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The Fionavar Tapestry #2
The Wandering Fire
The Wandering Fire is the second novel of Guy Gavriel Kay's critically acclaimed fantasy trilogy, The Fionavar Tapestry. A mage's power has brought five university students from our world into a realm where an ancient evil has freed itself from captivity to wreak revenge on its enemies...
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First published May 1, 1986
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About the author
Guy Gavriel Kay
45 books9,292 followersGuy Gavriel Kay is a Canadian author of fantasy fiction. Many of his novels are set in fictional realms that resemble real places during real historical periods, such as Constantinople during the reign of Justinian I or Spain during the time of El Cid. Those works are published and marketed as historical fantasy, though the author himself has expressed a preference to shy away from genre categorization when possible.
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January 20, 2018
It is a truth universally acknowledged that while not all who wander are lost, those who mashup the Lord of the Rings with the Arthurian Legend, wander into their impending doom.
As you know for me The Summer Tree went promptly beyond fantastic and straight into the epic category. My initial awe was even strengthened by the opening pages of The Wandering Fire. The previous instalment finished with the most brutal sequence sealing Jennifer’s fate in Fionavar, cut (and cauterised) by the crossing back to our world. What Jennifer does in the beginning of the Wandering Fire as a response to the evil that has marred her mind, body, and soul is beautiful. More than beautiful, for it is a defiant answer to hate, to death, it is transforming destruction into a wild hope, even if choosing life seems daunting and impossible, and, quite frankly, unnecessary heroics.
Events that occurred in the previous instalment were like a three-night long overture to the events taking place in this book. Rakoth Maugrim, the powerful Unraveller, has been set free and if Fionavar loses to him, then eventually all the world would fall and the Tapestry be torn and damaged beyond redress. The waiting is over. But then, as they say, shift happens. Arthur Pendragon enters the scene with all his retinue of anguish and drama.
Excuse my Latin, but I have to ask: why the hug?!
This is my main problem with The Wandering Fire. Why would you feel the need to supplement the lush Tolkienesque universe with another literary topos, at least as rich and complex as the Middle-earth? Fionavar has had it all: the dwarves and the elves (lios alfar), the orcs and uruk hai (svart alfar and urgach), the kingdom of Gondor (Brenin) and the riders of Rohan (the Dalrei), Been and Luthien (Lisen and Amairgen), Sauron (Rakoth) and Saruman (Metran), the Fellowship (the companions), the myths, the legends, the courage and beauty and light. In other words, an abundance of archetypes, tropes, and themes of which each alone could suffice for the whole book. Additionally, Kay has added his ingenious touches, like the Lord of the Summer Tree or the mage and the source system. Why would you bring, to this already overcrowded picture, another universe of characters and references with their own dynamics and arcs?
While the beginning of the book was everything I hoped for, the Arthurian mashup, reduced the pleasure significantly. The Wandering Fire still possesses the brilliance of its predecessor: the elegant and lofty style (everyone is beautiful, and graceful, and wise and virtuous), action, drama, mystery, magic and suspense, but at the same time, it becomes too much. At tad too much. Just like a dress with too many sequins that was meant to be a bold statement and instead becomes tacky.
Perhaps one needs to be a lover of Avalon in order to truly appreciate it. Alas, don’t count me in. I couldn't care less. My irritation was like a pebble in a shoe, a constant feeling that something is not right made it easy for me to concentrate on other imperfections. And so, page upon page, instead of enjoying myself, I grew restless.
The random sex scene featuring Loren and one of the other main characters was the last straw, decisive when it comes to rating. No. You cannot have Gandalf and then send him on one-night stands just because everybody deserves some stress relief. Once again, I have to say that in spite of Kay’s sheer brilliance his approach to sexual relations is downright perplexing. I had similar issues in Tigana, and even more problems in his other owrks. It is not a one-timer, it’s one of his recurring themes. Also, something that shaves the second star off the rating.
I am sad to write this, but I don’t think the majority of the readers will be happy with The Wandering Fire. You need to love both all things Tolkienian and all things Arthurian in order to truly appreciate it. My guess is that such people exist, but are not too numerous. If you'd like to start your journey with Kay, try Tigana first or, if you are more historical-fiction minded reader, the Sarantine Mosaic duology set in Byzantium-like world: Sailing to Sarantium and Lord of Emperors.
Also in the series:
1. The Summer Tree
3. The Darkest Road
As you know for me The Summer Tree went promptly beyond fantastic and straight into the epic category. My initial awe was even strengthened by the opening pages of The Wandering Fire. The previous instalment finished with the most brutal sequence sealing Jennifer’s fate in Fionavar, cut (and cauterised) by the crossing back to our world. What Jennifer does in the beginning of the Wandering Fire as a response to the evil that has marred her mind, body, and soul is beautiful. More than beautiful, for it is a defiant answer to hate, to death, it is transforming destruction into a wild hope, even if choosing life seems daunting and impossible, and, quite frankly, unnecessary heroics.
Events that occurred in the previous instalment were like a three-night long overture to the events taking place in this book. Rakoth Maugrim, the powerful Unraveller, has been set free and if Fionavar loses to him, then eventually all the world would fall and the Tapestry be torn and damaged beyond redress. The waiting is over. But then, as they say, shift happens. Arthur Pendragon enters the scene with all his retinue of anguish and drama.
Excuse my Latin, but I have to ask: why the hug?!
This is my main problem with The Wandering Fire. Why would you feel the need to supplement the lush Tolkienesque universe with another literary topos, at least as rich and complex as the Middle-earth? Fionavar has had it all: the dwarves and the elves (lios alfar), the orcs and uruk hai (svart alfar and urgach), the kingdom of Gondor (Brenin) and the riders of Rohan (the Dalrei), Been and Luthien (Lisen and Amairgen), Sauron (Rakoth) and Saruman (Metran), the Fellowship (the companions), the myths, the legends, the courage and beauty and light. In other words, an abundance of archetypes, tropes, and themes of which each alone could suffice for the whole book. Additionally, Kay has added his ingenious touches, like the Lord of the Summer Tree or the mage and the source system. Why would you bring, to this already overcrowded picture, another universe of characters and references with their own dynamics and arcs?
While the beginning of the book was everything I hoped for, the Arthurian mashup, reduced the pleasure significantly. The Wandering Fire still possesses the brilliance of its predecessor: the elegant and lofty style (everyone is beautiful, and graceful, and wise and virtuous), action, drama, mystery, magic and suspense, but at the same time, it becomes too much. At tad too much. Just like a dress with too many sequins that was meant to be a bold statement and instead becomes tacky.
Perhaps one needs to be a lover of Avalon in order to truly appreciate it. Alas, don’t count me in. I couldn't care less. My irritation was like a pebble in a shoe, a constant feeling that something is not right made it easy for me to concentrate on other imperfections. And so, page upon page, instead of enjoying myself, I grew restless.
The random sex scene featuring Loren and one of the other main characters was the last straw, decisive when it comes to rating. No. You cannot have Gandalf and then send him on one-night stands just because everybody deserves some stress relief. Once again, I have to say that in spite of Kay’s sheer brilliance his approach to sexual relations is downright perplexing. I had similar issues in Tigana, and even more problems in his other owrks. It is not a one-timer, it’s one of his recurring themes. Also, something that shaves the second star off the rating.
