The Grace of Kings
By Ken Liu
4/5
()
About this ebook
Two men rebel together against tyranny—and then become rivals—in this first sweeping book of an epic fantasy series from Ken Liu, recipient of Hugo, Nebula, and World Fantasy awards. Hailed as one of the best books of 2015 by NPR.
Wily, charming Kuni Garu, a bandit, and stern, fearless Mata Zyndu, the son of a deposed duke, seem like polar opposites. Yet, in the uprising against the emperor, the two quickly become the best of friends after a series of adventures fighting against vast conscripted armies, silk-draped airships, and shapeshifting gods. Once the emperor has been overthrown, however, they each find themselves the leader of separate factions—two sides with very different ideas about how the world should be run and the meaning of justice.
Fans of intrigue, intimate plots, and action will find a new series to embrace in the Dandelion Dynasty.
Ken Liu
Ken Liu is an award-winning American author of speculative fiction. His collection, The Paper Menagerie and Other Stories, has been published in more than a dozen languages. Liu’s other works include The Grace of Kings, The Wall of Storms, The Veiled Throne, and a second collection The Hidden Girl and Other Stories. He has been involved in multiple media adaptations of his work, including the short story “Good Hunting,” adapted as an episode in Netflix’s animated series Love, Death + Robots; and AMC’s Pantheon, adapted from an interconnected series of short stories. “The Hidden Girl,” “The Message,” and “The Oracle” have also been optioned for development. Liu previously worked as a software engineer, corporate lawyer, and litigation consultant. He frequently speaks at conferences and universities on topics including futurism, machine-augmented creativity, the history of technology, and the value of storytelling. Liu lives with his family near Boston, Massachusetts.
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Reviews for The Grace of Kings
83 ratings27 reviews
- Rating: 5 out of 5 stars5/5Ken Liu is a multi-award-winning author and translator (in addition to being a lawyer and software programmer), probably best known for his short fiction. I was aware of Liu's work for quite some time before I actually read any of it. His award-winning short story "Mono no Aware"—one of my favorite contributions in the anthology The Future Is Japanese—was my introduction to his fiction and Liu quickly became an author who I made a point to follow. And so I was very interested to learn about his debut novel The Grace of Kings. Published in 2015 by Simon & Schuster's new speculative fiction imprint Saga Press, the novel is the first of three books planned for Liu's series The Dandelion Dynasty. Often described as a silkpunk fantasy epic, the novels are heavily inspired by Chinese history and the historical legends surrounding the Han dynasty, such as the extremely influential Romance of the Three Kingdoms.The islands of Dara were once made up of seven independent kingdoms which were constantly at war with one another. Generations passed before one of the kings was finally able to conquer the others, for the first time uniting the lands to form a single empire. The newly-coronated emperor intended to establish a lasting peace among the lands of Dara, but power has a way of corrupting its wielder and his vision was ultimately overshadowed by his ruthlessness. There were great undertakings made for the good of the empire, but there was also great suffering. As the emperor ages and approaches the end of his life, the stirrings of rebellion begin. Two very different men will be caught up in the resulting wars, becoming leaders in the conflicts as the empire disintegrates: Kuni Garu, a seemingly carefree, small-time gangster, and Mata Zyndu, the last in a long line of legendary warriors and generals. Whether through fate, luck, or the will of the gods, together the two of them are destined to help shape and reshape Dara as it enters into a new era.Over the course of The Grace of Kings, Kuni Garu and Mata Zyndu emerge as two of the most pivotal characters in the unfolding epic, but they are really only a small part of a much greater whole. Much like the historical legends that influence the novel, there are dozens upon dozens of named characters who play a significant role and whose actions, even those that seem inconsequential, will have a tremendous impact on the way events develop. Liu has established a complex world filled with differing cultures and traditions which are in conflict with one another. Government administration, politics, economics, commerce, social structures, history, religion, mythology, geography, agriculture, philosophy, education, innovation, technology and so much more have all been taken into consideration in the creation of The Dandelion Dynasty. And none of it exists in a vacuum. The interplay and intricate connections among all of these different aspects of Dara has been captured remarkably well; a simple change in one that may initially appear to be insignificant can trigger a chain reaction which has unexpected and far-reaching ramifications in the others.The Grace of Kings recounts over two decades of Dara's history and legends, following the people involved in the wars resulting from the collapse of the empire and the attempts made to establish a new order among the chaos. The story is told in short chapters, many of which at first don't seem to be directly related, but they slowly build upon each other as more and more connections form. The Grace of Kings becomes increasingly complex as it progresses but the novel is still easy to read and follow, showing how the actions of a single person can dramatically change the course of history. The world of The Grace of Kings is so incredibly well-realized that it can be imagined how events would have turned out if any particular person's decisions were made differently. Very few of the characters act maliciously without good reason and none could be described as evil for evil's sake; what they do they do because they believe it to be right. But even so, sometimes the consequences are heartbreakingly tragic. The Grace of Kings is the beginning of a spectacular epic; the magnificent worldbuilding and diverse cast of believably flawed characters greatly impressed me.Experiments in Manga
- Rating: 3 out of 5 stars3/5I really wanted to like this more than I did. Just seemed much too two-dimensional, and it was far too long to be two-dimensional. There were a few really excellent bits, but there were too few and far between for my liking. I think I may still try the next one, but if it doesn't get better quickly, I may give up on it early.
