Review by Jonathan Wilkins of "The Cry of the Icemark" series by Stuart Hill

It is now twenty years ago that Leicester born-and-bred author Stuart Hill won the first ever Waterstones Children's Book Award with his epic novel Cry of the Ice Mark, the first of a series that has captivated readers since 2005 and has been reissued this year.

Stuart Hill’s Cry of the Icemark series, beginning with The Cry of the Icemark (2005), followed by Blade of Fire (2006) and Last Battle of the Icemark (2008), stands as one of the more distinctive contributions to early 2000s young adult fantasy. It blends high-stakes warfare, mythic alliances, and coming-of-age drama with an exuberant, almost folkloric energy. Across the trilogy, Hill crafts a world that feels both familiar in its medieval fantasy scaffolding and refreshingly idiosyncratic in its cultural detail, humour, and emotional sincerity.

The first novel introduces readers to Thirrin Freer Strong in the Arm Lindenshield, a teenage warrior princess thrust into leadership after the death of her father in battle. This is the novel’s core dramatic engine: Thirrin’s struggle to transform her small northern kingdom into a coalition strong enough to resist the technologically advanced Polypontian Empire. The premise is archetypal, but Hill’s execution is unusually lively. He populates the world with werewolves, vampires, giant snow leopards, warlocks, and forest elementals, creatures who are not merely decorative but woven into the political and emotional fabric of the story.

One of the series’ greatest strengths is its sense of cultural texture. The Icemark itself evokes a Scandinavian-influenced warrior society, while the Hypollitan people, Thirrin’s maternal lineage, draw inspiration from Amazonian myth. These influences are not subtle, but Hill uses them with affection rather than derivation, creating a patchwork world that feels mythic rather than derivative. The alliances Thirrin forges are not simple plot devices; they are opportunities for Hill to explore how societies with radically different values negotiate trust, honour, and survival.

The first book’s pacing is brisk, sometimes breathless. Hill’s background as a bookseller and archaeologist seems to inform his interest in mythic structures and heroic archetypes, but he writes with a modern sensibility. He occasionally uses contemporary language, calling Thirrin's father "Dad," for instance, which adds a slightly anachronistic charm to the otherwise medieval setting. Some readers may find this jarring; others can see it as part of the series’ playful tone. What is undeniable is Hill’s commitment to making Thirrin accessible. She is fierce, stubborn, and occasionally reckless, but her emotional arc, grief, responsibility, self doubt, and determination ground the fantasy in something recognisably human.

The battle scenes are a highlight. Hill’s prose is clear, energetic, and cinematic, military fantasy elements surprisingly robust for a younger audience: strategy, logistics, morale, and political negotiation all play meaningful roles. The Polypontian Empire, led by the formidable General Scipio Bellorum, is not a faceless evil but a disciplined, rational, expansionist force. This gives the conflict a sense of weight and complexity, elevating it above the typical good-versus-evil binary.

The second book, Blade of Fire, expands the world significantly. While the first novel is tightly focused on Thirrin’s coming of age and the defence of the Icemark, the sequel broadens the narrative to include her children and the long-term consequences of the alliances forged in the first book. The stakes grow more global, and Hill leans further into the series’ blend of mythic fantasy and military epic. The emotional tone deepens as well: themes of legacy, sacrifice, and generational responsibility come to the fore. 

The final book, Last Battle of the Icemark, brings the trilogy to a dramatic conclusion. Hill’s interest in large-scale conflict reaches its peak here, and the narrative becomes darker and more complex. The alliances that once seemed unshakeable are tested, and the characters, now older, more seasoned, and more burdened, face moral dilemmas that go beyond battlefield heroics. The trilogy’s ending is bold, emotional, and thematically coherent, reinforcing Hill’s commitment to portraying war not as a romantic adventure but as a crucible for identity, loyalty, and loss.