I am sad to write this, but I don’t think the majority of the readers will be happy with The Wandering Fire. You need to love both all things Tolkienian and all things Arthurian in order to truly appreciate it. My guess is that such people exist, but are not too numerous. If you'd like to start your journey with Kay, try Tigana first or, if you are more historical-fiction minded reader, the Sarantine Mosaic duology set in Byzantium-like world: Sailing to Sarantium and Lord of Emperors.
Also in the series:
1. The Summer Tree
3. The Darkest Road
December 6, 2017
the second book in the Fionavar Tapestry is not quite as impressive as the first, but hey it's still pretty damn good. two things in particular stick out for me:
Sex. i love how this novel places sexuality at the center of much of its magic, both implicitly and explicitly. it is really refreshing. and not corny! i suppose that is the danger of including sex in fantasy - if its not done right, it is a trashy sex scene or, even worse, an eye-rolling tantric experience featuring new age nonsense that makes me gag. sexuality in this novel is mysterious, natural, unnatural, a profound part of some magic, a threatening form in other kinds of magic, and just a regular part of life as well, no big deal. it is taken seriously but it is also not turned into the whole point either - it is an important part of the tapestry, so to speak. it is a refreshingly adult perspective.
Rape. at the end of the last novel, a major character was captured, tormented, and raped repeatedly. it was a horrifying sequence and also exceedingly, surprisingly well-done. i have actually never read its like before in a fantasy novel - i was horrified while simultaneously impressed by the language, by the ability of the author to remove all traces of potential, repulsive "sexiness", by the way the author showed how the raped character retained her strength while never shying away from how truly negating the experience was, in every way imaginable. in the sequel, Jennifer does not just bounce back. it is not an easy journey for her and she doesn't try to make the people around feel better as they try to comfort her. in a way, reading about Jennifer took me to a sad place, as i recalled the couple friends i've known who were assaulted sexually, and the struggles they lived with for so long after, and probably still live with to this day. Jennifer's character and her struggles seemed so true, in particular her detachment. and when she at last is able to make a faltering step, then another, and another, on the road to recovery, and when she's finally able to even experience sex again, to experience a connection to another person that is both emotional and physical... it was like seeing something slowly coming through in an endless gray sky, some light at last appearing, after waiting for so long. that's a trite image, i know, but that's how it felt to me. i teared up a little bit reading that scene, and i think that's the first time tears have ever sprung to my eyes when reading something so basic as a love scene.
Sex. i love how this novel places sexuality at the center of much of its magic, both implicitly and explicitly. it is really refreshing. and not corny! i suppose that is the danger of including sex in fantasy - if its not done right, it is a trashy sex scene or, even worse, an eye-rolling tantric experience featuring new age nonsense that makes me gag. sexuality in this novel is mysterious, natural, unnatural, a profound part of some magic, a threatening form in other kinds of magic, and just a regular part of life as well, no big deal. it is taken seriously but it is also not turned into the whole point either - it is an important part of the tapestry, so to speak. it is a refreshingly adult perspective.
Rape. at the end of the last novel, a major character was captured, tormented, and raped repeatedly. it was a horrifying sequence and also exceedingly, surprisingly well-done. i have actually never read its like before in a fantasy novel - i was horrified while simultaneously impressed by the language, by the ability of the author to remove all traces of potential, repulsive "sexiness", by the way the author showed how the raped character retained her strength while never shying away from how truly negating the experience was, in every way imaginable. in the sequel, Jennifer does not just bounce back. it is not an easy journey for her and she doesn't try to make the people around feel better as they try to comfort her. in a way, reading about Jennifer took me to a sad place, as i recalled the couple friends i've known who were assaulted sexually, and the struggles they lived with for so long after, and probably still live with to this day. Jennifer's character and her struggles seemed so true, in particular her detachment. and when she at last is able to make a faltering step, then another, and another, on the road to recovery, and when she's finally able to even experience sex again, to experience a connection to another person that is both emotional and physical... it was like seeing something slowly coming through in an endless gray sky, some light at last appearing, after waiting for so long. that's a trite image, i know, but that's how it felt to me. i teared up a little bit reading that scene, and i think that's the first time tears have ever sprung to my eyes when reading something so basic as a love scene.
February 8, 2017
I've been falling into and out of this book in almost precisely the same way I had in the first. I love the short lyrical descriptions, I enjoy the mythic references, and I especially love how each character eventually gets woven into each of the underlying story structures. There is a great deal to love in these books, and I've enjoyed tracing much of the straight-line continuation of style from this fantasy novel into the types that have enjoyed much fame and popularity in the eighties and nineties.
But I'm going to be very honest with ya'll. It just wasn't for me.
There's very beautiful language, assuming you love pastoral (and glacial) story progression, filled with enough ooohs and aaaahs to stun every romantic bone in your body. This is what it is, after all. A romance. It's turning war into romance, rape into romance, summoning undead into romance, and all it's missing is Spenser's The Fairy Queen. Oh, wait... there's even some of that, and Le Morte d'Arthur: King Arthur and the Legends of the Round Table, too.
I'm not saying that sexuality is the key to the tale, although there is plenty of it that makes magic either powerful or weak or unimportant. I'm saying that this novel is all about the romantic frame of mind.
If you like novels that gloss over the grimdark features of life, speeding through epic battles to focus on the epic heroics, or wallow in the myriad build-ups that are there to push the fully-engrossed reader into a paroxysm of legendary legends legending the legendixed legendonier, then you're in good hands.
I just couldn't get into it.
I finished it, and I'll do the next in the trilogy because I'm willful like that, but I just can't get all starry-eyed with a build up of prophesied and lost babies, the idea that women are the true strength behind their heroic men, (Why can't they be their own heroes, exactly?), or the fact that we've got not only a lantern hung on a specific character here , but an entire lighthouse hanging on his neck like an albatross.
What do I mean? Even Kay knows he's cribbing the legend so much that he doesn't even bother to submerge the meme into any of his characters. He just brings him back through a universe-spanning curse and forces him to replay both his deeds and his lost love story as penance, nearly fourth-wall-breaking borrowed pathos, and the Weaver's serendipity.
The fact that Jennifer/Guinevere was fairly interesting doesn't spoil the fact that the rest of the novel was a slogfest for me. I really wanted to like it a lot more than I did. I tried liking it repeatedly as I was reading it, giving excuses to myself, tracing all the mythological elements and revelling in it, even trying to summon a truly heroic effort in my heart to like Paul, our resident mage, as he learned to walk the spaces between life and death, tickle fish, and beat back winter.
I have no complaints about the mythos. It's beautiful how Kay brings in so many cool elements, such as the basic connections between winter and death and summer and life, including the greater and lesser mysteries, and how it all interwove into the defeat of the Wolf.
If the novel had the speed and excitement of modern novels, I'd have been rocking hard to this.
As it was, it felt so old-fashioned and pedestrian and mild and old hat that I wanted to cry and plead that I had just read this novel too late in my life, that I have already read too many great novels that explored all these themes too well, that the characters just weren't strong enough to make up for that fact, or that I am, in the end, sad that I'm just an asshole.
These are just my opinions, of course. I might not really be an asshole. I'll leave that to others to decide.
But I'm going to be very honest with ya'll. It just wasn't for me.
