Oh dear, 28 Oct 2008
"The final book in one of the greatest epic series of all time" - aye right. I read the first few and gave up when the plot was lost early on. Epic series? No, just like the Shannara books latter days, it has is going for the buck.

A huge disappointment - what happened to Terry Goodkind? , 28 Aug 2008
My condolences to all readers of Confessor.

Firstly to those that actually finds this tripe digestible. I pity that you are able to enjoy the stale writings and musings of a totally self absorbed man. But I emphathise with your loyalties, it certainly has been a long journey to get to this finale; 12 years, 11 books and £100's spent.

But I must ridicule your critique (or lack of) for this truly awful book. How many times have we seen this in popular culture, where a legendary franchise has opted for the quick buck and mass exploitation of its fans over the protection and integrity of its art? AND STILL SOME OF YOU LAP IT UP! Perhaps, with such an insatiable public appetite for sub-mediocre fiction we should all start to release our own philosophies dressed up as unexciting, predictable stories?

Secondly to the readers of this fiction, akin to me, who have patiently stuck with it, in desperation rather than hope, to see a fulfilling end to a one-time compelling saga. Alas, our instincts were correct; Goodkind was never going to achieve redemption, the crimes of the previous 6 books (with the exception of Faith Of The Fallen) were too great and our better judgment lost out to curiosity and loyalty. I sympathise with you, I emphathise with you and in especial, I question with you; How could such inventive stories and vividly realised characters finally morph into Confessor? I would say laziness, arrogance and greed.

And lastly I would like to send my condolences to Voyager, the poor publishers who agreed to print these books. To those at Voyager, I pity your proof readers, the PR people, the printers and all the professionals that had to deal with Goodkind and his latter day SOT series.

I would not be surprised if this effort is Goodkind's last. He now seems devoid of any invention and enthusiasm for his work and probably grew to hate the SOT over the last few years; it would certainly explain his dire performances as an author. I can now put him on the `could-have-been-great-but-sacrificed-earlier-brilliance-for-immediate-exposure' pile along with the Wachowski brothers and countless others.




Ok - so it's on to the next thing then..., 19 Jun 2008
This is the last book of three, "Chainfire", "Phantom" and "Confessor" which marks the end of an 11 book series. The trilogy tells of Richard Rahl's search for his missing wife Kahlan, the continuing war with the Imperial Order, of magic being destroyed and contaminated, and a spell that has wiped certain memories from the populace.

Though I was disappointed with the preceding book "Phantom" I read this with the hope that the author would return to his earlier skill as a storyteller. Unfortunately it wasn't to be. Again the lectures on politics, history and magical lore were repeated too often and the descriptions of the violence and hatred seemed to become more and more elaborate and increasingly nauseating.

Though the ending should have given a sense of satisfaction, by that time the characters that I had so admired at the beginning of this series I had ended up disliking, and so I really didn't care what happened to them. The philosophical monologue bored me as it was the same few phrases paraphrased and repeated, which on reflection, sums up the rest of the book.

I was glad when it was finally finished and the dreariness could disperse.


Rubbish, 29 Apr 2008
First three books were great, all the darken rahl stuff was really entertaining. But it all went down hill from there, and ended in this pile of mush. I was highly dissapointed with the crappy ending, all that "oh you're not worth it" rubbish, FFS richard he wanted to ravage your woman beat the sh*t out of him!!! But no just loads of rubbish dialogue and a rubbish ending to what could have been a rival to other fantastic epics. Thank god im only 23 and i only had to wait a couple of months for this, as i only started reading the series a few years back. I think if i was older and had followed it for ten years plus like others i would be plotting assanitation right now.

And it started so well...., 03 Apr 2008
This series started brilliantly and somewhere down the line began to take itself way too seriously. The amount of waffle by the characters in this book makes you think you are reading a play. The author seems to want to draw things to a close by making all of his characters give incredibly longwinded explanations to things that have happened in previous volumes. I am glad that this series has finished, the main character Richard starts off as an easy going sort of bloke trying to do the best he can and falling in love, it ends up with him preaching so long and hard about the virtues of mankind, freewill, and the tyranny of all those that oppose it that he actually becomes more annoying than the forces he opposes, who are doing the same thing from the other side!! He would have made Cromwell's staunchest Ironside seem like a card carrying member of the Stringfellows club! Give this series a miss, unless you have already begun - in which case I wish you luck seeing it through to the greatest anticlimax in fantasy writing history!

Oh dear, 28 Oct 2008
"The final book in one of the greatest epic series of all time" - aye right. I read the first few and gave up when the plot was lost early on. Epic series? No, just like the Shannara books latter days, it has is going for the buck.

A huge disappointment - what happened to Terry Goodkind? , 28 Aug 2008
My condolences to all readers of Confessor.

Firstly to those that actually finds this tripe digestible. I pity that you are able to enjoy the stale writings and musings of a totally self absorbed man. But I emphathise with your loyalties, it certainly has been a long journey to get to this finale; 12 years, 11 books and £100's spent.

But I must ridicule your critique (or lack of) for this truly awful book. How many times have we seen this in popular culture, where a legendary franchise has opted for the quick buck and mass exploitation of its fans over the protection and integrity of its art? AND STILL SOME OF YOU LAP IT UP! Perhaps, with such an insatiable public appetite for sub-mediocre fiction we should all start to release our own philosophies dressed up as unexciting, predictable stories?

Secondly to the readers of this fiction, akin to me, who have patiently stuck with it, in desperation rather than hope, to see a fulfilling end to a one-time compelling saga. Alas, our instincts were correct; Goodkind was never going to achieve redemption, the crimes of the previous 6 books (with the exception of Faith Of The Fallen) were too great and our better judgment lost out to curiosity and loyalty. I sympathise with you, I emphathise with you and in especial, I question with you; How could such inventive stories and vividly realised characters finally morph into Confessor? I would say laziness, arrogance and greed.

And lastly I would like to send my condolences to Voyager, the poor publishers who agreed to print these books. To those at Voyager, I pity your proof readers, the PR people, the printers and all the professionals that had to deal with Goodkind and his latter day SOT series.

I would not be surprised if this effort is Goodkind's last. He now seems devoid of any invention and enthusiasm for his work and probably grew to hate the SOT over the last few years; it would certainly explain his dire performances as an author. I can now put him on the `could-have-been-great-but-sacrificed-earlier-brilliance-for-immediate-exposure' pile along with the Wachowski brothers and countless others.




Ok - so it's on to the next thing then..., 19 Jun 2008
This is the last book of three, "Chainfire", "Phantom" and "Confessor" which marks the end of an 11 book series. The trilogy tells of Richard Rahl's search for his missing wife Kahlan, the continuing war with the Imperial Order, of magic being destroyed and contaminated, and a spell that has wiped certain memories from the populace.

Though I was disappointed with the preceding book "Phantom" I read this with the hope that the author would return to his earlier skill as a storyteller. Unfortunately it wasn't to be. Again the lectures on politics, history and magical lore were repeated too often and the descriptions of the violence and hatred seemed to become more and more elaborate and increasingly nauseating.

Though the ending should have given a sense of satisfaction, by that time the characters that I had so admired at the beginning of this series I had ended up disliking, and so I really didn't care what happened to them. The philosophical monologue bored me as it was the same few phrases paraphrased and repeated, which on reflection, sums up the rest of the book.

I was glad when it was finally finished and the dreariness could disperse.


Rubbish, 29 Apr 2008
First three books were great, all the darken rahl stuff was really entertaining. But it all went down hill from there, and ended in this pile of mush. I was highly dissapointed with the crappy ending, all that "oh you're not worth it" rubbish, FFS richard he wanted to ravage your woman beat the sh*t out of him!!! But no just loads of rubbish dialogue and a rubbish ending to what could have been a rival to other fantastic epics. Thank god im only 23 and i only had to wait a couple of months for this, as i only started reading the series a few years back. I think if i was older and had followed it for ten years plus like others i would be plotting assanitation right now.

And it started so well...., 03 Apr 2008
This series started brilliantly and somewhere down the line began to take itself way too seriously. The amount of waffle by the characters in this book makes you think you are reading a play. The author seems to want to draw things to a close by making all of his characters give incredibly longwinded explanations to things that have happened in previous volumes. I am glad that this series has finished, the main character Richard starts off as an easy going sort of bloke trying to do the best he can and falling in love, it ends up with him preaching so long and hard about the virtues of mankind, freewill, and the tyranny of all those that oppose it that he actually becomes more annoying than the forces he opposes, who are doing the same thing from the other side!! He would have made Cromwell's staunchest Ironside seem like a card carrying member of the Stringfellows club! Give this series a miss, unless you have already begun - in which case I wish you luck seeing it through to the greatest anticlimax in fantasy writing history!

not up to his usual standard..., 16 Nov 2008
I couldn't wait to get my hands on this one, but when i did... i wasn't satisfied.
This book isn't bad at all, and if you are a neil-fan, by all means read it. But, this book just wasn't as inventive, as surprising, touching or original.
the concept is great... the excecution.. not that great. There is nothing new, and i felt that i'd seen all the tricks before.
(Strangely, the book read as a script. i could just see the film sequences in my head.)
Also having read M is for Magic, i was already familiar with a great deal of the story. i almost skipped that part, but forced myself to read it again.
I sometimes thought: this is a real children's book, don't be so critical, but then characters such as victor hugo and the 66th president of U.S.A. are introduced, and i can't imagine kids being that familiar with french literature... It felt like Neil was sending me straight to wikipedia, to read up on some elemental history.
and the end... well... i suppose it was poignant, but i was not satisfied.
i remember being shattered coming to the end of neverwhere, wanting it to go on forever... i hardly dare pick up coraline again, because it disturbed and frightened me so.
The Graveyard book left me... unimpressed.


