Tag Archives: terry brooks

TV Review: “The Shannara Chronicles”: “Utopia”

Events on The Shannara Chronicles continue to speed forward in “Utopia,” as Amberle and Wil set out to save Eretria from the clutches of the Elf-hunters and from a group of peace-seeking humans in a settlement called Utopia. Meanwhile, Ander must finally make the choice of whether to become the king that the Elves need, while Allanon braces for his final confrontation with the Dagda Mor.

While Wil and Amberle are supposedly the narrative and character center points of this series, this episode showed why both Eretria and Ander have always threatened to steal the show. Both are broken in their own way, she from the cruel and heartless treatment from her “father” Cephelo and he from the fact that he is the youngest, and most disappointing son of an illustrious dynasty. Now, they both have opportunities and risks to face. She ultimately has to decide whether she will throw her lot in with Wil and Amberle or stay with the (ultimately corrupt) denizens of Utopia. He must decide whether he will take up the mantle of kingship that was never meant to be his. In many ways, their drama seems to be much more compelling than that of Amberle and Wil, and while this may seem like a good thing, I’m not entirely sure it’s what the series intended.

In many ways, it’s hard to believe that we’ve almost reached the ending of this first (but hopefully not last) season of The Shannara Chronicles. We haven’t even attained the Bloodfire yet, and the Demons have yet to launch their all-out assault on Arborlon, and yet there are only two episodes left until the season is over. It seems like the series has opted to focus (understandably, given the way in which it conceptualizes its target demographic), on the personal rather than the epic scope. Unfortunately, this has the effect of sometimes emptying out the larger scale drama of its significance. This is not to say that the epic and the personal cannot be intertwined, only that the series has not been terribly effective at bringing them together.

While I liked the introduction of the sarcastically titled city of Utopia, this again felt like a plot twist too quickly resolved to have any lasting impact. We’re briefly introduced to yet another set of vaguely malicious and unscrupulous characters, only to have them consumed by Trolls at the end of the episode. While this sort of structure works to keep each episode moving along, it doesn’t really add up to anything, and the disappearance of the Demons from the narrative only exacerbates this narrative problem.

Speaking of Trolls…I’m still not entirely sure what to make of the series’ treatment of them. In the novels, the Trolls, while primitive in some respects, do have a solid social structure, and they don’t go about hunting and eating Elves. Given that, I’m not sure that the series will ever be able to do anything truly meaningful with them, but I could be wrong. Given the substantial role that Trolls play in several of Brooks’s later works, I sincerely hope that they give this particular Race more development in future seasons.

This was, all in all, a very satisfying episode, though I do worry that the last two episodes are going to feel rushed and therefore unsatisfying. Hopefully, should the series get a second season, the writers will develop a better sense of pacing and characterization, so that we don’t spend so much time in trite (and not very compelling) drama and move into the truly interesting bits at the heart of Brooks’s epic vision.

TV Review: “The Shannara Chronicles”: “Breakline”

Now that The Shannara Chronicles has finally discovered the meaning of momentum, things are happening at a pretty good clip. In this episode, the company is scattered (after their encounter with the Reaper). Amberle and Eretria discover a long-lost remnant of the Old World, while Wil gets assistance from Perk, a Roc-riding Elf. Meanwhile, Arion and Ander confront the Dagda Mor. Though Allanon arrives, fully healed, in time to save the younger prince, the elder son is killed by the Demon lord. Utterly bereft, Ander nevertheless manages to kill the Changeling. After a deadly encounter with the Elf-hunters, Amberle is saved by Wil, while Eretria falls into their hands.

The addition of Elf-hunters seemed a bit ham-handed, and the idea of them cutting off Elf ears in order to sell them to Gnomes verges on the silly. However, I’ve begun to notice that the series, understandably, has taken some of the larger threats portrayed in Brooks’s novel and channeled them into more human obstructions. While they don’t always pan out as well as the writers no doubt thought they would (the obvious sexual tension between Eretria and the Elf-hunter Zora seems designed to titillate more than add nunace to Eretria’s character), they are understandable responses to a limited budget.

Speaking of Eretria…she is slowly emerging as the most compelling and complexly drawn of the three young leads. She’s a broken person, and this quest seems to hold out the promise that she might somehow be able to put herself back together again. Those who have read the books know how her story ends up, but for those who don’t…well, I won’t give it away. I will say that the series does a great job of making us care about her, as well as inspiring in us a wish and a desire that she will somehow find happiness, whether or not that ends up being with Wil (who, by the way, didn’t seem to have much to do in this episode).

