reality-warping enchantment, things are returning to what passes for normal in the Kingdom in the Mists—until it’s discovered that the royal vaults have been looted, and several powerful magical artifacts are missing. None are things that can be safely left unsecured, and some have the potential to do almost as much damage as Titania did, and having them in the wrong hands could prove just as disastrous.

At least the theft means that Sir October “Toby” Daye, Knight errant and Hero of the Realm, finally has an excuse to get out of the house. Sure, she’s eight and a half months pregnant, but that doesn’t mean she can’t take care of herself. But with the sea witch offering to stand godmother to Toby’s child, maybe there are greater dangers ahead for Toby and her family than it appears….

Old enemies will resurface, new enemies will disguise themselves as friends, and Queen Windermere must try to keep her Hero on the case without getting herself gutted by the increasingly irritated local King of Cats. Sometimes, what’s been lost can be the most dangerous threat of all.”

Series Info/Source: This is the 19th book in the October Daye series. I got this on ebook through NetGalley for review.

Thoughts: I liked this book better than the last couple books in the series, which isn’t saying much. The previous couple of books have felt like filler. While it still feels like McGuire isn’t quite sure where this series is going, this book does progress the story some. I ended up finishing it even though I skimmed some of the exposition.

Toby is back at home and much more pregnant than she expected to be because of everything that happened in the previous book. Tybalt is driving her a bit crazy with his protectiveness, especially since she still has a couple weeks before her due date. Tybalt and Toby are called to court to testify against Titania. While there, Arden pulls Toby aside to ask for her help; some very dangerous items from the royal vaults are missing…including a Hope Chest. Arden would like Toby to investigate.

I continue to love the world and the characters here. I enjoyed watching our characters find happiness and family amidst all the craziness going on.

However, there was a lot I struggled with here as well. Over half this book is exposition; McGuire spends way too much time recapping and too much time rehashing thoughts in the characters’ heads. While reading this, there were huge sections that I noticed myself skimming through so I could get back to dialogue and characters actually doing things. I felt like this book needed some serious editing; it would have been a better story at half the length.

I also struggled with both everyone’s over-protectiveness of pregnant Toby and with Toby’s irrational decisions. The characters seemed to be making decisions that were very…well…out of character. Even Arden asking Toby to do this investigation this late in Toby’s pregnancy felt weird to me; it was explained away as Toby being the only knight in the realm who could do it. However, given the size of the realm, that makes no sense. It didn’t feel like something Arden would normally do as a character either.

For many, many years, McGuire was a go-to author for me. The last five or so years that has tapered off. I am not sure what changed, me or her as a writer. I feel like no one edits these books and makes sure they are tight and well paced. McGuire’s writing has gotten slower, the pacing more drawn out, and she spends way too much page space on both exposition and re-running thoughts through her characters’ head. Readers are smart; they don’t need this much over-explaining.

There is a nice novella at the end that dives into Simon’s return to the Undersea. It was nice to get some insight into Simon’s thoughts and feelings and get a look at how his new home is treating him.

My Summary (3.5/5): Overall I was happy that this was a bit faster in pace than the last few previous books but still frustrated by how wordy and over-explained things were. For the last four of five books, I have felt like this series is getting tired and needs to be wrapped up. I hope this book is on the way to doing that. I almost didn’t picked this up to read at all, but I have been reading this series forever so decided to give it a chance. I am even more on the fence now about whether I will pick up future books in this series.

From beside the queen Gawain
to the king did then incline:
‘I implore with prayer plain
that this match should now be mine.’

Somehow, I’ve never read Prof. Tolkien’s, let alone anyone’s, translation of Sir Gawain and the Green Knight (late 14th cent.), an English poem written by an unknown poet. Thinking on it, I  know there’s a cheesy looking movie, Sword of the Valiant, from the eighties starring Miles O’Keeffe and Sean Connery, but it was only David Lowery’s 2021 The Green Knight and its critical acclaim that made me think it was maybe time to read the poem. Now I have. Additionally, and most valuable to me wrestling with my understanding of the poem, I’ve also read the professor’s 1953 WP Ker lecture on work.

The poem recounts the temptations of Sir Gawain, youngest member of King Arthur’s Round Table, as he attempts to meet the suicidal obligation he accepted when he entered a contest with a mysterious green knight. More precisely, as told, it’s about the conflict between chivalrous virtues  of honor and courtesy and, specifically religious, morality.

Gawain was written in Middle English, the evolution of the language used between the Conquest in 1066 and the late 15th century. Gawain, son of Morgause, one of King Arthur’s half-sisters, is a major figure in many of the assorted Arthur tales. His roots descend back into older Welsh tales, where he was known as Gwalchmei. Pre-Christian elements, including the Beheading Game and the Wild Hunt, are integral parts of the story, despite the tale’s overt Christianity. The Beheading Game is a recurrent motif that tracks back to at least the Irish tale Fled Bricrenn featuring the hero Cú Chulainn and the Wild Hunt occurs across various Northern European myth cycles.

The poem begins with a recounting of Britain’s founding by Brutus of Troy. Noble as he was, young King Arthur of Camelot was nobler still. One Christmas season, as Arthur’s knights were celebrating with a games and contests, a strange figure entered the hall.

For hardly had the music but a moment ended,
and the first course in the court as was custom been served,
when there passed through the portals a perilous horseman,
the mightiest on middle-earth in measure of height,
from his gorge to his girdle so great and so square,
and his loins and his limbs so long and so huge,
that half a troll upon earth I trow that he was,
but the largest man alive at least I declare him;
and yet the seemliest for his size that could sit on a horse,
for though in back and in breast his body was grim,
both his paunch and his waist were properly slight,
and all his features followed his fashion so gay
in mode;
for at the hue men gaped aghast
in his face and form that showed;
as a fay-man fell he passed,
and green all over glowed.