A children's classic in the making, 11 Nov 2008
Structured so that each chapter works as a short story in its own right while also contributing to the overriding story arc of the novel, this novel includes all the wit, subtlety and bittersweet touches that you expect from a Gaiman book. It begins with the murder of Bod's family and his 'escape' to a nearby graveyard, where he is adopted by the ghostly inhabitants and Silas, a vampire in all but name, agrees to serve as his guardian. Subsequent chapters pick out incidents in Bod's life - one for each year as he ages, including his friendship with a little girl called Scarlett, a centennial dance involving the living and the dead, Bod's accidental visit to the Land of the Ghouls and his encounter with the ghost of a young woman murdered for being a witch. Permeating it all is the threat from The Man Jack who murdered Bod's parents and who, together with The Jacks, is still searching for Bod.

Characterisation is great, particularly Silas and Miss Lupescu (an East European woman who looks after Bod when Silas is on his travels) who are superb and utterly credible. Bod himself is likeable, and the incidents that Gaiman highlights from his life are interesting and believable - the chapter where Bod tries to go to a school for living children is particularly moving.

I would have liked to have seen more of Silas and Miss Lupescu's adventures as the Hounds of God, which Gaiman gives tantalising details of without ever really expanding (what's there works, but I'd have liked more description). I also wasn't enamoured with the introduction of the prophecy element towards the end of the book - it came far too late and I really needed to see it developed more and earlier for it to work and I couldn't help but wish that The Jacks had some other motive for hunting down Bod instead.

That said, I really admire Gaiman for not going for the easy happy ending here. Without going into spoilers, it would have been very easy for him to give the readers what they want and expect and wrap up his novel in a neat little bow. Although he doesn't do this, the ending he does provide is satisfying and fits in well with the characters and hopefully, will set up the possibility of their returning in future novels.

Beyong the Grave..., 06 Nov 2008
Hate to be the one (slightly)dissenting voice here, but just finished The Graveyard Book, and thought I'd offer a differing opinion than those already below...

I don't think this piece of work is accomplished as some are claiming. For me, the opening was wondeful: atmospheric, an interesting tilt to the language, full of colour and excitement and oddness. But after that (and in particular, the middle section), the narrative fell away, exposing what is merely a collection of fantasy cliches (though well-embroidered with Gaiman's imagination), doled out in the form of short stories. This brings me to perhaps my biggest problem with the book - the structure did not serve the story well. As a kind of Bildungsroman, it should have given more of a sense of continuity; change; development. Breaking the narrative into fragments (seemingly without rhyme or reason) does not serve the story well enough as a coming-of-age piece, and the momentum was largely lost...abandoned when it was just gaining pace. As a result, each section resolved itself into a kind of "fable"; each chapter summed by the "lesson" learned in each.

The ending was a major disappointment though: a prophecy? Really? After Harry Potter et al, is this all Mr Gaiman could come up with? And a secret society of (effectively) murderers? His story-telling skills simply weren't up to the task of orchestrating a big ending; it felt shamelessly cinematic, and much too concerned with a contrived tying-up of loose ends. Though on the plus side, the denouement was suitable poignant...

On the whole, I wouldn't recommend NOT to buy this book. I'm just not convinced of its already-touted status as "an instant classic!".

A Ghoulish Delight for Both Adults and Kiddies, 25 Oct 2008
Gaiman is a master story-teller, there is no doubt about that, but it's very hard to think of him as a children's story-book writer (and yes I know he has written other children's books before, but they always seemed...not quite right). However, after reading through this novel of his one can clearly see that he has the skills necessary to delight and educate the young ones without dulling it down too much or losing the young ones on the way.

The story can be considered to be an homage to Kipling's "Jungle Book" with excellent references being made to Kipling's story that are easily recognizable. The hero of the tale, Nobody Owens, is endearing, while at the same time not a weak character. Except for the fact that he was raised by ghots of the graveyard, he is an entirely believable character, which makes the novel even more enjoyable.

Fans of Gaiman will not be disappointed by this novel, those new to him will definitely enjoy it, and those who are looking for a good book to read to a child will also be well served by this.

Raised *by* the dead? That doesn't sound right..., 20 Oct 2008
What one word best describes this tale of an infant whose whole family are murdered, and who toddles to the safety of a local graveyard, where he's raised and educated by the resident dead? That word, surprisingly, would be "charming".

And it is, in every sense of the word. It's eloquent without being condescending, comforting without being soft, sharp without being bitter, and it captivates your attention throughout its entirety, leaving you perfectly satisfied by the end.

The cast of characters are written to perfection. The dead maintain an eerie timelessness, whilst the other supernatural creatures are subtle yet distinct, ("Silas ate only one food, and it was not bananas"); the villains pull off the trick of being both evil *and* credible; the living have a refreshing mundane quality, and Bod the protagonist is left with the uneasy struggle of being neither fish nor fowl (nor dead).

A delight to read and a joy to think about.

Oh dear, 28 Oct 2008
"The final book in one of the greatest epic series of all time" - aye right. I read the first few and gave up when the plot was lost early on. Epic series? No, just like the Shannara books latter days, it has is going for the buck.

A huge disappointment - what happened to Terry Goodkind? , 28 Aug 2008
My condolences to all readers of Confessor.

Firstly to those that actually finds this tripe digestible. I pity that you are able to enjoy the stale writings and musings of a totally self absorbed man. But I emphathise with your loyalties, it certainly has been a long journey to get to this finale; 12 years, 11 books and £100's spent.

But I must ridicule your critique (or lack of) for this truly awful book. How many times have we seen this in popular culture, where a legendary franchise has opted for the quick buck and mass exploitation of its fans over the protection and integrity of its art? AND STILL SOME OF YOU LAP IT UP! Perhaps, with such an insatiable public appetite for sub-mediocre fiction we should all start to release our own philosophies dressed up as unexciting, predictable stories?

Secondly to the readers of this fiction, akin to me, who have patiently stuck with it, in desperation rather than hope, to see a fulfilling end to a one-time compelling saga. Alas, our instincts were correct; Goodkind was never going to achieve redemption, the crimes of the previous 6 books (with the exception of Faith Of The Fallen) were too great and our better judgment lost out to curiosity and loyalty. I sympathise with you, I emphathise with you and in especial, I question with you; How could such inventive stories and vividly realised characters finally morph into Confessor? I would say laziness, arrogance and greed.

And lastly I would like to send my condolences to Voyager, the poor publishers who agreed to print these books. To those at Voyager, I pity your proof readers, the PR people, the printers and all the professionals that had to deal with Goodkind and his latter day SOT series.

I would not be surprised if this effort is Goodkind's last. He now seems devoid of any invention and enthusiasm for his work and probably grew to hate the SOT over the last few years; it would certainly explain his dire performances as an author. I can now put him on the `could-have-been-great-but-sacrificed-earlier-brilliance-for-immediate-exposure' pile along with the Wachowski brothers and countless others.




Ok - so it's on to the next thing then..., 19 Jun 2008
This is the last book of three, "Chainfire", "Phantom" and "Confessor" which marks the end of an 11 book series. The trilogy tells of Richard Rahl's search for his missing wife Kahlan, the continuing war with the Imperial Order, of magic being destroyed and contaminated, and a spell that has wiped certain memories from the populace.

Though I was disappointed with the preceding book "Phantom" I read this with the hope that the author would return to his earlier skill as a storyteller. Unfortunately it wasn't to be. Again the lectures on politics, history and magical lore were repeated too often and the descriptions of the violence and hatred seemed to become more and more elaborate and increasingly nauseating.

Though the ending should have given a sense of satisfaction, by that time the characters that I had so admired at the beginning of this series I had ended up disliking, and so I really didn't care what happened to them. The philosophical monologue bored me as it was the same few phrases paraphrased and repeated, which on reflection, sums up the rest of the book.

I was glad when it was finally finished and the dreariness could disperse.


Rubbish, 29 Apr 2008
First three books were great, all the darken rahl stuff was really entertaining. But it all went down hill from there, and ended in this pile of mush. I was highly dissapointed with the crappy ending, all that "oh you're not worth it" rubbish, FFS richard he wanted to ravage your woman beat the sh*t out of him!!! But no just loads of rubbish dialogue and a rubbish ending to what could have been a rival to other fantastic epics. Thank god im only 23 and i only had to wait a couple of months for this, as i only started reading the series a few years back. I think if i was older and had followed it for ten years plus like others i would be plotting assanitation right now.