The revelation of the party hall was a nice touch, both appealing to the show’s target audience and also making clear the essentially ephemeral nature of both youth and human accomplishment more generally. It is one of the few genuinely reflective moments in the series so far, in which we as viewers are led to experience, at least for a moment, an almost terrifying sense of our own impending destruction. Could it actually be that we are trembling on the threshold of doom, all unknowing? It’s a frightening question, and I give the show a lot of credit for daring to ask it.

I was immensely pleased with Allanon’s healing scene, which allowed us a glimpse of his father and mentor Bremen. While not exactly as I imagined him, he is nevertheless a stern and imposing presence, and it is clear that he continues to exert a powerful (one might even say inexorable) force on Allanon’s life. While the younger Druid seems to feel overwhelmed by his burdens and by the refusal of those in the Four Lands to heed his warnings, Bremen reminds him that that is part of what it means to serve.

And I am also glad to see the Changeling storyline finally resolved and to finally get Arion out of the way. Ander is one of the series’ more fully-fleshed characters, and it will be interesting to see him change and develop into a king in his own right. After all, he now has the unenviable burden of overseeing the defense of the Elves and their homeland against the horde that is preparing to sweep down upon them.

All in all, I found this to be the most satisfying episode so far. There was a bit of everything on offer, and it did a great deal to not only move the plot forward, but also show us what the show can do when it really hits its stride. Let’s just hope they can keep that momentum going for the next three episodes.

TV Review: “The Shannara Chronicles”: “Reaper”

Warning:  Spoilers for the episode follow.

In the most recent episode of MTV’s The Shannara Chronicles, the three young heroes have at last begun to make their way through the wilderness of the Westland. While they are briefly captured by the Rovers, they manage to escape and take Cephelo captive, only to find themselves confronted by the Dagda Mor’s newest weapon, the killing machine known as the Reaper. In Aborlon, the Changeling finally murders the king, setting the stage for political chaos to follow.

While there were a few hiccups throughout the episode, overall I felt this was one of the strongest outings yet. The action has finally begun to move forward, and really it is about time. We’ve now halfway through the season, and there is a great deal of material to cover before we reach the much-hyped titanic battle between the Demons and the Elves, to say nothing of Amberle and her own quest. That’s a lot of plot to get through, but I have confidence that they will be able to do justice to the material (though I still think they could have compressed the previous couple of episodes).

I was also quite excited to see the race of the Gnomes at last brought into the light. So far, they’ve simply hovered at the edges of the narrative, but with their introduction we get another glimpse at the darkness that runs beneath the Four Lands. It’s sometimes easy to forget that, in Brooks’s universe, one unfortunate byproduct of the downfall of the Old World was the genetic damage wrought upon many of the humans. While the Elves predate humanity, the other races (Dwarves, Trolls, and Gnomes) are the byproduct of mankind’s proclivity toward self-destruction. Their introduction into the series gives me hope that the series will continue to provide us glimpses into the other Races that comprise the political landscape of Brooks’s world.

The Reaper was certainly worth waiting for, as it has always been one of my favourite of Brooks’s many compelling and deliciously evil villains. The creature as it is presented here is a being that desires nothing more than killing anything and everything in its path, a being of such mindless hate that nothing short of absolute destruction has any hope of stopping it. Millennia of imprisonment in the Forbidding have given it a thirst for blood, and it remains to be seen just how many innocent people it will take down before it too is destroyed.

During the confrontation with the Reaper, we also get out first glimpses of Wil’s struggles with the Elfstones, for he finds that they refuse to respond to him in this desperate hour of need. As with all magic in Brooks’s world, they demand something of the user in order to work properly, and Wil’s half-Elven heritage means that it takes even greater effort than it did for his father. Furthermore, their lack of response also suggests that Wil is not nearly as confident as he might appear at first, and that he will have to make many sacrifices if he hopes to see this quest through to its completion.

If I have one other major complaint, it would be the premature murder of King Eventine by the Changeling. I mean we still get the privilege of seeing Jonathan Rhys-Davies (who has always been one of the highlights of the show), but I find it difficult to imagine how they are going to reshape the rest of the season to make this incident fit into the established narrative arc. It just seemed like a bit of a cheap move, but perhaps there will be some payoff later in the season.

All in all, this was a thoroughly satisfying episode, and as always I cannot wait to see what next week’s episode has in store.