There's very beautiful language, assuming you love pastoral (and glacial) story progression, filled with enough ooohs and aaaahs to stun every romantic bone in your body. This is what it is, after all. A romance. It's turning war into romance, rape into romance, summoning undead into romance, and all it's missing is Spenser's The Fairy Queen. Oh, wait... there's even some of that, and Le Morte d'Arthur: King Arthur and the Legends of the Round Table, too.
I'm not saying that sexuality is the key to the tale, although there is plenty of it that makes magic either powerful or weak or unimportant. I'm saying that this novel is all about the romantic frame of mind.
If you like novels that gloss over the grimdark features of life, speeding through epic battles to focus on the epic heroics, or wallow in the myriad build-ups that are there to push the fully-engrossed reader into a paroxysm of legendary legends legending the legendixed legendonier, then you're in good hands.
I just couldn't get into it.
I finished it, and I'll do the next in the trilogy because I'm willful like that, but I just can't get all starry-eyed with a build up of prophesied and lost babies, the idea that women are the true strength behind their heroic men, (Why can't they be their own heroes, exactly?), or the fact that we've got not only a lantern hung on a specific character here , but an entire lighthouse hanging on his neck like an albatross.
What do I mean? Even Kay knows he's cribbing the legend so much that he doesn't even bother to submerge the meme into any of his characters. He just brings him back through a universe-spanning curse and forces him to replay both his deeds and his lost love story as penance, nearly fourth-wall-breaking borrowed pathos, and the Weaver's serendipity.
The fact that Jennifer/Guinevere was fairly interesting doesn't spoil the fact that the rest of the novel was a slogfest for me. I really wanted to like it a lot more than I did. I tried liking it repeatedly as I was reading it, giving excuses to myself, tracing all the mythological elements and revelling in it, even trying to summon a truly heroic effort in my heart to like Paul, our resident mage, as he learned to walk the spaces between life and death, tickle fish, and beat back winter.
I have no complaints about the mythos. It's beautiful how Kay brings in so many cool elements, such as the basic connections between winter and death and summer and life, including the greater and lesser mysteries, and how it all interwove into the defeat of the Wolf.
If the novel had the speed and excitement of modern novels, I'd have been rocking hard to this.
As it was, it felt so old-fashioned and pedestrian and mild and old hat that I wanted to cry and plead that I had just read this novel too late in my life, that I have already read too many great novels that explored all these themes too well, that the characters just weren't strong enough to make up for that fact, or that I am, in the end, sad that I'm just an asshole.
These are just my opinions, of course. I might not really be an asshole. I'll leave that to others to decide.
October 18, 2020
Having just re-read The Summer Tree, the first book in the Fionavar Tapestry, I jumped straight into this one and enjoyed it almost as much as I did when I first read it in the 1980's when it was first published.
One of the features of the series that still resonates with me is the way that each book completes its own major plot threads yet still manages to end on a cliffhanger – not a painful, forced cliffhanger that signals the author left out huge parts of the story, but one which pulls you to the next book without feeling as if the one you're holding wasn't satisfying.
A second aspect I enjoyed on re-read was the way Guy Gavriel Kay takes mythic tropes, such as the Arthurian mythos, and – without "turning on its head" as is the current fashion – still manages to imbue those characters and themes with a deeply personal and emotional take on them. In other words, it's when Arthur appears in the story, he'd not suddenly some monstrous brute but still has those qualities that made fans of the myth love him, yet he's still (to me, anyway) more human than I find in other retellings.
Not everyone will love Kay's style. There's a certain melodrama that runs through the series, and you'll often find characters reacting with a familiar refrain of "He knew then that what he saw was a deep thing, as deep as any other thing he'd ever seen before, so deep it might swallow him whole and . . ." I'm paraphrasing here bordering on satirizing, but there's a lot of that sentiment in the books. Most of the time they work for me, and when those moments do land, they're wonderful. Again, though, we tend towards a more cynical voice these days, so not everyone will enjoy this.
I also enjoyed the relative brevity of this second book in the series, which allowed it to still deal with big, important movements in the sage yet without ponderously tromping through endless meetings or dinners or whatever else. Fans of Brandon Sanderson-esque world building might feel like the Fionavar Tapestry skips past the kinds of details that fill out the image of each scene, but for me, I appreciated the pace.
Overall, if you enjoyed The Summer Tree, you'll certainly enjoy The Wandering Fire. I'm looking forward to re-reading the third and final book in the trilogy soon.
One of the features of the series that still resonates with me is the way that each book completes its own major plot threads yet still manages to end on a cliffhanger – not a painful, forced cliffhanger that signals the author left out huge parts of the story, but one which pulls you to the next book without feeling as if the one you're holding wasn't satisfying.
A second aspect I enjoyed on re-read was the way Guy Gavriel Kay takes mythic tropes, such as the Arthurian mythos, and – without "turning on its head" as is the current fashion – still manages to imbue those characters and themes with a deeply personal and emotional take on them. In other words, it's when Arthur appears in the story, he'd not suddenly some monstrous brute but still has those qualities that made fans of the myth love him, yet he's still (to me, anyway) more human than I find in other retellings.
Not everyone will love Kay's style. There's a certain melodrama that runs through the series, and you'll often find characters reacting with a familiar refrain of "He knew then that what he saw was a deep thing, as deep as any other thing he'd ever seen before, so deep it might swallow him whole and . . ." I'm paraphrasing here bordering on satirizing, but there's a lot of that sentiment in the books. Most of the time they work for me, and when those moments do land, they're wonderful. Again, though, we tend towards a more cynical voice these days, so not everyone will enjoy this.
I also enjoyed the relative brevity of this second book in the series, which allowed it to still deal with big, important movements in the sage yet without ponderously tromping through endless meetings or dinners or whatever else. Fans of Brandon Sanderson-esque world building might feel like the Fionavar Tapestry skips past the kinds of details that fill out the image of each scene, but for me, I appreciated the pace.
Overall, if you enjoyed The Summer Tree, you'll certainly enjoy The Wandering Fire. I'm looking forward to re-reading the third and final book in the trilogy soon.
February 24, 2025
Hints of genius, less interesting characters, crazy finale, distinct flaws.
8/10
8/10
February 7, 2017
A good sequel, although not as good as the first book in the trilogy. It suffers from a slight case of second-book syndrome, there is not the same sense of wonder as in The Summer Tree, and I did not enjoy the introduction of the legendary characters at all.
However, it's Guy Gavriel Kay. It's still beautiful and highly enjoyable. It's just not on the level it could be.
However, it's Guy Gavriel Kay. It's still beautiful and highly enjoyable. It's just not on the level it could be.
May 4, 2025
I really enjoyed the direction the trilogy went with this installment. While series has seemed to been more influenced by various mythology than a Tolkien-derived series from the start, the insertion of a certain well-known mythos (I'm avoiding spoilers) into this volume really added a lot to the story for me. Additionally, you can almost see Kay gaining skill in this volume and employing literary techniques he would perfect in his career quite effectively. And kudos to Kay for writing epic fantasy installments around 300 pages apiece!
June 12, 2017
What can I say about book two that won’t be too spoiler-y for book one? I guess I can say that there is more of the same. The world of Fionavar is locked in an unnatural winter, caused of course by a Mage-gone-wrong. What can the forces of good do against the very winds of winter?
King Arthur is the Eternal Warrior, needed for any possibly-world-ending war. The five wayward Canadians who have found their way to Fionavar have also proven why they were selected by fate to make the transfer to that world. There is pain and there is happiness.
