The King and Criminal by Charlotte Ashe (December 8. 2016); 325 pages. Available from Interlude Press here.
The King and the Criminal is the second book in the Heart of All Worlds series by Charlotte Ashe, and features much the same cast of characters as appeared in the first book, The Sidhe, with some focus shifts. Central are still Sehrys, who is a Sidhe of royal birth, and his betrothed, Brieden, who is a human. Along with them are royal humans Brissa Keshell and her sister Cliope; the Sidhe Tash, a former Sidhe slave trader-turned-good guy; and Firae, another Sidhe royal and the one to whom Sehrys had once been engaged. There’s a breach of the protective border around the lands of Khryslee (which could only have been brought about deliberately, probably by a Sidhe), a war-mongering rival kingdom and several folks to be rescued from their clutches. I’m making it sound much more complicated than it really is: a cast of humans and Sidhe must band together despite their differences (some royal, some not, some actual convicted criminals) to stop the evil attempts of an evil opposing government. Unfortunately, for an American, this is starting to sound all too real.
There is, to be sure, some political intrigue here, and there’s some fantasy-magic mythology of which one must keep track (there’s a helpful summary of past politics, map and glossary of terms that makes this easier), but this is not the focus of the book. This is, I think, part picaresque and part western.
A picaresque is a serial adventure focusing (by some accounts) on an unlikely hero (usually a rogue or a criminal) or (by other accounts) on a young hero who matures through the adventure. This is true of different characters in this novel—the first describes Tash, the criminal-turned-ally, and the second describes either Brissa (the young human queen learning to be a queen) or Brieden (the human fumbling his way into love and adulthood) or even Sehrys (the young-ish Sidhe learning how to balance his personal and political responsibilities and allegiances). A western, lots of people will tell you, is set in the American west, but having taught film genres, I’d disagree. (Many people, for instance, consider Star Wars a “space western.”) By my lights, and very basically speaking, a western is a kind of romance in which good guys oppose bad guys against a backdrop of nearly boundless territory in contest. So The Heart of All Worlds series might be a fantasy western picaresque.
All that is to say (in far too fancy a way) that there is adventure, political conflict and romance centering around territory and white hat-black hat rivalries.
As with the first novel in this series, the plot is woven so well and the characters so nicely drawn that readers will be sucked in quickly and held until the end, then wait impatiently for the next book in the series to resolve what this one leaves in the air. Also as with the first novel, The King/Criminal is set in very unfamiliar worlds and thus contains a large new mythology of beings, territory, politics, religion and powers, but requires little of the reader to understand it and be swallowed by it. I think that’s the mark of really well-written sci-fi and fantasy: one gets so pulled in, and is so seduced by the world created there, that what often seems like bells and whistles in lesser books just seems a natural, real part of the world of the novel. The point is, I think, whether or not the details of the world are in service of the plot and characters, or are superfluous embroidery upon their surface. In a good fantasy or sci-fi novel like this one, the details aren’t the point, they just help you see the point.