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Tamír Triad #1
The Bone Doll's Twin
Sometimes the price of destiny is higher than anyone imagined....
Dark Magic, Hidden Destiny
For three centuries a divine prophecy and a line of warrior queens protected Skala. But the people grew complacent and Erius, a usurper king, claimed his young half sister’s throne.
Now plague and drought stalk the land, war with Skala’s ancient rival Plenimar drains the country’s lifeblood, and to be born female into the royal line has become a death sentence as the king fights to ensure the succession of his only heir, a son. For King Erius the greatest threat comes from his own line — and from Illior’s faithful, who spread the Oracle’s words to a doubting populace.
As noblewomen young and old perish mysteriously, the king’s nephew — his sister’s only child — grows toward manhood. But unbeknownst to the king or the boy, strange, haunted Tobin is the princess’s daughter, given male form by a dark magic to protect her until she can claim her rightful destiny.
Only Tobin’s noble father, two wizards of Illior, and an outlawed forest witch know the truth. Only they can protect young Tobin from a king’s wrath, a mother’s madness, and the terrifying rage of her brother’s demon spirit, determined to avenge his brutal murder....
Dark Magic, Hidden Destiny
For three centuries a divine prophecy and a line of warrior queens protected Skala. But the people grew complacent and Erius, a usurper king, claimed his young half sister’s throne.
Now plague and drought stalk the land, war with Skala’s ancient rival Plenimar drains the country’s lifeblood, and to be born female into the royal line has become a death sentence as the king fights to ensure the succession of his only heir, a son. For King Erius the greatest threat comes from his own line — and from Illior’s faithful, who spread the Oracle’s words to a doubting populace.
As noblewomen young and old perish mysteriously, the king’s nephew — his sister’s only child — grows toward manhood. But unbeknownst to the king or the boy, strange, haunted Tobin is the princess’s daughter, given male form by a dark magic to protect her until she can claim her rightful destiny.
Only Tobin’s noble father, two wizards of Illior, and an outlawed forest witch know the truth. Only they can protect young Tobin from a king’s wrath, a mother’s madness, and the terrifying rage of her brother’s demon spirit, determined to avenge his brutal murder....
524 pages, Mass Market Paperback
First published July 16, 2001
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Displaying 1 - 30 of 706 reviews
April 2, 2018
This is, without a doubt, one of the most interesting books I've read where almost nothing happens. It is the fantasy equivalent of Something Happened, by Joseph Heller, when almost assuredly, very little does. Honestly, I'm a little surprised I haven't heard fans of The Way of Kings raving about this, the three-dimensional statue to Sanderson's bas-relief; though there is a solid sense of world-building, the focus here is thorough character development. And that is, perhaps, why I couldn't ultimately throw this on the DNF pile (besides Cillian's threat of terrorizing me with nitrite-filled intestinal casings), and why a part of me is considering continuing the series.
The writing is, quite honestly, some of the most solid I've read in epic fantasy in a long while. Descriptive and evocative; Flewelling does atmosphere very well. Which is fortunate, as a ghost is a critical character.
The blurb, as almost always, gets it wrong. This is about the kingdom Skala in the microcosm of the king's sister and her child. It begins with the well-known foretelling, "so long as a daughter of Thelatimos' line defends and rules, Skala shall never be subjugated," the Oracle whispered." A sympathetic advisor offers the king another explanation and female relatives to the throne begin meeting mysterious accidents. An elderly female wizard, Iya, and her protégé receive a vision from their god about how to save the kingdom from invaders. They develop an awful plan to protect the king's sister's unborn child. The king's sister is due with twins, and the night they are born, some truly awful magic is done. Tobin, of course, knows none of this growing up, only that he has a ghostly brother haunting him and his mother. His mother has gone mad and doesn't seem to notice the ghost, at least not in the same way. From there, the narrative follows Tobin through the next few years of his life.
"The princess sat by the fire, sewing away as madly as ever. For the first time since the birth, she had changed her nightdress for a loose gown and put on her rings again. The hem was wet and streaked with mud. Ariani's long hair hung in damp strands around her face. The window was shut tight as always, but Nari could smell the night air on her, and the hint of something else besides. Nari wrinkled her nose, trying to place the raw, unpleasant odor."
Although Flewelling plays a bit with the early narrative--the first couple of chapters from the point of view of the wizards, Iya and Arkoniel; the third from a hill-witch, Lhel; and the fourth from Nani, the witness to the birth and wetnurse--the majority of the remaining story is from Tobin's, with occasional forays into Arkoniel's thoughts as he works to protect Tobin, the future queen.
It's a great premise, and quite honestly, I think I picked it up partly to see how a fantasy book would deal with gender identity/assignment. Alas that this part of the trilogy is very straightforward (ha-ha); young Tobin is convinced he is male, although he has moments of feeling troubled by wanting a doll when very young. I'm almost tempted to pick up the next book for the psychology of the issue; it's a very cruel thing that Iya, Arkoniel, Lhel and Tobin's father have done. You see, Tobin is not gender dysmorphic--his belief in his gender matches his appearance--but will have to be told, eventually, that (s)he is not what (s)he thinks.
What I ended up with instead of an exploration of gender is Tobin learning to deal with the ghost/poltergeist Brother and his efforts to find his place in the household. It is an immersive story; when I read, I could see it happening very clearly in my mind's eye and was engrossed in the detail of the story. But--and this is a big one--when I set it down, it was without deep regret, and there was no particular impetus to pick it up again. I don't know what to make of that; the combination of absorbing without addicting is very rare in the books I read. Had I felt like being unkind, I might point out how each chapter has a semi-significant event. For instance, in chapter 16, Arkoniel comes to visit Tobin and becomes his tutor; in chapter 18, Arkoniel suggests to Tobin's father, the prince, that they find him a young companion, and in chapter 23, Tobin gets his own squire. This is, perhaps, The Belgariad at quarter speed (with better writing).
Would I read it again? Hell, no. Would I read the next? Possibly. It depends on whatthreats incentives Cillian offers me.
As an aside, this has been on my TBR list since 2011. I'm not quite sure what that says, but it seems appropriate.
The writing is, quite honestly, some of the most solid I've read in epic fantasy in a long while. Descriptive and evocative; Flewelling does atmosphere very well. Which is fortunate, as a ghost is a critical character.
The blurb, as almost always, gets it wrong. This is about the kingdom Skala in the microcosm of the king's sister and her child. It begins with the well-known foretelling, "so long as a daughter of Thelatimos' line defends and rules, Skala shall never be subjugated," the Oracle whispered." A sympathetic advisor offers the king another explanation and female relatives to the throne begin meeting mysterious accidents. An elderly female wizard, Iya, and her protégé receive a vision from their god about how to save the kingdom from invaders. They develop an awful plan to protect the king's sister's unborn child. The king's sister is due with twins, and the night they are born, some truly awful magic is done. Tobin, of course, knows none of this growing up, only that he has a ghostly brother haunting him and his mother. His mother has gone mad and doesn't seem to notice the ghost, at least not in the same way. From there, the narrative follows Tobin through the next few years of his life.
"The princess sat by the fire, sewing away as madly as ever. For the first time since the birth, she had changed her nightdress for a loose gown and put on her rings again. The hem was wet and streaked with mud. Ariani's long hair hung in damp strands around her face. The window was shut tight as always, but Nari could smell the night air on her, and the hint of something else besides. Nari wrinkled her nose, trying to place the raw, unpleasant odor."
Although Flewelling plays a bit with the early narrative--the first couple of chapters from the point of view of the wizards, Iya and Arkoniel; the third from a hill-witch, Lhel; and the fourth from Nani, the witness to the birth and wetnurse--the majority of the remaining story is from Tobin's, with occasional forays into Arkoniel's thoughts as he works to protect Tobin, the future queen.