- Rating: 3 out of 5 stars3/5I am torn on this book. Parts of it were wonderful but other parts were convoluted and dragged a bit. I can see where some people would love it. It just didn't quite connect with me. I liked the world building but didn't always like the character building. A solid 3.5 but I am not sure I will read the next one.
- Rating: 4 out of 5 stars4/5This is an epic fantasy in the truest sense. The book is long and the cast of characters is large, but Liu's skillful writing makes it easy to remember who is who. I love the classical feel of the book, with its heavy Chinese influences, and how even the gods make intermittent appearances.I won't get into details about what happens. There are too many twists and turns, and I don't want to spoil it for anyone. I have encountered other reviews that criticize the minimal role of women. I agree with this assessment for the most part, though the few women in the cast play absolutely vital roles.I thoroughly enjoyed Grace of Kings. It's a thick tome, but the pace is consistent and it is a fast read. The novel is worthy of its buzz and I fully expect it to be up for multiple awards in 2016.
- Rating: 4 out of 5 stars4/5At times overwhelming. Definitely needs a reread before the next one comes out.
- Rating: 3 out of 5 stars3/5Took me a while to great this. Not sure I really got in to it either. Interesting to have a Chinese dimension for a change.
- Rating: 4 out of 5 stars4/5Overall pretty good, but some of the section were too short, while others dragged on a bit. The gods aspect seemed kind of an afterthought: book might actually have been better without it.
- Rating: 3 out of 5 stars3/53.5 enjoyed it but not enough for me to carry on with the series, I just felt at times that some characters acted oddly to how there had acted before also the Gods didn't work for me
- Rating: 3 out of 5 stars3/5An ambitious, epic fantasy... that at times felt more like reading a history than a novel.
I've become a fan of Liu's short stories, so was eager to read his debut long-form novel. (At over 600 pages, it is pretty long).
We're introduced to the archipelago of Dara, a collection of islands which seem to be constantly at war. The book follows a number of characters who plot coups, rise to power, form alliances, betray each other, and sometimes die miserably and violently.
It's a fantasy-with-not-much-magic. There are gods who spend time commenting on human behavior, and occasionally making suggestions directly to individuals. There are a few fantastic beasts and mysterious occurrences, but largely the laws of physics apply. In that, in reminded me of much of Guy Gavriel Kay's work, especially the recent 'River of Stars.'
The main characters are Kuni Garu, a seemingly 'ordinary man' who may have a great destiny, and Mata Zyndu, who never seemed ordinary - it was always assumed that he was born to be a hero. Their changing relationship is the thread that runs throughout the book - however, there's a sometimes-dizzying cast of other characters.
Dara is described as very ethnically diverse, but culturally, it seems pretty Chinese. I have a sneaking suspicion that if I were more familiar with factual Chinese history, I might find some interesting parallels here. At times, the plot events seem like they must be based on real events, because while their complexity seems like more than a fictional plot would call for, it's very much in line with power struggles that might really have happened, with many different factors coming into play.
