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Guardians of the Gods #2
At the Fount of Creation
The fate of the Orisha will be decided in the concluding volume of the Guardian of the Gods duology, inspired by Yoruba mythology.
Perfect for fans of N. K. Jemisin, Suyi Davies Okungbowa, Daughters of Nri, and Godkiller.
For four hundred years, the world's remaining Orisha have fought to survive the rapaciousness of the soul-stealing Godkillers and the charismatic words of the singular, mysterious figure who leads them, known as the Teacher. Now they seek to kill the one person whose existence defies their very mandate.
Now that Ashâke carries within herself the spirits of the surviving Orisha, she is on the hunt for allies who can help her defeat the encroaching army of Godkillers. But their influence is everywhere, and no one is immune―not even Ashâke. If she is to succeed, Ashâke will need to answer the question the Godkillers pose―are the Orisha even worth saving?
Perfect for fans of N. K. Jemisin, Suyi Davies Okungbowa, Daughters of Nri, and Godkiller.
For four hundred years, the world's remaining Orisha have fought to survive the rapaciousness of the soul-stealing Godkillers and the charismatic words of the singular, mysterious figure who leads them, known as the Teacher. Now they seek to kill the one person whose existence defies their very mandate.
Now that Ashâke carries within herself the spirits of the surviving Orisha, she is on the hunt for allies who can help her defeat the encroaching army of Godkillers. But their influence is everywhere, and no one is immune―not even Ashâke. If she is to succeed, Ashâke will need to answer the question the Godkillers pose―are the Orisha even worth saving?
224 pages, Hardcover
First published January 28, 2025
10 people are currently reading
697 people want to read
About the author
Tobi Ogundiran
30 books120 followersTobi Ogundiran is the award-winning author of the Guardian of the Gods duology (In the Shadow of the Fall, At the Fount of Creation) and the critically acclaimed collection, Jackal, Jackal. His work has appeared in several Year's Best anthologies, and on the hit podcast LeVar Burton Reads. Originally from Nigeria, he now lives and works in the US South.
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Displaying 1 - 30 of 78 reviews
November 30, 2024
4/5
This was a great sequel to In the Shadow of the Fall, I think I enjoyed it even more! I love the West African-inspired world and the influences of Yoruba mythology woven into it. It's a fascinating take on a world of gods and mortals, and how the two intersect.
I'm glad this instalment was longer than the first, it really allowed enough time to feel situated in the story and completely immersed. This is a well fleshed-out yet bite-sized read that you can easily read in one sitting, but that offers a vast and sprawling story.
I adored the interludes and other perspectives that brought a lot of depth and intricacy to the story. I very much appreciated them and loved the mystical settings we were able to explore through them.
My only gripe with this story was that I found Ashâke, our main character, to make some idiotic and frustrating decisions at times. She never completely emerged for me to entirely connect to, although I definitely feel more strongly about her now than I did at the end of the first book.
This is a tale of gods and mortals, of what it means to be alive, to be made, and what it means to be unmade. This is a great novella series that makes for an incredibly fun and easy read.
Thank you Titan Books for an arc.
This was a great sequel to In the Shadow of the Fall, I think I enjoyed it even more! I love the West African-inspired world and the influences of Yoruba mythology woven into it. It's a fascinating take on a world of gods and mortals, and how the two intersect.
I'm glad this instalment was longer than the first, it really allowed enough time to feel situated in the story and completely immersed. This is a well fleshed-out yet bite-sized read that you can easily read in one sitting, but that offers a vast and sprawling story.
I adored the interludes and other perspectives that brought a lot of depth and intricacy to the story. I very much appreciated them and loved the mystical settings we were able to explore through them.
My only gripe with this story was that I found Ashâke, our main character, to make some idiotic and frustrating decisions at times. She never completely emerged for me to entirely connect to, although I definitely feel more strongly about her now than I did at the end of the first book.
This is a tale of gods and mortals, of what it means to be alive, to be made, and what it means to be unmade. This is a great novella series that makes for an incredibly fun and easy read.
Thank you Titan Books for an arc.
November 10, 2024
4.5 stars rounded up
A strong conclusion to this duology! At the Fount of Creation continues Ashâke's story, drawing on West African mythology. She is caught up in an epic battle between powerful beings- the Orisha and the godkillers. I don't want to say too much because of spoilers, but this installment was action packed and included some interesting twists and revelations, leading up to a very satisfying conclusion. Definitely recommend both books and would read more from this author in the future! I received a copy of this book for review via NetGalley, all opinions are my own.
A strong conclusion to this duology! At the Fount of Creation continues Ashâke's story, drawing on West African mythology. She is caught up in an epic battle between powerful beings- the Orisha and the godkillers. I don't want to say too much because of spoilers, but this installment was action packed and included some interesting twists and revelations, leading up to a very satisfying conclusion. Definitely recommend both books and would read more from this author in the future! I received a copy of this book for review via NetGalley, all opinions are my own.
February 11, 2025
➳ 4.5
This was fantastic.
I said this with the first installment, but it bears repeating: the diminutive size of this novella should be a mark against it, while instead Tobi Ogundiran uses the short amount of pages to build a story that is both fast-paced and masterfully crafted.
Not a single page is wasted, which makes this story all the more interesting. Even the smallest of conversations are used to expand the world, the mythology, characterization, and the religious system. All of this paired with rich, dynamic characters and an incredibly satisfying conclusion, this duology deserves so much praise.
Highly recommend.
This was fantastic.
I said this with the first installment, but it bears repeating: the diminutive size of this novella should be a mark against it, while instead Tobi Ogundiran uses the short amount of pages to build a story that is both fast-paced and masterfully crafted.
Not a single page is wasted, which makes this story all the more interesting. Even the smallest of conversations are used to expand the world, the mythology, characterization, and the religious system. All of this paired with rich, dynamic characters and an incredibly satisfying conclusion, this duology deserves so much praise.
Highly recommend.
March 22, 2025
1. In the Shadow of the Fall ★★★
“We are tools at the hand of the universe,” Eshu whispered. “We are all merely actors in a cosmic play.”
After the end of the first book, I wanted to know how this duology would end. But after a fairly action-packed start where the orishas gain more weight, the story loses steam as this novella progresses. Or at least, it lost my interest. I think the author did a good job of giving context to why the villain wants to kill the orishas and showing the selfish side of them. But in the end, everything is resolved in a rush and the villain goes from being a father seeking justice to a rather flat character.
I was also confused by the fact that there is a new character introduced at the beginning of this novella who has scenes told from his point of view during the first half, but who is then completely relegated to the background and barely appears in the second part.
Overall, I felt a little underwhelmed with this last installment. But I have to say that Ashâke, the protagonist, has an interesting development, especially when we take into account how her adventure began at the beginning of In the Shadow of the Fall. And once again, my favorite aspect was the way the author includes Yoruba mythology in the story.
ARC provided by the publisher via NetGalley in exchange for an honest review.
November 29, 2024
What a beautiful and empowering conclusion to this duology. This sequel is seamlessly woven together and incredibly well-paced. The orishas' presence and personalities are really felt on the page, and I absolutely enjoyed the character dynamics. At the start, I found myself wanting more from Ashâke's perspective, but, by the end, each of the characters' storylines proved necessary. Thank you NetGalley and Tor/Forge for this ARC!! 4.5 / 5.0 ⭐️
November 30, 2024
3.5 stars.