It's a great premise, and quite honestly, I think I picked it up partly to see how a fantasy book would deal with gender identity/assignment. Alas that this part of the trilogy is very straightforward (ha-ha); young Tobin is convinced he is male, although he has moments of feeling troubled by wanting a doll when very young. I'm almost tempted to pick up the next book for the psychology of the issue; it's a very cruel thing that Iya, Arkoniel, Lhel and Tobin's father have done. You see, Tobin is not gender dysmorphic--his belief in his gender matches his appearance--but will have to be told, eventually, that (s)he is not what (s)he thinks.
What I ended up with instead of an exploration of gender is Tobin learning to deal with the ghost/poltergeist Brother and his efforts to find his place in the household. It is an immersive story; when I read, I could see it happening very clearly in my mind's eye and was engrossed in the detail of the story. But--and this is a big one--when I set it down, it was without deep regret, and there was no particular impetus to pick it up again. I don't know what to make of that; the combination of absorbing without addicting is very rare in the books I read. Had I felt like being unkind, I might point out how each chapter has a semi-significant event. For instance, in chapter 16, Arkoniel comes to visit Tobin and becomes his tutor; in chapter 18, Arkoniel suggests to Tobin's father, the prince, that they find him a young companion, and in chapter 23, Tobin gets his own squire. This is, perhaps, The Belgariad at quarter speed (with better writing).
Would I read it again? Hell, no. Would I read the next? Possibly. It depends on what
As an aside, this has been on my TBR list since 2011. I'm not quite sure what that says, but it seems appropriate.
February 26, 2008
I really like this trilogy. It sounds weird when you read the synopsis, but it's really good.
September 8, 2015
[7/10]
If you are searching for a well written, engaging, completed epic fantasy series, you have come to the right place. All three books of the Tamir trilogy are published: a major factor in my decision to pick it up, since I don't like to wait years for each episode. It's only three books, so the readers know beforehand they will not get saddled with ten + 'never-ending' stories. It is character driven, with an attention to detail that reminds me positively of Robin Hobb or J V Jones. It has an interesting magic system: necromancy is underused in fantasy, and I welcome the change from the usual spellmaking with fireballs and lightning strikes. It deals in a modern way with gender roles, both by putting women in positions of power and by questioning the sexual identity of the protagonists.
That said, while the series showcases some of the best features of epic fantasy, it also suffers from some tired, overused cliches: heavy handed use of prophecy, young protagonist with a future as the saviour of civilization, generic worldbuilding with warring medieval kingdoms, generic villains / evil kingdoms.
I am not going to write a synopsis, as I was more interested in the characters than in the actual plot. We meet Tobin in a dramatic presentation a twin birth in the royal family of the kingdom of Skala. The rest of the first volume follows Tobin through troubled childhood years and into early adolescence as a knight in training to the heir of the throne. The bone doll from the title plays a major role in the life of Tobin. Secondary characters are very well written, especially Tobin's young squire, a sort of hedge knight, and a trio of mages whose actions fall in the grey zone between the forces of light and darkness: does the end result justified the evil done to achieve it?
The pace is slow, and there is a lot of build-up, of positioning of actors for future conflicts, yet the novel is an easy, fast read. It is also very much not a stand-alone book, but the first part of a longer story, so it ends pretty much in the middle of the action, with Tobin going through a rite of passage .
I will continue with the Tamir Trilogy, with moderate hopes of being further entertained. I may even revise the initial rating with an extra star, and write a more detailed review, depending on how original and well handled are the events in the next episode.
Recommended mostly for fans of epic fantasy.
If you are searching for a well written, engaging, completed epic fantasy series, you have come to the right place. All three books of the Tamir trilogy are published: a major factor in my decision to pick it up, since I don't like to wait years for each episode. It's only three books, so the readers know beforehand they will not get saddled with ten + 'never-ending' stories. It is character driven, with an attention to detail that reminds me positively of Robin Hobb or J V Jones. It has an interesting magic system: necromancy is underused in fantasy, and I welcome the change from the usual spellmaking with fireballs and lightning strikes. It deals in a modern way with gender roles, both by putting women in positions of power and by questioning the sexual identity of the protagonists.
That said, while the series showcases some of the best features of epic fantasy, it also suffers from some tired, overused cliches: heavy handed use of prophecy, young protagonist with a future as the saviour of civilization, generic worldbuilding with warring medieval kingdoms, generic villains / evil kingdoms.
I am not going to write a synopsis, as I was more interested in the characters than in the actual plot. We meet Tobin in a dramatic presentation a twin birth in the royal family of the kingdom of Skala. The rest of the first volume follows Tobin through troubled childhood years and into early adolescence as a knight in training to the heir of the throne. The bone doll from the title plays a major role in the life of Tobin. Secondary characters are very well written, especially Tobin's young squire, a sort of hedge knight, and a trio of mages whose actions fall in the grey zone between the forces of light and darkness: does the end result justified the evil done to achieve it?
The pace is slow, and there is a lot of build-up, of positioning of actors for future conflicts, yet the novel is an easy, fast read. It is also very much not a stand-alone book, but the first part of a longer story, so it ends pretty much in the middle of the action, with Tobin going through a rite of passage .
I will continue with the Tamir Trilogy, with moderate hopes of being further entertained. I may even revise the initial rating with an extra star, and write a more detailed review, depending on how original and well handled are the events in the next episode.
Recommended mostly for fans of epic fantasy.
January 2, 2009
okay people. i see what books y'all add when i post 'em.. you're not fooling me! and i know all your biases against fantasy. but i gotta tell you, that lynn flewelling is pretty fucking gifted.
she writes super detailed, complicated characters who have lots of internal and external struggles.
these books focus on a girl who was turned into a boy for survival and how that "survival" happens and her gender dysphoria when she is "turned back" into a boy among other things.
i couldn't stop reading.
yum. highly recommended. give 'em a chance. :)
she writes super detailed, complicated characters who have lots of internal and external struggles.
these books focus on a girl who was turned into a boy for survival and how that "survival" happens and her gender dysphoria when she is "turned back" into a boy among other things.
i couldn't stop reading.
yum. highly recommended. give 'em a chance. :)
July 19, 2019
Wow. So. I’m really torn about this book. I realize that gender identity wasn’t as well documented in the oughties as it is today, but even so, a slight amount of effort to put one’s self in the shoes of someone whose gender can be taken from them at the will of others would expose how difficult that would be. Putting the inherent transphobia aside (as best I can) this is misery porn. It’s misery porn in a story with 2 introductions and no plot progression. And yet all that said, part of me still wants to see how this poor kid will turn out.
CONTENT WARNING: (no actual spoilers, just a list of topics)
Things that were enjoyable:
-Ki and Tharin. The ONLY good people in the whole damn book. Ki is great, sweet and adventurous. Tharin’s got strong fatherly protector vibes and I love it.
-Strong sense of foreshadowing. I think this worked really well for the author. She hinted so strongly at things that I want to know how they turn out, even though I hate the set up.
Things that make me froth-at-the-mouth angry:
-Gender politics. Okay, so in our more enlightened age, we know there’s: gender roles, gender expression, gender identity, sexual orientation, and genitalia. It’s fascinating, because this book plays with all of them (double entendre intended), and yet manages to get them all wrong in the least intentional way possible. The attempts at demonstrating that gender roles are simply social constructs backfires when the women we see on screen the most are stereotypically feminine—mothers and whores and witches. There’s a discussion about toxic masculinity vs. healthy masculinity that is tarred by equating healthy masculinity with homosexual leanings—which isn’t to say that gay men aren’t healthy, but rather subverts this message by suggesting that if you’re not sticking swords in dudes or err…other swords into the ladies, you’re weird. I think the author was trying to suggest further compounding sex and gender in uncomfortable ways.