TV Review: “The Shannara Chronicles”: “Changeling”

In the most recent episode of MTV’s fantasy drama, Amberle finally enters the Elcrys and overcomes her personal demons and is granted the precious seed, Wil emotes and sleeps with Eritrea, who in turn is finally forced to accompany them both to the Bloodfire. Allanon finally uncovers the Changeling and seemingly kills it, only for it to return to life and slay the Elf charged with destroying its body.

On one level, I can understand what this episode was trying to do. It wanted to give us a little more insight into the motivations of these characters, what makes them tick, and how they continue to navigate what is obviously a very troubled and fractious relationship. And certainly, it also wants to provide its target demographic with the sort of soap opera (and I don’t use that term derogatorily, btw) antics that it believes tweens and teens want to see. But haven’t we seen a great deal of that already in the episodes we’ve already seen? Why do we need to spend more time loitering about the palace, when there’s a quest to be undertaken, and no one really knows quite where the Bloodfire is?

Given the fact that there is a great deal more to happen (I assume) within the space of the season, I remain somewhat flummoxed why so much time was spent on what amount to relatively trivial matters (especially given the fact that, you know, apocalypse is basically looming just around the corner). There remains much in this episode that feels far too much like filler, and I’m left wondering why they didn’t spend more time developing the characters of some of the other key characters, such as the Captain of the Guard, or even the King and his sons (though it also remains unclear to me why his elder son stubbornly clings to his disbelief in magic, despite all evidence to the contrary).

I’ve heard it said that Manu Bennett almost seems to be in a different TV show than everyone else, and while that’s true to an extent, I also think that’s part of the series’ appeal. Allanon and Eventine are the only two who seem to have a true grasp of the enormity of the challenges and dangers they face, and it is up to them to pull the younger, more foolish people into the maturity they need in order to survive. However, this particular dynamic can only remain interesting for so long, and it is high time that the series moves on with showing the youthful trio begin that painful (in this case no doubt both literal and metaphorical) journey into adulthood.

On the plus side, I continue to enjoy the appearance of the Changeling. I’ve long thought that one of Brooks’s singular talents as a writer of fantasy has been his ability to craft exceptional villains, and the series has done him justice. I have no doubt that the Changeling will continue to wreak havoc in the palace and beyond, with consequences that might prove dire for at least some of the characters that we have already begun to know and love (no spoilers, I promise!)

Overall, I found this to be the weakest outing for the series thus far. While it had its enjoyable moments, it far too often fell into the trap of pointless bickering for bickering’s sake, leaving its young leads little room to grow. Fortunately, however, it appears that next week’s episode is set to show us the epic quest in its proper form, as well as one of Brooks’s most formidable demonic creations:  the Demon known as the Reaper.

TV Review: “The Shannara Chronicles”: “Fury”

In this episode, Amberle and Wil find themselves captured by the Rovers, whose leader Cephelo is a greedy and uncaring fellow. Fortunately, they are rescued from their capture by Allanon, who finally gets them back to Arborlon. There, a reluctant and plainly terrified Amberle is finally granted access to the Ellcrys, who will determine whether she is worthy to carry the seed to the Bloodfire.

The young cast continues to do itself credit. Eritrea has finally begun to gain a bit of depth. Beneath that petulant and sneering exterior beats the heart of a young woman deeply embittered by the world in which she lives and by the “father” that continues to treat her as a piece of (sometimes) valuable property. While she sometimes comes off as more than a little petulant, we can’t really blame her, not considering how awful her “father” continues to be.

Speaking of Cephelo. Though he is, without a doubt, one of the series’ most despicable and ruthless characters, there is a certain amount of charisma about him (which is exactly how he appears in the book). You want so much to like this character, even as you realize that there is an intense and even somewhat sociopathic cruelty and malice underneath all of that, a darkness that will have significant consequences for everyone with whom he comes into contact.

Naturally, Manu Bennett continues to be the heart of the show as the great Allanon. In my humble opinion, the Druid has long been one of the most compelling of Brooks’s many creations, and Bennett continues to do him justice. This is a man on whom the burden of the fate of the Four Lands has disproportionately fallen. As he tells Amberle, the centuries that have preceded them have led up to this point, and none of them–not Amberle, not Wil, not Allanon himself–have the power to resist the power of the past, of history, and the burden of the future.