Individual chapters here are brilliant. The writing is excellent, and some of the scenes are beautiful, heartbreaking, or thought-provoking. I very much agree with many of the observations and conclusions that are brought to the forefront through the narrative. They include philosophical notes on war and the nature of conflict, human relationships, gender roles, how expectations can twist people, etc. At times they were just slightly too obvious, though. Taken as a whole, the book took a bit of work to get to, and I found myself a little bit distanced from it. Maybe it's the third-person objective point-of-view which contributes to the 'history-book' feeling I mentioned. - Rating: 4 out of 5 stars4/5File under: Books that I admire more than I like. While I started out reading this with high expectations after awhile it seemed to have too much incident and not enough character development; when I found myself mostly relating to the Emperor Mapidere I suspect this is not the result the author would have wanted. At least one of my fellow book-group members found this whole cast of characters too flat to be acceptable.
- Rating: 5 out of 5 stars5/5Absolutely amazing book the is written in a way that makes you think it is real historic events. The story itself is very similar to Chinese classics like Romance of the Three Kingdoms or even similar to Greek epics, but has a modern way of writing. The book could have easily been separated in two books, but I appreciate it being one longer book as it keeps the essence of the book alive and well. The story is riddled with different themes and even addresses certain aspects, such as sexism, honor, love and brotherhood. The main thing I took away from the book was the idea of it is not what the actual truth is, but what people perceive as the truth. Great novel with great characters that are all truly flawed heroes.
- Rating: 3 out of 5 stars3/5The Grace of Kings is a good book. I liked it. I really liked it. The prose is beautiful. Ken Liu can really write . The depravity of war and conquest is more terrifying and the heat of battle more intense simply because it was he who wrote it.
The world building is vast and well put together. However, as detailed and well constructed the as the world itself is, the characters lack in depth.
None of the extraordinarily large cast has much, if any, depth whatsoever. They have characteristics and qualities, but there is never any real, solid character development. Even the main characters suffer from this, and, certainly, do the host of assorted characters who pop in and out of the story. There aren't many female characters within this large cast either. I can't necessarily fault the story for this. It's a tale of war in a society where women weren't fighters or leaders, so I can understand. But those women who did show up were treated with the same lack of depth as the rest.
In that same vein, the story does grow predictable. It becomes easier and easier to predict characters actions, and, ultimately, the outcome of individual battles and the war itself.
In the end, the book fell a bit short for me. - Rating: 4 out of 5 stars4/5The scope is massive. There are many, many characters and this book takes you to a real journey. I was looking to get back to reading fantasy and after a warm-up with Ursula K. Le Guin, this tome appeared. At the beginning I was little lost and confused, but just kept reading. Soon the characters started to come alive, things started to connect and the book started to make sense, creating a rich world in my imagination. Give it a try and keep reading. For the last 100 pages I was hypnotized.
- Rating: 5 out of 5 stars5/5feels like a novel of ancient Chinese myths.
- Rating: 1 out of 5 stars1/5I struggled to make it all the way through this book. Very slow moving and I didn't care one way or the other about any of the characters. This is one of those times where I just have to scratch my head since it's received several awards. I would say that it's going to be one of those books that strikes each reader differently. With me...it struck out.
- Rating: 1 out of 5 stars1/5Awful - a muddy book
- Rating: 4 out of 5 stars4/5Pretty Darn good, I liked it...
- Rating: 4 out of 5 stars4/5The Grace of Kings represents a wonderful breath of fresh air within the high fantasy genre. In a space that is dominated by Western-inspired worlds, Ken Liu creates a beautiful world inspired by Chinese culture and history. It's a novel that focuses primarily on world-building and plotting; even the characters and their development feel like they serve to put the world in perspective. The focus comes at the expense of making characters seem a little more one-dimensional than they really are: while many of the protagonists do have multitudes, they almost always serve as a plot or world-building device. As a result, the writing feels somewhat detached or scribe-like compared to other novels in the genre. Overall, The Grace of Kings is a beautiful first entry in The Dandelion Dynasty and I look forward to the future entries in the series.
