This is book 3 in the HEARTLAND trilogy, a story about dystopian society of "haves" benefiting from the "have nots" while simultaneously dehumanizing and oppressing them. Sound familiar? The themes of this trilogy are frighteningly familiar in the context of current events in America.
Basic plot: an oppressed class of people living in atrocious conditions, forced to labor and suffer, knowing that all their efforts and suffering will never yield results that benefit them but instead benefit an elite group that, frankly, despises them. The oppressed reach a breaking point and rise up against the elite. Predictably, the privileged elite find the idea of "sharing" unpalatable and fight back. The main characters are engaging, likable (and dislikeable), and flawed. I enjoyed all three books, but this review will focus specifically on the third book. I'll work hard to avoid spoilers.
THE HARVEST picks up the Heartland story a year after Lane, working with the Sleeping Dogs, successfully takes down the Empyrean flotilla, the Saranyu. Cael McAvoy wakes from a year long state of... hibernation, coma, incubation? Okay, that was never made clear. Frankly, I thought this was bit of a missed moment by the author. There was a certain weight placed on the "specialness" of Cael in conversations between Esther Harrington (aka The Maize Witch) and Wanda, Cael's Obligated. Cael's year-long incubation only strengthened the implication that there was something special about Cael. And yet, Cael came out of his year-long stasis pretty much unchanged. Based on the "Cael is special" conversations (of which there were a few) I kept expecting a moment in which Cael tapped into special "Blight Powers" or something to save the day, but he never did. So that was, in my opinion a bit of an accidental Red Herring. Or, another way to think of it, the author made a promise to the readers and didn't fulfill it.
What did I like about THE HARVEST?
1) Character development. I enjoyed watching Lane grow and mature and change in an authentic and believable way. He wanted leadership at the outset of his adventure but in an immature and theoretical way. When leadership landed in his lap, he didn't know what to do with it, clearly wasn't ready for it, bungled things pretty bad, but grew and matured and got things figured out. Similarly, I enjoyed watching poor Rigo grow up from a kid who just wanted a simple life into a young man who understood that there's no such thing as a simple life.
2) Bittersweet endings that felt authentic. If you're into happy endings for characters you come to love, this isn't the book for you. Not everyone makes it through alive, for one thing, and Wendig doesn't restrict himself to killing off the "redshirt" characters. And, of the characters who do survive, the future they secure for themselves isn't a glorious utopia. Not even close. They're haunted, some of them damaged (physically and psychologically) and that felt real to me.
3) Pacing. I continue to be amazed by Wendig's ability to write break-neck, action-packed pacing that is loaded with descriptions that draw me in and viscerally immerse me in the settings of every scene. He's a big fan of analogy and simile and metaphor, and okay, sometimes the writing got a little bloated with all the figurative comparisons, but still the pacing of this story just ripped along, yanking me forward to the next, the next, the next moment.
4) Voice. Jeezum Crow, these books are written with such a fantastic voice (or voices?). Within each chapter, the POV jumps from character to characters, and each jump is accompanied with a shift in voice that is compelling and distinct and very engaging. Love it.
What did I not like about THE HARVEST?
Rarely (never?) do I read a flawless book, and this one is no exception. While I feel there were more positives than negatives in this book, there were definitely some negatives for me.
1) Character arcs that weren't tied up in a way I found satisfying. Whatever happened to Merelda McAvoy? She got a lot of time on the page in book II. Her character arc deserved a much more solid wrap than it got. The same goes for Wanda, Boyland, Rigo, Arthur...
2) Unexplained Plot Elements. Or, Element, I guess. Why, I wanted to know, had the Empyrean taken to the skies in the first place? This trilogy is not so much a SciFi dystopian story as a SciFantasy dystopian story. Hard SciFi fans, be prepared to be frustrated right from the start. Sentient corn that can "smell" blood and physically move to get it creeped me the heck out (I've spent time in corn country; endless seas of corn is unsettling enough without thinking that it's aware and malevolent) but it's a scientifically laughable idea. A blight disease that turns people into half-plant, half-man hybrids with unexplained psychic abilities to communicate with other blighted individuals? Yeah, no. Gigantic, and I do mean gigantic, flying cities. Cool concept, sure, but the science of that idea is well... nonexistent. So, you've got to suspend disbelief and let go of the desire for the science to hold up. It just doesn't. But that was fine for me. I'm good with suspending scientific principles if the rest of the story is engaging and the writing is good. What I struggle more with is needing plausible social and historical context/motives in the stories I read, and that wasn't given to me. Why would people build giant cities in the sky and then ruin the earth below to stay up there? Wendig did reference a lot of climate catastrophe changes down below, but if you've got the tech, the manpower, and the resources to build giant floating cities, why didn't you apply all that directly to solving the climate-change induced problems? Dunno. Maybe that'll ring true for folks. We are a species that tends to turn tail and run from problems even when running away is more difficult that facing the problem head-on would have been. Still, I wanted an explanation and I didn't get one.
3) A Rushed Climax and Denouement. I'll be frank. Things got kind of ridiculous in the last 10% of the book, even for a SciFantasy story. There was a final confrontation, between the characters and the villain and it lasted... moments. Like, and eye-blink moment. Worse, during that eye-blink moment the villain lost all dimensionality that made them interesting. If you've read any of my reviews, you'll know that I have strong feelings about the importance of multi-faceted, three-dimensional villains with authentic motives that readers can identify with. The villain in this story started with just enough dimensionality and motive that I was intrigued and interested, but then... they became a evil caricature: they just wanted power for the sake of wanting power with no actual and believable reason for wanting that power. As a result, defeating the villain was boring and empty for me. Then, in the aftermath of defeating the stereotypical power-hungry monster, it's revealed that the "struggle" the MC's were going through was irrelevant because they had the ability to solve the problem all along and executed the solution, and I'm nearly quoting here, with a finger snap. Are you serious? Way to rob the solution of an emotional satisfaction. And then, the story cuts to an epilogue that takes place 15 years later that read like a book report summary. I would have likes to sit with the characters in the more immediate aftermath of the battle, as the proverbial dust was settling.
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So, yeah, three star review. Not bad, not incredible. I love a good dystopian story, and this was a really good dystopian story that felt incredibly topic right now. I'm a big fan of Wendig's writing in general, and I am more than happy to recommend this book to others, but I'm not going to pretend that there weren't any disappointments for me.