This would've been a 4-star read for me if the first half wasn't so focused on random characters who were wronged by the orisha. It made it a bit of a drag to read, even though this is a novella and not a full-length novel. Truth be told, my mind was starting to wander and I kept putting this book off in favor of other reads.
The second half delivered on the action and high stakes that I wanted a lot more of. I was seated and ready for Ashâke's story and her fate ever since book 1 ended. While her hero's journey in the first half of this book felt meandering, the story really tightened up by the halfway mark and brought my interest back.
I really liked how the orishas reminded me of the stories of the Norse gods (the mythological version and the Marvel version). They're fickle and petty and funny, and I'd like to read a spin-off with their stories.
Overall, this duology was a quick and entertaining read. I'd definitely recommend if you're interested in Yoruba mythology and don't mind adult reads that read more YA.
Thank you to Tordotcom and NetGalley for this arc.
This would've been a 4-star read for me if the first half wasn't so focused on random characters who were wronged by the orisha. It made it a bit of a drag to read, even though this is a novella and not a full-length novel. Truth be told, my mind was starting to wander and I kept putting this book off in favor of other reads.
The second half delivered on the action and high stakes that I wanted a lot more of. I was seated and ready for Ashâke's story and her fate ever since book 1 ended. While her hero's journey in the first half of this book felt meandering, the story really tightened up by the halfway mark and brought my interest back.
I really liked how the orishas reminded me of the stories of the Norse gods (the mythological version and the Marvel version). They're fickle and petty and funny, and I'd like to read a spin-off with their stories.
Overall, this duology was a quick and entertaining read. I'd definitely recommend if you're interested in Yoruba mythology and don't mind adult reads that read more YA.
Thank you to Tordotcom and NetGalley for this arc.
December 14, 2024
3.5 stars
My thanks to Titan Books and NetGalley for the free eARC of "At the Fount of Creation" by Tobi Ogundiran.
The conclusion to the "Guardian of the Gods" duology continues the adventurous tale inspired by the Yoruba mythology.
Here we see more behind the antagonist's motivations and it created more reflection on what is actually right and what is wrong or if there is a clear cut line.
I enjoyed learning about this world and I am sure that we can expect great things from this author in the future.
My thanks to Titan Books and NetGalley for the free eARC of "At the Fount of Creation" by Tobi Ogundiran.
The conclusion to the "Guardian of the Gods" duology continues the adventurous tale inspired by the Yoruba mythology.
Here we see more behind the antagonist's motivations and it created more reflection on what is actually right and what is wrong or if there is a clear cut line.
I enjoyed learning about this world and I am sure that we can expect great things from this author in the future.
February 12, 2025
Definitely a 4.5.
What a thrilling conclusion to this duology. I definitely went into this with high expectations because the first novella was great despite being so short. And I’m glad this one too lived up to my expectations.
This one dives even more into the Yoruba mythology, giving us well fleshed out characters of some of the orishas; we learn more about how Ashake is handling being the guardian, forever being chased by the godkillers; and the uneasy dynamic they all share. But I really thought the best part were the interludes, giving us a peek into the origins of the antagonist, and this context made the story so much more richer. There were twists and revelations and a thrilling but unexpected climax, which left me feeling extremely satisfied; though I would have loved an even longer epilogue.
If you love reading fantasy novellas or mythology inspired books, you just can’t go wrong with this duology. The compelling storytelling makes for two unputdownable reads and I would highly recommend reading the two books back to back.
What a thrilling conclusion to this duology. I definitely went into this with high expectations because the first novella was great despite being so short. And I’m glad this one too lived up to my expectations.
This one dives even more into the Yoruba mythology, giving us well fleshed out characters of some of the orishas; we learn more about how Ashake is handling being the guardian, forever being chased by the godkillers; and the uneasy dynamic they all share. But I really thought the best part were the interludes, giving us a peek into the origins of the antagonist, and this context made the story so much more richer. There were twists and revelations and a thrilling but unexpected climax, which left me feeling extremely satisfied; though I would have loved an even longer epilogue.
If you love reading fantasy novellas or mythology inspired books, you just can’t go wrong with this duology. The compelling storytelling makes for two unputdownable reads and I would highly recommend reading the two books back to back.
November 28, 2024
Continuing where In the Shadow of the Fall left off, At the Fount of Creation is a fantastic conclusion to this duology that delivers on the series commitment to nuanced characters, and their motivations and machinations. Ogundiran delivers the right combination of direct prose with the right inflections of magic to draw the reader in and make such an intricate story feel justified in such a small page count. I recommend this to readers seeking a fast-paced, character-focused, moral journey navigating the influence of gods and higher-powers.
I am incredibly interesting in seeing what Ogundiran can do in a full length novel, or a series of novels.
I am incredibly interesting in seeing what Ogundiran can do in a full length novel, or a series of novels.
February 18, 2025
I don't know what it was but I was more into the first one than this. I think this was just a case of bad timing for me but it's overall still very interesting. For such a short novella it was confusing for me to have the added POVs when we spent the first book with just Ashake so I just got in my head too much trying to figure stuff out. There were good twists in this and like Ashake's growth after the realization of who/what she is in the first one. I struggle a bit with novellas because I always think there should be more but despite the page count, I think both the novellas serve well in their respective bindings a the length they are.
September 9, 2024
thank you to Tordotcom for providing me with an eARC!
The first novella in this duology was one of my favourite fantasy reads of the year, so it’s easy to say I was extremely excited for this finale to the story. In many ways, this installment feels a lot different from the first, where it’s a story of discovery, this novella is a lot more about following through, and it manifests in a very different way. The action starts immediately, but not exactly where the last book left off, as seasons have passed and the tension between the Orisha and the Godkillers is stronger than ever. And while Ashâke is still the protagonist, the story has a lot more narrators, and dives more into the lore of the Orisha in this world, and that of the Teacher. I think it’s a look at grief and motivation, as well as an exercise of power from many different angles. The story does have an ending, but it also felt like it wasn’t truly over because I don’t think there’s a singular answer for the questions that Ogundiran brings up in this series. While I found the first novella to be more compelling, I do think this is a fantasy duology that’s definitely worth reading.
The first novella in this duology was one of my favourite fantasy reads of the year, so it’s easy to say I was extremely excited for this finale to the story. In many ways, this installment feels a lot different from the first, where it’s a story of discovery, this novella is a lot more about following through, and it manifests in a very different way. The action starts immediately, but not exactly where the last book left off, as seasons have passed and the tension between the Orisha and the Godkillers is stronger than ever. And while Ashâke is still the protagonist, the story has a lot more narrators, and dives more into the lore of the Orisha in this world, and that of the Teacher. I think it’s a look at grief and motivation, as well as an exercise of power from many different angles. The story does have an ending, but it also felt like it wasn’t truly over because I don’t think there’s a singular answer for the questions that Ogundiran brings up in this series. While I found the first novella to be more compelling, I do think this is a fantasy duology that’s definitely worth reading.
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February 27, 2025Picking up right where the first book left off, we are once again swept up in a fantastical journey of gods and mortals as our characters wrestle with decisions of freedom and obligation.
The first book heightened the tensions by letting us see through the antagonist's eyes and know his plans. This book took that a step farther, by introducing more characters on different sides of this cosmic battle, and exploring the motivations of each. We see why characters would choose different sides, and the complicated and waring emotions of doing so.