And it started so well...., 03 Apr 2008
This series started brilliantly and somewhere down the line began to take itself way too seriously. The amount of waffle by the characters in this book makes you think you are reading a play. The author seems to want to draw things to a close by making all of his characters give incredibly longwinded explanations to things that have happened in previous volumes. I am glad that this series has finished, the main character Richard starts off as an easy going sort of bloke trying to do the best he can and falling in love, it ends up with him preaching so long and hard about the virtues of mankind, freewill, and the tyranny of all those that oppose it that he actually becomes more annoying than the forces he opposes, who are doing the same thing from the other side!! He would have made Cromwell's staunchest Ironside seem like a card carrying member of the Stringfellows club! Give this series a miss, unless you have already begun - in which case I wish you luck seeing it through to the greatest anticlimax in fantasy writing history!

not up to his usual standard..., 16 Nov 2008
I couldn't wait to get my hands on this one, but when i did... i wasn't satisfied.
This book isn't bad at all, and if you are a neil-fan, by all means read it. But, this book just wasn't as inventive, as surprising, touching or original.
the concept is great... the excecution.. not that great. There is nothing new, and i felt that i'd seen all the tricks before.
(Strangely, the book read as a script. i could just see the film sequences in my head.)
Also having read M is for Magic, i was already familiar with a great deal of the story. i almost skipped that part, but forced myself to read it again.
I sometimes thought: this is a real children's book, don't be so critical, but then characters such as victor hugo and the 66th president of U.S.A. are introduced, and i can't imagine kids being that familiar with french literature... It felt like Neil was sending me straight to wikipedia, to read up on some elemental history.
and the end... well... i suppose it was poignant, but i was not satisfied.
i remember being shattered coming to the end of neverwhere, wanting it to go on forever... i hardly dare pick up coraline again, because it disturbed and frightened me so.
The Graveyard book left me... unimpressed.


A children's classic in the making, 11 Nov 2008
Structured so that each chapter works as a short story in its own right while also contributing to the overriding story arc of the novel, this novel includes all the wit, subtlety and bittersweet touches that you expect from a Gaiman book. It begins with the murder of Bod's family and his 'escape' to a nearby graveyard, where he is adopted by the ghostly inhabitants and Silas, a vampire in all but name, agrees to serve as his guardian. Subsequent chapters pick out incidents in Bod's life - one for each year as he ages, including his friendship with a little girl called Scarlett, a centennial dance involving the living and the dead, Bod's accidental visit to the Land of the Ghouls and his encounter with the ghost of a young woman murdered for being a witch. Permeating it all is the threat from The Man Jack who murdered Bod's parents and who, together with The Jacks, is still searching for Bod.

Characterisation is great, particularly Silas and Miss Lupescu (an East European woman who looks after Bod when Silas is on his travels) who are superb and utterly credible. Bod himself is likeable, and the incidents that Gaiman highlights from his life are interesting and believable - the chapter where Bod tries to go to a school for living children is particularly moving.

I would have liked to have seen more of Silas and Miss Lupescu's adventures as the Hounds of God, which Gaiman gives tantalising details of without ever really expanding (what's there works, but I'd have liked more description). I also wasn't enamoured with the introduction of the prophecy element towards the end of the book - it came far too late and I really needed to see it developed more and earlier for it to work and I couldn't help but wish that The Jacks had some other motive for hunting down Bod instead.

That said, I really admire Gaiman for not going for the easy happy ending here. Without going into spoilers, it would have been very easy for him to give the readers what they want and expect and wrap up his novel in a neat little bow. Although he doesn't do this, the ending he does provide is satisfying and fits in well with the characters and hopefully, will set up the possibility of their returning in future novels.

Beyong the Grave..., 06 Nov 2008
Hate to be the one (slightly)dissenting voice here, but just finished The Graveyard Book, and thought I'd offer a differing opinion than those already below...

I don't think this piece of work is accomplished as some are claiming. For me, the opening was wondeful: atmospheric, an interesting tilt to the language, full of colour and excitement and oddness. But after that (and in particular, the middle section), the narrative fell away, exposing what is merely a collection of fantasy cliches (though well-embroidered with Gaiman's imagination), doled out in the form of short stories. This brings me to perhaps my biggest problem with the book - the structure did not serve the story well. As a kind of Bildungsroman, it should have given more of a sense of continuity; change; development. Breaking the narrative into fragments (seemingly without rhyme or reason) does not serve the story well enough as a coming-of-age piece, and the momentum was largely lost...abandoned when it was just gaining pace. As a result, each section resolved itself into a kind of "fable"; each chapter summed by the "lesson" learned in each.

The ending was a major disappointment though: a prophecy? Really? After Harry Potter et al, is this all Mr Gaiman could come up with? And a secret society of (effectively) murderers? His story-telling skills simply weren't up to the task of orchestrating a big ending; it felt shamelessly cinematic, and much too concerned with a contrived tying-up of loose ends. Though on the plus side, the denouement was suitable poignant...

On the whole, I wouldn't recommend NOT to buy this book. I'm just not convinced of its already-touted status as "an instant classic!".

A Ghoulish Delight for Both Adults and Kiddies, 25 Oct 2008
Gaiman is a master story-teller, there is no doubt about that, but it's very hard to think of him as a children's story-book writer (and yes I know he has written other children's books before, but they always seemed...not quite right). However, after reading through this novel of his one can clearly see that he has the skills necessary to delight and educate the young ones without dulling it down too much or losing the young ones on the way.

The story can be considered to be an homage to Kipling's "Jungle Book" with excellent references being made to Kipling's story that are easily recognizable. The hero of the tale, Nobody Owens, is endearing, while at the same time not a weak character. Except for the fact that he was raised by ghots of the graveyard, he is an entirely believable character, which makes the novel even more enjoyable.

Fans of Gaiman will not be disappointed by this novel, those new to him will definitely enjoy it, and those who are looking for a good book to read to a child will also be well served by this.

Raised *by* the dead? That doesn't sound right..., 20 Oct 2008
What one word best describes this tale of an infant whose whole family are murdered, and who toddles to the safety of a local graveyard, where he's raised and educated by the resident dead? That word, surprisingly, would be "charming".

And it is, in every sense of the word. It's eloquent without being condescending, comforting without being soft, sharp without being bitter, and it captivates your attention throughout its entirety, leaving you perfectly satisfied by the end.

The cast of characters are written to perfection. The dead maintain an eerie timelessness, whilst the other supernatural creatures are subtle yet distinct, ("Silas ate only one food, and it was not bananas"); the villains pull off the trick of being both evil *and* credible; the living have a refreshing mundane quality, and Bod the protagonist is left with the uneasy struggle of being neither fish nor fowl (nor dead).

A delight to read and a joy to think about.

the tale continues, 04 Nov 2008
Its been about a year since i read the gunslinger born. In the time between reading that ad this, the long road home i have read 5 stephen king novels, and a multitude of marvel graphic novels. They were good, but the are all just a pillar for this.

In my own opinion, surely not everyones, but if your reading this you might agree, that the dark tower series is one of the best fantasy series of all time. The question is what does the long road home add to that?

Without ruining the story, ill say that it adds a considerable amount of knowledge we previously never had about the crimson king, as well as doing what it says on the cover, adding to the gap years between the barony of mejis and jericho hill.

I do have to say the artwork is once again brilliant, with a lot of effort being put into the book. Once again hard bound in leather straight away you are getting value for money. The writing is good, but recognisably comic dialogue rather than novel dialogue. Its snappish, witty, and not a word is ever wasted.

There are 2 bad points about this book though, as happy as i am with it. The first is that the plotline is very thin. not a lot really happens, i can see this being a set-up for another book down the line. The other thing is i dont see it being instantly accessible to those who have never read the novels. There are references to other books than the wizard and glass in here.

One final thing, at the back is a map, which shows the path roland took on his journey in wolves of calla, song of susannah and the dark tower.

Even if you arent a fan of graphic novels in the slightest if you want the dark tower you will enjoy this.

A long road ahead, 10 Oct 2008

"The Gunslinger Born" explored the origins and early struggles of young Roland Deschain, as well as the loss of his first true love, Susan Delgado.

And Stephen King's "Dark Tower: The Long Road Home" picks up right after that, showing us more devastating events that shaped Roland Deschain into the gunslinger anti-hero we know and love. While the first part is rather slow, it has plenty of horrific moments and the haunting quality of a "world that has moved on."

A devastated Roland takes down Susan's charred body, as Alain and Bert argue about whether they should be stopping. But suddenly Roland fires at Maerlyn's Grapefruit -- which suddenly turns into a tentacled eyeball that jumps on Roland's face, and enthralls his very soul before they can peel it off. His ka-tet is chased by a bunch of local thugs, the last Big Coffin Hunter, and a ghastly pack of mutated wolves.

Nearby, a mentally challenged boy named Sheemie was seen climbing into old war machines, only to encounter a strange robot that is somehow still "alive."And inside Maerlyn's Grapefruit, Roland is slowly being driven mad in his own memories -- right before being dragged to the hellish citadel of the Crimson King, who reveals a ghastly secret to the young boy from long ago, which will change him forever...

"The Dark Tower: Long Road Home" isn't quite as gripping as its predecessor, "The Gunslinger Born" -- partly because it's a briefer story, and partly because it's simpler. It's a tribute to Stephen King's original story -- and to the hauntingly vivid artwork -- that it's still such an intense rollercoaster ride.

After the heartbreaking first few pages, the plot speeds into a suitably confusing, desperate chase through a lonely wilderness, with plenty of gunshots and dying creatures. Things actually get rather gory as Roland's pals struggle over rickety bridges and across a red-tinged wilderness, since one of them almost gets his arm bitten off (and announces that he'd rather die than shoot left-handed forever. Hardcore, kid).

And since this is a world made by Stephen King, we have plenty of the eerie and the horrible -- Sheemie's confrontation with a baby-faced robot is just one example. King's rich, old-time narrative translates well into comic form, almost as if he were conversing with the readers ("But don't be laughing at Sheemie, I beg ya, because he's been through considerable trials").

And Jae Lee and Richard Isanove really bring this story to life -- they create a world split between bright bloody red mist and autumnal twilight, filled with shadowy faces, barren lands, and ghastly pursuers. And inside the Grapefruit, we get a full cornucopia of horrors, with Roland defiantly trying to keep his sanity and soul intact in a dusty, hazy landscape full of withered trees, tragic future selves, evil crows, lumpy castles, and the vaguely spidery King with his hellish magic and his suitably evil offers to Roland.