-The patriarchal view of feminine horror. Related to above, but if a woman is traumatized by real things that people have done to her, she is not mad. To say she has gone crazy because she reacts to the events she has witnessed and felt is gaslighting, pure and simple. A woman who rejects a role offered to her is not unwomanly. A woman who fails to follow the patterns prescribed for her by her tormentors is not insane. This wasn’t news 20 years ago.
-Unending cruelty. This is a grimdark story, but one that imitates art rather than creating it. It is a laundry list of the worst possible things that can happen to a person, and each is more meticulously checked off the list than it is contemplated. Honestly, much of it felt wholly unnecessary, or perhaps blown too soon. Strangely, the author also seemed to want me to be sympathetic towards the people who could be so cruel? I didn’t get it. Rhius, Arkoniel, Lhel (who is super problematic…the promiscuous Black savage with blood magic? Yikes) Iya, Korin…they can all rot in hell, I don’t care how many times they hug the person they’ve traumatized. You’re bad and you should feel bad. Look, grimdark can be fine, if the author actually thinks through what this would be like for the character, how this reads to the audience, and we set up each act of malevolence in a way that feels honest. I don’t for a second think there’s any of this in this book.
-No story. This is a 524 page prologue. We have the terrible events that spawn a child, we watch him grow, we get lots of hints about magic and demons and prophecies, and just when it seems like that’s about to start a chain reaction, we go through knight school aka childhood 2.0.
-The magic system. If there’s foresight, order magic and life magic, and remembering in the meta sense that the system can be controlled by the author, how did we end in this situation? The initial event sounds completely fabricated to me, and the end event was preventable. Not everything has to be hard magic, but it does need to be internally consistent. I need reasons why things had to go this way rather than some other way, because magic is a construct of a world I’m just visiting and I don’t know the rules.
-The ending. Or, the lack of ending. It’s a cliffhanger, with what I imagine is something that’s going to piss me right the **** off if what I think happened is true. Just another checkmark for the litany of horrors I guess this author finds fun. Also a prologue with no wrap up. Jesus. This could have been a 20 page chapter in the next book and we would have felt the heartbreak and trauma without having to live every second of it.
I’m torn about whether or not I will continue. I feel similarly to this as I do about Wheel of Time—I hated it, I don’t think I should have read it, but having read it, I want to know how it ends. Damn you, epic fantasy, I just can’t quit you. I do not recommend this book unless you reeeeeeaally love grimdark coming of age tales and are totally cool with everyone who isn’t cis-het, white, able-bodied and a man just getting stereotyped to literal death.
CONTENT WARNING: (no actual spoilers, just a list of topics)
Things that were enjoyable:
-Ki and Tharin. The ONLY good people in the whole damn book. Ki is great, sweet and adventurous. Tharin’s got strong fatherly protector vibes and I love it.
-Strong sense of foreshadowing. I think this worked really well for the author. She hinted so strongly at things that I want to know how they turn out, even though I hate the set up.
Things that make me froth-at-the-mouth angry:
-Gender politics. Okay, so in our more enlightened age, we know there’s: gender roles, gender expression, gender identity, sexual orientation, and genitalia. It’s fascinating, because this book plays with all of them (double entendre intended), and yet manages to get them all wrong in the least intentional way possible. The attempts at demonstrating that gender roles are simply social constructs backfires when the women we see on screen the most are stereotypically feminine—mothers and whores and witches. There’s a discussion about toxic masculinity vs. healthy masculinity that is tarred by equating healthy masculinity with homosexual leanings—which isn’t to say that gay men aren’t healthy, but rather subverts this message by suggesting that if you’re not sticking swords in dudes or err…other swords into the ladies, you’re weird. I think the author was trying to suggest further compounding sex and gender in uncomfortable ways.
-The patriarchal view of feminine horror. Related to above, but if a woman is traumatized by real things that people have done to her, she is not mad. To say she has gone crazy because she reacts to the events she has witnessed and felt is gaslighting, pure and simple. A woman who rejects a role offered to her is not unwomanly. A woman who fails to follow the patterns prescribed for her by her tormentors is not insane. This wasn’t news 20 years ago.
-Unending cruelty. This is a grimdark story, but one that imitates art rather than creating it. It is a laundry list of the worst possible things that can happen to a person, and each is more meticulously checked off the list than it is contemplated. Honestly, much of it felt wholly unnecessary, or perhaps blown too soon. Strangely, the author also seemed to want me to be sympathetic towards the people who could be so cruel? I didn’t get it. Rhius, Arkoniel, Lhel (who is super problematic…the promiscuous Black savage with blood magic? Yikes) Iya, Korin…they can all rot in hell, I don’t care how many times they hug the person they’ve traumatized. You’re bad and you should feel bad. Look, grimdark can be fine, if the author actually thinks through what this would be like for the character, how this reads to the audience, and we set up each act of malevolence in a way that feels honest. I don’t for a second think there’s any of this in this book.
-No story. This is a 524 page prologue. We have the terrible events that spawn a child, we watch him grow, we get lots of hints about magic and demons and prophecies, and just when it seems like that’s about to start a chain reaction, we go through knight school aka childhood 2.0.
-The magic system. If there’s foresight, order magic and life magic, and remembering in the meta sense that the system can be controlled by the author, how did we end in this situation? The initial event sounds completely fabricated to me, and the end event was preventable. Not everything has to be hard magic, but it does need to be internally consistent. I need reasons why things had to go this way rather than some other way, because magic is a construct of a world I’m just visiting and I don’t know the rules.
-The ending. Or, the lack of ending. It’s a cliffhanger, with what I imagine is something that’s going to piss me right the **** off if what I think happened is true. Just another checkmark for the litany of horrors I guess this author finds fun. Also a prologue with no wrap up. Jesus. This could have been a 20 page chapter in the next book and we would have felt the heartbreak and trauma without having to live every second of it.
I’m torn about whether or not I will continue. I feel similarly to this as I do about Wheel of Time—I hated it, I don’t think I should have read it, but having read it, I want to know how it ends. Damn you, epic fantasy, I just can’t quit you. I do not recommend this book unless you reeeeeeaally love grimdark coming of age tales and are totally cool with everyone who isn’t cis-het, white, able-bodied and a man just getting stereotyped to literal death.
October 9, 2013
I loved this story! I was swept away by the setting, the characters and the adventures of a young boy finding his way in a complex world and learning his true nature and purpose. This is a beautifully written, dark and compelling fantasy that explores gender roles and identity.
January 29, 2025
Amazing, obsessed. Immediately reading book 2. This has a creepy gothic backdrop with incredible character building, consistent pacing and a through line of tension that kept me turning the pages.
January 14, 2010
The Bone Doll's Twin is fantasy at it's finest. It's creepy and thought-provoking. It handles gender issues in a way that isn't at all prurient. My only complaint is that it ends quite abruptly. It seems to me that the three volumes of this series should probably be one book. Fortunately, I can download the second volume from Audible in about 20 minutes and won't have to wait to start it.
The narration on this particular audiobook is excellent.
The narration on this particular audiobook is excellent.
February 7, 2010
This plot hinges on a rather interesting idea.
What if a boy was really a girl, but didn't know it?
I don't mean didn't know it in the sense of the The Ill-Made Mute, but truly didn't know it, and most people didn't know it.
Flewelling starts to answer such questions in this book. She also looks at how a land that once used women warriors slowly changes its view on them.
It's strange because there is not much "action" in the traditional sense of the word in the book. It is more about family, faith, cost, and a willingness to pay. It ends rather suddenly.
Yet, it is very good. Perhaps this is because Flewelling paints the characters so well. Even minor characters have a realness about them, and Flewelling is smart enough to let her readers make judgements about the characters, not force judgements about characters on readers. One author who constantly forces judgement about her character on her reader is Laurell K. Hamilton. Anita is always right. Or think CSI: Miami where Horatio is always right (and why I stopped watching. Well, that and Rory left). What happens makes one supposedly good character rather untrustworthy, if not outright hated. It's a brave author who does that and doesn't soften the blow or excuse the action. A good challenging book.