Even our main character, Ashâke faces conflicting emotions about who is right in this grand power struggle spanning centuries. While Ashâke feels honored that she was chosen for an important task as the guardians of the gods, the weight of it wears on her, and she struggles with her lack of choice in the matter. She longs for freedom and the ability to choose her own path in life, but knows that comes with the cost of killing the gods she is meant to protect.
This duology makes great use of its short format, making every detail feel important, and keeping the story moving at a quick pace.
I received a copy of this book via Netgalley
The first book heightened the tensions by letting us see through the antagonist's eyes and know his plans. This book took that a step farther, by introducing more characters on different sides of this cosmic battle, and exploring the motivations of each. We see why characters would choose different sides, and the complicated and waring emotions of doing so.
Even our main character, Ashâke faces conflicting emotions about who is right in this grand power struggle spanning centuries. While Ashâke feels honored that she was chosen for an important task as the guardians of the gods, the weight of it wears on her, and she struggles with her lack of choice in the matter. She longs for freedom and the ability to choose her own path in life, but knows that comes with the cost of killing the gods she is meant to protect.
This duology makes great use of its short format, making every detail feel important, and keeping the story moving at a quick pace.
I received a copy of this book via Netgalley
December 1, 2025
At the Fount of Creation is the conclusion to the Guardians of the Gods duology of fantastical-mythological novellas. I’ve enjoyed how the orisha come to life in the story, and in this installment protagonist Ashâke’s relationships with the orisha whom she carries within her are really well developed. Overall, I think that Ogundiran has struck a great balance with the length of the novella – it feels neither too compressed (like it should’ve been longer) nor as if it’s drawn out needlessly: every detail here matters.
What didn’t quite work for me in this installment was the pacing. In a few places, the action was a bit hard to follow with jumps in what was happening leaving me unclear on how we had gotten from point A to point B. These instances were, however, few and far between.
Note that this sequel is very much a sequel, and would not work as a standalone.
Content warnings: violence, blood, murder, death, animal cruelty, animal death, grief, suicide
What didn’t quite work for me in this installment was the pacing. In a few places, the action was a bit hard to follow with jumps in what was happening leaving me unclear on how we had gotten from point A to point B. These instances were, however, few and far between.
Note that this sequel is very much a sequel, and would not work as a standalone.
Content warnings: violence, blood, murder, death, animal cruelty, animal death, grief, suicide
January 4, 2025
I liked this so much more than the first one! The strongest part for me was the characters, I loved seeing their journeys. It was also mythology that was new to me and made it all the more exciting. If you read In the shadow of the Fall and weren't sure if you should continue, do it! This was so much fun.
Thank you to Netgalley and the publisher for the arc in exchange for a fair and honor review!
Thank you to Netgalley and the publisher for the arc in exchange for a fair and honor review!
August 16, 2025
3.75 ⭐️
i fucked it up :/ read 80 pages of this before realizing there was a previous book 😭
honestly i feel like i pretty much got it. the ending wasn’t super satisfying, and the action elements were written in a style I don’t really love. 🤷🏻♀️
not the first time and surely not the last time i get duped into a reading a sequel first
i fucked it up :/ read 80 pages of this before realizing there was a previous book 😭
honestly i feel like i pretty much got it. the ending wasn’t super satisfying, and the action elements were written in a style I don’t really love. 🤷🏻♀️
not the first time and surely not the last time i get duped into a reading a sequel first
February 6, 2025
3.75/5☆
February 19, 2025
As the duology picks back up, Ashake serves as the Guardian for all the remaining Orisha. The godkillers are hunting for her, knowing that if they can eliminate her, the battle for control of humanity will be over. Strong duology based in West African mythology. Excellent world building and good pacing.
February 28, 2025
4⭐️
I loved how the story and world expanded in book two, and thought it had a wonderful conclusion!
I loved how the story and world expanded in book two, and thought it had a wonderful conclusion!
September 7, 2025
La reseña completa en https://inthenevernever.blogspot.com/...
«Estamos aquí por un motivo. Eso es algo en lo que no han pensado los asesinos de dioses. Si morimos, el mundo muere con nosotros».
¿Qué pasaría si aquello que creías sobre los dioses y sobre ti misma era mentira? ¿Y si la supervivencia de los orishas dependiera de ti? ¿Qué harías si el destino de la fe está en tus manos? Y lo más importante, ¿de verdad los dioses merecen ser salvados? A estas preguntas y a muchas más encontraremos respuestas en el libro que les quiero recomendar hoy: La Fuente de la Creación, de Tobi Ogundiran. La segunda y última parte de la Saga de la Guardiana de los dioses. Una alucinante bilogía de fantasía épica llena de deidades y una guerra cósmica que amenaza con destruirlo todo.
«Estamos aquí por un motivo. Eso es algo en lo que no han pensado los asesinos de dioses. Si morimos, el mundo muere con nosotros».
¿Qué pasaría si aquello que creías sobre los dioses y sobre ti misma era mentira? ¿Y si la supervivencia de los orishas dependiera de ti? ¿Qué harías si el destino de la fe está en tus manos? Y lo más importante, ¿de verdad los dioses merecen ser salvados? A estas preguntas y a muchas más encontraremos respuestas en el libro que les quiero recomendar hoy: La Fuente de la Creación, de Tobi Ogundiran. La segunda y última parte de la Saga de la Guardiana de los dioses. Una alucinante bilogía de fantasía épica llena de deidades y una guerra cósmica que amenaza con destruirlo todo.
January 28, 2025
Dear Readers,
Today is release day for AT THE FOUNT OF CREATION, and I am thrilled to have had the opportunity to complete this story, which started with IN THE SHADOW OF THE FALL. My heartfelt thanks to you for coming on this journey with me. Below is a little appendix for the curious, which elaborates on the nature of Orisha and griots and the creative liberties I took in representing them in the duology.
****
Authors Note
ORISHA
The orisha are Yoruba gods. Yoruba tradition says that there are 400 + 1 orisha, which is associated with a sacred number. 400 + 1 is akin to the English phrase “a thousand and one”, which basically means, countless. Some say there are as many orisha as there are grains of sand on a beach.
In Yoruba culture, as in Catholicism, it is possible for mortals to be deified/canonized. A prime example of this is Shango, the god of thunder and fire and lightning, who was the fourth ruler of Oyo and so powerful he became a god upon his death and departure from the physical realm. As a matter of fact the religion Candomblé and Santeria developed in this manner, with the syncretization of Yoruba beliefs and Roman Catholic elements by slaves who had to practice their religion in the face of oppression.
While I have made use of these real-world deities, I do not always represent them in a true sense, rather I have taken great creative liberties in their representation to better serve the story, as you will see. I have also created original orisha of my own, giving them necessary powers and characteristics as the story demands. It is important to note that orisha worship is still very much practiced in modern day Nigeria as well as Brazil, Cuba and some other Latin American countries (transplanted by slaves) and therefore has not wholly become mythology as in the case of Greek and Norse gods. It is my hope that these books encourage you to seek out actual texts and sources who represent these orisha without the color of creative license.
To that end, I will offer a brief description of the orisha featured in my books, including those who I have created.
Real Deities
Olodumare: Supreme Being
Olodumare is the lord of all. The Supreme Being, and Creator of the world. All the orisha are his children, each of them representing one aspect of him, and ruling over a select portion of creation. I say “him,” but in reality Olodumare is a gender-neutral deity. Neither male nor female. This makes sense, as all gods who are either male or female spring forth from Olodumare and represent various aspects of his existence. I should also note that there are no gendered pronouns in the Yoruba language, and therefore when Olodumare is refered to, it is neither as male nor female. However, for the purposes of my story, I chose to ascribe masculinity to Olodumare, calling him the Supreme Father.