I can’t quit reading—finished The Wandering Fire last night and barely paused before starting The Darkest Road. I think this series is going to become part of my “nursing home library,” those books that I intend to take with me to the nursing home when such a move becomes necessary.
King Arthur is the Eternal Warrior, needed for any possibly-world-ending war. The five wayward Canadians who have found their way to Fionavar have also proven why they were selected by fate to make the transfer to that world. There is pain and there is happiness.
I can’t quit reading—finished The Wandering Fire last night and barely paused before starting The Darkest Road. I think this series is going to become part of my “nursing home library,” those books that I intend to take with me to the nursing home when such a move becomes necessary.
May 18, 2024
This was the second instalment of Guy Gavriel Kay’s Fionavar Tapestry Trilogy. Sadly, it was not quite up to par with the quality of the first book. It was weird as it actually eliminated a major issue I had with the first book (all the magic inspired sexual assaults) but was let down by new issues that hindered the story and just ended up being a slightly less enjoyable and engaging tale overall.
As always with Guy Gavriel Kay the quality of the writing is undeniable. His lyrical style draws you into the world of Fionavar with its richly detailed landscapes and evocative imagery. Kay's ability to evoke a palpable atmosphere of both melancholy and hope is a particular strength of his that has been evident in all five of the books of his that I’ve read to date. If there is a downside to the writing in the Fionavar books it is the fact that it can feel a tad overwrought at times especially when it leans in to the mysticism inherent in the story.
Despite the beauty of Kay's writing The Wandering Fire had issues in its handling of certain thematic elements, particularly love and sex. While these themes are prominent elements of the story their execution often felt hollow and lacking in nuance. Relationships between characters sometimes felt weirdly transient and insignificant and intimate moments felt more disposable than emotionally impactful in most instances. Sex in Fionavar had a vaguely misogynistic and disposable feel to it and Kay never sold me on the fact that he understood the difference between love and lust which I felt detracted from the overall impact of these particular themes and relationships in the story. There was also a random musing by a character observing that there would be a lot of pregnancies after a festival that summed up how sex and romance were dealt with in this story. No shit there would be a lot of pregnancies with the orgies going on! Which just hammered home the disposable nature of the sex and the fact that most of the male characters, including all the leads, did not give a shit that they were likely dead beat dads multiple times over. That sat poorly with me but I get it is likely a particular pet peeve. Also annoyed me that the women of this old school medieval fantasy world were so free with their attitude towards unmarried sex given the likely childbirth mortality rates and the fact that practically none of the fathers were sticking around to deal with the consequences! Not that Kay ever bothered to deal with any of the consequences of anybody’s actions outside of the Jennifer story arc.
One of the most significant departures from the first book in the series was the increased emphasis on Arthurian mythology. While Arthurian legends are undoubtedly fun and interesting I felt their increased inclusion damaged this tale and made it feel less original than what we got in the first book.
Another aspect of The Wandering Fire that was problematic was the frequent shifting of points of view. While I feel multiple perspectives can definitely offer insights into different characters and plotlines and add great depth to a story in general the rapid changes in perspective in this story made it a little difficult to follow especially in the audio format. The overabundance of minor character perspectives lead to a sense of fragmentation. Which made it tough to emotionally engage with a lot of those lesser characters and their individual arcs. I did like some of the minor characters and story arcs but felt like we got too much of them and that the POV segment shifting was just too rapid. Sometimes characters were barely getting a paragraph before we were off to the next one. It was a definite problem.
Despite these issues there are still moments of brilliance in The Wandering Fire that hint at the potential for a decent story but they just get a little overwhelmed by the negative aspects of the story. Which is disappointing as I really wanted to enjoy this one more but felt like the plot we got was just a lot duller than what we got in the first book.
Jennifer had a terrible story arc in the first instalment and I feared the worst in the early stages of this one as things seemed to go from bad to worse. . I was happy that whole arc played out better than I anticipated and feared.
All in all The Wandering Fire was more negative than positive. While it showcases Guy Gavriel Kay's undeniable writing talent and evokes a hauntingly beautiful atmosphere, its flaws in thematic execution, overemphasis on Arthurian mythology, and problematic narrative structure ultimately detracted from the story. I’ll probably not read the final instalment as my interest was definitely waning towards the end of this one and that is a shame as I feel like there was definitely potential for a good old school portal fantasy in here somewhere but it just never fully materialised in this second instalment.
Rating: 2.5 stars. I’m rounding down to 2 stars as finishing this became a bit of a chore despite the fact that it was not a particularly lengthy novel.
Audio Note: I’m still not a fan of Simon Vance. I never warm to characters he is voicing and his droning narration style sucks the life out of stories for me rather than breathes life into them! I also feel like the rapid fire, and short, POV shifts made things confusing in audio as there was not enough done on the production side to emphasise them. You can see the paragraph breaks in written format but we need better breaks to emphasis them in audio than we got here and in the first book.
As always with Guy Gavriel Kay the quality of the writing is undeniable. His lyrical style draws you into the world of Fionavar with its richly detailed landscapes and evocative imagery. Kay's ability to evoke a palpable atmosphere of both melancholy and hope is a particular strength of his that has been evident in all five of the books of his that I’ve read to date. If there is a downside to the writing in the Fionavar books it is the fact that it can feel a tad overwrought at times especially when it leans in to the mysticism inherent in the story.
Despite the beauty of Kay's writing The Wandering Fire had issues in its handling of certain thematic elements, particularly love and sex. While these themes are prominent elements of the story their execution often felt hollow and lacking in nuance. Relationships between characters sometimes felt weirdly transient and insignificant and intimate moments felt more disposable than emotionally impactful in most instances. Sex in Fionavar had a vaguely misogynistic and disposable feel to it and Kay never sold me on the fact that he understood the difference between love and lust which I felt detracted from the overall impact of these particular themes and relationships in the story. There was also a random musing by a character observing that there would be a lot of pregnancies after a festival that summed up how sex and romance were dealt with in this story. No shit there would be a lot of pregnancies with the orgies going on! Which just hammered home the disposable nature of the sex and the fact that most of the male characters, including all the leads, did not give a shit that they were likely dead beat dads multiple times over. That sat poorly with me but I get it is likely a particular pet peeve. Also annoyed me that the women of this old school medieval fantasy world were so free with their attitude towards unmarried sex given the likely childbirth mortality rates and the fact that practically none of the fathers were sticking around to deal with the consequences! Not that Kay ever bothered to deal with any of the consequences of anybody’s actions outside of the Jennifer story arc.
One of the most significant departures from the first book in the series was the increased emphasis on Arthurian mythology. While Arthurian legends are undoubtedly fun and interesting I felt their increased inclusion damaged this tale and made it feel less original than what we got in the first book.
Another aspect of The Wandering Fire that was problematic was the frequent shifting of points of view. While I feel multiple perspectives can definitely offer insights into different characters and plotlines and add great depth to a story in general the rapid changes in perspective in this story made it a little difficult to follow especially in the audio format. The overabundance of minor character perspectives lead to a sense of fragmentation. Which made it tough to emotionally engage with a lot of those lesser characters and their individual arcs. I did like some of the minor characters and story arcs but felt like we got too much of them and that the POV segment shifting was just too rapid. Sometimes characters were barely getting a paragraph before we were off to the next one. It was a definite problem.