What if a boy was really a girl, but didn't know it?
I don't mean didn't know it in the sense of the The Ill-Made Mute, but truly didn't know it, and most people didn't know it.
Flewelling starts to answer such questions in this book. She also looks at how a land that once used women warriors slowly changes its view on them.
It's strange because there is not much "action" in the traditional sense of the word in the book. It is more about family, faith, cost, and a willingness to pay. It ends rather suddenly.
Yet, it is very good. Perhaps this is because Flewelling paints the characters so well. Even minor characters have a realness about them, and Flewelling is smart enough to let her readers make judgements about the characters, not force judgements about characters on readers. One author who constantly forces judgement about her character on her reader is Laurell K. Hamilton. Anita is always right. Or think CSI: Miami where Horatio is always right (and why I stopped watching. Well, that and Rory left). What happens makes one supposedly good character rather untrustworthy, if not outright hated. It's a brave author who does that and doesn't soften the blow or excuse the action. A good challenging book.
September 15, 2012
The Bone Doll's Twin
OR
There Are Probably More Awkward Ways To Save a Kingdom But I Can't Think of Them Now
This is not a happy book, but for all the darkness, all the discomfort inherent in it, it's not a hard read. It doesn't make the reader miserable, but rather intrigues and invites them further into this strange story.
The book works for two reasons. One, Flewelling has an excellent grip on how to write children and teens. Tobin reacts to everything the way a child does. He doesn't grasp how strange and messed up things are, he has never known anything else. The rest feel like actual kids, not devils drawn up to torment the hero or idealized visions of innocence. Just kids, prone to mistakes and cruelty without even thinking about it.
And two, she doesn't beat us over the head with the gender tensions. Yes, it is present, but often in a subtle way. The most obvious gender tension is when Tobin is taught, by action more than words, that Boys Do Not Play With Dolls. And this tension keeps cropping up because dolls are also a strong theme in the work. But it does not come up constantly that Tobin Cannot Have Dolls Because Tobin Is A Boy, but rather, it crops up in a quiet, unease that leads to certain plot points without a hammer to our head.
A very interesting and thoughtful read, I will be picking up the rest of the series.
OR
There Are Probably More Awkward Ways To Save a Kingdom But I Can't Think of Them Now
This is not a happy book, but for all the darkness, all the discomfort inherent in it, it's not a hard read. It doesn't make the reader miserable, but rather intrigues and invites them further into this strange story.
The book works for two reasons. One, Flewelling has an excellent grip on how to write children and teens. Tobin reacts to everything the way a child does. He doesn't grasp how strange and messed up things are, he has never known anything else. The rest feel like actual kids, not devils drawn up to torment the hero or idealized visions of innocence. Just kids, prone to mistakes and cruelty without even thinking about it.
And two, she doesn't beat us over the head with the gender tensions. Yes, it is present, but often in a subtle way. The most obvious gender tension is when Tobin is taught, by action more than words, that Boys Do Not Play With Dolls. And this tension keeps cropping up because dolls are also a strong theme in the work. But it does not come up constantly that Tobin Cannot Have Dolls Because Tobin Is A Boy, but rather, it crops up in a quiet, unease that leads to certain plot points without a hammer to our head.
A very interesting and thoughtful read, I will be picking up the rest of the series.
January 3, 2013
Originally posted at FanLit. http://www.fantasyliterature.com/revi...
I finished listening to the audio version of The Bone Doll’s Twin, the first in Lynn Flewelling’s fantasy epic THE TAMIR TRIAD, around midnight a few days ago. Instead of going to bed, like normal people might, I immediately downloaded book two, The Hidden Warrior, and listened for a couple more hours. That’s how much I was involved in this story about a young girl who doesn’t know she’s magically hidden in the body of a boy.
Tobin, who’s really a girl, has had a difficult childhood. When he was born, his uncle, the king of Skala, was covertly killing off the royal women and girls because a prophecy says that the land must have a queen as ruler. King Erius had gained his throne through treachery and he intends to keep it. Tobin’s parents asked a magician to hide their newborn daughter, but they didn’t realize what kind of dark magic they were getting into. The cost was heavy and now Tobin’s mother has gone mad and Tobin’s twin brother is an evil ghost. On top of that, Tobin’s family has moved to their country estate because they fear that the king’s magicians might be able to detect the cover up. Tobin is an odd child already, so it doesn’t help that he’s being raised so far from noble society. His father and the magicians who help him must mold Tobin into someone worthy to take the throne someday.
These days I don’t have as much patience as I used to for long epic fantasies involving prophecies and boys coming of age, so I was pleasantly surprised to find myself enjoying The Bone Doll’s Twin so much. Lynn Flewelling’s writing style is pleasant and her story gently moves along at a pace that’s leisurely without becoming dull, most comparable perhaps to Robin Hobb’s FARSEER saga. There is a large cast of male and female, young and old, magical and normal, common and noble characters who are well developed, not simply stock characters. It helps that we see the story from several of their perspectives, not just Tobin’s.
A main theme in The Bone Doll’s Twin is gender identity and Flewelling handles this very well. While Tobin, who doesn’t know he’s a girl, wants to be a famous warrior like his father, and is successfully working toward that goal, he has a softer side, too, which he thinks is a weakness and fears to show others. He sleeps with a doll but we’re not really sure if that’s because he’s a girl and it’s natural for him to like dolls, or if the doll is a connection to his mother who made it. Similarly, he loves to spend his time building a model of the capitol city, a pursuit that could be seen as either a masculine or feminine hobby. While we see hints of Tobin’s feminine side, it’s all tantalizingly ambiguous so far. Things will begin to look different when Tobin reaches puberty in the next book, The Hidden Warrior.
I’m listening to the audio version of THE TAMIR TRIAD which was produced by Audible Frontiers and expertly narrated by Victor Bevine. Lynn Flewelling reads her introduction to the book. As I mentioned at the beginning of this review, I immediately downloaded and started listening to The Hidden Warrior when I finished The Bone Doll’s Twin. This is a story that’s worth my time.
I finished listening to the audio version of The Bone Doll’s Twin, the first in Lynn Flewelling’s fantasy epic THE TAMIR TRIAD, around midnight a few days ago. Instead of going to bed, like normal people might, I immediately downloaded book two, The Hidden Warrior, and listened for a couple more hours. That’s how much I was involved in this story about a young girl who doesn’t know she’s magically hidden in the body of a boy.
Tobin, who’s really a girl, has had a difficult childhood. When he was born, his uncle, the king of Skala, was covertly killing off the royal women and girls because a prophecy says that the land must have a queen as ruler. King Erius had gained his throne through treachery and he intends to keep it. Tobin’s parents asked a magician to hide their newborn daughter, but they didn’t realize what kind of dark magic they were getting into. The cost was heavy and now Tobin’s mother has gone mad and Tobin’s twin brother is an evil ghost. On top of that, Tobin’s family has moved to their country estate because they fear that the king’s magicians might be able to detect the cover up. Tobin is an odd child already, so it doesn’t help that he’s being raised so far from noble society. His father and the magicians who help him must mold Tobin into someone worthy to take the throne someday.
These days I don’t have as much patience as I used to for long epic fantasies involving prophecies and boys coming of age, so I was pleasantly surprised to find myself enjoying The Bone Doll’s Twin so much. Lynn Flewelling’s writing style is pleasant and her story gently moves along at a pace that’s leisurely without becoming dull, most comparable perhaps to Robin Hobb’s FARSEER saga. There is a large cast of male and female, young and old, magical and normal, common and noble characters who are well developed, not simply stock characters. It helps that we see the story from several of their perspectives, not just Tobin’s.