- Rating: 5 out of 5 stars5/5I was never a really good student of history. But my family background being Chinese, I’ve always been taught to embrace my heritage. I grew up listening and adoring the legendary tales of Ancient Chinese history told to me by my parents and grandparents, who have learned these things themselves when they were children. My great uncle was also fond of watching old Wuxia operas and historical dramas, and he used to record these and leave the tapes at our house for the curious and unsuspecting adolescent me to find. They were…interesting.It seems like I’m zipping off on a tangent here, but really, I’m trying my best to explain why I loved this book so much. I read The Grace of Kings with a strange mixture of emotions I’ve never experienced reading anything else in my life. It was part giddiness at the familiarity of the topic; the fall of the Qin Dynasty and the subsequent rise of the Han Dynasty being such an important and tumultuous period in China’s classical age, it was instantly recognizable that this interregnum was what Ken Liu was basing his story on. I was like, “Oh, I think I know the story or legend that inspired this scene/character/event, etc.!” pretty much every few chapters.I was also moved. It won’t be easy trying to describe my emotions while reading this, but I’m going to damn well try. In essence, seeing what the author has done here – taking these snippets of legends and tales from history that I’ve grown up with and incorporating into this novel, forming this wondrous piece of literature – at times it was too much to take. Many of the side stories in The Grace of Kings had the feel and atmosphere of the old anecdotes my elders shared with me when I was younger. At times I got so sentimental that I was nearly moved to tears. It’s also a beautiful book. I don’t usually get sappy in my reviews, but I don’t know how else to tell you just how much reading this novel affected me. I saw Ken Liu take a historical narrative that I know and love, and transform it into this gorgeous work of art.While The Grace of Kings is a combination of East Asian sources with Western elements, that’s only just the beginning. It’s also a blend of storytelling traditions from various other cultures and historical eras along with elements from epic fantasy, mythology, and even a bit of steampunk action with airships and war kites and airborne duels thrown in. The novel’s themes speak to the human condition, exploring the corrupting force of absolute power and the chaos that inevitably follows great change, but the original and poignant execution by Liu gives it all a fresh and new perspective.Indeed, the novel is different from a lot of today’s mainstream fantasy. Expressive modes of storytelling aside, a lot of the nuances can also be attributed to the writing style. It took a long time for me to read The Grace of Kings, for as fervently as I would have liked to devour this book, it just can’t be rushed. In this sense, Liu’s writing reminds me a lot of Guy Gavriel Kay, another author of historical fantasy whose work I greatly admire and respect. Like Kay again, Liu’s evocative prose feels almost like poetry, meant to be savored. In between the major perspectives like those of Kuni Garu and Mata Zyndu, Liu also inserts mini-narratives from those around the main characters. A pantheon of gods stand witness to a group of people whose lives have been touched by the two leaders, and by the events surrounding the uprising against the emperor. War is never insignificant or simple; its effects are felt far and wide by everyone, from all walks of life. Each person has a tale to tell.This collection of narratives therefore makes the widespread conflict feel more realistic, though one downside is that it puts a distance between the reader and the events of the story, making some of scenes featuring significant developments like major victories and defeats feel muted and less impactful. On the other hand, being able to follow a vast network of characters also greatly opens up the world.That said, the up-close-and-personal relationships are important to the story too. Mata Zyndu appears to be based on the warlord Xiang Yu while Kuni Garu is loosely modeled after Liu Bang, both prominent historical figures during the insurgency in the late Qin Dynasty. Both characters have similar goals during the revolution to overthrow a brutal reign (a friend of mine has playfully compared this to Game of Thrones, calling it “Ned Stark and Robert Baratheon: The Early Years”), but then later on they come to blows. The story immediately picked up for me after the two of them meet, and it just took off from there.Ken Liu deftly chronicles the relationship between Kuni and Mata, contrasting them and emphasizing their ideological differences from the beginning, despite their easy friendship. Things don’t even slow down even after the overthrow of Erishi, Emperor Mapidéré’s weak heir. Honorable, ruthless Mata is often at odds with the fun-loving and merciful Kuni, and the conflict finally boils over in the mayhem that follows. After all, there are many ways to wage a war, with honor and guile being two sides of the same coin. Just when you think things are winding down, the true excitement begins. My favorite character doesn’t even make her first appearance until around the three-quarters mark: Gin Mazoti, who was an orphan born to a prostitute and survived a rough childhood on the streets to become the greatest military strategist the world has ever seen. Gin stormed onto the page amidst the chaos, and I fell in love with her character immediately. I could probably write a whole page about how awesome she is, but there are certain things best left to surprise.The greatest stories are those that stir both the heart and mind, and The Grace of Kings is one of those rare novels that accomplishes this feat magnificently. Ken Liu gives readers a lot more than just a story about epic battles, friendship and betrayal, compassion and cruelty; he also inspires. After reading this book I wanted to dig deeper into the historical period that the story was based on, to give myself more context to the tales and legends I’ve always heard about. Highly recommended for epic fantasy fans looking to venture beyond traditional boundaries, and for all readers who love being immersed in incredible breathtaking worlds.