Even his stallion is green. He has arrived at Camelot, he declares, to see how brave the knights of the Round Table really are. Not in combat, though, as they are “but beard less children.” No, what the Green Knight wants is to strike blow for blow with his great axe anyone brave enough to accept his challenge.  For playing along, he will let that person keep the axe.

When no one steps forward, King Arthur, himself, raises his voice to take on the Green Knight, himself. At once, Gawain steps in to put himself between the king and any harm that might befall him. In a sharp bit of commentary, Gawain calls out his own weaknesses even while upbraiding his fellow knights for their apparent cowardice.

For I find it unfitting, as in fact it is held,
when a challenge in your chamber makes choices so exalted,
though you yourself be desirous to accept it in person,
while many bold men about you on bench are seated:
on earth there are, I hold, none more honest of purpose,
no figures fairer on field where fighting is waged.
I am the weakest, I am aware, and in wit feeblest,
and the least loss, if I live not, if one would learn the truth.

If his the knight’s green cast hadn’t hinted that strange things were at hand, it’s made abundantly clear once Gawain delivers his blow and lops the challenger’s head from his shoulders. Just because he’s headless, it doesn’t mean Arthur’s champion is off the hook. Never faltering, the Green Knight reaches for his head and holds it aloft to the king and his household.

For the head in his hand he held it up straight,
towards the fairest at the table he twisted his face,
and it lifted its eyelids and looked at them broadly,
and made such words with its mouth as may be recounted.
‘See thou get ready, Gawain, to go as thou vowedst,
and as faithfully seek till thou find me, good sir
as thou hast promised in this place in the presence of
these knights.
To the Green Chapel go thou, and get thee, I charge thee,
such a dint as thou has dealt — indeed thou has earned
a nimble knock in return on New Year’s morning!

One might think Gawain would set forth as soon as able, but he doesn’t, instead remaining with Arthur until All Hallows. As he prepares to leave, the poet provides a detailed description of the young knight’s livery. On both his baldric and his shield is a pentangle, a five pointed star.

First faultless was he found in his five sense,
and next in his five fingers he failed at no time,
and firmly on the Five Wounds all his faith was set
that Christ received on the cross, as the Creed tells us,
and wherever the brave man into battle come,
on this beyond all things was his earnest thought:
that ever from the Five Joys all his valour he gained
that to Heaven’s courteous Queen once came from her
Child.

Tolkien describes this as instrumental to understanding the poem’s Christian context, as it represents the highest Christian ideals, the things Gawain aspires to embody and uphold:

For the significance that the pentangle is to bear in this poem is made plain — plain enough , that is, in general purport: it is to betoken ‘perfection’ indeed, but perfection in religion (the Christian faith), in piety and morality, and the ‘courtesy’ that flows therefrom into human relations; perfection in details of each, and a perfect and unbroken bond between the higher and lower planes.

For nearly two months, Gawain roams the land in search of the Green Chapel and its lord. Traveling across the wild countryside in search of the Green Chapel, his adventures, while extensive by any hero’s standard, are described in only a few sentences. They are merely something Gawain endures prior to the real struggle he must face in fulfilling his obligation to the Green Knight.

At every wading or water on the way that he passed
he found a foe before him, save at few for a wonder;
and so foul were they and fell that fight he must needs.
So many a marvel in the mountains he met in those lands
that ‘twould be tedious the tenth part to tell you thereof.
At whiles with worms he wars, and with wolves also,
at whiles with wood-trolls that wandered in the crags,
and with bulls and with bears and boars, too, at times;
and with ogres that hounded him from the heights of the fells.

Only a few days before New Year’s Day, Gawain comes across a castle, “the castle most comely that ever a king possessed,” deep in the wild forest. He is welcomed there by the lord and his wife. Aside from the lord and lady and their servants, there is a mysterious ugly old woman in the castle, whom everyone treats with great respect.  They are honored and pleased to welcome such a notable as Arthur’s knight. On hearing of his quest, the lord tells him nearby is a path that lead to the chapel which is only two miles away. He also suggests that Gawain rest and recover until New Year’s Day, an offer the knight readily accepts. The lord also proposes a bargain; he will go hunting while the knight rests. At day’s end, the lord will give him whatever he catches in return for whatever gift the knight might receive during the day. Again, Gawain accepts the offer.

The poem continues the next morning with a detailed accounting of the lord’s hunt for deer in the forest. Tolkien points out that this is a realistic portrayal of a lord’s necessary activity during the winter as well as a providing a realistic reason for him to be away from the castle. That is important for the next part of the Gawain’s story.

It is on the very next morning that the real nature of Gawain’s struggle is revealed. What follows are three days of escalating temptation for Gawain. He is awoken by the castle’s lady with clearly lascivious intent. Her servants and maids are still asleep, and she’s “the door closed and caught with a clasp that is strong.”

To my body will you welcome be
of delight to take your fill;
for need constraineth me
to serve you, and I will.’

He is able to hold her off, though he finds doing so without being discourteous difficult. Nonetheless, he resists her persistent ardor and she retreats after giving him a single kiss. He dresses at once and proceeds to Mass.

She was an urgent wooer,
that lady fair of face;
the knight with speeches pure
replied in every case.

‘Madam,’ said he merrily, ‘Mary reward you
For I have enjoyed, i n good faith, your generous favour,
and much honour have had else from others’ kind deeds ;
but as for the courtesy they accord me, since my claim is not  equal,
the honour is your own, who are ever well-meaning.’

The lord returns from his hunt with supply of venison which he gives to Gawain. When the knight gives him a kiss in return, he asks him “where you won this same wealth by the wits you posses.” Gawain responds ‘That was not the covenant,’ quoth he. ‘Do not question me more.”