A main theme in The Bone Doll’s Twin is gender identity and Flewelling handles this very well. While Tobin, who doesn’t know he’s a girl, wants to be a famous warrior like his father, and is successfully working toward that goal, he has a softer side, too, which he thinks is a weakness and fears to show others. He sleeps with a doll but we’re not really sure if that’s because he’s a girl and it’s natural for him to like dolls, or if the doll is a connection to his mother who made it. Similarly, he loves to spend his time building a model of the capitol city, a pursuit that could be seen as either a masculine or feminine hobby. While we see hints of Tobin’s feminine side, it’s all tantalizingly ambiguous so far. Things will begin to look different when Tobin reaches puberty in the next book, The Hidden Warrior.
I’m listening to the audio version of THE TAMIR TRIAD which was produced by Audible Frontiers and expertly narrated by Victor Bevine. Lynn Flewelling reads her introduction to the book. As I mentioned at the beginning of this review, I immediately downloaded and started listening to The Hidden Warrior when I finished The Bone Doll’s Twin. This is a story that’s worth my time.
June 14, 2008
This is set in the same world as Nightrunners, but five hundred years in the past. It came about from a quick reference in
Luck in the Shadows
. A Skalan sailer was explaining the tradition that, "As long as a daughter of Thelatimos rules, Skala shall never be subjugated." But of course there was a usurping uncle who isisted that the prophecy was misunderstood, that as long as the daughter of Thelatimos ruled....and claimed the throne, then quietly killed all the girls in the royal family, except one, who was hidden in a rural estate and kept disguised as a boy. Eventually she was able to defeat her uncle, shed her diguise and claim her birthright. The Bone Doll's Twin tells the story of that girl, Tamir, and how very much more complicated and dark her story was.
When King Erius took the throne after the death of his mother, Agnalain, no one raised much fuss. The old queen had been paranoid and mad, and her rule had been a terrifying one, filled with unfounded accusations of treason and horrifying executions. When the royal girls started slowly dying, one by one, a few eyebrows were raised, but no one challenged Erius, since he was doing such a good job running the country. Everyone told themselves that the old tradition of matriachal power was just an old story, that nothing bad will happen just because a man sat on the throne. Everyone, that is, but a handful of wizards and priests who believe in the prophecy.
This is a very dark novel, and while as the plot is as typical and unoriginal as it can be, it's executed in a such a way that you don't care. Lynn gets away with writing a cliched plot, in a cliched Medieval Europe setting, because she has clearly done plenty of research. The world is packed with details that make it absolutely come to life, without getting bogged down by them. And of course, the whole she's-a-girl-disguised-as-a-boy thing got a whole new twist, too. Because of a very questionable spell, Tamir physically appears to be a boy, and in fact for most of her childhood she truly believes that she is Tobin, who was actually her male twin who died at birth. Heck, even though I knew better, I pretty much forgot that she was really a girl, myself.
When King Erius took the throne after the death of his mother, Agnalain, no one raised much fuss. The old queen had been paranoid and mad, and her rule had been a terrifying one, filled with unfounded accusations of treason and horrifying executions. When the royal girls started slowly dying, one by one, a few eyebrows were raised, but no one challenged Erius, since he was doing such a good job running the country. Everyone told themselves that the old tradition of matriachal power was just an old story, that nothing bad will happen just because a man sat on the throne. Everyone, that is, but a handful of wizards and priests who believe in the prophecy.
This is a very dark novel, and while as the plot is as typical and unoriginal as it can be, it's executed in a such a way that you don't care. Lynn gets away with writing a cliched plot, in a cliched Medieval Europe setting, because she has clearly done plenty of research. The world is packed with details that make it absolutely come to life, without getting bogged down by them. And of course, the whole she's-a-girl-disguised-as-a-boy thing got a whole new twist, too. Because of a very questionable spell, Tamir physically appears to be a boy, and in fact for most of her childhood she truly believes that she is Tobin, who was actually her male twin who died at birth. Heck, even though I knew better, I pretty much forgot that she was really a girl, myself.
March 23, 2024
The Tamir Triad isn't necessarily a transgender story, but it is a story of gender, transition, and coming out. At the time it was published, it was the only mass market fantasy novel I'd ever encountered that made me feel seen, that hit me so hard, I remember how a pivotal moment left me shaking to the point where I had to take a long, late night walk to calm myself.
The Oracle's Queen brings all the threads together for a triumphant conclusion. War comes to the kingdom, forcing an end to the awkward stasis that has plagued the land. When the King is slain, Prince Korin must take the throne, despite having already proven himself a poor choice to lead the land in battle. In order to save the realm from Korin's failings (and the greater failings of his court wizard), Tobin must reveal herself to the world and declare herself Queen Tamir.
Even though we, as readers, know it's coming - it's inevitable, in fact - the dissolution of the magic, revealing Tobin as Tamir, is absolutely breathtaking. It's bold, it's beautiful, and (for the sake of regal legitimacy) it's a coming out/transition that is very much public. This is an act that needs to be witnessed, and witnessed it is! If her coming out doesn't leave you in tears, then you have my condolences for your absent heart.
Sadly, this magical moment does not mark an end to Tamir's suffering. If anything, it adds to it. Many across the kingdom refuse to believe it, either accusing her (ironically) of being a boy in drag, or simply distrusting the magic used to disguise her for so many years. It's just one more challenge our heroine must face, one more evil to defeat, before our story can come to an end.
As I said, this isn't necessarily a transgender story, and I have no idea whether Flewelling has any transgender friends who influenced this, much less whether she intended to so accurately mirror the experience of a modern day transwoman, but she does a magnificent job.
https://sallybend.wordpress.com/2024/...
The Oracle's Queen brings all the threads together for a triumphant conclusion. War comes to the kingdom, forcing an end to the awkward stasis that has plagued the land. When the King is slain, Prince Korin must take the throne, despite having already proven himself a poor choice to lead the land in battle. In order to save the realm from Korin's failings (and the greater failings of his court wizard), Tobin must reveal herself to the world and declare herself Queen Tamir.
Even though we, as readers, know it's coming - it's inevitable, in fact - the dissolution of the magic, revealing Tobin as Tamir, is absolutely breathtaking. It's bold, it's beautiful, and (for the sake of regal legitimacy) it's a coming out/transition that is very much public. This is an act that needs to be witnessed, and witnessed it is! If her coming out doesn't leave you in tears, then you have my condolences for your absent heart.
Sadly, this magical moment does not mark an end to Tamir's suffering. If anything, it adds to it. Many across the kingdom refuse to believe it, either accusing her (ironically) of being a boy in drag, or simply distrusting the magic used to disguise her for so many years. It's just one more challenge our heroine must face, one more evil to defeat, before our story can come to an end.
As I said, this isn't necessarily a transgender story, and I have no idea whether Flewelling has any transgender friends who influenced this, much less whether she intended to so accurately mirror the experience of a modern day transwoman, but she does a magnificent job.
https://sallybend.wordpress.com/2024/...
August 16, 2010
3.5 stars. A good start to what looks to be an above average fantasy trilogy. I am a big fan of world building and the world that Ms. Flewelling has created is well-thought out, complex and believable. Add to that an original twist to the standard coming of age warrior tale, quality writing and some good characterization and you have all the ingredients for a great story. This one ends on somewhat of a cliff hanger so be ready to go right into the second installment. Recommended!!!!!
May 2, 2007
Another really excellent, dignified fantasy series. But other than the big 4 (Martin, Hobb, Flewelling and de Lint), I haven't found more great authors. Well, yeah, Tolkien, but come on. The movies are so much better--(kiss my -ss, Tolkien die-hards, I don't have time for the listing of every familly name of every Hobbit in the Shire)
March 9, 2010
This is a strangely difficult book for me to review.