Despite these issues there are still moments of brilliance in The Wandering Fire that hint at the potential for a decent story but they just get a little overwhelmed by the negative aspects of the story. Which is disappointing as I really wanted to enjoy this one more but felt like the plot we got was just a lot duller than what we got in the first book.
Jennifer had a terrible story arc in the first instalment and I feared the worst in the early stages of this one as things seemed to go from bad to worse. . I was happy that whole arc played out better than I anticipated and feared.
All in all The Wandering Fire was more negative than positive. While it showcases Guy Gavriel Kay's undeniable writing talent and evokes a hauntingly beautiful atmosphere, its flaws in thematic execution, overemphasis on Arthurian mythology, and problematic narrative structure ultimately detracted from the story. I’ll probably not read the final instalment as my interest was definitely waning towards the end of this one and that is a shame as I feel like there was definitely potential for a good old school portal fantasy in here somewhere but it just never fully materialised in this second instalment.
Rating: 2.5 stars. I’m rounding down to 2 stars as finishing this became a bit of a chore despite the fact that it was not a particularly lengthy novel.
Audio Note: I’m still not a fan of Simon Vance. I never warm to characters he is voicing and his droning narration style sucks the life out of stories for me rather than breathes life into them! I also feel like the rapid fire, and short, POV shifts made things confusing in audio as there was not enough done on the production side to emphasise them. You can see the paragraph breaks in written format but we need better breaks to emphasis them in audio than we got here and in the first book.
May 15, 2021
In bilico fra i mondi
"Seppellirai il tuo dolore nel profondo dell'oceano. Ma le onde non si lasciano domare così facilmente. Verrà un domani in cui piangerai per me."
"Forti di quattro voci, provarono il canto grande. Non perché sperassero che arrivasse fin dove doveva arrivare, poiché il Distruttore li copriva e poiché erano deboli. E non perché sperassero di arrivare a qualcuno, ma per non morire in silenzio, servi o schiavi, anche se il loro filo fosse stato tolto dal Telaio e si fosse perso eternamente nelle Tenebre."
"Ha camminato verso la Dea per tutta la vita."
Prosegue la lotta contro l'invincibile signore delle tenebre, latore di terrificanti promesse e con un figlio pronto a vegliare la sua futura eredità.
Fionavar rende onore all'imponderabilità della vita, senza giudicare le scelte e i percorsi intrapresi per raggiungere una propria maturità e consapevolezza.
Si abbraccia in maniera totale il libero arbitrio: liberi di poter scegliere tutto, anche il male, con il doloroso passato ad ammantare il presente e la speranza di un futuro migliore.
"Seppellirai il tuo dolore nel profondo dell'oceano. Ma le onde non si lasciano domare così facilmente. Verrà un domani in cui piangerai per me."
"Forti di quattro voci, provarono il canto grande. Non perché sperassero che arrivasse fin dove doveva arrivare, poiché il Distruttore li copriva e poiché erano deboli. E non perché sperassero di arrivare a qualcuno, ma per non morire in silenzio, servi o schiavi, anche se il loro filo fosse stato tolto dal Telaio e si fosse perso eternamente nelle Tenebre."
"Ha camminato verso la Dea per tutta la vita."
Prosegue la lotta contro l'invincibile signore delle tenebre, latore di terrificanti promesse e con un figlio pronto a vegliare la sua futura eredità.
Fionavar rende onore all'imponderabilità della vita, senza giudicare le scelte e i percorsi intrapresi per raggiungere una propria maturità e consapevolezza.
Si abbraccia in maniera totale il libero arbitrio: liberi di poter scegliere tutto, anche il male, con il doloroso passato ad ammantare il presente e la speranza di un futuro migliore.
April 28, 2018
The Wandering Fire is the second book in Guy Gavriel Kay’s Fionavar Tapestry trilogy. I enjoyed this book, but a little less than I did the first book.
The story picks up several months after the first book left off, with . I noticed some improvements with the writing in this book. In particular, I didn’t notice any unexpected head-hopping whereas that happened a lot in the first book.
In this book, so many problems are solved by miraculous intervention or by the discovery of abilities that the characters themselves didn’t really know they had. I guess I should apply this complaint to the first book also, but it didn’t seem like such a frequent plot device to me then. I don’t think it’s done in a way that would bother everybody, but it became a bit too much for me. I have a few more comments along those lines, but they’re a little less general so I’ll need to put them behind spoiler tags.
I still enjoyed reading it despite my complaints. My complaints are mostly story-based whereas I still really like most of the characters, so that helps. A 3.5-star rating was an easy decision, but I had trouble deciding whether to round up or down on Goodreads. Given my complaints I should probably round down, but I enjoyed it enough that I’m going to round up. I plan to finish out the trilogy to see how things end.
The story picks up several months after the first book left off, with . I noticed some improvements with the writing in this book. In particular, I didn’t notice any unexpected head-hopping whereas that happened a lot in the first book.
In this book, so many problems are solved by miraculous intervention or by the discovery of abilities that the characters themselves didn’t really know they had. I guess I should apply this complaint to the first book also, but it didn’t seem like such a frequent plot device to me then. I don’t think it’s done in a way that would bother everybody, but it became a bit too much for me. I have a few more comments along those lines, but they’re a little less general so I’ll need to put them behind spoiler tags.
I still enjoyed reading it despite my complaints. My complaints are mostly story-based whereas I still really like most of the characters, so that helps. A 3.5-star rating was an easy decision, but I had trouble deciding whether to round up or down on Goodreads. Given my complaints I should probably round down, but I enjoyed it enough that I’m going to round up. I plan to finish out the trilogy to see how things end.
February 24, 2023
I have decided I love these books. To me they feel like a wonderful blend of Silmarillion, Narnia and British/Celtic myths. The writing is beautiful and heartfelt. The story is full of grand and touching moments. The war finally begins, and the call of fate is heard in the land of Fionavar and beyond. What follows, is a grand tapestry of sacrifices, disasters and rewards, weaved by a great cast of heroes, villains and deities. If u want to read a tale of good and evil in the vein of older classic fantasy, then Fionavar is the perfect place for you.
Reread: I downgraded this to 4 stars. Kay's writing is still beautiful but there are some minor issues that bother me more growing as a reader. He wants to build on our myths to create a mythical fantasy story connected to our own but I think that it comes too convenient too often. There also times that I feel the scope feels lacking. Also I found the romantic and carnal relationships a bit rushed.
I still love this story but I think this second book was a bit inferior than The Summer Tree.
Reread: I downgraded this to 4 stars. Kay's writing is still beautiful but there are some minor issues that bother me more growing as a reader. He wants to build on our myths to create a mythical fantasy story connected to our own but I think that it comes too convenient too often. There also times that I feel the scope feels lacking. Also I found the romantic and carnal relationships a bit rushed.
I still love this story but I think this second book was a bit inferior than The Summer Tree.
September 11, 2009
5.0 stars. This is an incredible book and part two of an incredible series. Guy Gavriel Kay is one of the best writers working in any genre and his writing is both technically superb and deeply emotional. This series should definitely be on the "must read" list of any fan of epic fantasy.
Highly recommended!!
Highly recommended!!
Read
August 25, 2021Beautiful, beautiful prose.