Shango: God of Thunder and Fire and Lightning
Perhaps the most popular of the orisha, Shango rules over lightning, thunder, fire, the drums and dance. He is a warrior orisha with quick wits, an even quicker temper, and he is the epitomy of virility. He is an extremely hot blooded and strong-willed orisha that loves all the pleasures of the world: dance, drumming, women, song and eating. It is said that when one sees the quickness with which lightning makes short work of a tree or the speed with which a fire consumes a vast field, one has witnessed the temper of Shango in action. His colors are red and white and he recognises himself in the numbers four and six. He is most often represented by a double headed axe.
Ogun: God of War and Metalworking
Ogun is a powerful orisha of metalworking. He is also a powerful warrior. He is the patron deity of hunters and blacksmiths and warriors and all who use metal in their occupations. He is also the orisha of rum and rum-making. The Yoruba believe Ogun to be fearsome and terrible in his revenge and for anyone who breaks a pact made in his name, swift retribution will follow. As witnesses are asked to swear upon the Bible in Western courts, in parts of Nigeria to date the worshippers of Ogun choose to swear upon a cutlass before they testify in court. In my books, I have made him the brother to Shango.
Yemoja: orisha of seas and fertility
Yemoja is the orisha of the seas and lakes where she dwells. She dresses herself in seven skirts of blue and white and like the seas and profound lakes she is deep and unknowable. Yemoja is also the orisha of fertility and maternity as she is the Mother of All. Her name, a shortened version of Yeyé Omo Eja means "Mother Whose Children are the Fish" to reflect the fact that her children are as uncountable as the fish in the sea. To that end, in my books I have made her not only the mother of all orisha, but the mother of all living beings.
Oya
Oya is the ruler of the winds, the whirlwind that uproots even mountains. She was the wife of the Shango and like her husband is a fierce warrior who rides to war, sharing lightning and fire with him.
Eshu
Eshu Elegba (also referred to Eleggua or Elegguá) is the owner of all roads and doors. He is the repository of ashe, which is the diving energy that animates all things. The colors red and black or white and black are his and codify his contradictory nature. In particular, Elegba stands at the crossroads of the human and the divine, as he is messenger between the two worlds. Nothing can be done in either world without his permission. Elegba is always propitiated and always called first before any other orisha as he opens the door between the worlds and opens our roads in life. This is why, at the very beginning of In the Shadow of the Fall, Ashâke attempts to summon him, to deliver her message to the orisha. Eshu represents chaos and uncertainty, and can often be seen wreaking havoc for the simple fact that he enjoys it. This led to early Christian missionaries to take him for the devil, and to this day the word “Eshu” in the Yoruba language is taken to mean “Satan”. But it is important to note that he is not, in fact, an analogue for the devil. I’ve embellished Eshu’s appearance in my books, ascribing features he does not possess in the real world: He has two faces, with the first one having ruined eyes and lips sewn shut with copper threads.
Shopona: God of Smallpox
Shopona is the god of smallpox, but for the purposes of story I have rendered him the god of all diseases and maladies. The priests of Shopona discovered early on the infectiousness of the dried pox scrapings from the infected and would often infect people who earned their displeasure with these. So feared was this god and his priests that his name was never invoked in conversation, and he was referred to instead by various pseudonyms.
Story Deities
Arewa: God of beauty, wine and debauchery
The Yoruba do not have a god of beauty, and so I created one. “Ewa” means beauty in Yoruba, and “arewa”, attractive. One can liken him to the self-loving, self-obsessed Greek god Narcissus. In the story, he provides a much-needed counterpoint to Yemoja’s seriousness.
Afonja: Lord of trolls, stone men and other denizens of the deep forest.
The Yoruba believe that the deep forest is a place alive with all manner of supernatural things. I created Afonja to reflect this idea.
Koriko:
Korika the goddess of trees and everything that has roots. She is the goddess of herbalists and medicine men. Trees are one of the oldest things that exist in this world and she controls them.
GRIOTS
A griot is a West African historian, storyteller, praise singer, poet, and/or musician. West African history before interruption by colonizing forces was largely oral, and griots were trained to remember events long into past. They had numerous memory tricks to help them recall such vast histories—repetition, but most importantly through song.
Historically griots only form an endogamous group, which means they marry each other and pass on the storytelling tradition down the line. All kings had griots who served as record keepers and praise singers, and all griots had kings. The relationship is a symbiotic one. Most villages also had their griots, who could relate a series of topics, including births, deaths, marriages, etc. Because of the respect and reverence accorded griots, warring parties often did not attack them, which made them a useful mediator in wartime. You could also find griots at weddings, singing the praises of the groom and bride, accompanied by their instruments.
I’ve taken real world griots and made them even more fantastical in my story. Yes, they tell stories and recall history, but they do so in such a way that literally transports the listener into the event. The close-knit relationship between griot families remains. But the griots in these books differ from their real-world counterparts in fundamental ways: Anyone can become a griot. They welcome outsiders and outcasts. Because they don’t belong to any one kingdom or king, but are rather a clan of roving nomads offering their services to people, they welcome anyone to join them. Therefore a “griot” is an identity that can be assumed, as surely as one can naturalize to become a citizen of another country. But within these griot clans are Singers, those blessed with the gift of Singing, who in their recounting of history transport the listener into a replay of events. The outsiders, of course, do not possess this gift, and therefore cannot Sing, but that does not make them any less of a griot.
Today is release day for AT THE FOUNT OF CREATION, and I am thrilled to have had the opportunity to complete this story, which started with IN THE SHADOW OF THE FALL. My heartfelt thanks to you for coming on this journey with me. Below is a little appendix for the curious, which elaborates on the nature of Orisha and griots and the creative liberties I took in representing them in the duology.
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Authors Note
ORISHA
The orisha are Yoruba gods. Yoruba tradition says that there are 400 + 1 orisha, which is associated with a sacred number. 400 + 1 is akin to the English phrase “a thousand and one”, which basically means, countless. Some say there are as many orisha as there are grains of sand on a beach.
In Yoruba culture, as in Catholicism, it is possible for mortals to be deified/canonized. A prime example of this is Shango, the god of thunder and fire and lightning, who was the fourth ruler of Oyo and so powerful he became a god upon his death and departure from the physical realm. As a matter of fact the religion Candomblé and Santeria developed in this manner, with the syncretization of Yoruba beliefs and Roman Catholic elements by slaves who had to practice their religion in the face of oppression.
While I have made use of these real-world deities, I do not always represent them in a true sense, rather I have taken great creative liberties in their representation to better serve the story, as you will see. I have also created original orisha of my own, giving them necessary powers and characteristics as the story demands. It is important to note that orisha worship is still very much practiced in modern day Nigeria as well as Brazil, Cuba and some other Latin American countries (transplanted by slaves) and therefore has not wholly become mythology as in the case of Greek and Norse gods. It is my hope that these books encourage you to seek out actual texts and sources who represent these orisha without the color of creative license.
To that end, I will offer a brief description of the orisha featured in my books, including those who I have created.