The Good:
I love Ki and Tharin, and I think their characters are charming, likable, and whenever they are in a scene, I don't want the scene to end.
I like the fact that the major horror in this book is done by the "good" people trying to save their country. There's shades of gray that I find fascinating.
Brother is intensely creepy.
The author obviously put serious thought into the ramifications of the characters actions, both personally and with the other characters.
The Bad:
At this point, I don't love the main character. I feel bad for him, but I don't love him.
I feel like the book never properly explains why the witch couldn't have used magic to hide the child, rather than turning her into a boy.
The author needed a strong editor. The book should be 20% smaller. There are parts that seemed to drag endlessly for no reason that I could discern and were just boring. And given how long it dragged out, I can't believe the author ended on a cliffhanger without a single story line sewn up. I haven't read book 2 yet, but if it follows how book 1 did, I think they probably could have been one tight book rather than two rambling ones.
The Good:
I love Ki and Tharin, and I think their characters are charming, likable, and whenever they are in a scene, I don't want the scene to end.
I like the fact that the major horror in this book is done by the "good" people trying to save their country. There's shades of gray that I find fascinating.
Brother is intensely creepy.
The author obviously put serious thought into the ramifications of the characters actions, both personally and with the other characters.
The Bad:
At this point, I don't love the main character. I feel bad for him, but I don't love him.
I feel like the book never properly explains why the witch couldn't have used magic to hide the child, rather than turning her into a boy.
The author needed a strong editor. The book should be 20% smaller. There are parts that seemed to drag endlessly for no reason that I could discern and were just boring. And given how long it dragged out, I can't believe the author ended on a cliffhanger without a single story line sewn up. I haven't read book 2 yet, but if it follows how book 1 did, I think they probably could have been one tight book rather than two rambling ones.
This entire review has been hidden because of spoilers.
September 17, 2025
The Bone Doll's is dark fantasy so that before you read it that you should know there has some scenes may disturb your reading experience. However, this is a good slow burn fantasy book with creep stories. this book has haunting house elemental, childhood relationship, sexual identity, self- esteem in which is a brilliant coming of age story set in a fantasy world. It may be a little slow to start the story and know how the magic works. But after I read more than the half of the book, it would become exhilarating progress of the story. Especially near the end of the story, It was one chapter totally hook me up, I can not forget how stunning I felt the royalty between the two boys while reading the chapter.
Unfortunately, the end of The Bone Doll's Twin is cliffhanging, absolutely unsatisfied how the end of the book, but overall, it is a fantastic book talks about gender issue, self-identity, and mostly important-a ghost story :)
Unfortunately, the end of The Bone Doll's Twin is cliffhanging, absolutely unsatisfied how the end of the book, but overall, it is a fantastic book talks about gender issue, self-identity, and mostly important-a ghost story :)
July 13, 2017
Re-read in audio. I adored the story when it came out, a while ago, and wondered if I would still enjoy it as much a few years later. I did.
I didn't focus much on the gender theme the first time, and honestly, even if I got much more of the various gender switch symbolisms this time (the very obvious and the more subtile ones) it's not what caught my attention the most.
I was wrapped up in the powerful gothic ambiance (ghosts, skeletons, guilt, sorrow, ambition and mysteries: what's not to like ?) as well as in the story of the lonely child growing up in this dark atmosphere, surrounded by danger and lies, a pawn in a plot he/she knows nothing about.
I found the tale was more about one major question: does the end justify the means?
Here we get some more or less decent people perpetrating the worst crimes in the name of the greater good. In fact, each faction, even the worst of villains, is convinced to act in the name of righteousness. A bit like in life, you know ? You are never the bad guy. Whatever you do or say, there is always a justification.
And in the middle of all this, there are the innocents. Most of them expendable, of course. There is a considerable body count on one side, and a tiny little murder, coupled with one huge lie and their consequences on the other. The balance should be obvious, but...
I can only recommend the read of this masterfully written, subtle, gripping, and profoundly human novel.
5 Stars, no doubt about that.
Warning : It's the first part of a trilogy and can't really be read as a stand alone.
I didn't focus much on the gender theme the first time, and honestly, even if I got much more of the various gender switch symbolisms this time (the very obvious and the more subtile ones) it's not what caught my attention the most.
I was wrapped up in the powerful gothic ambiance (ghosts, skeletons, guilt, sorrow, ambition and mysteries: what's not to like ?) as well as in the story of the lonely child growing up in this dark atmosphere, surrounded by danger and lies, a pawn in a plot he/she knows nothing about.
I found the tale was more about one major question: does the end justify the means?
Here we get some more or less decent people perpetrating the worst crimes in the name of the greater good. In fact, each faction, even the worst of villains, is convinced to act in the name of righteousness. A bit like in life, you know ? You are never the bad guy. Whatever you do or say, there is always a justification.
And in the middle of all this, there are the innocents. Most of them expendable, of course. There is a considerable body count on one side, and a tiny little murder, coupled with one huge lie and their consequences on the other. The balance should be obvious, but...
I can only recommend the read of this masterfully written, subtle, gripping, and profoundly human novel.
5 Stars, no doubt about that.
Warning : It's the first part of a trilogy and can't really be read as a stand alone.
April 13, 2008
I read Flewelling's other set of book but for one reason or another I found myself reluctant to read this trilogy. I will admit that in a brief summary this book sounds cheesy, it is hard to imagine this done in a skillful way. After getting pushed in to reading it (with recommendations from more than one person) I found myself pulled into this unique story. This is truly an original plot done in great taste and with definite skill. The characters are believable and you find yourself being pulled into the book. Not only is this good but it left me thinking. You can't help but relook at gender and the whole nature versus nurture theory. The book doesn't try to make a statement, it is an interesting story that pulls you in and makes you feel for the characters but it does make you think....and that for me is the sign of a good book, something that makes you think without making you feel that is what is trying to do. I would definitely recommend this anyone that enjoys a unique and slightly darker fantasy. As with any of Flewelling's books you need to have an open mind to gender and same sex relationships.
August 11, 2008
I would have rated this a bit higher since it was quite well done, but not that much happened it for the length. It was very definitely a set-up for later books, and I really prefer that books in a series be better able to stand on their own, especially the first book. I dislike the approach to a trilogy that makes it one really long novel separated into three for the sake of shortness (or maybe for the sake of selling more items). In short (heh): good story, but could have been edited down quite a lot and combined with the sequel.
March 10, 2022
The Bone Doll's twin is a very good fantasy with some very weird parts to it. I enjoyed this book for its different plot points however the pace of the book is something that really never picks up during the first half of the book. A very different book than most epic fantasies which deals with gender perception, The Bone Doll's Twin is a book that promises a very different read and fulfills that promise.
March 16, 2012
Okay, so I love fantasy when it is well done. There's something so immensely satisfying about reading a well constructed world. All that "world-is-going-to-end-and-then-a-hero-comes-along" (see what I did thurr?) stuff is totally my thing, ya know? So when the lovely Dominique (I was stalking your book haul youtube clips) said this was one of her favourite books, I pounced on it like a cat on string of yarn only not as graceful. Anyway, so, this book, I had great expectations and I am pleased to announce to all and sundry that my expectations were FULFILLED.
Lynn Flewelling uses the framing technique to tell this story and does some very interesting things with time that can, at moments, confuse the hell out of in by which I mean that you are unaware if you are in a flashback within a flashback or just in the first flashback...you get my point. Anyway, so the whole story, because of the initial framing, gets a grandiose, epic feel to it and I totally expected to see Mordor burning when the old Wizard whose name I have forgotten, woe is me, is looking out the window talking about history. Anyway, for a second there I paused and wondered what I had gotten myself into but then the narrative got over its hiccup and we righted ourselves and got back to the starting line.