Across the series, Hill’s character work is earnest and often charming. Thirrin remains one of fantasy’s more memorable heroines: fierce without being one note, proud without being arrogant, and vulnerable without losing her edge. Her relationship with Oskan, the young warlock who becomes her closest friend and advisor, is particularly well drawn. Their dynamic, half banter, half philosophical tension, adds warmth and humour to the otherwise martial narrative. The supporting cast, from the dignified Snow Leopards to the decadent Vampires, is colourful and distinctive. Hill’s vampires, in particular, are a delightful departure from the brooding romantic archetype: they are aristocratic, sardonic, and bored, joining the war largely for entertainment.

Thematically, the series explores unity through diversity. Thirrin’s alliances are not merely strategic; they are symbolic of a world in which survival depends on cooperation across cultural, species, and ideological boundaries. This message feels especially resonant given the series’ publication era, and it remains relevant today. Hill also engages with themes of grief and remembrance. The first book is dedicated to his sister Kathleen, "the real Thirrin," whom he lost to leukaemia as a teenager. This personal connection infuses the narrative with emotional sincerity, particularly in moments where Thirrin confronts loss or fear.

Hill writes with exuberance, sincerity, and a clear love for mythic storytelling. The result is a trilogy that feels less like a polished corporate fantasy product and more like a heartfelt, imaginative saga told by someone who genuinely delights in the act of creation.

In the broader landscape of fantasy, The Cry of the Icemark series occupies a unique niche. It is less romantic than many contemporaries, more militaristic, and more rooted in mythic archetypes. It appeals to readers who enjoy epic battles, political alliances, and richly imagined cultures. It also offers something increasingly rare: a heroine whose strength is defined not by destiny or magical power but by courage, leadership, and the willingness to learn.

Ultimately, Stuart Hill’s trilogy is a vibrant, emotionally resonant, and culturally textured work of fantasy. It remains beloved by readers who appreciate its blend of myth, warfare, humour, and heart. For those seeking a fantasy series that balances epic scale with genuine warmth, and that celebrates the power of unlikely alliances, it is well worth reading.

About the reviewer
Jonathan Wilkins is 69. He is married to the gorgeous Annie with two wonderful sons. He was a teacher for twenty years, a Waterstones’ bookseller and coached women’s basketball for over thirty years before taking up writing seriously. Nowadays he takes notes for students with Special Needs at Leicester and Warwick Universities. He has had a work commissioned by the UK Arts Council and several pieces published traditionally as well as on-line. He has had poems in magazines and anthologies, art galleries, studios, museums and at Huddersfield Railway Station. He loves writing poetry. For his MA, he wrote a crime novel, Utrecht Snow. He followed it up with Utrecht Rain, and is now writing a third part. He is currently writing a crime series, Poppy Knows Best, set at the end of the Great War and into the early 1920s.

Review by Kimaya Tushar Patil of "The Cruel Prince" by Holly Black

"If I cannot be better than them, I will become so much worse": The Cruel Prince by Holly Black drags the readers into the twisted realm of Faerie, where smiles equal danger and beauty hides ruthlessness. And for a mortal, most days, survival means walking a knife's edge between wit and wavering morals. The narrative follows Jude Duarte, a mortal girl who was abducted along with her twin and half-sister, and whisked to the realm of Faerie after the brutal massacre of her biological parents by the Grand General of Elfhame. 

Growing up in the realm of Faerie, Jude learned early on to tread with caution even when being protected by the General's reputation. The only way to rise above her oppressors was to gain power over them. 

Black's narrative revolves around Jude's metamorphosis from a victim to a cunning strategist fuelled by political ambition. She twists the familiar, captivating beauty of Faerie with moral ambiguity, exposing the cruelty hiding beneath. Her prose is succinct and adds deeper layers of emotions to the atmosphere of the world. And while the political intrigue is multifaceted, the pacing sometimes stutters as scenes of intimidation and violence recur. Her worldbuilding is extensive, but it sometimes focuses solely on ambiguous emotion, rather than information for the reader.

The subtle romantic tension between Prince Cardan and Jude lays a foundation for the character arc to progress emotionally in the later books. Unlike most Young Adult leads, Jude's desire for power, along with her readiness to deceive, exploit, and accept cruelty for it, adds a twist to the traditional "moral heroine."   

