The Long Price Quartet

This may be the most difficult critical review to write, because I think the enjoyment level of these novels depends more on the reader than any other I can bring to mind. I will say they are beautifully written and incredible examples of what the genre can offer. They are also slow moving and lack that “entertainment” quality that drives many readers. Finally, they are as atypical a fantasy series as you will find.

The first thing to note: while you should read the 4 novels in their published orders, this quartet is unusual in that I think you could get away with reading the books as standalones. You would definitely miss some nuances, and may suffer some confusion, but the 15 year gaps and the changes in setting/characters between novels would allow each story to exist independently. There are some constants between the books in that some of our main characters from the very beginning are still with us in the end, and there is most certainly an overall story arc, but that story arc is not the tale of 1 person or group of people and how they determine the fate of the world. The series arc belongs to the world itself, as the books are more thematic in nature than action and story based.

The worldbuilding in this series is remarkable. Partly due to the fact that the setting is not the typical medieval western European nation, but more Asian in nature, with the “European” stand-in as the strange/exotic foreigners. This is not unique, but most certainly rare in fantasy, and allows for a new sense of wide-eyed wonder rather than a familiar nod. Additionally, the magic system is both sparse and total in its power; encompassing terrifying strength but with critical weaknesses built-in. Finally, as mentioned above, the plot is really about the inevitability of eras within a world’s timeline. The world exists outside of and for longer than just the story being told. It has a past, and hopefully has a future. While the past and future are tied together by the lives that overlap, there will always be distinct eras that are vastly different from what came before and what will come after. Tolkien called them ages (the LOTR takes place at the very end of the 3rd Age), our actual history has a number of different eras and subdivisions of eras (scientifically think the Mesozoic and its component parts, historically think medieval, renaissance, industrial, etc.), The Long Price shows us an extended look into the seasons over which a distinct period of time begins its inevitable metamorphosis. To the characters living through it, it feels like the downfall of the world. To those who will only know of the events as a part of history, it will simply be a change in how the world worked that birthed a new era. This zoomed out view of a world’s story gives us a very different perspective than the one we are used to, and I think it is fascinating. The downside though is we don’t go as in-depth with the characters we care about, and the drama is played out over the long game, rather than the quick hitting excitement that brings us the traditional page-turner mindset.

The world-building goes beyond its story elements. The plot of each novel is often focused on commerce and economy, political machinations and succession, cultural and societal norms and prejudices. Bluntly, the same issues that drive our own world’s plot. This makes the world of The Long Price seem even more real and fleshed out. Unfortunately, I think this also can drive some readers away, as many fantasy readers long for the days of “sword and sorcery” which this series is absolutely not. The characters and plot are also nowhere near black and white. In An Autumn War, we literally see the war from both sides of the conflict. Both sides are the hero in their own story, and that happens to be the same story. It even goes beyond just 2 points of view, so the reader can truly understand the conflict in its totality, and who is right is a tough call. Obviously, it’s hard to root for the destruction of any civilization, especially one whose character’s we’ve come to know and grow fond of, but it is hard to discount the points of the “antagonist”. Abraham does a remarkable job at delivering on moral and ethical ambiguity. Similarly, the books offer both tragedy and triumph, despair and hope, in equal measure. I don’t think anyone would suggest the series arc is a happy one, and yet it is both hopeful and understandable in its conclusion. In short, Abraham has crafted a story and a world that is thought provoking and emotional at the same time.

Abraham’s magic system is closely tied to the world’s personality and change, and it’s truly wonderful. I cannot say if it is actually unique in fantasy, as I do not claim to be omniscient with regards to the field, but it is unique in my experience. The idea that abstract concepts can be captured; not used or influenced, but truly captured as a physical manifestation who can then wield the powers of its concept is mind-blowing. I love the built-in weaknesses and dangers of the system that perfectly counter-balance its strength to put the world in perpetual state of hanging by a thread. I love that the magic is both profound and powerful, yet limited in nature. Uniquely practical to its masters, and yet totally antagonistic to them at the same time. The push and pull, the possibilities and limitations, the balance is nearly perfect. Perhaps most special about magic in the world is its place in it. Too often in fantasy magic is either fading and secretive or being rediscovered. In The Long Price, the magic system is perfectly well known and celebrated, it is disappearing because it is a limited resource that humanity used all too freely for too long. And not in a vague “only so much magic exists” sort of way that is an all too obvious nod to fossil fuels, but in a perfectly logical way. The number of concepts that are distinct and definable were slowly but surely used up. Incredibly quickly at first when there seemed an inexhaustible supply, then more carefully as time moved on and the danger was realized. At the point of the first novel, the resource was used preciously, as they have all but run out of new options. I love that a new global power is achievable if a poet can only become clever enough to imagine, define, and manifest a unique enough concept. And yet that power is also a force that will instantly seek to free itself and is entirely willing to take down its masters in order to do so. I don’t think I can adequately cover the implications and nuances of the magic system in a one-way written conversation, but that statement is perhaps the best way to define it. The magic system is not just cool and fun, or powerful and mysterious, it is nuanced and complicated and discussion worthy.

I think this above all else defines Abraham’s quartet… These novels almost fit better in an academic setting than in a “reading for pleasure” one, which I think is unusual for Sci-Fi/Fantasy. The plot is slower-paced, with less action, and what feels like an inevitable conclusion; so those seeking a page turner and/or looking for an explosive, twisty “what happens next?!” might be disappointed. The books remain enjoyable reads and worth your free time (in my opinion), but what takes them from solid to great is the fact that they can be discussed at great length. I think it comes down to the fact that the story revolves around the world-building and the plot is centered on the almost “geopolitical” (counting magic/Andats as part of the world geography) shift which takes us out of familiar territory and into something almost bizarre. Fascinating, but less sought out.

I feel like I rambled quite a bit here, as I truly am not sure how to capture these books. I think it helps to be an experienced sci-fi/fantasy reader who can appreciate a book for its crafting equally as much as it’s entertainment value. It’s almost like an orchestral performance of a beloved movie or game; the Boston Philharmonic playing Star Wars or Zelda. The majority of people wouldn’t seek out such an opportunity to listen, as classical composition isn’t the normal form of musical entertainment these days… but if you enjoy classical music, even if you’d rather listen to Wagner or Mozart, you can appreciate the skill with which the music is played. Similarly, if you are a fan of Star Wars, even if classical music isn’t your thing, you can enjoy the score played live. But it’s really the juxtaposition of the 2 things that make it noteworthy; the combination of the pop culture and classical performance. For the Long Price, it’s the juxtaposition of the fantasy setting and story along with the thematic exploration of time and inevitability, hard choices and personal change, the price of power, etc. Not that these themes aren't explored in other fantasy works, many of them are, but most fantasy, even the very best, requires a little digging or critical reading to get to. The focus of most fantasy are the characters, story, action, and magic. The focus of The Long Price are the themes.