I love it when the world building is well done. No, seriously, I totally (what's a stronger word than love?) adore? (that sounds weird) - okay, let me just say I love it a LOT when things are logical and the fabric of the world created makes sense and is solid instead of constructed flimsily and borne on the backs of other much better fantasy novels. The Bone Doll's Twin, by dint of the childhood years spanning the entire first book, allows not just for character development but also detailed world building. Now when I say detailed, I don't mean that everything is described because it's not, I mean that Flewelling builds a world that is very easy to visualize and she populates this world with characters who can be actual people and are not two dimensional renderings of characters plucked from the stock trade. I also appreciate how she doesn't take the easy way out and paint people either as black or white. It's all about the gray areas for Ms. Flewelling.
The novel is told in third person omniscient so it's possible, at times, to get glimpses of everyone's thoughts and this is not an easy style at all, not matter what anyone else says. I like how the narrative has this skein of melancholy, of poignancy running through it that is only reiterated by the visage of the dead twin who despite his few lines is one of the strongest characters in the novel. The mythology is well thought out and the divisions of magic also smart. I particularly liked the distinctions made between the two types.
There's some sexy times in the novel and they are a bit weird but I liked the fact that this time around, the one with the power is the female and there are some very interesting gender reversals that might make a fascinating essay. I liked where the book ended. There are so many possibilities and so many directions that it can go on in the next two books. Anyway, I really liked this one and I recommend it to you if you like high fantasy. It is very readable and lacks the usual verbosity that are usually a trademark of high fantasy.
Lynn Flewelling uses the framing technique to tell this story and does some very interesting things with time that can, at moments, confuse the hell out of in by which I mean that you are unaware if you are in a flashback within a flashback or just in the first flashback...you get my point. Anyway, so the whole story, because of the initial framing, gets a grandiose, epic feel to it and I totally expected to see Mordor burning when the old Wizard whose name I have forgotten, woe is me, is looking out the window talking about history. Anyway, for a second there I paused and wondered what I had gotten myself into but then the narrative got over its hiccup and we righted ourselves and got back to the starting line.
I love it when the world building is well done. No, seriously, I totally (what's a stronger word than love?) adore? (that sounds weird) - okay, let me just say I love it a LOT when things are logical and the fabric of the world created makes sense and is solid instead of constructed flimsily and borne on the backs of other much better fantasy novels. The Bone Doll's Twin, by dint of the childhood years spanning the entire first book, allows not just for character development but also detailed world building. Now when I say detailed, I don't mean that everything is described because it's not, I mean that Flewelling builds a world that is very easy to visualize and she populates this world with characters who can be actual people and are not two dimensional renderings of characters plucked from the stock trade. I also appreciate how she doesn't take the easy way out and paint people either as black or white. It's all about the gray areas for Ms. Flewelling.
The novel is told in third person omniscient so it's possible, at times, to get glimpses of everyone's thoughts and this is not an easy style at all, not matter what anyone else says. I like how the narrative has this skein of melancholy, of poignancy running through it that is only reiterated by the visage of the dead twin who despite his few lines is one of the strongest characters in the novel. The mythology is well thought out and the divisions of magic also smart. I particularly liked the distinctions made between the two types.
There's some sexy times in the novel and they are a bit weird but I liked the fact that this time around, the one with the power is the female and there are some very interesting gender reversals that might make a fascinating essay. I liked where the book ended. There are so many possibilities and so many directions that it can go on in the next two books. Anyway, I really liked this one and I recommend it to you if you like high fantasy. It is very readable and lacks the usual verbosity that are usually a trademark of high fantasy.
December 20, 2013
When the writer George R. R. Martin and the actress Felicia Day are both recommending a fantasy series, it’s not a bad idea to give it a try. Actually, it’s a wonderful idea.
The Bone Doll's Twin is a magnificent, captivating novel that will get you hooked from the first chapter. The story moves smoothly, without being too slow or too rushed. The characters feel very human, each of them has lots of potential, they all face different struggles, make different hard choices and it’s just nice to be around them while they do what they do. And while the novel is set in a fantasy universe, for the most part it actually feels like a well-written ghost horror story.
Lynn Flewelling is famous for her untraditional approach to themes like gender roles, gender identity and sexuality and that’s one of the many things that make this particular book so intriguing. All those questions are a part of this chapter, but I expect they’ll play even bigger role in the remaining two installments.
Strongly recommended for any fantasy fans that also enjoy ghost stories and complex characters!
The Bone Doll's Twin is a magnificent, captivating novel that will get you hooked from the first chapter. The story moves smoothly, without being too slow or too rushed. The characters feel very human, each of them has lots of potential, they all face different struggles, make different hard choices and it’s just nice to be around them while they do what they do. And while the novel is set in a fantasy universe, for the most part it actually feels like a well-written ghost horror story.
Lynn Flewelling is famous for her untraditional approach to themes like gender roles, gender identity and sexuality and that’s one of the many things that make this particular book so intriguing. All those questions are a part of this chapter, but I expect they’ll play even bigger role in the remaining two installments.
Strongly recommended for any fantasy fans that also enjoy ghost stories and complex characters!
July 19, 2015
Its been over 5 years since I read this book and I'm really surprised at how much of it stayed with me. Although the MC Tobin is just a child throughout the book this isn't a YA book. It is dark and sad at times. A lot of books use the trope of disguising a girl as a boy but this book takes that theme and twists it cruelly. With the killing of a newborn infant to save his twin sisters life it creates a very different dynamic to the book that I love.
There are a lot of characters to love in this book. There are a lot of villains that aren't straight up bad guys and there are some of the good guys that are far from perfect. I like the shades of grey for all the characters.
There are a lot of characters to love in this book. There are a lot of villains that aren't straight up bad guys and there are some of the good guys that are far from perfect. I like the shades of grey for all the characters.
January 8, 2014
An interesting premise and a compelling read. I knew it would end with a cliffhanger, and it ended almost exactly the way I expected it to. Normally that would be a sign of a predictable story, but that is not the case here. Instead, Flewelling gives the reader an ending that both fulfills expectations and creates new ones. I need to read a few other things before I can continue this series, but I will definitely read the rest of the trilogy.
April 29, 2020
DNF 50%
Хорошее: красивый язык, эпичный мир, интересная магия, атмосферная крипота, феминизм.
Плохое: бессюжетный роман взросления, старые штампы, автор одной рукой делает феминизм и геев, а другой рукой ляпает махровый сексизм. Что для девяностых прорыв, то для двадцатых закостенелая туфта.
Хорошее: красивый язык, эпичный мир, интересная магия, атмосферная крипота, феминизм.
Плохое: бессюжетный роман взросления, старые штампы, автор одной рукой делает феминизм и геев, а другой рукой ляпает махровый сексизм. Что для девяностых прорыв, то для двадцатых закостенелая туфта.
July 17, 2025
5 stars / The Bone Doll’s Twin was everything I love in fantasy and more. Reading it felt like rediscovering what I used to love about books when I was younger—that sense of wonder and mystery, of stepping into a world that feels both vast and intimate. It’s got that rich, classic fantasy feel with mages, knights, ancient prophecies, and cursed destinies, but at the same time, it explores surprisingly modern themes—especially around identity and gender—in a way that feels ahead of its time.
The writing is absolutely beautiful. There’s something old-school in the best way about Flewelling’s prose—it’s immersive and deliberate, taking its time to build the world and its characters. It reminded me a lot of the first book in The Faithful and the Fallen series in that sense: a slow, character-driven build. But where I sometimes felt the drag in that series’ early chapters, I was never bored here. The atmosphere was immaculate. There’s a gothic, slightly eerie tone that threads through the story, with a few touches of horror that gave me chills—but it still manages to feel like an epic and deeply personal journey.
Tobin, the main character, is one of the best portrayals of a child I’ve read in fantasy. Writing child protagonists is tricky—some are too mature, others just irritating. But Tobin is perfect: withdrawn, serious, and shaped by the strange and lonely life he's had, yet still believably a child. His relationship with Ki was a standout element—heartfelt and grounding.