March 22, 2016
DNF at 47%. I just can't do it. I'm bored and I don't like the humans in Fionavar scenario. I'm dreading picking it up, so I'm calling it quits. :(
May 16, 2011
Okay, this story finally got me. Fiction takes life and crystallizes it. It boils down and simplifies, so that when real life is too overwhelming, I can remember what to filter out and what to hear. I can remember that the pining lovers reunite, the little girl grows into wisdom, the white horses win. The double-edged part of that sword is that it’s probably not true, it probably shouldn’t be true. But, sometimes stories don’t need to be true in order to be somehow necessary, I guess. I was in the right mood for this book. I was in the right craving of escape, craving of simplicity. I know this story isn't all good guys winning all the time, but it still organizes good and evil and love and hate and family into something manageable.
These are my random thoughts about the story:
So, I really love the story of the rake prince and the princess from the south. I guess I love a rake, and a rake finding his girl, and all that. I just like that story. I like the idea of guys appearing careless to cover up their own passion and perfection. It's a failing, but I'm a sucker for it. I also like that the couple likes each other and are basically nice to each other except when it makes sense for them not to be. And it's nice that the story has come around to make the fighter girls (the priestess and the princess) respectable or endearing, rather than threatening or psycho like I felt they were in the last book.
I’m still feeling like the girls keep getting the short end of the stick, though.
Ultimately, I am not totally comfortable with the typical fantasy format that assumes an enemy’s physical characteristics mark the enemy as evil. That just seems like propaganda that leads to race wars. It is comforting to read, though, when real life is so opposite of that kind of simplicity. I guess that’s one of the reasons it’s called fantasy.
These are my random thoughts about the story:
So, I really love the story of the rake prince and the princess from the south. I guess I love a rake, and a rake finding his girl, and all that. I just like that story. I like the idea of guys appearing careless to cover up their own passion and perfection. It's a failing, but I'm a sucker for it. I also like that the couple likes each other and are basically nice to each other except when it makes sense for them not to be. And it's nice that the story has come around to make the fighter girls (the priestess and the princess) respectable or endearing, rather than threatening or psycho like I felt they were in the last book.
I’m still feeling like the girls keep getting the short end of the stick, though.
Ultimately, I am not totally comfortable with the typical fantasy format that assumes an enemy’s physical characteristics mark the enemy as evil. That just seems like propaganda that leads to race wars. It is comforting to read, though, when real life is so opposite of that kind of simplicity. I guess that’s one of the reasons it’s called fantasy.
January 25, 2012
By this point in reading the trilogy, you've probably decided whether you can bear with Guy Gavriel Kay's style or not -- whether you can be invested in his characters or not. If the answer is yes, then carry on: he won't disappoint you. If not, then... I don't think he will get your attention at all.
Less seems to happen in this book until the end: it's a time of waiting, of things coming together. If you're invested in the characters, though, there's plenty to worry about: Kim's dilemmas, whether she has a right to do what she's doing; Paul's separation from humanity; and Kevin's initial helplessness, and then his journey to the Goddess... And there's Arthur, of course, and the Wild Hunt, and Darien...
Yep, and if you were wondering, I really do mean Arthur. King Arthur. I love what Kay does with his story, with the image of his tapestry -- but I can't say more because I'd plagiarise my essay, again. My academic life needs to stop getting in the way of my fannish meta, ugh. Suffice it to say that Guy Gavriel Kay nods to the Arthurian tradition whilst creating something entirely his own.
Not the strongest of the three books, but still beautiful.
Less seems to happen in this book until the end: it's a time of waiting, of things coming together. If you're invested in the characters, though, there's plenty to worry about: Kim's dilemmas, whether she has a right to do what she's doing; Paul's separation from humanity; and Kevin's initial helplessness, and then his journey to the Goddess... And there's Arthur, of course, and the Wild Hunt, and Darien...
Yep, and if you were wondering, I really do mean Arthur. King Arthur. I love what Kay does with his story, with the image of his tapestry -- but I can't say more because I'd plagiarise my essay, again. My academic life needs to stop getting in the way of my fannish meta, ugh. Suffice it to say that Guy Gavriel Kay nods to the Arthurian tradition whilst creating something entirely his own.
Not the strongest of the three books, but still beautiful.
January 17, 2016
This review is from my reread of this series in 2015/16.
The middle volume is often a let down in trilogies. I would argue that this one is anything but a let down. In this one the Arthurian myths get weaved into the story, although they had been foreshadowed in the first book. We also get the results of Jennifer's violation and rescue from the first book with the birth of the new andain Darien. Of the five visitors to Fionavar from the first book it's only Kevin and Jennifer's roles that hadn't been set out and both have big roles to play here. There's much more on the themes of sacrifice and power as well.
In many ways this is my favorite book in the series, partly because of the desperate acts of bravery. Vae's simple declaration that Darien will need a lot of love when she finds out his parentage. Arthur's complete acceptance that he will fall in the coming battle and why that is just. Kevin. Matt Soren at the climactic mage's battle. Even poor Gereint and his lost travels over the sea he has never seen.
We also get to see Gwen Ystrat and much more about Jaelle's priestesses. I'm a little conflicted about the representation of female power here, mainly because it's all tied into blood, mystery, sex and sacrifice, but I think it needs to get a pass in that it is female power, and that's largely lacking in these books.
Still one of my favorite series of all time.
The middle volume is often a let down in trilogies. I would argue that this one is anything but a let down. In this one the Arthurian myths get weaved into the story, although they had been foreshadowed in the first book. We also get the results of Jennifer's violation and rescue from the first book with the birth of the new andain Darien. Of the five visitors to Fionavar from the first book it's only Kevin and Jennifer's roles that hadn't been set out and both have big roles to play here. There's much more on the themes of sacrifice and power as well.
In many ways this is my favorite book in the series, partly because of the desperate acts of bravery. Vae's simple declaration that Darien will need a lot of love when she finds out his parentage. Arthur's complete acceptance that he will fall in the coming battle and why that is just. Kevin. Matt Soren at the climactic mage's battle. Even poor Gereint and his lost travels over the sea he has never seen.
We also get to see Gwen Ystrat and much more about Jaelle's priestesses. I'm a little conflicted about the representation of female power here, mainly because it's all tied into blood, mystery, sex and sacrifice, but I think it needs to get a pass in that it is female power, and that's largely lacking in these books.
Still one of my favorite series of all time.
January 26, 2016
I can't really put my finger on what it is that I'm loving about this series. I can name the faults at length (but I won't) and I don't feel that I *should* like this as (gasp) I dislike both The Lord of the Rings and The Chronicles of Narnia, both of which seem to be major influences,, and yet! Totally enamoured.
January 17, 2017
Φανταστικό όπως και το πρώτο! Γρήγορη πλοκή και χωρίς να κουράζει. Σ' αυτό το βιβλίο όμως μπαίνουμε πιο βαθιά στην ψυχολογία των ηρώων και καταλαβαίνουμε καλύτερα τις κινήσεις και τη συμπεριφορά τους! Περισσότερα εδώ: http://bit.ly/2j6eblE
November 19, 2016
Sad, heartbreaking and full of surprises, this book was a wonderful journey.
March 13, 2017
Η Περιπλανώμενη Φλόγα συνεχίζει και συμπληρώνει επάξια την ιστορία που έχει γράψει ο Guy Gavriel Kay. Το δεύτερο αυτό βιβλίο της σειράς, αν και μικρότερο σε μέγεθος, έχει περισσότερη δράση σε σχέση με το πρώτο ειδικά από τη μέση και μετά.