"The Gunslinger Born" introduced Roland as a boy, but "The Long Road Home" has undeniably made him a man. He has the guts and integrity to snarl not just at Marte but at the King himself. And after being in Roland's shadow for so long, Alain and Cuthbert also get to take center stage here -- we get to see just how strong and capable they are.

"Dark Tower: The Long Road Home" is not as tightly-written as its predecessor, but it's filled with a sense of overhanging horror and some solid action for the sidekicks. Definitely worth checking out.

Oh dear, 28 Oct 2008
"The final book in one of the greatest epic series of all time" - aye right. I read the first few and gave up when the plot was lost early on. Epic series? No, just like the Shannara books latter days, it has is going for the buck.

A huge disappointment - what happened to Terry Goodkind? , 28 Aug 2008
My condolences to all readers of Confessor.

Firstly to those that actually finds this tripe digestible. I pity that you are able to enjoy the stale writings and musings of a totally self absorbed man. But I emphathise with your loyalties, it certainly has been a long journey to get to this finale; 12 years, 11 books and £100's spent.

But I must ridicule your critique (or lack of) for this truly awful book. How many times have we seen this in popular culture, where a legendary franchise has opted for the quick buck and mass exploitation of its fans over the protection and integrity of its art? AND STILL SOME OF YOU LAP IT UP! Perhaps, with such an insatiable public appetite for sub-mediocre fiction we should all start to release our own philosophies dressed up as unexciting, predictable stories?

Secondly to the readers of this fiction, akin to me, who have patiently stuck with it, in desperation rather than hope, to see a fulfilling end to a one-time compelling saga. Alas, our instincts were correct; Goodkind was never going to achieve redemption, the crimes of the previous 6 books (with the exception of Faith Of The Fallen) were too great and our better judgment lost out to curiosity and loyalty. I sympathise with you, I emphathise with you and in especial, I question with you; How could such inventive stories and vividly realised characters finally morph into Confessor? I would say laziness, arrogance and greed.

And lastly I would like to send my condolences to Voyager, the poor publishers who agreed to print these books. To those at Voyager, I pity your proof readers, the PR people, the printers and all the professionals that had to deal with Goodkind and his latter day SOT series.

I would not be surprised if this effort is Goodkind's last. He now seems devoid of any invention and enthusiasm for his work and probably grew to hate the SOT over the last few years; it would certainly explain his dire performances as an author. I can now put him on the `could-have-been-great-but-sacrificed-earlier-brilliance-for-immediate-exposure' pile along with the Wachowski brothers and countless others.




Ok - so it's on to the next thing then..., 19 Jun 2008
This is the last book of three, "Chainfire", "Phantom" and "Confessor" which marks the end of an 11 book series. The trilogy tells of Richard Rahl's search for his missing wife Kahlan, the continuing war with the Imperial Order, of magic being destroyed and contaminated, and a spell that has wiped certain memories from the populace.

Though I was disappointed with the preceding book "Phantom" I read this with the hope that the author would return to his earlier skill as a storyteller. Unfortunately it wasn't to be. Again the lectures on politics, history and magical lore were repeated too often and the descriptions of the violence and hatred seemed to become more and more elaborate and increasingly nauseating.

Though the ending should have given a sense of satisfaction, by that time the characters that I had so admired at the beginning of this series I had ended up disliking, and so I really didn't care what happened to them. The philosophical monologue bored me as it was the same few phrases paraphrased and repeated, which on reflection, sums up the rest of the book.

I was glad when it was finally finished and the dreariness could disperse.


Rubbish, 29 Apr 2008
First three books were great, all the darken rahl stuff was really entertaining. But it all went down hill from there, and ended in this pile of mush. I was highly dissapointed with the crappy ending, all that "oh you're not worth it" rubbish, FFS richard he wanted to ravage your woman beat the sh*t out of him!!! But no just loads of rubbish dialogue and a rubbish ending to what could have been a rival to other fantastic epics. Thank god im only 23 and i only had to wait a couple of months for this, as i only started reading the series a few years back. I think if i was older and had followed it for ten years plus like others i would be plotting assanitation right now.

And it started so well...., 03 Apr 2008
This series started brilliantly and somewhere down the line began to take itself way too seriously. The amount of waffle by the characters in this book makes you think you are reading a play. The author seems to want to draw things to a close by making all of his characters give incredibly longwinded explanations to things that have happened in previous volumes. I am glad that this series has finished, the main character Richard starts off as an easy going sort of bloke trying to do the best he can and falling in love, it ends up with him preaching so long and hard about the virtues of mankind, freewill, and the tyranny of all those that oppose it that he actually becomes more annoying than the forces he opposes, who are doing the same thing from the other side!! He would have made Cromwell's staunchest Ironside seem like a card carrying member of the Stringfellows club! Give this series a miss, unless you have already begun - in which case I wish you luck seeing it through to the greatest anticlimax in fantasy writing history!

not up to his usual standard..., 16 Nov 2008
I couldn't wait to get my hands on this one, but when i did... i wasn't satisfied.
This book isn't bad at all, and if you are a neil-fan, by all means read it. But, this book just wasn't as inventive, as surprising, touching or original.
the concept is great... the excecution.. not that great. There is nothing new, and i felt that i'd seen all the tricks before.
(Strangely, the book read as a script. i could just see the film sequences in my head.)
Also having read M is for Magic, i was already familiar with a great deal of the story. i almost skipped that part, but forced myself to read it again.
I sometimes thought: this is a real children's book, don't be so critical, but then characters such as victor hugo and the 66th president of U.S.A. are introduced, and i can't imagine kids being that familiar with french literature... It felt like Neil was sending me straight to wikipedia, to read up on some elemental history.
and the end... well... i suppose it was poignant, but i was not satisfied.
i remember being shattered coming to the end of neverwhere, wanting it to go on forever... i hardly dare pick up coraline again, because it disturbed and frightened me so.
The Graveyard book left me... unimpressed.


A children's classic in the making, 11 Nov 2008
Structured so that each chapter works as a short story in its own right while also contributing to the overriding story arc of the novel, this novel includes all the wit, subtlety and bittersweet touches that you expect from a Gaiman book. It begins with the murder of Bod's family and his 'escape' to a nearby graveyard, where he is adopted by the ghostly inhabitants and Silas, a vampire in all but name, agrees to serve as his guardian. Subsequent chapters pick out incidents in Bod's life - one for each year as he ages, including his friendship with a little girl called Scarlett, a centennial dance involving the living and the dead, Bod's accidental visit to the Land of the Ghouls and his encounter with the ghost of a young woman murdered for being a witch. Permeating it all is the threat from The Man Jack who murdered Bod's parents and who, together with The Jacks, is still searching for Bod.

Characterisation is great, particularly Silas and Miss Lupescu (an East European woman who looks after Bod when Silas is on his travels) who are superb and utterly credible. Bod himself is likeable, and the incidents that Gaiman highlights from his life are interesting and believable - the chapter where Bod tries to go to a school for living children is particularly moving.

I would have liked to have seen more of Silas and Miss Lupescu's adventures as the Hounds of God, which Gaiman gives tantalising details of without ever really expanding (what's there works, but I'd have liked more description). I also wasn't enamoured with the introduction of the prophecy element towards the end of the book - it came far too late and I really needed to see it developed more and earlier for it to work and I couldn't help but wish that The Jacks had some other motive for hunting down Bod instead.

That said, I really admire Gaiman for not going for the easy happy ending here. Without going into spoilers, it would have been very easy for him to give the readers what they want and expect and wrap up his novel in a neat little bow. Although he doesn't do this, the ending he does provide is satisfying and fits in well with the characters and hopefully, will set up the possibility of their returning in future novels.

Beyong the Grave..., 06 Nov 2008
Hate to be the one (slightly)dissenting voice here, but just finished The Graveyard Book, and thought I'd offer a differing opinion than those already below...

I don't think this piece of work is accomplished as some are claiming. For me, the opening was wondeful: atmospheric, an interesting tilt to the language, full of colour and excitement and oddness. But after that (and in particular, the middle section), the narrative fell away, exposing what is merely a collection of fantasy cliches (though well-embroidered with Gaiman's imagination), doled out in the form of short stories. This brings me to perhaps my biggest problem with the book - the structure did not serve the story well. As a kind of Bildungsroman, it should have given more of a sense of continuity; change; development. Breaking the narrative into fragments (seemingly without rhyme or reason) does not serve the story well enough as a coming-of-age piece, and the momentum was largely lost...abandoned when it was just gaining pace. As a result, each section resolved itself into a kind of "fable"; each chapter summed by the "lesson" learned in each.

The ending was a major disappointment though: a prophecy? Really? After Harry Potter et al, is this all Mr Gaiman could come up with? And a secret society of (effectively) murderers? His story-telling skills simply weren't up to the task of orchestrating a big ending; it felt shamelessly cinematic, and much too concerned with a contrived tying-up of loose ends. Though on the plus side, the denouement was suitable poignant...

On the whole, I wouldn't recommend NOT to buy this book. I'm just not convinced of its already-touted status as "an instant classic!".

A Ghoulish Delight for Both Adults and Kiddies, 25 Oct 2008
Gaiman is a master story-teller, there is no doubt about that, but it's very hard to think of him as a children's story-book writer (and yes I know he has written other children's books before, but they always seemed...not quite right). However, after reading through this novel of his one can clearly see that he has the skills necessary to delight and educate the young ones without dulling it down too much or losing the young ones on the way.