But what truly stunned me was the theme of identity woven into the heart of this story. Tobin is born a girl, but transformed into a boy at birth by dark, ancient magic to protect her from a king who is executing all female heirs to secure a patriarchal line of succession—in a world where queens have traditionally ruled. This book came out in 2001, and yet it feels so relevant now. The exploration of gender, the trauma of living in a body that isn’t truly yours, the slow unraveling of truth—it’s all handled with incredible nuance, never preachy or heavy-handed. It’s just brilliantly written, and it could have gone so wrong in the hands of another author. But Flewelling nails it.
There’s not much action in this first book, and yet I couldn’t put it down. The tension is emotional, political, and deeply rooted in the characters’ struggles. It builds slowly, but every page is worth it. I finished the last chapter already desperate for book two—only to discover it’s on backorder everywhere. Please send help.
If you like fantasy with soul, atmosphere, and substance, The Bone Doll’s Twin is a must-read.
The writing is absolutely beautiful. There’s something old-school in the best way about Flewelling’s prose—it’s immersive and deliberate, taking its time to build the world and its characters. It reminded me a lot of the first book in The Faithful and the Fallen series in that sense: a slow, character-driven build. But where I sometimes felt the drag in that series’ early chapters, I was never bored here. The atmosphere was immaculate. There’s a gothic, slightly eerie tone that threads through the story, with a few touches of horror that gave me chills—but it still manages to feel like an epic and deeply personal journey.
Tobin, the main character, is one of the best portrayals of a child I’ve read in fantasy. Writing child protagonists is tricky—some are too mature, others just irritating. But Tobin is perfect: withdrawn, serious, and shaped by the strange and lonely life he's had, yet still believably a child. His relationship with Ki was a standout element—heartfelt and grounding.
But what truly stunned me was the theme of identity woven into the heart of this story. Tobin is born a girl, but transformed into a boy at birth by dark, ancient magic to protect her from a king who is executing all female heirs to secure a patriarchal line of succession—in a world where queens have traditionally ruled. This book came out in 2001, and yet it feels so relevant now. The exploration of gender, the trauma of living in a body that isn’t truly yours, the slow unraveling of truth—it’s all handled with incredible nuance, never preachy or heavy-handed. It’s just brilliantly written, and it could have gone so wrong in the hands of another author. But Flewelling nails it.
There’s not much action in this first book, and yet I couldn’t put it down. The tension is emotional, political, and deeply rooted in the characters’ struggles. It builds slowly, but every page is worth it. I finished the last chapter already desperate for book two—only to discover it’s on backorder everywhere. Please send help.
If you like fantasy with soul, atmosphere, and substance, The Bone Doll’s Twin is a must-read.
June 29, 2023
One of my new favorite fantasy novels. It’s so well written and the characters have a special place in my heart. I loved the creative, dark world, and the elements of horror. Beautiful book!
June 30, 2011
Flewelling calls this book 'gothic fantasy' and one can see where the genre applies. A history to her wonderful Nightrunner series, I found The Bone Doll's Twin to be a bit creepy and somewhat disturbing at times. It certainly is a darker turn from the main story of the Nightrunner series -- even her penchant for torturing (physically and emotionally) her favourite characters doesn't reach this level of skin crawling storytelling.
The Bone Doll's Twin is a distinct piece of 'rising action'. There is no grand adventure for the book itself; instead it fills its pages with mini, time-related fragments to create a larger backstory type work; it introduces the primary and secondary characters (their pasts, personalities, relationships, dispositions, and locations), setting the stage for the next portion of the story. The 'revelation' at the end of the story is not new to the reader and plays the springboard for the events in Hidden Warrior.
My personal feelings on the book tend toward 'dispassionate'. I had a hard time feeling for the characters and being interested in them aside from their relation to the history of Skala. The lack of a contained adventure to lead us into the larger picture left me wanting and only the dedication to seeing this history through makes me press on. This is not a reflection on Mrs. Flewelling's writing, as it was very well written, merely a preference toward the pacing of her other works (books with a stand alone story and secondary plot that oft becomes primary for the following work). Instead of feeling enticed to read the next book, I felt battered over the head to do so.
Positive feelings: I did highly enjoy Lhel and Arkoniel as characters. If there are particular nuances Flewelling excels at it's dialect and enjoyable magical folk (be them good or evil). The prevalence of Aurënfaie in Skala at the time is interesting, but disappointing as a fan of the 'faie-centric 'present day' stories, since we only really meet one and he's extremely minor. The development of Tobin and Ki's relationship, Ki bringing Tobin out of his shell, is wonderfully fun and probably the highlight of the story for me. I think, as a reader, it could have been much shorter. I didn't feel I needed as much day-to-day detail as was there to explain Tobin's shy reticence and awkwardness; but that was Mrs. Flewelling's decision, to tell the whole of it.
All in all, I give it 3 stars, perhaps 3.5. It was well written and is meant as part of a larger story.
The Bone Doll's Twin is a distinct piece of 'rising action'. There is no grand adventure for the book itself; instead it fills its pages with mini, time-related fragments to create a larger backstory type work; it introduces the primary and secondary characters (their pasts, personalities, relationships, dispositions, and locations), setting the stage for the next portion of the story. The 'revelation' at the end of the story is not new to the reader and plays the springboard for the events in Hidden Warrior.
My personal feelings on the book tend toward 'dispassionate'. I had a hard time feeling for the characters and being interested in them aside from their relation to the history of Skala. The lack of a contained adventure to lead us into the larger picture left me wanting and only the dedication to seeing this history through makes me press on. This is not a reflection on Mrs. Flewelling's writing, as it was very well written, merely a preference toward the pacing of her other works (books with a stand alone story and secondary plot that oft becomes primary for the following work). Instead of feeling enticed to read the next book, I felt battered over the head to do so.
Positive feelings: I did highly enjoy Lhel and Arkoniel as characters. If there are particular nuances Flewelling excels at it's dialect and enjoyable magical folk (be them good or evil). The prevalence of Aurënfaie in Skala at the time is interesting, but disappointing as a fan of the 'faie-centric 'present day' stories, since we only really meet one and he's extremely minor. The development of Tobin and Ki's relationship, Ki bringing Tobin out of his shell, is wonderfully fun and probably the highlight of the story for me. I think, as a reader, it could have been much shorter. I didn't feel I needed as much day-to-day detail as was there to explain Tobin's shy reticence and awkwardness; but that was Mrs. Flewelling's decision, to tell the whole of it.
All in all, I give it 3 stars, perhaps 3.5. It was well written and is meant as part of a larger story.
February 21, 2011
I promised a good review after every book I would read. And up till now, It has remained a promise. I don't know what's got into me lately, but my system seems to be deteriorating. And I think the five-star-rating way is really coming in handy.
You see, when a friend would ask about 'how was the book you hooked your nose into yesterday?' My answer would just be, 'oh it's a 3!' or maybe "nah! that was a 2.' See what I mean?
Now, I picked this book because of the blurb at the front cover by George RR Martin saying "thoroughly engrossing". And you know what? He's right! This book has all the elements one could look for in a really good fantasy book.
This deserves a place right in between Robin Hobb and Jacqueline Carey's in your shelves.
And oh yeah! this is a four! :)
You see, when a friend would ask about 'how was the book you hooked your nose into yesterday?' My answer would just be, 'oh it's a 3!' or maybe "nah! that was a 2.' See what I mean?
Now, I picked this book because of the blurb at the front cover by George RR Martin saying "thoroughly engrossing". And you know what? He's right! This book has all the elements one could look for in a really good fantasy book.
This deserves a place right in between Robin Hobb and Jacqueline Carey's in your shelves.
And oh yeah! this is a four! :)
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