“Amberlight” is a really light book as you all can see with its 272 pages and people can be deceived by its length, thinking that this is a quick read. If the querrique (or the Mother goddess, it's not clear) senses that it's being used for evil purposes and it has the power to destroy itself, why drag four nations into a bloody and unnecessary war? Nor is it inevitable, as the heroine seems to assume from her hard-fought struggle to protect the querrique-handlting "secret."Īnd that brings us lastly to the motivation for the plot, which makes sense least of all. How exactly this led the women to systematically exclude them from all public life and professions, artificially restrict their numbers by exposing male babies at birth, and incarcerate them in harems is never made clear. Men do not have the ability to work with querrique.
Neither do the sex roles in the book make sense. Where are all the construction workers, tailors, weavers, pastry cooks, actors, fishmongers, booksellers, and countless other occupations needed to support the central industry and population of a city that size? The most basic problem with the book is that the economic structure of the city makes no sense - everyone seems to be either directly involved in working with the stone qherrique, in the Navy, or else a casteless, unemployed outsider. And the names are confusing - for example, is Shia or Shuya the housekeeper of Telluin House? Is Dinda the adjective describing a resident of Dasdhein or the ruler of another country entirely? There is not enough context to understand the different cultures of the area or the tensions within the city of Amberlight itself. This book has a very interesting premise and at times the prose is beautiful, but it is seriously underwritten. If you have an account, you can also check out the Washington Post review. Romance, intrigue and adventure to spare. So, if you have a love for poetic, high language, as engrossing as it seems daunting, and you think you can keep up with a challenging narrative that slows for no one, I highly recommend this. "Why?" Thankfully, this scene is brief and doesn't detract from the rest of the book for me, all 200 some pages of it. " I think the author thought this would be cute, but it was mostly just irritatingly silly and reminded me of the little kid in class going, "But why?" Because they have wings, Timmy. I also didn't enjoy the heroine asking the same question again and again. It was absolutely unnecessary in my opinion and stalled a train of a narrative. My only complaint is about the second to last scene or thereabouts when we're launched into an apparently aimless coffeehouse discussion on the origins of an element of Amberlight city that is a character unto itself. I was worried that like Anne Bishop's Black Jewel series, Kelso's girl-power world would simply be wish fulfillment, but even though some signs seemed to point to Female Fantasy, the power between the two main characters is always in flux, always questioning, and by the end, there's no clear winner. Rooted in intrigue to their cores, Tellurith and Alkhes never do anything by halves. I'm bloodthirsty.) The tone is consistently tense and exciting throughout but especially here, when the angst and dashing drama are worthy of Shakespeare himself. Part II, which I enjoyed more, was action-packed. If you like your spy stories or intrigues, there's a good chance you'll enjoy this. Part I reads like a subtle romance and dance between two intelligent enemies. Kelso drops tantalizing hints as the heroine unravels the mystery of the hero's threat or asset to her people. There is a question that slowly, exquisitely unfolds during the novel. Either pay attention or fall behind to confusion. This short book is packed, and with the exception of the hero's eyes, Kelso rarely repeats herself. Reading Amberlight requires care, that's for sure. A fresh view of wiry but muscular body that she remembers surprisingly well."The active scenes speed along like this, even with the extra time necessary to discern who's speaking when, remembering this person or that one. I've since learned that this style is called "sprung-rhythm." I never knew there was a tradition behind this technique.
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"High moon over Amberlight, commanding the zenith, radiant, imperial, the city's fretted-ink porticoes and balconies gnawing that torrent of aerial snow." The phrases are so economic as to be fragments rather than whole sentences, sometimes doing away with useless helping verbs, sometimes pronouns or articles. Every word is strong and chosen with an eye for imagery and effect. Kelso's prose reads like modern poetry in the literal sense. As other readers will tell you, Amberlight is a very unique, very interesting read- most unique for Sylvia Kelso's writing style.
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