This is the template for the remaining two days, but in each, the risk for Gawain increases. The lady becomes more forward and direct with each new morning. The young knight finds it increasingly difficult to hold off her advances, again, remaining courteous, faithful to the lord’s hospitality, and true to Christian values.

This, Tolkien explains, is the real heart of the poem and Gawain’s challenge: “The author is chiefly interested in the competition between ‘courtesy’ and virtue (purity and loyalty); he shows us their increasing divergence, and shows us Gawain at crisis of the temptation recognizing this and choosing virtue rather than courtesy, yet preserving a graciousness of manner and a gentleness of speech belonging to the true spirit of courtesy.” He fins this made clear in the following lines.

for she, queenly and peerless, pressed him so closely,
led him so near the line, that at last he must needs
either refuse her with offence or her favours there take.
He cared for his courtesy, lest a caitiff he proved,
yet more for his sad case, if he should sin commit
and to the owner of the house, to his host, be a traitor.
‘God help me l ‘ said he. ‘Happen that shall not !’

On the second day she is more forceful and he ends up receiving two kisses. On the third, it’s three kisses, but he doesn’t escape with quite intact. The lady presses on Gawain a green girdle she wove that will prevent any who wear it to be killed “by any cunning of hand.” Prompted as much by courtesy as fear, he accepts it. More important, he does not present it to the lord as one of the gifts he received that day, instead only giving him three kisses.

As I reach the poem’s climax, I’ve realized I haven’t said anything about my own reactions to it. I guess I’d have to say I’m swayed by Prof. Tolkien’s interpretation. In the poem’s final stanzas, it’s made clear that not only was the Green Knight’s challenge a game, but everything in the tale is a game. That is, the lady’s attempted seduction of Gawain is never real, only an effort to force him to fail to uphold his professes virtues, broken on the contradictions between his obligations to the lord, the lady, and Christian morality. It was all planned as an attack on Arthur, Guinevere, and the Round Tables and its knights. I didn’t have to be swayed very much, as the poet’s intent seems fairly clear, nonetheless, I appreciate his explication.

There’s real power in the poem, as I think is clear from lines I’ve included. The moments of weirdness serve as a connection to the deeper stories that run back to very roots of myths and legends. But there’s also a real, psychological depth to Gawain that’s often lacking in characters from fairytales and the like. There’s real anguish in his struggle to simultaneously maintain his honor and his virtue. It isn’t a simple morality play, but possessed of real human complexity. It’s not without value studying Gawain’s efforts in this parlous age.

Confessing his sins the night before, on New Year’s Day, Gawain sets out. Instead of the expected chapel, the Green Knight’s abode is a cave set in an earthen mound, with more hint of Devil than Christ to it. What follows is the direst test of the young knight as he braves the “Danish axe newly dressed the dint to return, with cruel cutting-edge curved along the handlefiled on a whetstone, and four feet in width” of his challenger.

When the Green Knight swings his axe, Gawain flinches. Reproached for cowardice, a second strike is delivered, though this stops short of touching Gawain’s neck. When Gawain demands a third, true blow, he is rewarded with a slight wound to his neck. At this point, all is revealed.

The Green Knight is none other than the lord of the castle and the whole thing was planned by the old woman at the castle. She is, in fact, Morgan le Fay, Arthur’s half-sister and Gawain’s aunt. She hoped the sight of the Green Knight’s talking severed head would scare Guinevere to death and that one of Arthur’s knights would fail to maintain his virtue. He only wounded Gawain at all because he hid his receipt of the girdle.

This last breaks Gawain. He believes he has failed, giving into cowardice and not remaining true to his promise to the lord, condemning himself: ‘Cursed be ye, Coveting, and Cowardice also I In you is vileness, and vice that virtue destroyeth.’ No one else, though, agrees. The lord laughs and rejects this as Gawain, save for valuing his life a little too much, has met the other challenges perfectly and extends an invitation to his New Year’s celebrations. On returning to Arthur, the king and his knights also reject Gawain’s self-denouncement, instead, choosing the green girdle as a reminder of Gawain’s adventure and virtue.

I need to think about Sir Gawain and the Green Knight some more and reread it a few more times before I come to anymore conclusions on in it. As with Tolkien’s translation of Beowulf, I enjoyed reading this and found it flowed and moves with a nice rhythm. There are two other poems in the collection I have, Pearl and Sir Orfeo, which I haven’t read yet, but will the next time around.

Half a Century of Reading Tolkien: Part One

Half a Century of Reading Tolkien: Part Two – The Fellowship of the Ring by JRR Tolkien

Half a Century of Reading Tolkien: Part Three — The Two Towers by JRR Tolkien

Half a Century of Reading Tolkien: Part Four — The Return of the King by JRR Tolkien

Half a Century of Reading Tolkien: Part Five — From the Beginning: The Hobbit by JRR Tolkien

Half a Century of Reading Tolkien: Part Six — Bored of the Rings by Henry N. Beard & Douglas C. Kenney

Half a Century of Reading Tolkien: Part Seven — The Sword of Shannara by Terry Brooks

Half a Century of Reading Tolkien: Part Eight — The Silmarillion by JRR Tolkien

Grimmer Than Grim: The Children of Húrin by J.R.R. Tolkien

Talking Tolkien: Of Such a Sort Should a Man Be – Beowulf: A Translation and Commentary by J.R.R. Tolkien

Fletcher Vredenburgh writes a column each first Sunday of the month at Black Gate, mostly about older books he hasn’t read before. He also posts at his own site, Stuff I Like when his muse hits him

Remains, issues 4 and 4. Cover art by Richard Wagner

There are readers who, like me, prefer dark fiction in short form, because their suspension of disbelief is too brief to sustain — with a few exceptions — a full novel.