Real Deities
Olodumare: Supreme Being
Olodumare is the lord of all. The Supreme Being, and Creator of the world. All the orisha are his children, each of them representing one aspect of him, and ruling over a select portion of creation. I say “him,” but in reality Olodumare is a gender-neutral deity. Neither male nor female. This makes sense, as all gods who are either male or female spring forth from Olodumare and represent various aspects of his existence. I should also note that there are no gendered pronouns in the Yoruba language, and therefore when Olodumare is refered to, it is neither as male nor female. However, for the purposes of my story, I chose to ascribe masculinity to Olodumare, calling him the Supreme Father.
Shango: God of Thunder and Fire and Lightning
Perhaps the most popular of the orisha, Shango rules over lightning, thunder, fire, the drums and dance. He is a warrior orisha with quick wits, an even quicker temper, and he is the epitomy of virility. He is an extremely hot blooded and strong-willed orisha that loves all the pleasures of the world: dance, drumming, women, song and eating. It is said that when one sees the quickness with which lightning makes short work of a tree or the speed with which a fire consumes a vast field, one has witnessed the temper of Shango in action. His colors are red and white and he recognises himself in the numbers four and six. He is most often represented by a double headed axe.
Ogun: God of War and Metalworking
Ogun is a powerful orisha of metalworking. He is also a powerful warrior. He is the patron deity of hunters and blacksmiths and warriors and all who use metal in their occupations. He is also the orisha of rum and rum-making. The Yoruba believe Ogun to be fearsome and terrible in his revenge and for anyone who breaks a pact made in his name, swift retribution will follow. As witnesses are asked to swear upon the Bible in Western courts, in parts of Nigeria to date the worshippers of Ogun choose to swear upon a cutlass before they testify in court. In my books, I have made him the brother to Shango.
Yemoja: orisha of seas and fertility
Yemoja is the orisha of the seas and lakes where she dwells. She dresses herself in seven skirts of blue and white and like the seas and profound lakes she is deep and unknowable. Yemoja is also the orisha of fertility and maternity as she is the Mother of All. Her name, a shortened version of Yeyé Omo Eja means "Mother Whose Children are the Fish" to reflect the fact that her children are as uncountable as the fish in the sea. To that end, in my books I have made her not only the mother of all orisha, but the mother of all living beings.
Oya
Oya is the ruler of the winds, the whirlwind that uproots even mountains. She was the wife of the Shango and like her husband is a fierce warrior who rides to war, sharing lightning and fire with him.
Eshu
Eshu Elegba (also referred to Eleggua or Elegguá) is the owner of all roads and doors. He is the repository of ashe, which is the diving energy that animates all things. The colors red and black or white and black are his and codify his contradictory nature. In particular, Elegba stands at the crossroads of the human and the divine, as he is messenger between the two worlds. Nothing can be done in either world without his permission. Elegba is always propitiated and always called first before any other orisha as he opens the door between the worlds and opens our roads in life. This is why, at the very beginning of In the Shadow of the Fall, Ashâke attempts to summon him, to deliver her message to the orisha. Eshu represents chaos and uncertainty, and can often be seen wreaking havoc for the simple fact that he enjoys it. This led to early Christian missionaries to take him for the devil, and to this day the word “Eshu” in the Yoruba language is taken to mean “Satan”. But it is important to note that he is not, in fact, an analogue for the devil. I’ve embellished Eshu’s appearance in my books, ascribing features he does not possess in the real world: He has two faces, with the first one having ruined eyes and lips sewn shut with copper threads.
Shopona: God of Smallpox
Shopona is the god of smallpox, but for the purposes of story I have rendered him the god of all diseases and maladies. The priests of Shopona discovered early on the infectiousness of the dried pox scrapings from the infected and would often infect people who earned their displeasure with these. So feared was this god and his priests that his name was never invoked in conversation, and he was referred to instead by various pseudonyms.
Story Deities
Arewa: God of beauty, wine and debauchery
The Yoruba do not have a god of beauty, and so I created one. “Ewa” means beauty in Yoruba, and “arewa”, attractive. One can liken him to the self-loving, self-obsessed Greek god Narcissus. In the story, he provides a much-needed counterpoint to Yemoja’s seriousness.
Afonja: Lord of trolls, stone men and other denizens of the deep forest.
The Yoruba believe that the deep forest is a place alive with all manner of supernatural things. I created Afonja to reflect this idea.
Koriko:
Korika the goddess of trees and everything that has roots. She is the goddess of herbalists and medicine men. Trees are one of the oldest things that exist in this world and she controls them.
GRIOTS
A griot is a West African historian, storyteller, praise singer, poet, and/or musician. West African history before interruption by colonizing forces was largely oral, and griots were trained to remember events long into past. They had numerous memory tricks to help them recall such vast histories—repetition, but most importantly through song.
Historically griots only form an endogamous group, which means they marry each other and pass on the storytelling tradition down the line. All kings had griots who served as record keepers and praise singers, and all griots had kings. The relationship is a symbiotic one. Most villages also had their griots, who could relate a series of topics, including births, deaths, marriages, etc. Because of the respect and reverence accorded griots, warring parties often did not attack them, which made them a useful mediator in wartime. You could also find griots at weddings, singing the praises of the groom and bride, accompanied by their instruments.
I’ve taken real world griots and made them even more fantastical in my story. Yes, they tell stories and recall history, but they do so in such a way that literally transports the listener into the event. The close-knit relationship between griot families remains. But the griots in these books differ from their real-world counterparts in fundamental ways: Anyone can become a griot. They welcome outsiders and outcasts. Because they don’t belong to any one kingdom or king, but are rather a clan of roving nomads offering their services to people, they welcome anyone to join them. Therefore a “griot” is an identity that can be assumed, as surely as one can naturalize to become a citizen of another country. But within these griot clans are Singers, those blessed with the gift of Singing, who in their recounting of history transport the listener into a replay of events. The outsiders, of course, do not possess this gift, and therefore cannot Sing, but that does not make them any less of a griot.
December 27, 2025
Los relatos que se basan en mitologías antiguas tienden a provocar tanto admiración como fascinación en los lectores, sobre todo cuando consiguen combinar esas historias ancestrales con cuestiones actuales acerca de fe, identidad, resistencia y poder. LA FUENTE DE LA CREACIÓN, segunda entrega de la duología GUARDIANA DE LOS DIOSES, supera ampliamente esta promesa. La novela, escrita por Tobi Ogundiran, no solo brinda un final vibrante a la historia que se comenzó en DESPUÉS DE LA CAÍDA sino que además expande los límites de la fantasía contemporánea al inspirarse directamente en la cosmovisión de las comunidades de África Occidental y en la tradición yoruba.
Si habéis leído la primera entrega, recordaréis que la trama giraba en torno a Ashâke, una joven que debe asumir una gran carga. Nada más y nada menos que ser guardiana y contenedora de los Orisha, entidades divinas que han perdido su poder y subsisten a través de su conexión con ella. En esta segunda parte, comprobaremos que se halla en el centro de un conflicto titánico entre los dioses y sus adversarios mortales, conocidos como los asesinos de dioses. Y la tensión se intensifica con la llegada del enigmático Maestro, un personaje que podría tener en sus manos la esperanza de liberación de los hombres pero que a la vez representa el mayor peligro para la existencia de los Orisha.
Es claramente evidente que la esencia fundamental de la duología es la reinterpretación de la tradición de los Orisha. En el universo yoruba, estas divinidades son las que representan las fuerzas de la naturaleza y algunos aspectos de la vida humana. Shango encarna el trueno y el fuego, Yemoja es madre de la fertilidad y de los mares, Ogun rige la guerra y el metal, mientras que Eshu es el guardián de los caminos y mensajero entre mundos. Son solo unos pocos de los que conoceremos en estos dos libros.
