Book Reviews: Two Fantasies by Martha Wells

Martha Wells has become one of my favorite authors. I loved her “Raksura” series and was bowled over by her “Murderbot” novellas. I thought I would follow her across genres. Two of her recent releases soar in terms of world-building imagination, but fall short in dramatic shaping and plot structure.

Witch King, by Martha Wells (Tor)

Witch King opens with a mystery as demon Kai (not “a” demon, THE demon) wakes up in captivity with a mage attempting to seize control of his magic. His immediate goal is to free himself and locate his companions. This proves to be both easier and far more challenging than it appears on the surface. For one thing, Kai’s last (dead) host body has been murdered and he’s in another, quite unfamiliar (and much less fit) body; for another, he has no idea how much time has elapsed since he’s been unconscious (a lot), what political changes are afoot in the world, and where the wife of his closest ally has disappeared to.

So far, so good, and Wells does a superb job in introducing complex characters, an unusual system of magic, and millennia of history and world-building without dumping expository lumps on the reader.

Wells then shifts to the distant past when Kai inhabited a volunteer body and lived in a rich, joyful, and emotionally warm culture. From here, the two timelines alternate chapters. A few characters, such as Kai who is almost immortal, appear throughout, but many others (many, many others) are specific only to one. Still more are alive and active in the past but distant memories in the present. Because the focus is on Kai and a few others who are present in both times, I had to search for other clues as to where and when I was.

Both storylines are filled with action and wonderful characters, situations, and relationships. Each one would be more than enough for a novel in itself. Some readers will love the weaving back and forth and all the myriad ways the past informs and shapes the present. I was one of them, but only at first. As the book went on, however, I found it increasingly frustrating trying to orient myself—which time is this? what’s been going on? who’s still alive? and, most importantly, what is the present goal or threat for the protagonist? There didn’t seem to be a single plot arc, a building dramatic tension that carried through in both past and present. It didn’t help that my favorite character from the past is long since dead in the present. Within each timeline, unrelated problems arise and are resolved. I could never figure out what the overall “Big Bad” was, especially after one candidate villain after another is eliminated. The “Big Bad” at the end seemed to come out of nowhere. Mark Twain famously said that life is “one damned thing after another.” Fiction must play by a different set of rules.

Witch King is hugely ambitious, filled with imaginative elements, compelling personal drama, and a huge landscape across time as well as space. Wells handles these elements with the effortless skill of a seasoned professional, but fails to shape them into a single dramatic story.

 

Wheel of the Infinite, by Martha Wells (Tor)

Wheel of the Infinite starts with a fortuitous encounter on the road between Maskelle, a confident and immensely powerful magic wielder, and handsome, enigmatic swordsman Rian. After she saves his life, he and a band of motley other characters accompany Maskelle to the heart of the Celestial Empire. Much later, we learn that she’s returning from exile after being judged a traitor and much, much later, that her task is to help remake the beautiful, orderly mandala known at the Wheel of the Infinite, thereby ensuring peace and harmony for the Empire. At turns, the action moves swiftly with leaps of dramatic tension or as slowly as any travelogue. In this, it reminded me of The Lord of the Rings (the books, not the movies), which alternated between seat-of-the-pants action and pages upon pages of passing scenery. Also that there’s a quest, although in Rings, the mission is much more clear and consistently present.

Maskelle was one of my favorite characters in a long while. She’s an older woman, always a plus with me, she’s quite comfortable with her sexuality (double plus), and she’s terrifyingly competent as a magician (triple plus). Once the question of whether she’ll decide it wise to take Rian as her lover is settled, he pales by contrast as a character. Many, many other characters appeared (and disappeared, some temporarily, others not so much) but weren’t around for long enough to engage my sympathy.

As with Witch King, the premise, world-building, magical system, and protagonist in Wheel of the Infinite were all marvelous. The book is highly ambitious, offering fresh, original takes on time-honored tropes. Its sheer size and scope break down under their own weight. It’s as if Wells, whose novellas and shorter novels are tightly plotted gems, hasn’t quite made the leap to books of this length and complexity. Nevertheless, both are enjoyable reads with many twists and innovations. While neither worked perfectly for me, I’m eager to read her next project.