For people like us here’s a real treat: the new magazine/anthology Remains, edited by Andy Cox and illustrated by Richard Wagner, both well known for their previous work with the mythical Black Static magazine.

The first two issues are already sold out, but volume 3 ( published in late 2025) and the brand new volume 4 are available to entertain and disquiet.

Art for “Hiroshima Was Another Word For Love Then” by Andrew Hoo, from Issue 3, by Richard Wagner

My favorite stories from vol 3 are the following:

“Atrophy Wife” by Gary McMahon, a superb, deeply unsettling tale where two boys discover the headless body of a murdered girl

“Hiroshima Was Another Word for Love Then” by Andrew Hook, an insightful, slightly sad piece depicting the fleeting encounter between a man and a woman whose lives will be separated forever

“Gehenna” by Steve Rasnic Tem, an engrossing, moving story featuring a cancer patient riding the bus to his chemo infusions

The list of contributors includes Allison Littlewood, Danny Rhodes, James Sallis and Stephen Hargadon.

Art for “Loon” by Danny Rhodes, from Issue 3, by Robert Wagner

From volume 4 my personal choices are

“Station to Station” by Stephen Bacon, a fascinating, life-long trip in the network of London Underground in search of a friend lost forever

“Development Conversation” by Stephen Hargadon, a very unusual, fascinating piece of weird fiction set in an office where unexpected changes are going to take place

Other contributors are: Sean Padraic Byrne, Kay Vandail, James Sallis, Annie Neugebauer, Craig Bernardini, Steve Toase and John Possidente.

Copies are $10 each in the US, and a 4-issue subscription is $33. Order directly from the Remains website.

Mario Guslandi was born in Milan, Italy, where he currently lives. He became addicted to horror and supernatural fiction (too) many years ago, after accidentally reading a reprint anthology of stories by MR James, JS Le Fanu, Arthur Machen etc. Most likely the only Italian who regularly reads (and reviews) dark fiction in English, he has contributed over the years to various genre websites such as Horrorworld, Hellnotes, The British Fantasy Society, The Agony Column and many more. See all his recent reviews for us here.

The post “Little Failure ~ A Memoir” & “The Company” appeared first on LitStack.

“On Earth, they depicted justice as blindfolded and impartial, but out here on the frontier, she was red in tooth and claw.” It’s not every book that begins with the unanticipated dismantling of a planet. But that is what happens here, when people in South London watch through a telescope the disassembling of the planet…

 

Read FBC's SPFBO11 First Update (Lukasz's batch)
Read FBC's SPFBO11 Second Update (Jack's batch)

Aah SPFBO, we are back in a new time period for the start. I got my batch of six titles and I was off. With all six books, I read 20% of them before deciding whether to read each title in its entirety. For me, this time all six titles were very cool looking. Mine is the third batch to be read and you can read what Lukasz and Jack thought of their batches in the links above.

My thanks to all six authors for their submission and being brave to submit their babies for being reviewed by unknown people. It takes a special kind of mental fortitude to toil away in creating these stories and then setting them free into the world for being read and judged. I applaud you all.

So here are my thoughts on all of them:

Chalmach Chronicles by Torbjørn Øverland Amundsen – I started my SPFBO read with this book because I found the blurb to be very intriguing. In my previous years in SPFBO, I read a book like this, and I had enjoyed it immensely. The Chalmach Chronicles follows on in this manner, and I very much enjoyed it. Each story was a different one and highlighted the magic present within the world as well as the different aspects of the city. I really enjoyed how the author showcased the city’s geographical aspects within each story as it added to the story’s depth. The stories also reference characters from the other stories, and this adds to the plot depth.

Overall I would really recommend this book as I very much enjoyed it for its ingenuity, and I will be buying the sequel as well.

 

Night of The Illumination by Jacob Montanez – Night Of The Illumination is an epic fantasy that has dark edges and great prose. I enjoyed reading this book but had to DNF it around the 50% mark as the book’s pace had slowed down significantly. This book had a lot of epic feel to the main plot, it was also very dark. The world settings are constantly hinted at but never properly revealed

I think I wasn’t the right reader for this story. The writing style is very in-depth and while it isn’t the purple kind, it has beauty to it. Overall, this would be great for those who are looking for something different. Think along the lines of Mark Lawrence, Michael R. Fletcher and Brian Staveley, Jacob Montanez is a writer with a unique voice and style.

 

The Golden Scarab of Balihar by Michael Grayford – The Golden Scarab was a fun and fast read set in a world that’s reminiscent of South-West Asia. The writing was very succinct, and the pace of the story was smooth. Overall I enjoyed this story wherein the female MC uses her wits  and the world has a very Arabian nights feel. This story flowed quickly and was a bit predictable but that’s not a knock on the book or the author. The humour quotient especially with the Jinn is a solid factor for the enjoyment of the story and alongside the brilliant and plucky protagonist is a plus for the story. 

This is a good effort, and it's a fun twist on the Aladdin fable but it’s also geared for newer fantasy readers and older/experienced fantasy readers might not find anything new within bar the settings. I would easily see this story be in much demand for younger (tween and teenage) readers and would make a great animated show or movie. This 

 

The Dragon of the Dread Deep by C.D. McKenna – This was a book which I was most excited for as it featured nautical fantasy and pirates. I finished this book as quickly as I could as it featured dragon riders, action and magic. For me however, this book had a very slow start but the characters, especially the main protagonist Cassian was enticing enough for me to continue. As I read on, I realized this book while a standalone is set in the world of the Vorelian Saga books. There might have been nods to the main events but because I haven’t read those works, I couldn’t tell.

The story kicks into proper gear by the middle and from there it’s all about battles, treachery, dragon magic and being decent in a cutthroat world. I wouldn’t call this world grimdark but it occupies the space nicely between dark and grimdark fantasy. There’s not a lot of good people, just folks with various plans and agendas and some who are trying to do the decent thing. The world introduced within is a complicated one and for fans of high fantasy, will be very pleased.