The story can be considered to be an homage to Kipling's "Jungle Book" with excellent references being made to Kipling's story that are easily recognizable. The hero of the tale, Nobody Owens, is endearing, while at the same time not a weak character. Except for the fact that he was raised by ghots of the graveyard, he is an entirely believable character, which makes the novel even more enjoyable.

Fans of Gaiman will not be disappointed by this novel, those new to him will definitely enjoy it, and those who are looking for a good book to read to a child will also be well served by this.

Raised *by* the dead? That doesn't sound right..., 20 Oct 2008
What one word best describes this tale of an infant whose whole family are murdered, and who toddles to the safety of a local graveyard, where he's raised and educated by the resident dead? That word, surprisingly, would be "charming".

And it is, in every sense of the word. It's eloquent without being condescending, comforting without being soft, sharp without being bitter, and it captivates your attention throughout its entirety, leaving you perfectly satisfied by the end.

The cast of characters are written to perfection. The dead maintain an eerie timelessness, whilst the other supernatural creatures are subtle yet distinct, ("Silas ate only one food, and it was not bananas"); the villains pull off the trick of being both evil *and* credible; the living have a refreshing mundane quality, and Bod the protagonist is left with the uneasy struggle of being neither fish nor fowl (nor dead).

A delight to read and a joy to think about.

the tale continues, 04 Nov 2008
Its been about a year since i read the gunslinger born. In the time between reading that ad this, the long road home i have read 5 stephen king novels, and a multitude of marvel graphic novels. They were good, but the are all just a pillar for this.

In my own opinion, surely not everyones, but if your reading this you might agree, that the dark tower series is one of the best fantasy series of all time. The question is what does the long road home add to that?

Without ruining the story, ill say that it adds a considerable amount of knowledge we previously never had about the crimson king, as well as doing what it says on the cover, adding to the gap years between the barony of mejis and jericho hill.

I do have to say the artwork is once again brilliant, with a lot of effort being put into the book. Once again hard bound in leather straight away you are getting value for money. The writing is good, but recognisably comic dialogue rather than novel dialogue. Its snappish, witty, and not a word is ever wasted.

There are 2 bad points about this book though, as happy as i am with it. The first is that the plotline is very thin. not a lot really happens, i can see this being a set-up for another book down the line. The other thing is i dont see it being instantly accessible to those who have never read the novels. There are references to other books than the wizard and glass in here.

One final thing, at the back is a map, which shows the path roland took on his journey in wolves of calla, song of susannah and the dark tower.

Even if you arent a fan of graphic novels in the slightest if you want the dark tower you will enjoy this.

A long road ahead, 10 Oct 2008

"The Gunslinger Born" explored the origins and early struggles of young Roland Deschain, as well as the loss of his first true love, Susan Delgado.

And Stephen King's "Dark Tower: The Long Road Home" picks up right after that, showing us more devastating events that shaped Roland Deschain into the gunslinger anti-hero we know and love. While the first part is rather slow, it has plenty of horrific moments and the haunting quality of a "world that has moved on."

A devastated Roland takes down Susan's charred body, as Alain and Bert argue about whether they should be stopping. But suddenly Roland fires at Maerlyn's Grapefruit -- which suddenly turns into a tentacled eyeball that jumps on Roland's face, and enthralls his very soul before they can peel it off. His ka-tet is chased by a bunch of local thugs, the last Big Coffin Hunter, and a ghastly pack of mutated wolves.

Nearby, a mentally challenged boy named Sheemie was seen climbing into old war machines, only to encounter a strange robot that is somehow still "alive."And inside Maerlyn's Grapefruit, Roland is slowly being driven mad in his own memories -- right before being dragged to the hellish citadel of the Crimson King, who reveals a ghastly secret to the young boy from long ago, which will change him forever...

"The Dark Tower: Long Road Home" isn't quite as gripping as its predecessor, "The Gunslinger Born" -- partly because it's a briefer story, and partly because it's simpler. It's a tribute to Stephen King's original story -- and to the hauntingly vivid artwork -- that it's still such an intense rollercoaster ride.

After the heartbreaking first few pages, the plot speeds into a suitably confusing, desperate chase through a lonely wilderness, with plenty of gunshots and dying creatures. Things actually get rather gory as Roland's pals struggle over rickety bridges and across a red-tinged wilderness, since one of them almost gets his arm bitten off (and announces that he'd rather die than shoot left-handed forever. Hardcore, kid).

And since this is a world made by Stephen King, we have plenty of the eerie and the horrible -- Sheemie's confrontation with a baby-faced robot is just one example. King's rich, old-time narrative translates well into comic form, almost as if he were conversing with the readers ("But don't be laughing at Sheemie, I beg ya, because he's been through considerable trials").

And Jae Lee and Richard Isanove really bring this story to life -- they create a world split between bright bloody red mist and autumnal twilight, filled with shadowy faces, barren lands, and ghastly pursuers. And inside the Grapefruit, we get a full cornucopia of horrors, with Roland defiantly trying to keep his sanity and soul intact in a dusty, hazy landscape full of withered trees, tragic future selves, evil crows, lumpy castles, and the vaguely spidery King with his hellish magic and his suitably evil offers to Roland.

"The Gunslinger Born" introduced Roland as a boy, but "The Long Road Home" has undeniably made him a man. He has the guts and integrity to snarl not just at Marte but at the King himself. And after being in Roland's shadow for so long, Alain and Cuthbert also get to take center stage here -- we get to see just how strong and capable they are.

"Dark Tower: The Long Road Home" is not as tightly-written as its predecessor, but it's filled with a sense of overhanging horror and some solid action for the sidekicks. Definitely worth checking out.

Doesn't live up to the hype, 19 Nov 2008
I had such high hopes for this book. Neil Gaiman is one of those superstar authors and (although you should never judge a book by its cover) the blurb made it sound like the kind of thing I'd be into: mythical beings with a modern twist, an alternative London hidden beneath our own, good contemporary fantasy.

Neverwhere had all of those things, but I was expecting it to be better. The plot is quite straightforward: a chance encounter with the aptly-named Door causes Richard Mayhew to fall between the cracks of present-day London and into a world populated by talking rats, vampires and knights in rusty armour. Soon he is on a quest to avenge the murder of Door's father before the murderer catches up with him.

Despite the enormous potential of the alternative world Neil Gaiman creates in this book, it feels as if he has merely sketched it out. The characters and their world were undoubtedly alive in his imagination, but only shadows appear on the paper. It is a perfectly pleasant read and I wish I'd read it on a beach somewhere instead of in my lunch break, but I came to the book with the wrong expectations and finished feeling disappointed. There were no complex characters or intricate plot strands and the multilayered, technicolour world promised by the cover turned out to be a bit beige.

This particular edition, incidentally, contains extra bonus material, most of which (an introduction, an alternative prologue and an interview with the author) is quite interesting and some of which (reading group discussion questions) is excruciatingly cringeworthy.


Enchanting, 18 Nov 2008
I loved this book.
I was recommended it by someone and was initially not convinced, and I don't regret changing my mind for a minute.

Ok, me being a bit blonde took me a while to realsie the names of some of the places and people were tube stations... But was overjoyed when it ''clicked' in my head.

It's set it London but, it's not, which is the beauty of it, as this place is this other world full of magic and fantasy. It's one of those books where you can truly appreciate an authors imagination and love for creating the book.

What more can I say about it, I'm the type of person that will sit down and read a book in one single sitting if I can, especially if I enjoy it.
And I deprived myself of sleep to fiish this one.

Simple but fun, 20 Aug 2008
This was one of those books which I really wanted to be better than it is. I'm a huge fan of Neil Gaiman's Sandman series, which I think was an incredible achievement. Unfortunately Neverwhere really suffers by comparison.

The concept of an alternate London hidden behind the 'real' one is fascinating, and as an adventure it rolls along at a cracking pace. However some of it is pretty simplistic, which came as a real surprise compared to the intricacies of the Sandman saga.

For example, having a character who has the ability to open any door (and other things) is interesting, but calling that character 'Door' is a bit simplistic.

On the whole it's an enjoyable read, just not Gaiman's finest work.

The genius of fantasy..., 14 Jul 2008
Neverwhere is a dark, atmospheric and extremely well written example of the genius of fantasy... it can by blowing our minds with strange new realms and worlds weave in poignant reflections and observations of our world, whether you acknowledge these undercurrents or simply enjoy the magic and escape it's what we connect to. Gaiman explores the issue of homelessness by taking a bemused office worker named Richard Mayhew out of the comfort of daily London life, this character is the epitome of the individual who lives a structured and normal life, proposing to his girlfriend because it's the appropriate next step and just screaming out for something different with his troll figures that he puts on his desk because he thinks it makes him look more interesting. He is plunged into the complex and fascinating world of London below, comprised of people no longer part of the staple of society, people who are homeless by choice and others who have been discarded by the world, and oh my the characters created are very good, the rat people, the caring but pessimistic monks, who can handle a fight. I'll agree with some of the other reviewers and say there are touches of predictability to the story but it's like a fairy tale quest in structure and I love that about it.

After helping an injured girl named Lady Door who's been orphaned and is being chased by the villainess Mr Croup and Mr Vandemar who killed her family Richard becomes one of the many faceless people who occupy the alleys and dark places of London. By helping Door discover the reason for her family's death he hopes to get back to London above, what they discover is a powerful huntress, a mad Earl, a kindly Old Bailey, a viscous beast, an witty Marquis, an irate angel and the destruction of the hope of equality to a society that works by what you can scrounge not what you earn, occupied by people who do what they want. But that's this fantasy worlds charm and its got plenty of charm. Richards's voice is engaging, funny and observes the parade of bizarreness and detailed oddities with a detached sort of uncaring, who cares if it's real when he just wants to go home? This is a very good book and definitely worth buying and keeping and reading over and over.