Atendiendo a ello, el autor reconoce que se ha tomado libertades creativas al momento de representarlos: ha inventado nuevos dioses para llenar huecos narrativos y ha modificado aspectos de los reales para adaptarlos a la trama. Sin embargo, lo hace con respeto, recordando que, a diferencia de los panteones griego o nórdico, el culto a los Orisha sigue vivo en Nigeria, Brasil, Cuba y otros lugares de la diáspora africana. En este sentido, la duología no busca sustituir la tradición religiosa, sino que ayuda a despertar en el lector la curiosidad por conocerla aún más, aunque en la historia que reseñamos hoy se encuentra especialmente adaptada como leímos en las notas del autor de la primera entrega.
La presencia de los Orisha en la novela es imponente: aparecen como figuras caprichosas, a veces crueles y contradictorias, pero también cercanas en sus pasiones y debilidades. Esto los hace especialmente humanos, en la línea de otros panteones mitológicos, aunque con un sabor cultural propio que diferencia esta obra de gran parte de la fantasía de corte occidental.
Ashâke continúa siendo el eje narrativo de la historia. Su viaje le concierne en una doble disyuntiva, ya que lucha contra adversarios reales que la persiguen constantemente, pero también se encuentra con el peso de ser un medio para dioses que esperan obtener de ella sus propios intereses.
Disfruta de la reseña completa en nuestro espacio web: https://distopolis.com/resena-de-la-f...
Si habéis leído la primera entrega, recordaréis que la trama giraba en torno a Ashâke, una joven que debe asumir una gran carga. Nada más y nada menos que ser guardiana y contenedora de los Orisha, entidades divinas que han perdido su poder y subsisten a través de su conexión con ella. En esta segunda parte, comprobaremos que se halla en el centro de un conflicto titánico entre los dioses y sus adversarios mortales, conocidos como los asesinos de dioses. Y la tensión se intensifica con la llegada del enigmático Maestro, un personaje que podría tener en sus manos la esperanza de liberación de los hombres pero que a la vez representa el mayor peligro para la existencia de los Orisha.
Es claramente evidente que la esencia fundamental de la duología es la reinterpretación de la tradición de los Orisha. En el universo yoruba, estas divinidades son las que representan las fuerzas de la naturaleza y algunos aspectos de la vida humana. Shango encarna el trueno y el fuego, Yemoja es madre de la fertilidad y de los mares, Ogun rige la guerra y el metal, mientras que Eshu es el guardián de los caminos y mensajero entre mundos. Son solo unos pocos de los que conoceremos en estos dos libros.
Atendiendo a ello, el autor reconoce que se ha tomado libertades creativas al momento de representarlos: ha inventado nuevos dioses para llenar huecos narrativos y ha modificado aspectos de los reales para adaptarlos a la trama. Sin embargo, lo hace con respeto, recordando que, a diferencia de los panteones griego o nórdico, el culto a los Orisha sigue vivo en Nigeria, Brasil, Cuba y otros lugares de la diáspora africana. En este sentido, la duología no busca sustituir la tradición religiosa, sino que ayuda a despertar en el lector la curiosidad por conocerla aún más, aunque en la historia que reseñamos hoy se encuentra especialmente adaptada como leímos en las notas del autor de la primera entrega.
La presencia de los Orisha en la novela es imponente: aparecen como figuras caprichosas, a veces crueles y contradictorias, pero también cercanas en sus pasiones y debilidades. Esto los hace especialmente humanos, en la línea de otros panteones mitológicos, aunque con un sabor cultural propio que diferencia esta obra de gran parte de la fantasía de corte occidental.
Ashâke continúa siendo el eje narrativo de la historia. Su viaje le concierne en una doble disyuntiva, ya que lucha contra adversarios reales que la persiguen constantemente, pero también se encuentra con el peso de ser un medio para dioses que esperan obtener de ella sus propios intereses.
Disfruta de la reseña completa en nuestro espacio web: https://distopolis.com/resena-de-la-f...
February 9, 2025
I think I’m going to have to talk ‘around’ this story before I can get to talking ‘about’ this story because that’s the problem I had with reading the story and, as it turns out, with writing this review.
For a short book, it took me a rather long time to get into it, and it’s only now that I can see why that happened as well as what made it work in the end.
The first book in the Guardians of the Gods duology, In the Shadow of the Fall, drove me batty because it didn’t feel like a complete story with a beginning, middle and end. And even though it was clearly part one of a duology, that part still needed an ending – which it didn’t feel like it got.
I expected a cliffhanger, but instead the book read like it fell off a cliff – and took the reader right along with it.
It was a LOT of setup – necessary as background but frustrating in the character development. Then suddenly both Ashâke and the reader learn that everything she was taught was a lie and that all of her actions based on that lie were a deadly and dreadful mistake.
Now, in the duology’s conclusion, we learn the truths behind the lie that Ashâke was taught, the cost of her mistaken belief, not just to herself but to her entire world, and the revelation of the trick that lay behind it all.
In this particular story of discontented trickster gods and the manipulations they wield to get their way, it’s still a bit of a two-man grift – even if both are deceiving each other as much, or more, than they are the world at large.
Escape Rating B: For this reader, just as with the first book, it felt like the beginning of this half of the story was drifting rather than moving forward. After finishing, I realized that the story felt like it was drifting because the protagonist, Ashâke, was herself in a state of drift.
She’s not acting, she’s reacting, and she’s reacting to the drives and whims of the four active gods, for whom she is the combination of guardian, avatar, and only living channel. She was taught to see the gods, called Orisha in the West African myths in which this story is rooted, as all-powerful over the individual aspects that each individual Orisha represents.
And they ALL exploit that belief mercilessly because they have, in truth, lost control and are desperate to maintain some semblance of it.
Meanwhile, the social and political situation is out of control. The Orisha – and Ashâke – have been reduced to desperate straits because a charismatic ‘teacher’ has swayed the hearts and minds of the people who once worshiped the Orisha. Ashâke and the gods she guards are on the run and running out of room in which to keep running.
No one makes good decisions in such conditions – not even gods.
The final confrontation is huge and cathartic and is a truth that sets the people and even the Orisha free. Everyone, it seems, but Ashâke herself, who finally takes the position that was always meant to be hers. All she needed to do was rise to it in spite of all the things and people and even gods that stood in her way.
Originally published at Reading Reality
For a short book, it took me a rather long time to get into it, and it’s only now that I can see why that happened as well as what made it work in the end.
The first book in the Guardians of the Gods duology, In the Shadow of the Fall, drove me batty because it didn’t feel like a complete story with a beginning, middle and end. And even though it was clearly part one of a duology, that part still needed an ending – which it didn’t feel like it got.
I expected a cliffhanger, but instead the book read like it fell off a cliff – and took the reader right along with it.
It was a LOT of setup – necessary as background but frustrating in the character development. Then suddenly both Ashâke and the reader learn that everything she was taught was a lie and that all of her actions based on that lie were a deadly and dreadful mistake.
Now, in the duology’s conclusion, we learn the truths behind the lie that Ashâke was taught, the cost of her mistaken belief, not just to herself but to her entire world, and the revelation of the trick that lay behind it all.
In this particular story of discontented trickster gods and the manipulations they wield to get their way, it’s still a bit of a two-man grift – even if both are deceiving each other as much, or more, than they are the world at large.