The Cruel Prince excels in its incisive rendering of its characters and political intricacy. Black presents us with a dark and cunning fantasy that instead of appealing to sentiments, appeals to readers who crave a morally multifaceted heroine and worlds where survival hangs between the right choice or the necessary choice.  

About the reviewer
Kimaya Tushar Patil is a graduate of the University of Leicester’s MA in Creative Writing programme. A lifelong reader, writer and poet, she is particularly interested in fiction, narrative voice, and literary craft. She enjoys engaging critically with books that leave a lasting impression. You can read more about Kimaya's work on Creative Writing at Leicester here. 

Interview with Duncan Gill

Duncan Gill is a British author, born in England, Hemel Hempstead, in1987. The Ancestral Odyssey is the name of his epic fantasy book series that started with The Utopian Dream and was independently published in 2016 to positive reviews. Gill has published six volumes under The Ancestral Odyssey and is currently writing its continuation - a series that thus far has captured the essence of traditional fantasy storytelling, while reaching to bring fans of the genre something new. His goal is to honour what epic fantasy is but he strives to experiment and expand upon it, hoping to demonstrate that it can be more than what was once thought.

His official website is here. On X: @MegasTeque

Interviewed by Joyce Bou Charaa

JBC: What first inspired you to become a writer? Was there a specific memory or experience that drove you to start writing stories?

DG: That’s a good question, and unfortunately, I don’t have a definitive answer. I believe it all came from a concept that slowly formed in my early teens from various places, but I suppose this desire to write, this need to forge my own story was always there under the surface, it just needed some help to be discovered, and then of course once it was unearthed, you can begin to learn, refine, and polish the craft at your own leisure. Bu, going back before that moment if I may? I remember coming away from books as a child, walking out of films and finishing certain video games - I was left with annoying thoughts of what would come next and what would that look like? When such titles did not continue, I’d begin to craft the narrative myself in my own head, and because I grew up in a time without the noise of social media, I craved long walks and lengthy car journeys, but more specifically, I craved time alone, because only when I was alone could I indulge in this meditative state assisted with music that enabled me to continue the story of x, y and z, stories I’d build simply by thinking about them. The beauty of this was it could be anything I wanted it to be, and I believe that was my initiation to what was coming next, a project of my own making, one that I felt had to be written.

As for inspirations, I’m usually drawn to stories complete with their own worlds, and that world can look like anything so long as it’s grounded in its own unique signature and style. I like worlds that feel lived in, worlds that have been thought out, worlds with the weight of history, with wear and tear at the corners, worlds that encapsulate both beauty, danger with a lick of mystery, while enriched in their own fantastical setting. If done right, anything can be believed.

To no one’s surprise, Lord of the Rings is a champion when it comes to world building, Harry Potter is indeed excellent, worthy of a mention for inspiration. I think all modern fantasy writers have to have read or at least indulged in these worlds, but I personally leaned further into Tolkien having started to read the trilogy at sixteen and finishing it at seventeen while visiting my Grandparents in Suffolk, which was a year or so into creating my own fantasy world set in a place called Equis. However, before I discovered Tolkien and Rowling and everything hence, I remember reading and becoming invested in a magazine that belonged to my elder brother called The Ancestral Trail; the first issue was published by Marshal Cavendish in 1992, while its final issue was released in 1994. Written by Fergus Fleming and Ian Probert and illustrated by Julek Heller, this trail follows a story that is very much in line with what inspires me and my own work: a dark, fantasy tale born out of an unsettling world of magic and monsters. Of course, there are so many other inspirations, such as Amy Hennig’s Legacy of Kain series that’s set in the rotting, gothic, vampiric world of Nosgoth, Lorne Lanning's Oddworld, and the biomechanical worlds depicted by the artist H. R. Giger, the mind behind the universe of the nightmarish Star Beast, better known as Alien. Such brilliant works all meld together; they mix with your own unique senses and perception, and from this ooze you slowly but surely build.

JBC: You've written six volumes of your fantasy series, The Ancestral Odyssey. Could you tell us more about the book idea and how it started? Also, can you share some behind-the-scenes moments from crafting the plot?