Η αλήθεια είναι ότι το πρώτο μισό του βιβλίου κυλάει πολύ ομαλά και ήρεμα (με εξαίρεση λίγες σκηνές) αλλά από εκεί κι έπειτα γίνεται ένας πανικός. Ο συγγραφέας περιγράφει άψογα όλες τις μάχες και τα συναισθήματα των ηρώων και δεν σε αφήνει να ηρεμήσεις μέχρι και την τελευταία σελίδα. Βέβαια ούτε και τότε ηρεμείς ιδιαίτερα καθώς με τον τρόπο του σε προσκαλεί να διαβάσεις και το τρίτο βιβλίο της σειράς το συντομότερο δυνατόν.
Γι αυτό, χωρίς να θέλω να φανώ αγενής προς τον συγγραφέα, έρχεται στα χέρια μου «Ο πιο σκοτεινός δρόμος»…
Η αλήθεια είναι ότι το πρώτο μισό του βιβλίου κυλάει πολύ ομαλά και ήρεμα (με εξαίρεση λίγες σκηνές) αλλά από εκεί κι έπειτα γίνεται ένας πανικός. Ο συγγραφέας περιγράφει άψογα όλες τις μάχες και τα συναισθήματα των ηρώων και δεν σε αφήνει να ηρεμήσεις μέχρι και την τελευταία σελίδα. Βέβαια ούτε και τότε ηρεμείς ιδιαίτερα καθώς με τον τρόπο του σε προσκαλεί να διαβάσεις και το τρίτο βιβλίο της σειράς το συντομότερο δυνατόν.
Γι αυτό, χωρίς να θέλω να φανώ αγενής προς τον συγγραφέα, έρχεται στα χέρια μου «Ο πιο σκοτεινός δρόμος»…
December 27, 2016
Review to follow when third book read
December 30, 2022
I have done something now that I almost never do, and that is give up on a fantasy series. There is only one more book in The Fionavar Tapestry for me to read, and it's not even that long compared to the books I'm used to tackling in this genre, but I just couldn't do it anymore. The idea of reading that book filled me with dread and despair. When I was reading the first book in this series, even with how much the genre mimicry and misogyny turned me off, it was at least entertaining. For The Wandering Fire (book two) I had to force myself through, and it was only 200 pages.
This is what I wrote on Goodreads after finishing:
"I fell asleep while reading this this afternoon. It was a lovely, wonderful two-hour nap. This book was not lovely or wonderful. I don't think I have it in me to read the third one."
Indeed, I finished writing this mini-review on Goodreads, thought about it a little more, then immediately looked up spoilers for the rest of the series on Wikipedia. Thanks, Wikipedia! Then I sold the entire series on PangoBooks and made $24! Thanks, PangoBooks!
I know that people love GGK's later stuff, but this has left such a bad taste in my mouth it's going to be a long time before I consider reading anything else by him. I won't say never though.
Basically, this whole review and my feelings about this series boils down to this gif:
This is what I wrote on Goodreads after finishing:
"I fell asleep while reading this this afternoon. It was a lovely, wonderful two-hour nap. This book was not lovely or wonderful. I don't think I have it in me to read the third one."
Indeed, I finished writing this mini-review on Goodreads, thought about it a little more, then immediately looked up spoilers for the rest of the series on Wikipedia. Thanks, Wikipedia! Then I sold the entire series on PangoBooks and made $24! Thanks, PangoBooks!
I know that people love GGK's later stuff, but this has left such a bad taste in my mouth it's going to be a long time before I consider reading anything else by him. I won't say never though.
Basically, this whole review and my feelings about this series boils down to this gif:
April 13, 2011
This is the second in a trilogy (The Fionavar Tapestry as you've already noticed). I noted in the review of the first volume that I tried to read these some years ago and really couldn't get into them.
Without giving any spoilers (something it can be difficult to accomplish and also say "why" you think or feel what you do about a book) this one stays (for me) in the "middle ground" area. I didn't dislike it, but I didn't really get into it either. I found my interest waxing and waning throughout. The story is "somewhat" constructed around the Arthurian Legend or maybe I should say a version of the legend. That is obvious. I can also see heavy influence from Tolkien here (not a bad thing, in some ways I'd like to have seen more of it). This is definitely a book that fits into the "high fantasy" end of the genre but,(by the way, I love "good" high fantasy) I can also see influences from other writers who aren't "usually" thought of a high fantasy. There are some things that strongly put me in mind of Roger Zelazny for instance.
So, Thomas Mallory, J.R.R.Tolkien, other fantasy influences. You'd think I'd be enthralled, but I wasn't. The best I ever accomplished was, "mildly interested".
Will I run down the third volume? Probably at some point, but I have a lot of books waiting and I don't think I'll rush it to the top of my "to be read" list.
3 stars.
Without giving any spoilers (something it can be difficult to accomplish and also say "why" you think or feel what you do about a book) this one stays (for me) in the "middle ground" area. I didn't dislike it, but I didn't really get into it either. I found my interest waxing and waning throughout. The story is "somewhat" constructed around the Arthurian Legend or maybe I should say a version of the legend. That is obvious. I can also see heavy influence from Tolkien here (not a bad thing, in some ways I'd like to have seen more of it). This is definitely a book that fits into the "high fantasy" end of the genre but,(by the way, I love "good" high fantasy) I can also see influences from other writers who aren't "usually" thought of a high fantasy. There are some things that strongly put me in mind of Roger Zelazny for instance.
So, Thomas Mallory, J.R.R.Tolkien, other fantasy influences. You'd think I'd be enthralled, but I wasn't. The best I ever accomplished was, "mildly interested".
Will I run down the third volume? Probably at some point, but I have a lot of books waiting and I don't think I'll rush it to the top of my "to be read" list.
3 stars.
August 3, 2012
Just as much nonsense as the first book in the series with gratuitous Arthur-Lancelot-Guinevere thrown in. It's so crap it's laughable, GGK has tried to get every conceivable fantasy trope into this series, and all it does is make a complete mess.
There really isn't any coherent story, the protagonists lurch from scene to scene with no character development apart from they all suddenly develop mysterious!powers or are *beloved of the gods* or given *items of power*. Why five Canadians transported into another world are so important is beyond me and certainly isn't explained in the books - it just smacks of cultural imperialism. Here, let's bow down to five strangers who will *solve all our problems* for no particular reason.
It is complete and utter nonsense, and I won't be wasting any more of my life on this series. Time for something better written
There really isn't any coherent story, the protagonists lurch from scene to scene with no character development apart from they all suddenly develop mysterious!powers or are *beloved of the gods* or given *items of power*. Why five Canadians transported into another world are so important is beyond me and certainly isn't explained in the books - it just smacks of cultural imperialism. Here, let's bow down to five strangers who will *solve all our problems* for no particular reason.
It is complete and utter nonsense, and I won't be wasting any more of my life on this series. Time for something better written
December 4, 2010
This, the second novel of the Fionavar Tapestry trilogy, was truly amazing. The blending of Celtic mythology and Arthurian legend was artistry.
Vivid imagery and spectacular storytelling, this is Epic Fantasy at it's very best.
Best image: Diarmuid singing in battle. So very Celtic.
Best fight scene of all time: In Chapter 15, on the Plains near Adein. It surpasses any and all fight scenes of the myriad books I've read. It'll stay with me for a long time.
Everything about this book is fantastic and Kay is an impressive author. If you love Epic Fantasy, The Fionavar Tapestry is not to be missed.