The Dragon of the Dread Deep is a dark fantasy that explores how doing the right thing can lead to more problems. Full of magic, action, betrayals, TDOTDD is a book for those looking to get lost in a complex world.

 

The Sins of Steel and Shadow by Steve Pannett – The Sins of Steel & Shadow was another title which beguiled me with its blurb. This is a world wherein humans and vampires co-exist with simmering tensions and navigating these landmines is out protagonist Bail Neren. He is deemed a Turned, not entirely Vampyr but far away from a human. Hated by one and deemed lowly by other, Bail often stays in the shadows for his safety.

TSOSAS is a dark, gritty story with strong focus on characters.  For me, I enjoyed the slow reveal of the world, Bail’s cautious wanderings in the world and his alliances within the city. There’s a proper mystery afoot within the main plot and this book is very much for fans of Daniel Polansky and RJ Barker.

I had read the previous book by this author and while that was a western fantasy, this book was another different one. The mystery plot was nicely unveiled and the ending was a complete shocker for me. For readers who enjoy  character-driven stories, mixed in moral ambiguity, socio-political intrigue, and low fantasy settings, this book will be for you.

 

Throne of Darkness by Spencer Russell Smith – I’m going to say this right upfront this is one of the wildest fantasy books I’ve read since I started reading fantasy in 1999-2000. The prologue is like Wheel Of Time epic but juiced up with BSG SF richness.

There’s no way for me to describe it but to implore readers to just read and decide for themselves. This book is for lovers of Tolkien, Sanderson and Christopher Ruocchio, those worldbuilding gods whose skills leave us readers wowed. Spencer Russell Smith can easily labelled in their level as one can easily see in this book. Besides the worldbuilding, this book has a lot of characters and it is action-packed to its gills. The story while straightforward, does require a lot of attention as the author drops us into the world of Efruumani and handholds us while giving us all the details and intricacies of the system within (I very much was reminded of my first read of R. Scott Bakker’s The Darkness That Came Before)

For me, this was such a wild read, that I had no comparison for it. The writing does take a while to adjust to and the prose is kept steady because of the way the main story unfolds. I had to go with the flow a lot as I was trying to take in all the world info and story details. This wasn’t the most enjoyable way, but this story demanded as the main story occurs over the space of 4 days and some hours and it ends with an explosive resolution that’s buttressed with two epilogues. 

All I will say about Throne Of Darkness is that this book is unlike any that you have read before, and while it does have its shortcomings (prose, information overload), the story pace, worldbuilding and magic system (gem, metal based, and light enhanced) simply overpowers those flaws. This is one of those titles which will have its fans and detractors in equal order but it is a hidden gem and Spencer Russell Smith can be proud of what a unique story he has envisioned. Throne Of Darkness is a unique science-apocalpytic epic fantasy in a league of its own. Read it and find out where you stand in its wake.

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So after finishing my lot, I had a very heavy choice to make. There were four obvious titles which I read and while they challenged me, each of them was enjoyable in their own special way. So I would like to highlight these four titles and implore SPFBO readers to check them out as it’s only due to the nature of the competition that I must select one among these four:

1) Chalmach Chronicles

2) Throne of Darkness

3) The Dragon of the Dread Deep

4) The Sins of Steel and Shadow

 

For choosing my SPFBO semifinalist, it came down to my personal enjoyment as to which book provided a full story and had the least flaws. I must apologize to all the authors as I don’t mean to imply that there was anything wrong with their stories. In choosing one among these four, the remaining three aren’t unworthy. They would have been my top choice in any previous edition, and I hope readers do check them out irrespective of my choice below….

So, without any further waiting, my SPFBO semifinalist is

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The Sins of Steel and Shadow by Steve Pannett was the one book which I enjoyed the most and will be putting forward for my FBC co-judges to read in our quest to select a finalist. Many congratulations to Steve Pannett and my commiserations to all the authors in my lot of six. I want to thank you for allowing me to read your books and giving me an opportunity to provide my thoughts on them. 

Theodora Du Bois

Theodora McCormick was born on September 14, 1890 in Brooklyn, New York. Her father died when she was a year old and she was raised by her mother and stepfather. She attended the Barnard School for Girls in Manhattan and the Halsted School in Yonkers. Although she wanted to attend Vassar College and was accepted in 1909, her parents did not support her attending the school. Her plans to go anyway were dashed when she was diagnosed with tuberculosis and she found herself in a TB sanitarium instead. Eventually, in 1916, she enrolled in the Dartmouth Summer School for Drama.

While in the sanitarium, McCormick began writing poetry, although most of her poetry was written during this time and after she was healthy she focused on various forms of prose writing. In 1918, she married Delafield Du Bois and took the name Theodora Du Bois. Theodora gave birth to a daughter, also named Theodora, in 1919 and in 1922 had a son, Eliot.

The Devil’s Spoon

Perhaps best known as a playwright and mystery author, she wrote historical romances using the name Theodora McCormick, and other works of fiction and plays as by Theodora Du Bois. Her first published play, The Sleeping Beauty: A Play With or Without Pageantry, was first published in 1919 and, as the name implies, is a fantasy. Her first book, Amateur and Educational Dramatics was written with coauthors Evelyne Hilliard and Kate Oglebay and was published in 1917.

She began publishing fiction in 1920 with the short story “Thursday and the King and Queen,” which appeared in Woman’s Home Companion. She branched out to novels in 1930 with The Devil’s Spoon about a devil who possesses a human in order to fight against Satan’s plans to dominate the world (originally published as a novel, it would be reprinted in the June 1948 issue of Famous Fantastic Mysteries). Du Bois would return to the theme of possession in 1948 with The Devil and Destiny.