Fantastic in all possible senses of the word, 22 Apr 2008
For those of you confused by the addendum: The Author's Preferred Text, Gaiman explains in the preface that this book started life as an idea, then a television script and went through several revisions before this version. Here he has edited and pulled together everything to come up with something he's most happy with. I can't say I've read any other version, but I would say that this one is excellent, so he's obviously on to something there.

The story centres around the hopelessly ineffective nice guy Richard Mayhew. He has an ordinary life and an ordinary job and a demanding girlfriend. One night he saves the life of what he thinks is a homeless girl. It turns out that she is the Lady Door, and is a prime mover and shaker in a London which lives underneath the vanilla version and which is full of danger and magic and adventure.

Once Richard has bumped into this world he begins to fade from the regular world and is forced, whether he likes it or not, to help Door locate the mysterious Angel Islington and escape the menacing clutches of Mr Croup and Mr Vandemar, two of the most repulsively entertaining villains I've ever come across.

This is really a book where London is the star. It's a wonderful critique of and hymn to a city with more personality and brio than most people. It's inventive and full of surprises. It's funny and horrible. It keeps you turning the pages, desperate to find out what happens and then sad when you reach the end. I'd pay Gaiman to write a sequel, it's that good.

Oh dear, 28 Oct 2008
"The final book in one of the greatest epic series of all time" - aye right. I read the first few and gave up when the plot was lost early on. Epic series? No, just like the Shannara books latter days, it has is going for the buck.

A huge disappointment - what happened to Terry Goodkind? , 28 Aug 2008
My condolences to all readers of Confessor.

Firstly to those that actually finds this tripe digestible. I pity that you are able to enjoy the stale writings and musings of a totally self absorbed man. But I emphathise with your loyalties, it certainly has been a long journey to get to this finale; 12 years, 11 books and £100's spent.

But I must ridicule your critique (or lack of) for this truly awful book. How many times have we seen this in popular culture, where a legendary franchise has opted for the quick buck and mass exploitation of its fans over the protection and integrity of its art? AND STILL SOME OF YOU LAP IT UP! Perhaps, with such an insatiable public appetite for sub-mediocre fiction we should all start to release our own philosophies dressed up as unexciting, predictable stories?

Secondly to the readers of this fiction, akin to me, who have patiently stuck with it, in desperation rather than hope, to see a fulfilling end to a one-time compelling saga. Alas, our instincts were correct; Goodkind was never going to achieve redemption, the crimes of the previous 6 books (with the exception of Faith Of The Fallen) were too great and our better judgment lost out to curiosity and loyalty. I sympathise with you, I emphathise with you and in especial, I question with you; How could such inventive stories and vividly realised characters finally morph into Confessor? I would say laziness, arrogance and greed.

And lastly I would like to send my condolences to Voyager, the poor publishers who agreed to print these books. To those at Voyager, I pity your proof readers, the PR people, the printers and all the professionals that had to deal with Goodkind and his latter day SOT series.

I would not be surprised if this effort is Goodkind's last. He now seems devoid of any invention and enthusiasm for his work and probably grew to hate the SOT over the last few years; it would certainly explain his dire performances as an author. I can now put him on the `could-have-been-great-but-sacrificed-earlier-brilliance-for-immediate-exposure' pile along with the Wachowski brothers and countless others.




Ok - so it's on to the next thing then..., 19 Jun 2008
This is the last book of three, "Chainfire", "Phantom" and "Confessor" which marks the end of an 11 book series. The trilogy tells of Richard Rahl's search for his missing wife Kahlan, the continuing war with the Imperial Order, of magic being destroyed and contaminated, and a spell that has wiped certain memories from the populace.

Though I was disappointed with the preceding book "Phantom" I read this with the hope that the author would return to his earlier skill as a storyteller. Unfortunately it wasn't to be. Again the lectures on politics, history and magical lore were repeated too often and the descriptions of the violence and hatred seemed to become more and more elaborate and increasingly nauseating.

Though the ending should have given a sense of satisfaction, by that time the characters that I had so admired at the beginning of this series I had ended up disliking, and so I really didn't care what happened to them. The philosophical monologue bored me as it was the same few phrases paraphrased and repeated, which on reflection, sums up the rest of the book.

I was glad when it was finally finished and the dreariness could disperse.


Rubbish, 29 Apr 2008
First three books were great, all the darken rahl stuff was really entertaining. But it all went down hill from there, and ended in this pile of mush. I was highly dissapointed with the crappy ending, all that "oh you're not worth it" rubbish, FFS richard he wanted to ravage your woman beat the sh*t out of him!!! But no just loads of rubbish dialogue and a rubbish ending to what could have been a rival to other fantastic epics. Thank god im only 23 and i only had to wait a couple of months for this, as i only started reading the series a few years back. I think if i was older and had followed it for ten years plus like others i would be plotting assanitation right now.

And it started so well...., 03 Apr 2008
This series started brilliantly and somewhere down the line began to take itself way too seriously. The amount of waffle by the characters in this book makes you think you are reading a play. The author seems to want to draw things to a close by making all of his characters give incredibly longwinded explanations to things that have happened in previous volumes. I am glad that this series has finished, the main character Richard starts off as an easy going sort of bloke trying to do the best he can and falling in love, it ends up with him preaching so long and hard about the virtues of mankind, freewill, and the tyranny of all those that oppose it that he actually becomes more annoying than the forces he opposes, who are doing the same thing from the other side!! He would have made Cromwell's staunchest Ironside seem like a card carrying member of the Stringfellows club! Give this series a miss, unless you have already begun - in which case I wish you luck seeing it through to the greatest anticlimax in fantasy writing history!

not up to his usual standard..., 16 Nov 2008
I couldn't wait to get my hands on this one, but when i did... i wasn't satisfied.
This book isn't bad at all, and if you are a neil-fan, by all means read it. But, this book just wasn't as inventive, as surprising, touching or original.
the concept is great... the excecution.. not that great. There is nothing new, and i felt that i'd seen all the tricks before.
(Strangely, the book read as a script. i could just see the film sequences in my head.)
Also having read M is for Magic, i was already familiar with a great deal of the story. i almost skipped that part, but forced myself to read it again.
I sometimes thought: this is a real children's book, don't be so critical, but then characters such as victor hugo and the 66th president of U.S.A. are introduced, and i can't imagine kids being that familiar with french literature... It felt like Neil was sending me straight to wikipedia, to read up on some elemental history.
and the end... well... i suppose it was poignant, but i was not satisfied.
i remember being shattered coming to the end of neverwhere, wanting it to go on forever... i hardly dare pick up coraline again, because it disturbed and frightened me so.
The Graveyard book left me... unimpressed.


A children's classic in the making, 11 Nov 2008
Structured so that each chapter works as a short story in its own right while also contributing to the overriding story arc of the novel, this novel includes all the wit, subtlety and bittersweet touches that you expect from a Gaiman book. It begins with the murder of Bod's family and his 'escape' to a nearby graveyard, where he is adopted by the ghostly inhabitants and Silas, a vampire in all but name, agrees to serve as his guardian. Subsequent chapters pick out incidents in Bod's life - one for each year as he ages, including his friendship with a little girl called Scarlett, a centennial dance involving the living and the dead, Bod's accidental visit to the Land of the Ghouls and his encounter with the ghost of a young woman murdered for being a witch. Permeating it all is the threat from The Man Jack who murdered Bod's parents and who, together with The Jacks, is still searching for Bod.

Characterisation is great, particularly Silas and Miss Lupescu (an East European woman who looks after Bod when Silas is on his travels) who are superb and utterly credible. Bod himself is likeable, and the incidents that Gaiman highlights from his life are interesting and believable - the chapter where Bod tries to go to a school for living children is particularly moving.

I would have liked to have seen more of Silas and Miss Lupescu's adventures as the Hounds of God, which Gaiman gives tantalising details of without ever really expanding (what's there works, but I'd have liked more description). I also wasn't enamoured with the introduction of the prophecy element towards the end of the book - it came far too late and I really needed to see it developed more and earlier for it to work and I couldn't help but wish that The Jacks had some other motive for hunting down Bod instead.

That said, I really admire Gaiman for not going for the easy happy ending here. Without going into spoilers, it would have been very easy for him to give the readers what they want and expect and wrap up his novel in a neat little bow. Although he doesn't do this, the ending he does provide is satisfying and fits in well with the characters and hopefully, will set up the possibility of their returning in future novels.

Beyong the Grave..., 06 Nov 2008
Hate to be the one (slightly)dissenting voice here, but just finished The Graveyard Book, and thought I'd offer a differing opinion than those already below...

I don't think this piece of work is accomplished as some are claiming. For me, the opening was wondeful: atmospheric, an interesting tilt to the language, full of colour and excitement and oddness. But after that (and in particular, the middle section), the narrative fell away, exposing what is merely a collection of fantasy cliches (though well-embroidered with Gaiman's imagination), doled out in the form of short stories. This brings me to perhaps my biggest problem with the book - the structure did not serve the story well. As a kind of Bildungsroman, it should have given more of a sense of continuity; change; development. Breaking the narrative into fragments (seemingly without rhyme or reason) does not serve the story well enough as a coming-of-age piece, and the momentum was largely lost...abandoned when it was just gaining pace. As a result, each section resolved itself into a kind of "fable"; each chapter summed by the "lesson" learned in each.