Escape Rating B: For this reader, just as with the first book, it felt like the beginning of this half of the story was drifting rather than moving forward. After finishing, I realized that the story felt like it was drifting because the protagonist, Ashâke, was herself in a state of drift.
She’s not acting, she’s reacting, and she’s reacting to the drives and whims of the four active gods, for whom she is the combination of guardian, avatar, and only living channel. She was taught to see the gods, called Orisha in the West African myths in which this story is rooted, as all-powerful over the individual aspects that each individual Orisha represents.
And they ALL exploit that belief mercilessly because they have, in truth, lost control and are desperate to maintain some semblance of it.
Meanwhile, the social and political situation is out of control. The Orisha – and Ashâke – have been reduced to desperate straits because a charismatic ‘teacher’ has swayed the hearts and minds of the people who once worshiped the Orisha. Ashâke and the gods she guards are on the run and running out of room in which to keep running.
No one makes good decisions in such conditions – not even gods.
The final confrontation is huge and cathartic and is a truth that sets the people and even the Orisha free. Everyone, it seems, but Ashâke herself, who finally takes the position that was always meant to be hers. All she needed to do was rise to it in spite of all the things and people and even gods that stood in her way.
Originally published at Reading Reality
June 1, 2025
I admit, I am rather disappointed by this book. I really enjoyed the first book and felt the story it told deserved more space to grow, so I was excited knowing there was a sequel. Sadly it was not the growth I was looking for.
I think a recap was needed at the start otherwise it is necessary to read the books back to back. I found I got a little lost as to where we were and what had transpired, and a couple of quick mentions early on could have clarified this very easily. I wonder if it would not have made more sense as a single volume, except for the current market for duologies?
Rather than staying with Ashâke, the action dots around between multiple players, which might work in a longer novel but steals pacing space in this shorter novella. Ashâke feels like a bit player in her own story, constantly running from one thing or another with no real agency, following friends, foes and gods until the finale where she... follows someone else and becomes supreme god? Actions made to seem like hers are all engendered by others, she has no agency in most of what happens, which is disappointing after the previous book, a stepping back rather than a moving forward.
There were also moments I felt were lessened by editing choices. Shouting in all caps is a pet hate of mine, and it occurred frequently. There was also a crucially emotional moment totally undercut by the need to write out a character's busted nose lisp, excruciating for the wrong reasons.
Now I did continue to really enjoy the Yoruba mythology setting, it makes a refreshing change from Greek and Celtic mainstays in fantasy. The characters of the orisha are fascinating and could have done with more space to exist, rather than being side quest ghosts mostly along for the ride. My issue, and it may be down to my lack of familiarity with the mythology, is that... well, I kinda agree with the villain.
His reasons, which started well and seemed to get conveniently terrible to keep him the villain, made sense and the flashbacks did the orisha zero favours in rehabilitating their image. The only thing they did in this story was complain, mess with Ashâke and try to hurt her for not doing what they wanted, then die. It was very hard to sympathise with them, and the supposed fear of world collapse were they to all die is never given even tension to feel like a real threat. That they go and the resolution happens with maybe five pages to go and nothing happens takes the wind out of the sails quite dramatically. *A lot* of people died in this book and the last, ostensibly for nothing. Bit of a low to end on.
So yes, I can't say I enjoyed this book. h
However, I do find Ogundiran's writing easy and entertaining when he gives it space to do so, and I would still consider more of his work in future.
*Thank you to the publisher and to Netgalley for providing me with a copy of this book in exchange for my honest review.*
I think a recap was needed at the start otherwise it is necessary to read the books back to back. I found I got a little lost as to where we were and what had transpired, and a couple of quick mentions early on could have clarified this very easily. I wonder if it would not have made more sense as a single volume, except for the current market for duologies?
Rather than staying with Ashâke, the action dots around between multiple players, which might work in a longer novel but steals pacing space in this shorter novella. Ashâke feels like a bit player in her own story, constantly running from one thing or another with no real agency, following friends, foes and gods until the finale where she... follows someone else and becomes supreme god? Actions made to seem like hers are all engendered by others, she has no agency in most of what happens, which is disappointing after the previous book, a stepping back rather than a moving forward.
There were also moments I felt were lessened by editing choices. Shouting in all caps is a pet hate of mine, and it occurred frequently. There was also a crucially emotional moment totally undercut by the need to write out a character's busted nose lisp, excruciating for the wrong reasons.
Now I did continue to really enjoy the Yoruba mythology setting, it makes a refreshing change from Greek and Celtic mainstays in fantasy. The characters of the orisha are fascinating and could have done with more space to exist, rather than being side quest ghosts mostly along for the ride. My issue, and it may be down to my lack of familiarity with the mythology, is that... well, I kinda agree with the villain.
His reasons, which started well and seemed to get conveniently terrible to keep him the villain, made sense and the flashbacks did the orisha zero favours in rehabilitating their image. The only thing they did in this story was complain, mess with Ashâke and try to hurt her for not doing what they wanted, then die. It was very hard to sympathise with them, and the supposed fear of world collapse were they to all die is never given even tension to feel like a real threat. That they go and the resolution happens with maybe five pages to go and nothing happens takes the wind out of the sails quite dramatically. *A lot* of people died in this book and the last, ostensibly for nothing. Bit of a low to end on.
So yes, I can't say I enjoyed this book. h
However, I do find Ogundiran's writing easy and entertaining when he gives it space to do so, and I would still consider more of his work in future.
*Thank you to the publisher and to Netgalley for providing me with a copy of this book in exchange for my honest review.*
This entire review has been hidden because of spoilers.
April 28, 2025
For four hundred years, the Orisha have clung to survival, hiding in the shadows from the enigmatic Teacher and his acolytes, soul-eating Godkillers who seek total annihilation and alleged freedom from the whims of the gods. Ashâke, the young acolyte who now carries the spirits of the surviving Orisha, is on the run for her life as she seeks out allies to help her oppose the all-consuming hunger of the Godkillers and those who serve them. As she runs through the night, facing betrayal and doubt at every turn - even from herself - will Ashâke be able to save her own life and those of the Orisha - and are they even worth saving?
This was a stunning conclusion to this duology, and left me with a desire to read a lot more about the lore of the Orisha and the kind of fantasy world that's unfurled here. Ashâke continues to be a character I wholeheartedly resonate with - she hasn't asked for her fate and is continually pulled in all directions by her peers, those who should be looking out for her, and influences near and far that would use her for their own ends. I liked that though this is YA, it did not pull punches with the truth and consequences of decisions here and thought it brought up topics such as betrayal, doubt, trickery, and even religion/leadership in thoughtful and accessible ways. I hope Tobi Ogundiran continues to spin these kinds of folklore-inspired tales, because I will definitely keep reading them!
This was a stunning conclusion to this duology, and left me with a desire to read a lot more about the lore of the Orisha and the kind of fantasy world that's unfurled here. Ashâke continues to be a character I wholeheartedly resonate with - she hasn't asked for her fate and is continually pulled in all directions by her peers, those who should be looking out for her, and influences near and far that would use her for their own ends. I liked that though this is YA, it did not pull punches with the truth and consequences of decisions here and thought it brought up topics such as betrayal, doubt, trickery, and even religion/leadership in thoughtful and accessible ways. I hope Tobi Ogundiran continues to spin these kinds of folklore-inspired tales, because I will definitely keep reading them!