This episode allows us to see, if we haven’t already, that this is not an easy world to inhabit. The Demons are monsters are implacable hatred and cruelty, and they are clearly willing to do anything in their power to bring about the deaths of their nemeses the Elves. What’s more, we also learn that the Elves are themselves divided, and their relationships with the other Races (including and especially Men and Gnomes) are fraught and often violent.

What’s more, we also get an increased sense that, in Brooks’s world, magic often exacts a terrible price on those who use it. While not as intricately imagined as some other magic systems (such as that in Robert Jordan’s The Wheel of Time, for example), Brooks leaves us in no doubt that the Elfstones will have an impact on Wil beyond the moment. Though he has finally mastered the art of using them as a weapon, readers of the book know that his actions will have effects not only on his own body, but also for generations of Ohmsfords to come.

If anything, “Fury” is an even better episode than the premiere. The story continues to move forward at a good clip, and even though I know the eventual endpoint (having read the books several times over my life), I still find myself wanting to watch more. If anything, I’m as excited for the potential changes to the story as I am to see the familiar notes adapted. What’s more, I sincerely hope that the series will pick up steam, and an another season, so that I can see many more of Brooks’s magical words brought to vibrantly beautiful life.

TV Review: “The Shannara Chronicles:” “Chosen”

Terry Brooks’ long-running and bestselling Shannara series was my second foray into the world of epic fantasy (the first, of course, was The Lord of the Rings). As such, Brooks’ work has always occupied a special place in my heart.

Imagine my delight, then, when I heard that the series had, at long last, made it through the trials of production and was finally going to emerge as a TV series. Imagine also my small amount of distress when I discovered the sponsoring network was MTV.

Having watched three/four episodes (the premiere was a two-parter), I can say that those doubts have been largely laid to rest.

The first episode establishes this universe. Amberle (Poppy Drayton), the granddaughter of the Elf king Eventine Elessedil (Jonathan Rhys-Davies), breaks the traditions of her people and enters the service of the mysterious tree the Ellcrys. Wil Ohmsford (Austin Butler), a young, aspiring healer, Eretria (Ivana Banquero), a member of a vagabond group called Rovers, and the enigmatic Allanon (Manu Bennett), the last of the ancient order of scholars, warriors, and sorcerers known as the Druids round out the cast. Together, they must not only contend with the dying Ellcrys, but also with the demons that will slowly be unleashed with its dying, including the terrifying Dagda Mor and his servant the Changeling.

There is a lot to like in this first episode. The cosmic stakes are established quite early, and the plot moves at a brisk pace. There are some politics seething in the royal family of the Elves that show some definite potential, including a three-way feud between Eventine and his sons Arion (Daniel MacPherson) and Ander (Aaron Jakubenk0). There are also glimmers of several other Races that might come to play a part in the eventual climactic confrontation (Gnomes and Trolls are both mentioned by name, and a Troll even makes an appearance).

Don’t get me wrong, there are some minor glitches. While I fond the trio comprising the central cast to be charming, they are clearly still growing into their acting chops. And there were a few sour notes in terms of contemporary jargon creeping in (though this doesn’t really become an issue until several episodes in). Still, there’s a lot of chemistry between the three leads, and if the show beefs up its writing a bit they could really grow into something quite compelling.

As far as the “mature” cast goes, there is not question that Manu Bennett absolutely nails it as Allanon, one of Brooks’ most enigmatic and fascinating creations. Bennett certainly has experience playing in fantastic series. This is the man, after all, who was the stern and brutal gladiator in Spartacus and the villainous and merciless Orc Azog in The Hobbit films. Here, he manages to combine a measure of gravitas with a certain world-weary and wry sense of humour.

A similar phenomenon occurs with Jonathan Rhys-Davies, himself no stranger to the fantastic worlds. This is the man, after all, who played both Treebeard and Gimli in The Lord of the Rings. Here, he is in fine form as the proud and strong King of the Elves, a man who has survived his fair share of heartache and war, who led the Races through war and eventually into peace thirty years ago, and must now lead his people through an even greater challenge.

As with any fantasy series, some of the most compelling characters are the demons. Headed by their terrifying leader the Dagda Mor, these demons are mindless and terrifying killing machines, determined to bring about the end of the the Elves and the society that they have so desperately sought to build in the ashes of the Old World. Both the Dagda Mor and the Changeling are also creatures of immense power, and as the Ellcrys grows weaker, we know that more and more deadly and destructive forces will be unleashed.