The ending was a major disappointment though: a prophecy? Really? After Harry Potter et al, is this all Mr Gaiman could come up with? And a secret society of (effectively) murderers? His story-telling skills simply weren't up to the task of orchestrating a big ending; it felt shamelessly cinematic, and much too concerned with a contrived tying-up of loose ends. Though on the plus side, the denouement was suitable poignant...

On the whole, I wouldn't recommend NOT to buy this book. I'm just not convinced of its already-touted status as "an instant classic!".

A Ghoulish Delight for Both Adults and Kiddies, 25 Oct 2008
Gaiman is a master story-teller, there is no doubt about that, but it's very hard to think of him as a children's story-book writer (and yes I know he has written other children's books before, but they always seemed...not quite right). However, after reading through this novel of his one can clearly see that he has the skills necessary to delight and educate the young ones without dulling it down too much or losing the young ones on the way.

The story can be considered to be an homage to Kipling's "Jungle Book" with excellent references being made to Kipling's story that are easily recognizable. The hero of the tale, Nobody Owens, is endearing, while at the same time not a weak character. Except for the fact that he was raised by ghots of the graveyard, he is an entirely believable character, which makes the novel even more enjoyable.

Fans of Gaiman will not be disappointed by this novel, those new to him will definitely enjoy it, and those who are looking for a good book to read to a child will also be well served by this.

Raised *by* the dead? That doesn't sound right..., 20 Oct 2008
What one word best describes this tale of an infant whose whole family are murdered, and who toddles to the safety of a local graveyard, where he's raised and educated by the resident dead? That word, surprisingly, would be "charming".

And it is, in every sense of the word. It's eloquent without being condescending, comforting without being soft, sharp without being bitter, and it captivates your attention throughout its entirety, leaving you perfectly satisfied by the end.

The cast of characters are written to perfection. The dead maintain an eerie timelessness, whilst the other supernatural creatures are subtle yet distinct, ("Silas ate only one food, and it was not bananas"); the villains pull off the trick of being both evil *and* credible; the living have a refreshing mundane quality, and Bod the protagonist is left with the uneasy struggle of being neither fish nor fowl (nor dead).

A delight to read and a joy to think about.

the tale continues, 04 Nov 2008
Its been about a year since i read the gunslinger born. In the time between reading that ad this, the long road home i have read 5 stephen king novels, and a multitude of marvel graphic novels. They were good, but the are all just a pillar for this.

In my own opinion, surely not everyones, but if your reading this you might agree, that the dark tower series is one of the best fantasy series of all time. The question is what does the long road home add to that?

Without ruining the story, ill say that it adds a considerable amount of knowledge we previously never had about the crimson king, as well as doing what it says on the cover, adding to the gap years between the barony of mejis and jericho hill.

I do have to say the artwork is once again brilliant, with a lot of effort being put into the book. Once again hard bound in leather straight away you are getting value for money. The writing is good, but recognisably comic dialogue rather than novel dialogue. Its snappish, witty, and not a word is ever wasted.

There are 2 bad points about this book though, as happy as i am with it. The first is that the plotline is very thin. not a lot really happens, i can see this being a set-up for another book down the line. The other thing is i dont see it being instantly accessible to those who have never read the novels. There are references to other books than the wizard and glass in here.

One final thing, at the back is a map, which shows the path roland took on his journey in wolves of calla, song of susannah and the dark tower.

Even if you arent a fan of graphic novels in the slightest if you want the dark tower you will enjoy this.

A long road ahead, 10 Oct 2008

"The Gunslinger Born" explored the origins and early struggles of young Roland Deschain, as well as the loss of his first true love, Susan Delgado.

And Stephen King's "Dark Tower: The Long Road Home" picks up right after that, showing us more devastating events that shaped Roland Deschain into the gunslinger anti-hero we know and love. While the first part is rather slow, it has plenty of horrific moments and the haunting quality of a "world that has moved on."

A devastated Roland takes down Susan's charred body, as Alain and Bert argue about whether they should be stopping. But suddenly Roland fires at Maerlyn's Grapefruit -- which suddenly turns into a tentacled eyeball that jumps on Roland's face, and enthralls his very soul before they can peel it off. His ka-tet is chased by a bunch of local thugs, the last Big Coffin Hunter, and a ghastly pack of mutated wolves.

Nearby, a mentally challenged boy named Sheemie was seen climbing into old war machines, only to encounter a strange robot that is somehow still "alive."And inside Maerlyn's Grapefruit, Roland is slowly being driven mad in his own memories -- right before being dragged to the hellish citadel of the Crimson King, who reveals a ghastly secret to the young boy from long ago, which will change him forever...

"The Dark Tower: Long Road Home" isn't quite as gripping as its predecessor, "The Gunslinger Born" -- partly because it's a briefer story, and partly because it's simpler. It's a tribute to Stephen King's original story -- and to the hauntingly vivid artwork -- that it's still such an intense rollercoaster ride.

After the heartbreaking first few pages, the plot speeds into a suitably confusing, desperate chase through a lonely wilderness, with plenty of gunshots and dying creatures. Things actually get rather gory as Roland's pals struggle over rickety bridges and across a red-tinged wilderness, since one of them almost gets his arm bitten off (and announces that he'd rather die than shoot left-handed forever. Hardcore, kid).

And since this is a world made by Stephen King, we have plenty of the eerie and the horrible -- Sheemie's confrontation with a baby-faced robot is just one example. King's rich, old-time narrative translates well into comic form, almost as if he were conversing with the readers ("But don't be laughing at Sheemie, I beg ya, because he's been through considerable trials").

And Jae Lee and Richard Isanove really bring this story to life -- they create a world split between bright bloody red mist and autumnal twilight, filled with shadowy faces, barren lands, and ghastly pursuers. And inside the Grapefruit, we get a full cornucopia of horrors, with Roland defiantly trying to keep his sanity and soul intact in a dusty, hazy landscape full of withered trees, tragic future selves, evil crows, lumpy castles, and the vaguely spidery King with his hellish magic and his suitably evil offers to Roland.

"The Gunslinger Born" introduced Roland as a boy, but "The Long Road Home" has undeniably made him a man. He has the guts and integrity to snarl not just at Marte but at the King himself. And after being in Roland's shadow for so long, Alain and Cuthbert also get to take center stage here -- we get to see just how strong and capable they are.

"Dark Tower: The Long Road Home" is not as tightly-written as its predecessor, but it's filled with a sense of overhanging horror and some solid action for the sidekicks. Definitely worth checking out.

Doesn't live up to the hype, 19 Nov 2008
I had such high hopes for this book. Neil Gaiman is one of those superstar authors and (although you should never judge a book by its cover) the blurb made it sound like the kind of thing I'd be into: mythical beings with a modern twist, an alternative London hidden beneath our own, good contemporary fantasy.

Neverwhere had all of those things, but I was expecting it to be better. The plot is quite straightforward: a chance encounter with the aptly-named Door causes Richard Mayhew to fall between the cracks of present-day London and into a world populated by talking rats, vampires and knights in rusty armour. Soon he is on a quest to avenge the murder of Door's father before the murderer catches up with him.

Despite the enormous potential of the alternative world Neil Gaiman creates in this book, it feels as if he has merely sketched it out. The characters and their world were undoubtedly alive in his imagination, but only shadows appear on the paper. It is a perfectly pleasant read and I wish I'd read it on a beach somewhere instead of in my lunch break, but I came to the book with the wrong expectations and finished feeling disappointed. There were no complex characters or intricate plot strands and the multilayered, technicolour world promised by the cover turned out to be a bit beige.

This particular edition, incidentally, contains extra bonus material, most of which (an introduction, an alternative prologue and an interview with the author) is quite interesting and some of which (reading group discussion questions) is excruciatingly cringeworthy.


Enchanting, 18 Nov 2008
I loved this book.
I was recommended it by someone and was initially not convinced, and I don't regret changing my mind for a minute.

Ok, me being a bit blonde took me a while to realsie the names of some of the places and people were tube stations... But was overjoyed when it ''clicked' in my head.

It's set it London but, it's not, which is the beauty of it, as this place is this other world full of magic and fantasy. It's one of those books where you can truly appreciate an authors imagination and love for creating the book.

What more can I say about it, I'm the type of person that will sit down and read a book in one single sitting if I can, especially if I enjoy it.
And I deprived myself of sleep to fiish this one.

Simple but fun, 20 Aug 2008
This was one of those books which I really wanted to be better than it is. I'm a huge fan of Neil Gaiman's Sandman series, which I think was an incredible achievement. Unfortunately Neverwhere really suffers by comparison.

The concept of an alternate London hidden behind the 'real' one is fascinating, and as an adventure it rolls along at a cracking pace. However some of it is pretty simplistic, which came as a real surprise compared to the intricacies of the Sandman saga.

For example, having a character who has the ability to open any door (and other things) is interesting, but calling that character 'Door' is a bit simplistic.

On the whole it's an enjoyable read, just not Gaiman's finest work.