DG: Sure. The idea is to create a series of books coupled with their own themes distinct from each other, yet at their core tell a story about inheritance, what we pass down to future generations. This thread might not be clear to begin with, but as the stories unfold, it all centres around a question; what is the most important thing to inherit? What is the most important thing worth preserving? These ideas, loose and flimsy at the time, became my base, and from this foundation grew what we see today. It’s hard to pin down where it all exactly started; as I mentioned earlier, when I was a child I was always lost in my own head making things up, doing everything I could to stay in that place rather than face bitter reality, but if I had to accurately point to a time where Odyssey started, I’d say it was around 2002, perhaps 2003. It didn’t exist as a book back then, but instead it was a humble collection of sketches, hand-written descriptions of locations, a simple hand drawn map, and loads of notes scribbled on the backs of receipts from where I worked at the time. Despite not having a goal or endgame in mind, I continued to work on it, I kept building it for reasons I was uncertain of, but something was telling me that this was a calling, that there was something here worth exploring, and that’s what I did, I kept building it, I kept adding to it little by little and expanding this jargon until semblances of ideas formed. Were all these ideas any good? No, not all of them, but those that I believe are good have either been executed, or are still being tended to today, and are yet to flower.

A few years later, I’d submit this huge body of work as part of a college project in 2006, a project which earned me a place in university in 2007, and that was when I started writing the book in my dorm, and the book was called Mythology: Seeds of War. This is where I encountered my first problem as a storyteller. Seeds of War wasn’t fit for a beginning, there was already too much going on, most of the characters were well established, the journey was already in full swing, huge events had taken place that deserved to be experienced, and there was no real weight to the dialogue. It didn’t feel right to start here, so I decided to shelve it for what I thought would be a short time (eighteen years, give or take) and got to work on something that feels more and more like a history now. I dialled the clock back twenty years on the timeline and got to work on the first instalment which was called Mythology: The Perfect World, only for it to evolve after my backpacking travels of Western and Eastern Europe in 2016 into The Ancestral Odyssey: The Utopian Dream, a story focusing on two protagonists, a young General, Lethaniel Presian and a spiritual Star Caller, Isabelle Verano - two characters who fight on the same side but in very different ways. Lethaniel relies on his swordplay, his military strategy and brute force to survive, while Isabelle depends upon her magic, her faith, and mysterious foresight. These two characters at times cross paths, but ultimately there are two different stories that orbit around finding one’s place and one’s purpose in a beautiful yet unforgiving world, a world called Equis, where word spreads fast and mercy is something of a rarity.

JBC: Out of all your characters, which one is your favourite? What makes this character so unique to you?

DG: I do have a soft spot for one character in particular, someone who I will detail as to why in a moment, but before I get there, I have to say that this question is like asking someone to choose your favourite film, book or band, sure you have a handful you immediately think of, but every so often the order switches around and you just need "that one" for that moment in time.

I feel that Alexius Marsay, Lethaniel’s best friend, is a favourite. The feedback I’ve gotten suggests people like him, and having re-read The Utopian Dream recently in preparation for the audiobook, his lines are witty, he often succumbs to his vices and adds some much-needed comic relief to an otherwise bleak story. I feel like Alexius is someone the everyday man can relate to, he loves to smoke, he loves to drink, he loves to eat and sleep in, he enjoys the company of women, he usually says what everyone is thinking and yet somehow, despite it all, he delivers each and every time, becoming that guy you can rely on, fighting with a ferocity that matches those of a knight's status.

Counter to this is Ridian Messiah, a character who fulfils the role as one of the Odyssey's key antagonists, and this guy I believe steals every scene he’s in - for example, the scene where he makes himself known to Lethaniel and his group, appearing rather casually before a burning cathedral, standing up to our heroes with a quiet stoicism, an unwavering confidence enriched with fiendish cunning, which gets the better of Lethaniel time and time again, exploiting his weaknesses that go beyond his ability to wield a sword, a skill that Ridian too is highly proficient with.

The character that is unique to me, though, I think is and always will be Isabelle. She’s special, because when I made the decision to shelve Seeds of War and write The Utopian Dream, that takes place two decades earlier, Isabelle was the character that more or less guided me through this world, and what I find even more peculiar is that I wasn’t the only one she guides, creating a narrative that wasn’t intentionally planned, but one I am thankful that formulated. Isabelle will always be special in that regard.