Later works, such as Murder Strikes and Atomic Unit and High Tension fell into the science fiction/thriller genre and other works during the 1940s and 50s also tackled the cold war, with Du Bois being dropped by her publisher in 1954 after her novel Seeing Red took on the issue of McCarthyism.

In addition to her dramas, mystery novels, historical romances, and science fiction works, Du Bois also wrote numerous juvenile works, beginning with Rocks and Rills: A Cartoon in Three Dimensions in 1932 through The High King’s Daughter in 1966.

When Delafield Du Bois worked on the Manhattan Project during World War II, the couple formed a committee at Yale University to help academics from Oxford and Cambridge who found themselves in the United States  during the war. Delafield died in 1965.

Titles published using the McCormick name included the medieval novel The Emerald Crown, the American Revolution novel Freedom’s Way, and the Irish novel The Love of Fingin O’Lea.

Du Bois died on February 1, 1986 in New York. She is buried in Moravian Cemetery in New Dorp, New York.

Steven H Silver is a twenty-one-time Hugo Award nominee and was the publisher of the Hugo-nominated fanzine Argentus as well as the editor and publisher of ISFiC Press for eight years. He has also edited books for DAW, NESFA Press, and ZNB. His most recent anthology is Alternate Peace and his novel After Hastings was published in 2020. Steven has chaired the first Midwest Construction, Windycon three times, and the SFWA Nebula Conference numerous times. He was programming chair for Chicon 2000 and Vice Chair of Chicon 7.

I received a review copy from the publisher. This does not affect the contents of my review and all opinions are my own.

House of Splinters by Laura Purcell

Mogsy’s Rating: 4 of 5 stars

Genre: Horror, Historical Fiction

Series: Stand Alone

Publisher: Blackstone Publishing (February 10, 2026)

Length: 346 pages

Author Information: Website | Twitter

My queen of gothic horror is at it again! Laura Purcell returns to the haunting concept she first introduced in The Silent Companions, bringing back those creepy wooden figures in House of Splinters. As a long-time fan of the author, stepping back into that eeriness and uncanny atmosphere felt like coming home, though as it turns out, home might not be the best choice of word.

The story follows Belinda Bainbridge, who has spent most of her life under the thumb of her anxious, overbearing mother. So when her father-in-law dies, prompting her husband Wilfred to relocate his family to take over management of his ancestral estate, Belinda quietly hopes the change will give her the chance to build a life of her own. With her young son Freddie approaching his breeching and another child on the way, the move feels like a turning point. However, the one tie from her past that she insists on bringing with her is her lady’s maid, a steady source of familiarity and reassurance as she prepares to leave her old life behind.

But when they arrive at the estate, known as the Bridge, Belinda quickly realizes it is nothing like the future she imagined. The place had never seemed particularly cheerful during her earlier visits, but now it’s practically falling apart. The house is in disrepair, the gardens neglected and lifeless. The villagers, long under the Bainbridges’ care, are resentful and wary of the family, whispering that they are cursed. Indeed, the Bridge has had its share of dark history, including an ancestor rumored to have been executed as a witch, the mysterious death of Wilfred’s sister when they were children, and the accidental death of a servant. Then there are the wooden figures known as silent companions, flat wooden cutouts once popular as household decorations during the Dutch Golden Age. Those that once belonged to Wilfred’s mother are found locked away in a room Belinda hopes to turn into a nursery, but once they are uncovered, strange things begin to happen. Freddie becomes oddly fascinated with them, talking to them and treating them like real people. And with the birth of her second child drawing closer, Belinda begins to fear that something is deeply wrong with the house and that something is haunting her family.

Considering The Silent Companions was the novel that first made me fall in love with the author’s work, one of the most exciting aspects of House of Splinters is how it reconnects with the world of the earlier book. While this novel tells a completely new story with completely new characters, Purcell cleverly revisits some familiar ground by returning to the Bainbridge family and the Bridge. Fans will recognize certain elements echoed in this one, like a pregnant protagonist, the rundown estate, the unwelcoming villagers, and of course, the stars of this horror show which are the silent wooden figures themselves. At the same time, this isn’t a rehash of the original plot with just a few things tweaked. Rather, it feels more like another chapter in the wider legacy of the unfortunate Bainbridges, exploring how multiple generations continue to become haunted by the house and the companions.

One of the things Purcell always does so well is atmosphere, and House of Splinters certainly delivers on that front. The Bridge is practically a character in its own right, and it serves as the perfect gothic setting with its isolation and decaying front, full of secrets that quite literally refuse to stay buried. You never know what might emerge from its overgrown grounds or from the shadows within the house, because the entire place carries an air of unease and the sense that something isn’t right. I’ve also always felt the companions concept had far more potential to explore, and they are again put to excellent use.

Beyond the paranormal elements, the novel also heartily embraces all the classic gothic themes. We have Belinda, a particularly sympathetic protagonist who wants so badly for her new life in her new home to work out, but feels increasingly trapped by the family secrets, societal pressures, and the guilt brought on by unrealistic expectations. And whenever children are involved, the horror becomes even more disturbing. Let’s just say there’s a reason why the “creepy child” trope has become so embedded in the genre, and Purcell taps into it big time here through Freddie’s increasingly strange behavior. The idea that something evil could be influencing a child or threatening a baby makes the implications especially chilling and difficult to shake.

If there’s any downside, it’s that the story takes some time to get going. But then again, it’s a gothic novel. Slow-building tension is par for the course. But once those threads start coming together, particularly with the arrival of Wilfred’s estranged brother Nathan, and the opening of the floodgates with regard to the Bainbridge secrets, things start gaining serious momentum. Is there something supernatural at work at the Bridge? Or is superstition and paranoia getting the better of our characters’ perceptions?