February 8, 2025
⭐️: 4.75 / 5
Publication Date: January 28, 2025
I feel so grateful to have gotten to read both of these books as ARCs and I want to thank Tor Publishing and Net Galley for allowing me to get an eARC of this book in exchange for an honest review!
This is the second book in a duology and picks up shortly after the end of the first. I enjoyed the more we got to learn about the different gods and even where the gods resided which was great to learn about. Revisiting old characters along with new ones was great as they were diverse with unique voices.
As for my reservations, I thought the ending wasn't quite as epic as the ending to the first book. Not to mention, some of the characters's decisions felt somewhat out of character for what had been presented thus far.
Overall I thought this was a spectacular book. There’s twists and turns throughout that kept me engaged the whole way through, and I enjoyed the ending. It left me feeling satisfied with the end of this character's journey as we've seen her.
Would recommend for those who are fans of
Character driven stories
Mythological stories
Gods
Short chapters
Publication Date: January 28, 2025
I feel so grateful to have gotten to read both of these books as ARCs and I want to thank Tor Publishing and Net Galley for allowing me to get an eARC of this book in exchange for an honest review!
This is the second book in a duology and picks up shortly after the end of the first. I enjoyed the more we got to learn about the different gods and even where the gods resided which was great to learn about. Revisiting old characters along with new ones was great as they were diverse with unique voices.
As for my reservations, I thought the ending wasn't quite as epic as the ending to the first book. Not to mention, some of the characters's decisions felt somewhat out of character for what had been presented thus far.
Overall I thought this was a spectacular book. There’s twists and turns throughout that kept me engaged the whole way through, and I enjoyed the ending. It left me feeling satisfied with the end of this character's journey as we've seen her.
Would recommend for those who are fans of
Character driven stories
Mythological stories
Gods
Short chapters
December 6, 2025
In which eternal apprentice Ashâke discovers that she is not a failing priestess, but the saviour of the Orisha, embodying the last few who have managed to survive the ravages of the Godkillers, who among their tactics relay heavily on death by non-belief – that is, killing Gods by undermining belief in them. Here, in concluding her defence of the Gods Ashâke find allies in those she embodies, mysterious messages from the ancient past, residual spirits, and the last city where belief holds. Along the way there are unexpected alliances, former allies seeking redemption for betrayals, and most potently Ashâke’s own doubt about whether these (or, indeed, any) Gods are even worth it. Ogundiran’s exploration of the significance of belief and grasp of his craft gives us an engaging, entertaining Yoruba-inspired tale of an unwilling hero and uncertain ally of deities whose existence at times is hard to justify. All in all, an intriguing and gratifying tale that wraps up
In the Shadow of the Fall
in a satisfying way.
February 3, 2025
Having loved 'In the Shadow of the Fall', I was SO keen to dive into this sequel - and it did not disappoint.
Tobi's writing is beautiful, engaging and drawing the reader into their world. The slow rebloom of magic is enticing while very human characters grapple with the issues these bring; the hopefulness that the previous book left us with remains, but from the first moments, the reader is shown that returning the gods to the world will be a huge challenge, especially for our comparatively innocent protagonists.
This is a battle between very differing perspectives that brought to mind parallels with our world today, particularly regarding issues of race and belief. Sides are chosen and lines drawn, but the author ensures that nothing is clearly-cut. Humans and gods are fallible, egotistical and vengeful, and for decency to prevail it must tackle those challenges head on.
A beautifully fearless, brave and very relevant tale that I absolutely loved.
I was kindly sent an early copy of this book by the publisher, but the above opinions are entirely my own.
Tobi's writing is beautiful, engaging and drawing the reader into their world. The slow rebloom of magic is enticing while very human characters grapple with the issues these bring; the hopefulness that the previous book left us with remains, but from the first moments, the reader is shown that returning the gods to the world will be a huge challenge, especially for our comparatively innocent protagonists.
This is a battle between very differing perspectives that brought to mind parallels with our world today, particularly regarding issues of race and belief. Sides are chosen and lines drawn, but the author ensures that nothing is clearly-cut. Humans and gods are fallible, egotistical and vengeful, and for decency to prevail it must tackle those challenges head on.
A beautifully fearless, brave and very relevant tale that I absolutely loved.
I was kindly sent an early copy of this book by the publisher, but the above opinions are entirely my own.
June 9, 2025
First off, this book is gorgeous. The writing? Lush. Rich. Full of imagery that just pulls you into the world without trying too hard. It’s rooted in West African mythology and has this epic, almost mythic feel, but it’s still deeply personal and emotional. That balance is hard to pull off, and Ogundiran nails it.
The story follows a character who’s on this intense, sometimes brutal journey toward power, truth, and self-discovery. There’s magic, gods, betrayal, beauty, and a lot of moral complexity. The themes around creation, legacy, and sacrifice really hit me, made me pause and reflect a few times, which I love in a fantasy novel.
Why 4 stars and not 5? There were a few spots where the pacing dipped, and I had to push myself a bit to stay locked in. But honestly, that’s a small thing in the grand scheme. It’s still a powerful, beautifully written book with so much heart and imagination.
The story follows a character who’s on this intense, sometimes brutal journey toward power, truth, and self-discovery. There’s magic, gods, betrayal, beauty, and a lot of moral complexity. The themes around creation, legacy, and sacrifice really hit me, made me pause and reflect a few times, which I love in a fantasy novel.
Why 4 stars and not 5? There were a few spots where the pacing dipped, and I had to push myself a bit to stay locked in. But honestly, that’s a small thing in the grand scheme. It’s still a powerful, beautifully written book with so much heart and imagination.
January 22, 2025
Second in a duology inspired by Yoruba mythology, At the Fount of Creation continues the story of Ashake, who in the first novella (In the Shadow of the Fall) learned that she had been created to be the Guardian of the gods.
In this book she learns just how precarious her position is. She's being tracked by the godkillers, who will do anything to keep the gods from reentering the world. At the same time, the more she learns about the gods whose existence she safeguards, the more she realizes she means nothing to them as an individual.
I like this concluding entry more than the first novella, since Ashake takes more of an active role in the plot. I also really liked the ambiguity of her position as guardian. I recommend reading both at once if you can!
This objective review is based on a complimentary copy of the novella.
In this book she learns just how precarious her position is. She's being tracked by the godkillers, who will do anything to keep the gods from reentering the world. At the same time, the more she learns about the gods whose existence she safeguards, the more she realizes she means nothing to them as an individual.
I like this concluding entry more than the first novella, since Ashake takes more of an active role in the plot. I also really liked the ambiguity of her position as guardian. I recommend reading both at once if you can!
This objective review is based on a complimentary copy of the novella.
February 25, 2025
The Orisha have come out of hiding, and people are spreading news of their return. But the Godkillers will not be stopped so easily, as they are lead by their leader, The Teacher. As Ashâke looks for a safe place and people to help the Orisha, the Godkillers are hunting for her, as they know she is their Guardian. When even old friends turn against her, Ashâke doesn’t know who she can really trust. But once she learns the truth of who The Teacher really is and how the Orisha actually think of mortals, Ashâke will have to find a new way forward.
An interesting end to this novella duology steeped in African mythology. The world building is fascinating, but the story just sort of ends. It doesn’t quite feel finished, like it needs to be fleshed out more. But still a really enjoyable short read. 3.5 stars rounded up.
An interesting end to this novella duology steeped in African mythology. The world building is fascinating, but the story just sort of ends. It doesn’t quite feel finished, like it needs to be fleshed out more. But still a really enjoyable short read. 3.5 stars rounded up.
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