JBC: If you wanted to choose a new genre outside of fantasy, what would it be and why?

DG: Horror is actually my favourite genre for a plethora of reasons; it even trumps my love of fantasy. Horror is almost always the genre I turn to when it comes to selecting films to watch, books to read or games to play. There is something oddly fascinating and daring about exploring those parts of your psyche that genuinely disturb you, whether this involves an external tormentor or something that comes from within. The genre is fluid, it is malleable and when it’s done right, when a piece of horror well and truly finds you, it has the power to keep you in that space for hours, and in some cases, days.

I’ve also learned when thinking, studying and writing about larger-than-life topics, these steps inevitably slip into dark and disturbing places. If you don’t like the horror genre, of course that’s acceptable, but whether you like it or not, horror exists all around us, it is never far away, you cannot avoid it forever; the genre is but another avenue to explore a very real presence of the human condition, and that is important.

Please, do not misunderstand, I write in fantasy because it suits a personal desire, a need that can only be satisfied with the creation of a world married to a massive landscape with many characters to navigate, and when it comes to consuming fantasy, I’ll certainly indulge. I also feel like I’m better at writing fantasy than horror; just because I find horror more compelling in most cases does not mean I’m better at crafting it, fantasy comes out on top in that regard. However, I find that horror is easier to digest: where fantasy is an occasional visit, horror is something weekly. Some of the best examples of horror I can think of include the short story called "I Have No Mouth and I Must Scream," written by Harlan Ellison in 1967. The video game Soma, developed by Frictional Games and released in 2015, is easily up there as one of the most disturbing games and concepts I’ve ever played, and as for House of Leaves written by Mark Z. Danielewski and published in 2000, what can I say: never in my life have I ever been terrified of a blank page, but this book achieved it. It’s unsettling to say the least, expertly written and furthermore, it can only exist in a book format, which makes it fascinating.

JBC: Lately, we've been seeing a rise in book-to-screen adaptations. What's your take on this trend? Do you envision The Ancestral Odyssey being adapted into film one day?

DG: I think Hollywood is in a spot of turmoil right now. I’m not exactly sure when it began, but we’ve been through approximately fifteen to twenty years of non-stop superhero movies adapted from old comic books. Some of these films are very good and adapted faithfully, most however are fun watches that ride that line of mediocrity, but the more recent ones have just been content for content's sake. They’re forgetful and are like to media junk food, that’s the vibe I’ve been getting when browsing the web or talking amongst friends, and I cannot argue with that. The era of the superhero flick is coming to an end. Sure, there will always be one or two sprouting up here and there, but I think we can all agree that the peak of superheroes was the Avengers finale. Since then, it’s just been on a downward spiral, and Hollywood must know that this once-deep well is running dry.

So, where do they turn to next and what can they capitalise on? Books have and always will be the best resource Hollywood can dip into, and I think that is the answer to their problem in the hunt for new ideas, because I don’t know about you, but I am getting sick of all these remakes. I am seeing a lot of popular video games being adapted to the screen, The Last of Us, Resident Evil, Fallout to name a few. I’m not opposed to this, I love gaming, so long as the material is treated with respect, remains true to the source material and is crafted by people who know what they’re doing, to make something that honours the artist or artists that made it originally. Therein lies our problem, film makers these days and their writers often don’t know what they’re doing - whether they lack the wisdom and knowledge to translate the source material to the screen or are in thrall to the committee, the board of directors, the suits (as I like to call them) who are only in it to turn a profit, caring little for the actual art. Either way, what used to be exciting news, hearing about a classic game or book being adapted into a film, is now something to dread. Yes, I’ve been hurt far too many times now to get excited, and this segues nicely into my thoughts on a TAO (The Ancestral Odyssey) adaptation, if there ever was one.