In the end, this ws another strong addition to Laura Purcell’s growing catalogue of spectacular gothic horror. If you enjoy slow-burning tales filled with atmosphere and uneasy mysteries, do yourself a favor and pick one up now. Dark and unsettling, House of Splinters is full of the creeping sense of dread that she does so well, and fans of her work will find plenty to enjoy here, along with the return of the eerie silent companions.

Reading Level: Adult
Genre: Contemporary Fantasy/Science Fiction
Length: 324 pages
Publisher: Tarsier Publishing
Release Date: March 27, 2026
ASIN: B0GFQ82RXW
Stand Alone or Series: Stand Alone
Source: eGalley from NetGalley
Rating: 4/5 stars

“After two months of intensive group therapy, six individuals embark on a Thera Quest Inc. session—a simulated fantasy adventure guaranteed to incite lasting behavioral change in the real world. For thirty-year-old Elizatine, this means overcoming her beastly shopping addiction alongside five strangers with their own problems: Tanner and Lana, two middle-aged alcoholics; Amara, a young ambulatory wheelchair user with POTS mourning her loss of agency; Rowan, a thirty-something wracked by guilt from the death of his younger brother, and Felix; a charming and depressed entertainer. Within the simulation, the six must work alongside each other to deliver a cursed book while encountering whimsical hybrid creatures, unsettling personal trials, and hulking manifestations of their inner demons.”

Series Info/Source: This is a stand alone book. I got this on ebook through NetGalley for review.

Thoughts: I picked this book on a bit of a whim from NetGalley for review and was surprised how quickly I was engaged in the story. This is a fast-paced easy read that has an interesting premise. I think the only downside to this was that the world, the characters, and the plot were a bit simpler than I expected.

Six individuals are embarking on a fantasy quest through Thera Quest Inc. Their personal quest is to confront their issues using a new type of immersive therapy. Their fantasy quest is to deliver a cursed book to a frog person. We hear from each person individually, but the story really focuses on Elizatine (who has a shopping addiction) and Tanner (who is a recovering alcoholic).

This was a super quick and easy read that was fast-paced and engaging. In general, I liked all of the characters. They all (obviously) have some pretty big issues from their pasts that they are trying to work through. The premise of doing that through an immersive fantasy game is a fun one. The characters are all fairly likable, if a bit simpler than expected. There is a bit of a romance in here as well.

My biggest complaint about this is that everything is just a bit too straight-forward and simple. The characters working through their issues seem to do so easily and without many complications. The characters themselves are also somewhat two dimensional; they have easily explained issues they are working through from well defined past traumatic events. People are rarely that straight-forward. The plot itself is also fairly simple and straight-forward.

I do think maybe the simplicity of this story might be part of its charm. It is a fun concept, a quick read, the characters are likable, and the ending leaves you feeling hopeful. I guess I was just left feeling like there should have been a bit more to these characters and their stories. While I read this quickly and vaguely enjoyed it, I don’t think it is one of those books that I will ever think back on. This was more of a quick read that you are like “huh that was fun” and then you move on.

My Summary (4/5): Overall I liked this. This was a fun and fast-pasted read that has an interesting premise and likable characters. I did struggle with how easily these characters’ issues were solved and with how simple both the characters and the plot were. However, that may have been part of the charm to this story. It is simple, straight-forward, fun, and easy. While I don’t think this story left a lasting impact on me (it’s not the type of story I will probably even think about again after writing this review), it was a fun diversion. I would recommend if you think the premise sounds interesting and if you don’t mind more simplistic and straight-forward stories.

Unnatural Death by Dorothy Sayers (Avon Books, 1964)

“I know who you are now,” said Nurse Philliter, slowly. “You — you gave evidence against Sir Julian Freke. In fact, you traced the murder to him, didn’t you?”

In Unnatural Death, the third Wimsey novel, Sayers again makes medical issues vital to the plot and the mystery. In this case, Wimsey learns of his case entirely by accident: He and his close friend Charles Parker are talking about crime over dinner, and Wimsey tells Parker that, unlike police officers, who have a public duty to voice their suspicions, doctors have no such duty and can get in trouble by doing so.

This is overheard by a doctor seated at a nearby table, who tells them a story of his own experience with doing so: A rich old woman in his care died unexpectedly — she was suffering from a terminal cancer, but that was not the cause — and he found the death puzzling and asked to do a post-mortem, which found no cause of death, followed by a chemical analysis, which revealed nothing either.

[Click the images for unnatural-sized versions.]

Unnatural Death (Bourbon Street, January 7, 2014)

This sets us up for a neat medical mystery, which in fact has a solution that’s fairly widely known now, but that apparently was obscure a century ago. The doctor tells the other two that the local gossip that followed from this ruined his practice, and he had to move away and start over elsewhere.

Intrigued, Wimsey offers to look into the case, but the doctor turns him down, remarking with satisfaction that Wimsey doesn’t know his name and won’t be able to pursue the matter. Wimsey decides to do so anyway, sends the doctor, Dr. Edward Carr, a short note, and says to Parker, “If you want to be immune from silly letters, Charles, don’t carry your monomark in your hat.”

Unnatural Death by Dorothy Sayers (New English Library, 1976)

(According to Wiktionary, a monomark is a short alphanumeric sequence used as a postal address, brought into use by a British mail forwarding company two years before Unnatural Death was published. Naturally Lord Peter would have spotted and memorized the monomark!)

In an early chapter, Wimsey takes Parker to meet a woman whom he describes as a friend. Parker takes this to be a euphemism, and is embarrassed, privately ironic about how “they always seem to think it’s different,” and trying not to show the disapproval he feels. Then he and the readers meet “a thin, middle-aged woman, with a sharp, sallow face and very vivacious manner.”