And no review of The Shannara Chronicles would be complete without mentioning the absolutely gorgeous New Zealand landscape. With its tantalizing glimpses of our –rusted husks of helicopters, the iconic Space Needle toppled and overgrown with foliage–the series reminds us of the futility of human endeavour. Far more than just window-dressing, these reminders of humanity’s past glories show us the ultimate ephemerality of human accomplishment. As such, these sights serve as something of a counternarrative to the quest narrative established in the main narrative. Who’s to say that, even if they defeat the Demons, that evil will not return in an even more pernicious form? It’s a humbling, and bleakly pessimistic, undercurrent to this otherwise optimistic series.

Is The Shannara Chronicles the new Game of Thrones? No. But then, it doesn’t want to be. For those of us who have always loved Brooks’ work, it’s a thrill to see it brought to the screen, and I for one can’t wait to see what the rest of the season has to offer.

Book Review: Defenders of Shannara: “The Darkling Child” (by Terry Brooks)

I’ve been an avid reader of Terry Brooks for many years, and he has always managed to keep me riveted with his extraordinary writing abilities.  The latest installment of his long-running “Shannara” series, The Darkling Child is no different.  As always, Brooks manages to ask pointed and deep philosophical questions while still maintaining his trademark storytelling abilities.

The novel has a brisk pace, picking up shortly after where the first novel in the trilogy, The High Druid’s Blade, left off.   Paxon, devoted servant to the Ard Rhys Aphenglow, finds himself struggling with his identity.  When Reyn Frosch, a traveling musician in command of the wishsong, reveals his power, Paxon accompanies the Druid Avelene to attempt to bring the boy to Paranor.  Of course, the dangerous sorcerer Arcannen also has designs on the singer, intending to eradicate the Red Slash, an elite corps of the Federation army responsible for the destruction of Arbrox, a community of pirates who gave him shelter.  The inevitable showdown ensues, and while Reyn flees into hiding as a doctor, Arcannen escapes again and the Druid Avelene is slain.  The novel ends with a broken and lost Paxon visiting Leofur, the sorcerer’s daughter, in the hopes of rekindling their romance.

Throughout his long and storied career, Brooks has crafted a number of compelling and disturbing villains:  the Dagda Mor and Reaper from Elfstones, the Mord Wraiths of Wishsong, Brona of Sword and First King.  With Arcannen, however, Brooks has really outdone himself.  The sorcerer is a man driven by his own needs and desires, dangerous precisely because he has a vision of the world that forces everyone else to accommodate him.  Indeed, I would even go so far as to suggest that Arcannen is this world’s version of a sociopath.  His sociopathy becomes all the more terrifying in that he does seem to have at least some moral compass; his desire to eradicate the soldiers of the Red Slash, for example, is driven (at least in part) by his desire to gain vengeance on behalf of the people of Arbrox who were ruthlessly slain by the Federation army.  It is precisely this sense of a twisted moral logic that makes him such a compelling, and almost understandable villain, an agent of chaos that threatens the

While most of Brooks’s works (with the exception of “Landover”) have had world-altering consequences, that is less the case in this present trilogy, where the focus remains pretty rigorously centered on the ongoing conflict between Arcannen and Paxon.  Indeed, there is something refreshing about the ways in which Brooks’s vision of his world can accommodate these various kinds of stories, showing us the many questions that the best fantasy novels can ask and the ingenious and complex ways in which they can begin to think about, if not to conclusively, answer them.

All of this is not to say that the novel doesn’t still contain some sense of that epic scale of wonder that has long been a trademark of Brooks’s work.  He has stated that he is beginning to wind up the Shannara series, and one can sense even in these more tightly contained novels a sense that this is a world on the brink of a profound change.  After all, this is our world many years in the future, when an apocalypse has destroyed most of what was once gained by science.  Now that things have slowly begun to reach their pre-apocalpyse stage of development–the Four Lands are now faced with both airships and increasingly-advanced weapons of war–a final showdown between the wielders of magic and those of science is bound to happen.

What emerges from this novel, in other words, is a bleak existential look at the nature of what makes an epic hero.  While Brooks has always been a deft hand with portraying his heroes, particularly those of the Leah family, as tortured souls contending with the world around them and with the sometimes nigh-unbearable forces arrayed against them, Paxon is of a different order.  This is a young man struggling with the immense demands placed on him as a result of his various heroic roles:  as brother, as servant of the Druids, and as relentless foe of Arcannen.  At the same time, he also has to contend with his failures, and it remains to be seen whether his heroic destiny will break him or whether he will rise to fulfill it.

