Before I begin this review, and in the spirit of full disclosure, I would mention that while I have never met the author face to face (we live on opposite sides of the planet), I have nonetheless had occasion to exchange emails with Ms Nevins, via Goodreads, and have found her to be a charming and thoughtful correspondent. This review is based on the Kindle edition of her novel, Wormwood. I bought that copy through Amazon.com (for an unreasonably low 99c) and read it on my Kindle. Ms Nevins has not in any way tried to influence the content of this review (in spite of repeated unsubtle hints that I am open to bribery).
I've tried not to give too much away, but if you don’t even like to read the blurb on the back cover before launching into a book, I recommend you go read Wormwood, then come back and see it you agree with me.
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The burgeoning popularity of the apocalyptic fantasy is a fairly recent phenomenon. The end of the world might come in the form of a disease, a meteor, a disease brought to earth by a meteor, a global nuclear exchange, economic collapse, social collapse, economic and social collapse brought on by the majority of the population being turned into zombies (possibly the introduction of a meteor-borne disease), alien invasion, super-volcano, ancient Mayan prophesy, sentient technology, or vampires.
Wormwood takes a different path. A young hiking-guide leading a group of corporate-types on a team-building weekend, breaks away from the group for a hour’s respite, and stumbles upon a rather sullen, brooding, terribly good-looking you man at her favourite sunset-facing lookout, seemingly bearing the weight of the world on his shoulders. After a brief conversation, the young man thanks her for helping him come to terms with something that that he has no control or authority over but that he must do regardless.
Fast track to ten years later; Kali – our heroine – is hiking through the same national park when the world begins to erupt around her. As she makes for the higher ground of the lookout everything around her undulates, courses and plummets, the landscape convulsing. And as she reaches the summit, a familiar figure presides over the destruction; Tiamat, the young man with she met a decade before. The one contemplating the unpleasant task he must undertake.
While Ms Nevins story is at once an epic apocalyptic fantasy – one of biblical proportions – it is, at its heart, a small story about one woman trying to survive in a world literally turned upside down, while she tries to make sense of everything that has happened around her. Kali is intelligent and resourceful, but the task of merely staying alive would be insurmountable without the assistance of Tiamat. As Kali learns about what has happened to her world, she is torn between her being drawn to Tiamat and being repelled by the part he played – and continues to play – in the ongoing devastation.
There’s an almost Robinson Crusoe quality to Wormwood. The dramatis personae is relatively small, and much of the time Kali is alone, but in spite of her own self-doubts, it is in solitude that she repeatedly finds the strength of will and depth of character to push forward. The few others she meets are as often as not a danger to her, either directly or unintentionally. When other (usually much more powerful or capable) characters do help Kali, it’s because she allows them to.
Wormwood is also a romantic tale, a story of girl meets boy, boy turns out to be a supernatural being possessing extraordinary powers; difficulties ensue. I don’t mean to make light of this part of the story – on the contrary, in a story that requires a suspension of disbelief from the reader, the evolution of the relationship between Kali and Tiamat is perhaps the most natural and credible aspect of the story. Wormwood isn't a romance with apocalyptic window-dressing, nor is it an end of the world tale with a love-interest to break the monotony. Every aspect of the story works because it belongs there; the whole is greater than the sum of its narrative parts.
Ms Nevins has a wonderfully attuned sense of the authentic, both in dialogue and action. Standing back from Wormwood, it's a tall tale, drawing equally from religion, mythos and modern anxieties of imminent disaster. The view from inside, however reveals a seamless world imbued with prevailing sense of the real.