Unnatural Death (Avon Books, 1964)

Miss Climpson is, as Wimsey says, an old maid (an increasing problem in the years after the Great War) and, as Parker says, a sort of inquiry agent; in Wimsey’s words, “She asks questions which a young man could not put without a blush.”

In fact, she is part of an agency which Wimsey has created and is funding, which amounts to his version of the Baker Street Irregulars (with single women instead of street urchins!), and he sends her off to find which town Dr. Carr formerly practiced in and who was his deceased patient there — the first stage of her active role in the entire investigation.

At this point the story acquires a subtext that Sayers never makes explicit. The patient was Agatha Dawson — Miss Agatha Dawson, for she never married; she lived most of her life with her cousin, Miss Clara Whittaker, to whom she was deeply attached. Neither of them cared for marriage; Clara supported them as a successful horse breeder, and wanted nothing to do with men, except on matters of business.

Unnatural Death, back cover (Bourbon Street, January 7, 2014)

After Clara’s death, her niece, Mary Whitaker, a trained nurse who steps in to manage Miss Dawson’s care, is also, to Miss Climpson’s eye, “not of the marrying sort,” and is much admired by a younger woman, Vera Findlater, of whom Miss Climpson thinks “It is natural for a schoolgirl… in a young woman of twenty-two it is thoroughly undesirable”; the two have plans to buy a chicken farm together.

Finally, Wimsey has two interviews with yet another woman, Miss Forrest, at the second of which she attempts to seduce him, but when he takes the lure and kisses her, she involuntarily shudders away in revulsion.

It’s a point in Sayers’s favor, I think, that she doesn’t have one stereotype of “the love that dare not speak its name” (however politely hinted at) but shows everything from lifelong devotion to naïveté to cynical manipulation. What’s unnatural, in this novel, is not one woman’s passion for another, but murder.

Unnatural Death (HarperCollins, 1995)

Finding out about the two cousins gives Wimsey and Parker a start on discovering the family relations (some American editions were titled The Dawson Pedigree), and also meeting the solicitor who took over from their retired former solicitor. This brings up some complex issues that follow from a recent change in the law (I imagine Sayers reading about the change and thinking that it could be a motive for murder) and that supply a motive.

The story supports one of Wimsey’s ideas: That one crime can lead to more crimes as the criminal tries to cover up the first. The investigation heats up with the death of Bertha Gotobed, formerly a servant of Miss Dawson, and with the death of Vera Findlater. All this builds up to a dramatic climactic scene and to the revelation of how the original death was brought about.

Unnatural Death (Perennial Mystery Library, 1987)

Sayers also shows Wimsey troubled by his own involvement in the case: asking the vicar of the town where Miss Dawson and Miss Whittaker lived for moral advice on a “hypothetical” case; thinking that his own investigations may have created the motive for two more murders; and in the end, “cold and sick” at the outcome. Inner conflict over his own vocation of criminal investigation makes him an increasingly complex character, and makes this a psychological novel as well as a murder mystery.

William H. Stoddard is a professional copy editor specializing in scholarly and scientific publications. As a secondary career, he has written more than two dozen books for Steve Jackson Games, starting in 2000 with GURPS Steampunk. He lives in Lawrence, Kansas with his wife, their cat (a ginger tabby), and a hundred shelf feet of books, including large amounts of science fiction, fantasy, and graphic novels.

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Book links: Amazon, Goodreads
ABOUT AUTHORS: J.A.J. Minton is the pen name for Jakob, Amy, and John Minton, a family living in North Carolina. Together, they produce and host the YouTube channel, "Talking Story: A Fantastical Fiction Channel." Between them, they have lived nine lives in theatre, comic book retail, indie filmmaking, academia, undercover shopping, dog kennel cleaning, advertising copywriting, old-school video store management, and hot dog delivery for Harlan Ellison. This is their first book.
Publisher: Keyhole Books (May 15, 2025) Page Count: 461 pages Formats: audiobook, ebook, paperback

Discovery is an ambitious book and you notice that immediately. It opens big with strange forces moving pieces on a board humanity barely understands, Then it quickly shifts into newsroom, and later missing expeditions, and government secrecy. It’s juggling cosmic horror, conspiracy thriller, historical mystery, and character drama all at once.
Surprisingly, a lot of it works.
The mystery surrounding the Rosie expedition hooked me, fast. Something clearly went very wrong in the South Pacific, and the slow reveal through letters, tapes, and investigations kept things exciting. I also enjoyed the newsroom scenes. Nessa Decker is a good lead because she reacts how a reasonable person would - she’s cautious, skeptical, and trying to separate fact from spectacle while everything grows increasingly hard to explain.
The atmosphere is great, too. The horror always hangs in the background. Even when characters are just talking in offices or arguing over evidence, there’s an unease that something larger is already in motion.
That said, ambition sometimes works against the book.
The prose gets dense and performative, especially early on. Long monologues and stylized narration slow the pacing when the story would benefit from getting to the point faster. The cast is large, and while many characters are memorable, it takes time to understand who matters most. The shifting perspectives add scope, sure, but also feel unfocused. Just as you start to vibe with it, the book moves elsewhere. Eventually the pieces come together, but the middle stretch demands patience.
Tone is another mixed success. At times the book balances dark humor, horror, and thriller elements well. At other moments, the theatrical style feels excessive. The story clearly enjoys its own weirdness, which is part of the appeal, but it tends to lean a bit too hard into it.
Still, the central mystery remains compelling, the cosmic ideas are unsettling in a good way, and the gradual realization of what humanity may have uncovered gives the later sections weight. You start with a missing expedition. You end up asking much larger questions about knowledge, power, and whether some discoveries are survivable at all.
It’s uneven, but interestingly so. Even though I struggled in places, I’m glad I’ve read it.