While those familiar with the “Shannara” world will probably gain the most pleasure out of this novel, it is also an ideal starting place for those looking to see what all the fuss is about.  With interest in the series starting to pick up thanks to MTV’s forthcoming scripted series (based on Elfstones) entitled The Shannara Chronicles, those who find this novel compelling will be glad to know there are numerous other entries in the series, just waiting to be read.

Score:  10/10

Tolkien’s Heirs (I): Terry Brooks

It’s become something of a cliche in reviews of fantasy novels, especially those in the epic tradition, to compare a new series or author to Tolkien.  Of course, this isn’t a surprise, given how monumentally successful and influential The Hobbit and The Lord of  the Rings have been on the popular cultural consciousness since the middle of the last century.  Some fantasy authors, however, actually deserve the title of Tolkien’s heirs, starting with the focus of this blog post, the author Terry Brooks.

When it comes to fantasy authors working in the tradition of Tolkien, one name springs immediately to mind:  Terry Brooks.  In a career spanning four decades, Brooks has produced numerous bestselling novels and series, though his most famous and popular series has always been Shannara. Spanning several generations of the same family in a post-apocalyptic Earth, Shannara has long enchanted readers with its mix of adventure narratives, moral quests, and heavy ethical and environmental questions.  If Tolkien is widely considered the grandfather of modern epic fantasy, then Brooks, in my opinion, should be considered its father.  Or at least it’s favourite uncle.

Now, Brooks has taken considerable flack from many for being nothing more than second-rate, diluted Tolkien (even such a noted Tolkien luminary as Tom Shippey has said as much), but that’s a rather unfair criticism.  Though, admittedly, The Sword of Shannara did have a lot of plot similarities to The Lord of the Rings, the same can be said of practically any other author working in the epic fantasy tradition (David Eddings, Robert Jordan, and Terry Goodkind come to mind), and even Tolkien himself borrowed heavily from existing traditions and narratives in the construction of his great works.  Indeed, the subsequent volumes in the Shannara series have edged further and further away from the Tolkien paradigm, though Brooks, like his literary forbear, frequently considers environmental issues in many of his works.

Like all good fantasy authors, however, Brooks is not not afraid to plumb the darkest depths of the genre. Indeed, some of his finest work has gone to some very dark places.  The Genesis of Shannara trilogy, for example, takes place before the main Shannara saga, when our own world has brought itself to the brink of utter collapse.  This is a world that is both uncannily familiar and also terrifyingly alien, populated by the decimated and embattled populations of humans, their mutant counterparts, and the fiendish demons that seek to bring the entire world into utter devastation.  There are many points in this particular trilogy–as well as the Word and Void trilogy that preceded it–that are downright disturbing, and there are also scenes that are strangely and eerily touching.

These same themes, of struggle and adversity, of various powerful factions constantly straining against one another for ultimate domination, recur throughout Brooks’s oeuvre.   The world that his characters cherish is constantly on the verge of being overwhelmed by those who seek their own advantage rather than the good of others, from the Warlock Lord (the primary antagonist of The Sword of Shannara), through the numerous subsequent adversaries that have populated each iteration of the series.  Through it all, however, it is the smallfolk upon whom hangs the fate of the world, not those who would seek to dominate it for their own gain.  Each generation of the Ohmsford family has struggled against seemingly impossible odds, bound up in the threads of fate that continue to wind ever tighter around each successive generation, the weight of the past shackling them even as it opens up possibilities for further voyages of exploration and self-discovery.

What always stirs me when reading Brooks is how well he manages to evoke a strong sense of temporality, of previous moments in time always intruding in on the present.  Part of this stems from the fact that this is a series that has been going since the 1970s, so readers, and the characters, have a sense that this is a world with a rich and deep history, characterized by constantly shifting alliances.  Even now, many generations after the Great Wars ended the world that we currently know, the world still struggles to right itself, the contest between magic and science, between the bureaucratic/autocratic Federation and the independent Freeborn and their allies, constantly bringing it close to collapse.

It is, ultimately, this sense of precariousness, of a world constantly on the brink of cataclysmic change, that keeps me as a reader coming back to Brooks.  One can sense a grand design at work, fleshed out over all of this years, and I continue to eagerly await each book, waiting to see how not only how its own individual narrative will unfold, but also how it will fit into the overall pattern he has already established.  With his sense of scope and the grandness of his overall vision, Terry Brooks truly deserves to be known as one of Tolkien’s heirs.