There was a time when this was all I could think about; the fantasy, the idea of TAO being adapted into a film or perhaps a TV show, seeing this world and all these characters coming to life that mirror their personas on the page - this was something to aspire to; it would be exciting, and a dream come true. However, in the current climate, and with what I have seen with other book to film adaptations, I’m not so sure it would ever be allowed or could work if greenlit, from both a bureaucratic and practical point of view. In order for it to work, the project would need to be managed by people who genuinely cared, by people who are talented artists in their own right and would want to make the best collection of movies possible, because if anyone knows anything about movie making, it's that it is a team effort, no one man or woman can do everything, and only when everyone is singing from the same hymn sheet can you then hope for the best outcome, which is a well-written story, coupled with flawless acting and magnificent visuals. Also, and I am not even sure that this is possible, but I would want to organise a contract where I am on the board, to be part of the writing team, involved with the casting and would have a say on the direction of the story. This is my vision, after all, and of course I want what’s best for it. So, if by some miracle this does get the attention it needs, to be adapted onto the big screen by a dedicated, passionate team, and if by another miracle I’d have some executive power, then yes, let’s go, let’s get it done, let’s minimalize the inevitable heartbreaks and let’s make it into the best it can be, and I promise you it would be something spectacular. But if not, if it is to fall into the wrong hands and my power over the decision making was severely limited or, worse, stolen and undermined, then no, it’s never going to happen. I’ll be happy with just the completion of the books and have them sitting on a shelf collecting dust.

JBC: We know that you're working on an audiobook for Volume 1. How is the process going so far? And do you think audiobooks are becoming more appealing to readers today?

DG: It’s frustrating. Working on an independently made audiobook really locks you into your workstation. Once you start working on a session, you quite literally cannot be doing anything else, you need your eyes, your ears and 100% of your mind focused on the task at all times, and before you know it, that glorious welcoming morning sun is gone and it's night time, and to make things worse, you’ve not eaten anything and most of the tea and coffee you made has gone cold. You might be thinking that the solid stretches of work would yield something to be proud of and justify the days lost to the project, but when you analyse what you’ve accomplished, it’s not nearly as much as you hoped for. In fact, more often it's the case that you’ve achieved very little for something that is at best, satisfactory. I suppose because I am fresh to this new media, because I am still learning how to use the software and figuring out what works best, it’s reasonable to think that my frustrations thus far might be down to simple growing pains, especially when it comes to using AI voice techniques. That being said, the voice I am using does belong to a real voice actress, all I’ve done is recorded, cloned, and trained the voice to save on time (ironically) and money, money that I simply do not have in 2025. Had I the resources to do this the traditional way, then absolutely I would be all over it, but that is not the reality I live in, so with said advancements in AI, I’ve met the technology half way, meaning I’ve worked with someone talented, a singer-songwriter Emmy Lila, and with her consent (of course) cloned her voice, so I don’t have to be in studio for hundreds of hours. I did think despite the setbacks, I was making headway, but alas I learned that the voice needed a little more range. So, I contacted Miss Lila and to my delight, she came through with some more recordings; however, when the voice was updated, I needed to pass another verification checkpoint, and the only way to do this was to contact Emmy again, but tragedy struck! A death in the family has ground this project all the way down to a halt, and it could be weeks, perhaps some months, before work proceeds. It will take a long time, but when the audiobook does release, it will be presented professionally, the voice will read the work beautifully, it will come with sound effects and musical transitions, all of which besides the voice clone will be independent from AI.

Do I think that audiobooks are becoming more appealing? Yes, even though we live in an age where a lot of our basic needs are taken care of, people are busier than ever, and attention spans are dwindling due to the onslaught of social media. Everyone I have spoken with recently openly admits that they’re not reading as much as they’re used to and are turning to audiobooks instead. Reading will never cease, there will always be readers, but it would be naive of me to say that audiobooks aren’t having a huge impact on the industry as a whole.

JBC: Can you tell us about your upcoming projects? What awaits readers of The Ancestral Odyssey? And are you working on a new book outside the series?

