At the end of The Two Towers, if you're not familiar with the plot already, you'd probably believe that this story is not going to end well. Of course, the biggest spoiler of this book is its own title, which Tolkien did not pick. His original choice for the title of the third part of The Lord of the Rings was The War of the Ring, but he was persuaded to change it to the more positive, and arguably more descriptive, The Return of the King. Knowing this history, I'm not entirely certain which title I prefer. However, I am entirely certain that I enjoyed this part of the story just as much as the others.
There is a fair consensus amongst those who come to consensuses about such matters that Tolkien wrote The Lord of the Rings primarily as a way of exploring Middle Earth - that is, this is what is known as a milieu story, in which the setting, the world, drive much of the plot. In The Two Towers this is on fine display again. One of the more interesting things to do with a copy of The Lord of the Rings is to sit down and look at just how much ground is covered by the various journeys; you then realize just how large a world Middle Earth is, and how small a section is explored in these tales. The distance covered by Frodo and Sam through such great peril and difficulty in the entirety of their chapters in The Two Towers is essentially a tiny corner on the map.
As I said in my review of The Hobbit, during this reread I was surprised by how light that novel is; I suspect that my memory of its tone from my last reading was affected by my intermediate viewing of the movies. Or, perhaps I was merely linking it with the core Lord of the Rings books, which very quickly take on a markedly different tone from their prequel (and yes, I know that technically there is just one "book," which was split into three parts for the convenience of readers and publishers). The implications of a darker turn are heavy throughout even the early chapters of The Fellowship of the Ring, but are pivotally confirmed with the events of the chapter A Knife in the Dark.
Finally, I am undertaking my re-read of The Hobbit and The Lord of the Rings. There are certain books that are always worth re-reading, no matter how many times I may have read them before, and these most definitely make that list. Since this is the first time I'm re-reading them since I started posting reviews here on the site, I think it is only appropriate that I go ahead and review them here. In the case of The Lord of the Rings, I usually try to do a re-read every four or five years, since the first time I read them back in third grade. We'll see if I decide to re-read and post a review for The Silmarillion, too.
As soon as I saw the cover of this book, I suspected that I was going to enjoy it. I know they say not to judge a book by its cover, but when you read enough in a given genre you start to know what styles of covers tend to be associated with the books that you particularly enjoy. This book’s cover evoked the fantasy and science fiction of the 1980s, like Dragonriders of Pern, or Xanth novels; in other words, it reminded me of a lot of the books that I read in middle school, usually by my dad’s recommendation (in fact, I wouldn’t be surprised if, upon research, I discovered that the cover artist is the same for some of these titles). By the time I had finished the first chapter, I was enjoying it as much as anything I’d read in a long time.
Sometimes, as I spend so much time reading thousand year old texts, or epic pieces of more modern literature that top out over a thousand pages, I forget how quick it can be to read what could be a considered a more “normal” book, like the debut fantasy novel I chose here. Unfortunately, reading The Hundred Thousand Kingdoms, I found myself mostly thinking that I was glad for how quickly I was getting through it.
I wasn't quite sure what to expect going into this read, as I make something of a point not to read too many reviews before I start a new book so as to not bias myself one way or another from what other people thought. Whatever it was I expected, I found something very different. After I finished it, I did see a review that aligned this book with something like The Iliad, which I think might be the most apt comparison of which I can think. This has a very mythical feel: all of the characters are larger-than-life, both they and their enemies are exaggerated in their powers and personalities, and character arcs are largely absent...
I'm glad that Stormlight books don't come out too often. For one thing, I want to savor the experience and thrill of new books in this amazing series. For another, I would be much less productive at any task besides reading them. Rhythm of War, the newest installment in the series, was full of just as much emotional poignancy and compelling storytelling as the previous books in the Stormlight Archive. It broadened the scope of the world and the conflict in entirely new directions, it was full of twists (a few of which even I didn't predict), and just as it went about answering key questions about the plot and the world, it raised even more.
I've been seeing that Sanderson was working on this novella from his website's status bar for quite some time now, but I hadn't been sure what it was (though I could have figured out without too much more research, I know). However, I was not expecting it to come out so close to when the fourth Stormlight novel finally came out, and was very excited to find that, in November, I had not one, but two new pieces of Stormlight literature to enjoy.
If you’ve been following along over the past few reviews, you probably won’t be surprised by another rave review for a Stormlight book. To be honest, I probably have a somewhat unhealthy obsessions with these books. There are plenty of books that I enjoy, and stories that I will happily reread and have a new experience with each time, but my experience with this series is on a different level. Maybe it’s the philosophical questions it confronts, or maybe it’s the incredibly imaginative and vividly detailed world, or maybe it’s the compellingly flawed, fascinating, and terribly relatable characters. Whatever the case, Oathbringer continues to be, to my mind, the gold standard for what epic fantasy ought to be.