On the advice of several friends, I picked up a
copy of Graceling
in mid-September of last year.
Graceling is a first novel by Kristin Cashore. It's
really good, and I enjoyed it thoroughly. You should borrow or buy it
and read it, and loan it (or buy other copies and give it) to people
you know.
The setup of the story is replete with the apparatus of stock
fantasy: kings and princes and somewhat mystical powers -- i.e. the
tropes and elements that in the hands of someone with less imagination
and nerve would be dreadful, but works well when wielded with the
right balance and wit. (It works very well here indeed.)
The main character, Katsa, is a young woman (just about 18), neice
of King Randa of Middluns, who has a Grace. In this world, Graces are
semi-sort-of-magical powers, that manifest themselves in two ways: (1)
a very specific skill/talent/power; and (2) eyes of different colors
(Katsa has one blue eye and one green eye). Some Graces are benign
and in high demand (cooking skills or healing skills); some are less
benign but also in demand (fighting skills); others are simply not
very useful and are thus not prized -- but these Gracelings are
usually mistrusted and mistreated if they have been found wanting by
the Kings and Princes of the land).
Katsa's Grace revealed itself when she was eight years old and she
reacted instinctively to a leering courtier who tried to grope her --
reacted with lethal violence. From then on, she was trained to be the
King's special killer.
Much of the rest of the book concerns Katsa's growing desire to no
longer be the King's pet killer, and to change the circumstances under
which Kings can do such things. Much of the books' plot is set in
motion by the arrival at court of Prince Po[1] from the island kingdom
of Lienid, who is also Graced with amazing fighting skills. Katsa
dislikes him on sight, which leads in the direction you'd probably
expect -- but usually along a non-obvious path.
One of the things I like most about the book is that while the
elements going into the story are fairly standard, they're put
together in ways that are often quite unexpected. And during the slow
reveal of the Main Villain (and I like that there are multiple
unrelated villains), the main characters aren't stupid. About three
pages after I figured out what the Main Villain is doing and how he's
doing it, and just before I started thinking, "Augh! The main
characters are dumb! How can they not see it?", they figured it
out. Hallelujah! Non-stupid characters, not artificially jerked
around to not see something that has become obvious to the reader!
And then even though they've figured it out, it doesn't help
much. Hooray for turning the screw another turn!
(Okay, I'm going to try to avoid saying anything more about the
plot. Really.)
There seem to be (broadly) two approaches to background detail. In
one, the author fills in lots of details about everything, and that
can help ground the reader to feel like the world in the book is
complete and fine-grained, but can potentially overwhelm the reader
with irrelevancies. In the other approach, things are sketched in
quick strokes and details are given only as necessary and/or pertinent
to the story, which can streamline a plot-heavy story but can also end
up leaving the reader feeling like they're missing the grit of a real
world. (My problem -- and I know that this is my problem -- is
that my reading brain is too lazy, or in a hurry, to make up details
to put in the background, so without a certain level of details, I end
up picturing things being very smooth and under-featured -- almost
cartoony.) An example of this split (or spectrum) in approaches is
how walk-on characters are handled: in some stories we learn names
for many or all walk-on characters (even horses and other animals),
while in other stories, no one gets named unless they're important to
the plot. Cashore's work falls into the second category. (David
Foster Wallace would probably be an archetype of the first.) Purely
as a matter of taste, I generally like to have more details rather
than fewer, but in a 471-page book (aimed at young-adult readers both
artistically and as a matter of marketing), it does make sense to me
to trim that back. (And of course, just because I would like
more details puts no onus on Ms. Cashore to do anything to change her
artistic choices.)
In summary: I really enjoyed this book and am looking forward to
re-reading it (probably fairly soon -- but perhaps I should wait until
either just before -- or maybe just after? -- the prequel,
Fire, comes out in October). Is it perfect? Nope. (Nothing
is.) But it's a cracking good first novel and I highly recommend
it.
[1] Every time I read "Katsa and Po" my silly brain does have a
tendency to recite bits from
The Mikado. Fortunately, this
didn't affect my actual reading of the book.