DG: The Ancestral Odyssey will have five episodes in total under this name. The first episode is The Utopian Dream – Volumes 1, 2 and 3. The sequel, Rise of the Black Doves – Volumes 4, 5 and 6 - was completed last year, while work on episode three, Seeds of War – Volumes 7, 8 and 9 - is underway. I am thoroughly enjoying the story thus far, it certainly has an interesting opening and what will be a fantastic ending. I’m unsure about the middle due to all of the moving parts, but I assure you, there will be some surprises in this next instalment. The lead villain is dark and dangerous; someone you’d least expect to challenge this selection of characters. You’ll get an expansion on some of the technology, the magic, the Celestial’s will make their most dramatic appearance yet, and we’ll just get to continue with all these different stories left over from Rise, stories that I hope will capture the reader's imagination. Progress is sadly slow due to the demand of my day job and other projects, such as editing shorter stories, writing articles for the blog, a horror book I have in the making that needs attention, and the preparation of the re-release of The Utopian Dream, it all takes its toll. Episode four, Rainbow Dawn, and the final episode in the series called The Chosen Kindred will be undertaken when the time comes, but that will not be for some time yet.

While slaving away on The Utopian Dream's audiobook, I decided that a clean-up of the material was necessary, so in the coming months we will see it removed and swiftly re-published. The story will remain the exact same, nothing will be changed on that front, but its structure, its grammatical errors will be ironed out where needs be on all current formats, from Kindle, Paperback, and Hardback. The same will follow with Rise of the Black Doves, because after my enormous review/analysis of this monster of a book, a review titled "A Thought on Rise," an essay stretching to 100 pages long published on my blog on the 23rd of August, I did pick out a few mistakes that need adjusting, but it is less of a priority at the moment.

I am in the throes of writing my own speculative fiction, a story that’s separate from TAO called Viewer One, and it will wade into the murky waters of H. P. Lovecraft and lonely psychological horror. We’ll see how that turns out as it’s something of a side project right now. If you’d like to know where to find me, my website is the best place to start. From there you have access to articles, artwork, videos and a list of my books. 

Thank you for your questions, I hope my answers satisfied, it’s been a pleasure.

About the interviewer
Joyce Bou Charaa is a Lebanese writer and editor. Her works are featured in Aniko Press, Tint Journal, The Indiependent, Newpages, Wijdan platform, and other outlets. She covers culture, books, and literature. Her recent work is featured in Shadows of The Mind anthology. You can find her on Instagram: Joyboucharaa/ and on X: @joyceboucharaa.

Review by Rosalind Taylor of "Heaven Official's Blessing" by Mo Xiang Tong Xiu

Heaven Official's Blessing by Mo Xiang Tong Xiu is a series of historical Chinese fantasy novels about the once-prosperous crown prince of Xianle, Xie Lian. He is banished from the heavens and becomes a "scrap-collecting God," only to ascend to the heavens again to a  laughing-stock. The novels also follow Xie Lian's most devoted believer, Hua Cheng, also known as "The Crimson Rain Sought Flower," who is the most feared of the Four Ghost Calamities. Set 800 years after the fall of the kingdom of Xianle, the now-unlucky Xie Lian meets up with the mysterious Hua Cheng at a "ghost marriage."

I really like these novels and especially the main characters Xie Lian and Hua Cheng. I really enjoy that Mo Xiang Tong Xiu uses Hua Cheng to show respect to Xie Lian even though no one else does. Xie Lian is shown as a character who cares for both the heavens and normal people whoever they are, and yet never gets anything in return for it, apart from the love and care of Hua Cheng: "If your dream is to save the common people, then my dream is only you." Hua Cheng waits 800 years just to speak to Xie Lian, and I find the novels really heart-warming in their representation of love. 

Some of my favourite scenes include "The Gamblers Den" story arc, which follows Xie Lian meeting Hua Cheng in the Ghost City. It shows how much Hua Cheng cares and that he would make any sacrifice for Xie Lian. Another favourite scene is one in which Hua Cheng gives Xie Lian 3,000 lanterns in the "Battle of the Lanterns" arc, again which demonstrates to the reader how fond Hua Cheng is of Xie Lian. I really like Xie Lian and Hua Cheng interacting across the story and how they communicate with each other.

About the reviewer

Rosalind Taylor is fifteen years-old and likes cats and webcomics.