Vivid imagery and spectacular storytelling, this is Epic Fantasy at it's very best.
Best image: Diarmuid singing in battle. So very Celtic.
Best fight scene of all time: In Chapter 15, on the Plains near Adein. It surpasses any and all fight scenes of the myriad books I've read. It'll stay with me for a long time.
Everything about this book is fantastic and Kay is an impressive author. If you love Epic Fantasy, The Fionavar Tapestry is not to be missed.
December 8, 2025
The Wandering Fire by Guy Gabriel Kay is about a group of five young people from our world who find themselves transported to the mythic land of Fionavar, where they must accept their roles in an epic, ancient struggle against a resurgent evil threatening to engulf that world in ice and darkness, their journey becomes entwined with gods, legends, and legendary figures summoned to help save Fionavar.
From the moment I returned to Fionavar’s breathless beauty and its chilling winter, I was struck by the emotional weight and gravity of the book. What stood out to me most was the way Guy Gavriel Kay balances grandeur and intimacy: epic battle plans, titular legendary figures, and world‑shaking stakes sit side by side with personal pain, hope, and sacrifice. Characters such as the Seer who struggles under the burden of prophecy, or others wrestling with grief, loss, or inner conflict, felt real and vulnerable amid mythic events. I found the scenes of unity, when disparate souls come together against cold horror deeply moving, and the descriptions of ritual, magic, and ancient power moved me with their lyrical and haunting beauty.
That said, at times the story’s momentum felt uneven to me. This carries heavy burdens: it introduces legendary figures, layers of prophecy, and multiple moral dilemmas, occasionally the plot hinges on almost miraculous interventions which lessened the tension for me. Also, the weaving of modern characters into legendary‑mythic frameworks sometimes made the tone feel old‑fashioned, especially in contrast to more contemporary fantasy works.
I give this book 4 out of 5. It charmed and challenged me with its blend of myth, humanity and heartbreak. If you love fantasy that asks hard questions about fate and free will, sacrifice and memory and don’t mind a slower, dense middle volume, this one will stay with you long after you close the cover.
From the moment I returned to Fionavar’s breathless beauty and its chilling winter, I was struck by the emotional weight and gravity of the book. What stood out to me most was the way Guy Gavriel Kay balances grandeur and intimacy: epic battle plans, titular legendary figures, and world‑shaking stakes sit side by side with personal pain, hope, and sacrifice. Characters such as the Seer who struggles under the burden of prophecy, or others wrestling with grief, loss, or inner conflict, felt real and vulnerable amid mythic events. I found the scenes of unity, when disparate souls come together against cold horror deeply moving, and the descriptions of ritual, magic, and ancient power moved me with their lyrical and haunting beauty.
That said, at times the story’s momentum felt uneven to me. This carries heavy burdens: it introduces legendary figures, layers of prophecy, and multiple moral dilemmas, occasionally the plot hinges on almost miraculous interventions which lessened the tension for me. Also, the weaving of modern characters into legendary‑mythic frameworks sometimes made the tone feel old‑fashioned, especially in contrast to more contemporary fantasy works.
I give this book 4 out of 5. It charmed and challenged me with its blend of myth, humanity and heartbreak. If you love fantasy that asks hard questions about fate and free will, sacrifice and memory and don’t mind a slower, dense middle volume, this one will stay with you long after you close the cover.
March 10, 2024
Liked this one quite a bit as well. Series continue to intrigue me and the audio books are great! Has a bit of an "old fantasy" feeling to it, but that's not bad. I continue to like the characters and the story overall. Excited to see how it wraps up!
June 5, 2021
Bookopoly 2021. - Fantasy
Kumski Book Club 2021. - 2
Puno toga mi u ovoj knjizi nije odgovaralo. Prvo, (za što u biti nije kriva knjiga, nego razmak od dvije godine od čitanja prvog dijela) ni uz najbolju volju i Kayev sažetak na početku, nisam se mogla sjetiti većine detalja iz prvog nastavka. Sve mi je bilo zbrčkano, a imena likova i predjela su mi se sva pomiješala. Tome nije pomogla ni mirijada likova koji su se izmjenjivali pa smo s njima u sadašnjostu, a onda s nekim drugim skočimo u blisku prošlost na drugo mjesto. To se, kako je radnja napredovala, donekle posložilo jer sam povezala tko je tko i prisjetila se nekih događaja iz prvog nastavka.
Ono što mi jako nedostaje je ta nekakva širina knjige i radnje kako to po mom mišljenju u epskoj fantastici treba biti. Tu nedostaje opisa, premalo ima unutarnjih monologa likova. Većinom se brzinski izmjenjuju događaji. (Zanimljivo, kod prvog nastavka mi je to baš odgovaralo, ali sada više ne.) Previše je likova i nisam se ni s jednim uspjela povezati.
Osim toga, zašto kod svih pisaca mora biti neko iskonsko zlo koje se budi na sjeveru u planinama i donosi sa sobom hladnoću, snijeg i led. Ok, karikiram malo, ali ono... Martin, Williams i sad Kay...
A ono što mi se najviše od svega nije svidjelo, bilo je pojavljivanje Arthura, Lancelota i Guenevere. Zašto, o zašto je to bilo potrebno??? Nije li Kay mogao osmisliti neke nove likove koji bi u priči odigrali njihove uloge? Ovo uopće po meni nije bilo potrebno. Kad sam se prisjetila svega, priča mi je postala odlična, ali ovo me je razočaralo. I zato samo tri zvjezdice.
Kumski Book Club 2021. - 2
Puno toga mi u ovoj knjizi nije odgovaralo. Prvo, (za što u biti nije kriva knjiga, nego razmak od dvije godine od čitanja prvog dijela) ni uz najbolju volju i Kayev sažetak na početku, nisam se mogla sjetiti većine detalja iz prvog nastavka. Sve mi je bilo zbrčkano, a imena likova i predjela su mi se sva pomiješala. Tome nije pomogla ni mirijada likova koji su se izmjenjivali pa smo s njima u sadašnjostu, a onda s nekim drugim skočimo u blisku prošlost na drugo mjesto. To se, kako je radnja napredovala, donekle posložilo jer sam povezala tko je tko i prisjetila se nekih događaja iz prvog nastavka.
Ono što mi jako nedostaje je ta nekakva širina knjige i radnje kako to po mom mišljenju u epskoj fantastici treba biti. Tu nedostaje opisa, premalo ima unutarnjih monologa likova. Većinom se brzinski izmjenjuju događaji. (Zanimljivo, kod prvog nastavka mi je to baš odgovaralo, ali sada više ne.) Previše je likova i nisam se ni s jednim uspjela povezati.
Osim toga, zašto kod svih pisaca mora biti neko iskonsko zlo koje se budi na sjeveru u planinama i donosi sa sobom hladnoću, snijeg i led. Ok, karikiram malo, ali ono... Martin, Williams i sad Kay...
A ono što mi se najviše od svega nije svidjelo, bilo je pojavljivanje Arthura, Lancelota i Guenevere. Zašto, o zašto je to bilo potrebno??? Nije li Kay mogao osmisliti neke nove likove koji bi u priči odigrali njihove uloge? Ovo uopće po meni nije bilo potrebno. Kad sam se prisjetila svega, priča mi je postala odlična, ali ovo me je razočaralo. I zato samo tri zvjezdice.
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