The genius of fantasy..., 14 Jul 2008
Neverwhere is a dark, atmospheric and extremely well written example of the genius of fantasy... it can by blowing our minds with strange new realms and worlds weave in poignant reflections and observations of our world, whether you acknowledge these undercurrents or simply enjoy the magic and escape it's what we connect to. Gaiman explores the issue of homelessness by taking a bemused office worker named Richard Mayhew out of the comfort of daily London life, this character is the epitome of the individual who lives a structured and normal life, proposing to his girlfriend because it's the appropriate next step and just screaming out for something different with his troll figures that he puts on his desk because he thinks it makes him look more interesting. He is plunged into the complex and fascinating world of London below, comprised of people no longer part of the staple of society, people who are homeless by choice and others who have been discarded by the world, and oh my the characters created are very good, the rat people, the caring but pessimistic monks, who can handle a fight. I'll agree with some of the other reviewers and say there are touches of predictability to the story but it's like a fairy tale quest in structure and I love that about it.

After helping an injured girl named Lady Door who's been orphaned and is being chased by the villainess Mr Croup and Mr Vandemar who killed her family Richard becomes one of the many faceless people who occupy the alleys and dark places of London. By helping Door discover the reason for her family's death he hopes to get back to London above, what they discover is a powerful huntress, a mad Earl, a kindly Old Bailey, a viscous beast, an witty Marquis, an irate angel and the destruction of the hope of equality to a society that works by what you can scrounge not what you earn, occupied by people who do what they want. But that's this fantasy worlds charm and its got plenty of charm. Richards's voice is engaging, funny and observes the parade of bizarreness and detailed oddities with a detached sort of uncaring, who cares if it's real when he just wants to go home? This is a very good book and definitely worth buying and keeping and reading over and over.


Fantastic in all possible senses of the word, 22 Apr 2008
For those of you confused by the addendum: The Author's Preferred Text, Gaiman explains in the preface that this book started life as an idea, then a television script and went through several revisions before this version. Here he has edited and pulled together everything to come up with something he's most happy with. I can't say I've read any other version, but I would say that this one is excellent, so he's obviously on to something there.

The story centres around the hopelessly ineffective nice guy Richard Mayhew. He has an ordinary life and an ordinary job and a demanding girlfriend. One night he saves the life of what he thinks is a homeless girl. It turns out that she is the Lady Door, and is a prime mover and shaker in a London which lives underneath the vanilla version and which is full of danger and magic and adventure.

Once Richard has bumped into this world he begins to fade from the regular world and is forced, whether he likes it or not, to help Door locate the mysterious Angel Islington and escape the menacing clutches of Mr Croup and Mr Vandemar, two of the most repulsively entertaining villains I've ever come across.

This is really a book where London is the star. It's a wonderful critique of and hymn to a city with more personality and brio than most people. It's inventive and full of surprises. It's funny and horrible. It keeps you turning the pages, desperate to find out what happens and then sad when you reach the end. I'd pay Gaiman to write a sequel, it's that good.

An Epic from Start to Finish, 29 Nov 2008
I was first introduced to the work of David Gemmell at age 14, when I loaned a copy of Lion of Macedon from my Uncle. I couldn't put it down, and borrowed Dark Prince straight after. They were classics, and I knew it.

I saw this on the shelf of my local waterstones, and after nine months of reading mostly Star Trek and Doctor Who books, I was looking for something a bit different. This was it. It is a gripping read, which never fails to disappoint.

The story itself centres around 'The Golden One' Helikaon, prince of Dardania, and his voyages and escapades sailing his ship, the Xanthos, across the murky waters of 'The Great Green' (Mediteranean Sea). It follows the exploits of him and his friend Zidantas and the crew of his ship.

On her maiden voyage the Xanthos picks up two Mykene Warriors, one who is called Argurios, and is one of the main characters in the book.There is some animosity between Helikaon and Argurios to start with, although this is metered with an amount of Respect and Mutual Appreciation, which leads to often surprising situations and scenarios.

As well as his friendship with Argurios, the story centres around the love of Helikaon for Andromache, a priestess of Thera, who is openly bi-sexual, and apparently very attractive in a non-descript sort of way. Either way there is some Poltical conspiracy in their relationship as Princess Andromache has been given to King Priam of Troy to marry his Son, Hektor, the greek mythos.

What a great read it is! I simply couldn't put it down, although it is true that characters like Hektor and Odysseus only play a supporting role in this re-telling of the Greek Legend, their pressence is felt throughout the story, as are the consequences of Battle, Piracy and Betrayal.

I recommend this to anybody, especially Lord of the Rings Fans!

"Fantastic" what more can one say, 27 Jun 2008
I have just finished reading `Troy fall of kings` the third book in this trilogy & what an uptake on the Troy legend,all three books are absolutely brilliant. I would like to think that some day maybe Peter Jackson or another with his vision & imagination would make some David Gemmell heroic fantasy novels into films & give them the true accolade they deserve. The best heroic fantasy novel books I have ever read.

Superb swashbuckling adventure with a Greek setting, 11 Apr 2008
Although this is set in ancient Greece it could really be set in Drenai or any other of Gemmell's worlds as it reads very similar to those, which is no bad thing as no one does heroic fantasy better than Gemmell.

This book is full of action, violence and war-mongering, along with some very well written characters. Gemmell's heros are never whiter than white, they always have their own flaws, which makes them very believable. Another awesome book from Gemmell.

Fantastic Read!, 28 Mar 2008
As with a number of other reviewers this was the first time I have read David Gemmell and it won't be the last. I enjoy historical fiction and this book is up there with the best. It is a great mix of awesome battles, romance, legend and humanity that leaves you unable to put it down. I read the last 250 pages on a transatlantic flight and couldn't wait to get volume two out of my suitcase when I got to my hotel room! If you enjoy Cornwell, Scarrow and Iggulden you will love this one.

Almost flawlessly enjoyable, 23 Mar 2008
David Gemmell was a prolific and popular author of heroic fantasy, penning more than thirty novels (most of them well-receved) between the 1984 release of Legend and his death in the summer of 2006. His final project was The Troy Trilogy, an epic retelling of the Trojan War, its causes and consequences, marrying the likely historical reality of the conflict (now seen less as a story of doomed love and more the explosion of tensions building up over decades between the Greek cities and the Hittite Empire) with some fantastical elements, although these are mostly restricted to prophetic dreams. Arguably the trilogy, or at least Lord of the Silver Bow, barely qualifies as fantasy, instead more neatly falling into the subgenre of the 'speculative historical' novel shared by the likes of Cornwell's Warlord Chronicles.

The time is three thousand years and more in the past. The world is dominated by the Great Green, the vast sea that divides the Greek city-states (now coming under the dominion of Mykene and its ruthless king, Agamemnon) from the Hittites and their colonies in the near east, Assyria further to the east and Egypte to the south. Lord of the Silver Bow is the story of several individuals. Helikaon, Prince of Dardania, is a warrior and sailor beyond compare, dubbed 'The Golden One' for his legendary luck and pride. He has built the Xanthos, the biggest ship on the Great Green, which sailors fear as it challenges the might of Poseidon. Helikaon is being hunted by assassins and has made an enemy of the Mykene for slaughtering their hero Alektruon, a pirate and reaver, but is unaware that Agamemnon has been told of a prophecy that he will be responsible for Agamemnon's downfall.

Meanwhile, the beautiful Andromache, exiled to the island of Thera by her father, is recalled after the death of her sister and is pledged to marry Prince Hektor of Troy, a warrior of legend. Her journey to Troy brings her into contact with Helikaon and his crew, a meeting that will spark many unfortunate events to come. The last of the three central characters is Argurios, a mighty Mykene warrior who loaths Helikaon, but destiny and honour compel him to fight alongside the Golden One and forge a story that will become a legend across the Great Green and challenge Agamemnon's wisdom and reputation.

Around these three central characters other lives become entangled: Xander, the ship's boy who becomes interested in healing; the strange Trojan girl and prophetess, Kassandra; the Egyptean exiled prince Gershom; the mighty warrior and legendary tale-spinner Odysseus, King of Ithaka; and King Priam himself, a contradictary figure, cruel and hateful one moment, with occasional flashes of honour and mercy.

Lord of the Silver Bow is nearly a flawlessly enjoyable book, with a depth of writing that is hugely engrossing and characters that leap clear of the page in their vividness. Such is the strength of the story that you forget you are reading a story that you know the end of, and the moments in the story that do intersect with the legend are all the most impressive for that, such as when the reader realises that Helikaon is actually Aeneas and when Prince Paris crops up for one of his extremely infrequent appearances. The combat sequences are brutal and convincing; the characters' philosophical musings are short, to the point and do not slow down the action; the drawing of the characters is so well-achieved that some of the deaths at the end of the book are almost physically painful to read about.

Lord of the Silver Bow (****½) is laying the groundwork for the war to come, but is in itself a hugely accomplished and significant epic fantasy novel with enough closure to make it a great self-contained work. The other two books in the sequence are Shield of Thunder and Fall of Kings.

There is a way into Faerie, beyond the fields we know, and it lies in a village called Wall, somewhere in the early Victorian era. Every nine years there is a fair on the other side of the wall, where Faerie sells its wares to the mundane. Farmer Duncan Thorne had his moment of mad love with a witch's bondservant; Tristan, his son, turned up in a basket nine months later. Now Tristan is old enough to fall in love, and promises Victoria a falling star... This is a fairy story in the tradition of George MacDonald and Hope Mirlees; a book of passion and terror and wit which reminds us that Faerie is not a safe place, or a fair one. And at its edges there lurk other stories--Neil Gaiman's work in comics and television has previously shown his capacity to evoke mystery and glorious magic by telling us just enough and no more, but he excels himself here. Charles Vess's illustrations, (Vess collaborated with Gaiman on key episodes of The Sandman), have charm and occasionally more--the stars dance, Pan looms from the forest, a witch queen rides a chariot driven by goats and Tristan journeys by candlelight lea