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- Rating: 3 out of 5 stars3/5Brilliant in many ways yet in the end not my cup of tea. The Grace of Kings is the story of the overthrow of a king/tyrant. Yet the question remained, what was he being replaced with? Who and what? Many individuals in this story battled to become his replacement, but is the new boss same as the old boss? If the system does not change, do we only live better thanks to the grace of kings? Or queen as the case may be? Are we simply dependent on the generosity of the rich and powerful?The Grace of Kings is set in a quasi-Chinese medieval world with elements of both magic and steampunk. Liu does a nice job of building a coherent and consistent world to play out his continent wide story of intrigue and warfare. He deftly shifts back and forth between individual characters and shifting political alliances to play out both human and geo-political stories. I found the decisions he made as to how political actors would vie back and forth for power to be both unexpected and believable. He has a knack for interweaving different levels of self-interest and greed, ignorance and fear, nobility and empathy, and the detached tyranny of royalty who have no relationship to lower classes. He also has a strong feminist sensibility wherein women are both oppressed and underrated actors who can assume great positions of power when they are clever enough to maneuver for position. In fact, women as political actors is not implied, it's a distinct vein of the story.With so much going for it, why didn't I love this political fantasy? Primarily because it was so militaristic and geo-political, it's not a world I enjoyed living in for 600 some-odd pages. A bit too much like a very clever game of Risk. I prefer a story closer to the characters. I found that Liu kept us at arm's-length from the characters. Mostly believable characterizations yet I never felt close to them or that I really knew them, with intermittent exceptions.Nonetheless, I can recommend this story to lovers of epic fantasy. It's quite well written with impressive understanding of both military and political strategy as well as the human cost of war and dictatorships.
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- Rating: 2 out of 5 stars2/5"How alone he is, high above in his peerless splendor. And how afraid."- from Ken Liu's "Grace of Kings" Ken Liu crafts a beautifully vibrant world in the early parts of his new fantasy, "Grace of Kings". Through the first third of the book, Liu’s world, reminiscent of medieval Asian empires, contains characters that give his story life. There's an intense reality to the history and the mythology that imbues his world with a third dimension.The plot is fairly straight forward…Within a single generation, an evil empire rules the world. Some citizens adjust and go along with the new regime, while others can never forget the crimes committed against themselves and their families. Some characters are heroic, all are flawed. Revenge is a theme painted in bold strokes while the characters morph rather abruptly over the length of the plot.With a touch of Homer, Liu’s Gods poke around in the world of measly humans. Though, like the ancient gods in Greece, they have a fairly arbitrary set of rules so they’re able to only stir the trouble, not directly impact people’s actions.Unfortunately, most characters are rather two-dimensional. And while the story soars to heights equal to the emperors' armada of silk-covered airships in the first third of the book, the plot falls over under it’s own weight in the middle. The plot thickens, but the narrative thins. While clocking in at just over 600-pages, it feels that author Liu might’ve felt rushed after creating a tremendous foundation in the early goings of the novel.I thoroughly enjoyed the early parts of the story. Part mythology, part fantasy, and part fairy tale, the experience was delightful. But I simply found the latter two thirds of the book to be a disappointing slog. I received this through Amazon’s Vine program.
- Rating: 5 out of 5 stars5/5There’s been a lot of anticipation about the release of THE GRACE OF KINGS, Ken Liu’s debut novel. If you haven’t heard of Ken Liu, he’s an accomplished writer of short fiction – his story, PAPER MENAGERIE, won the Hugo, the Nebula and the World Fantasy Award. I was very excited to get an advance review copy, and I’m glad to say that it didn’t disappoint.Emperor Mapidéré has achieved the seemingly impossible dream unifying of the islands of Dara, but he’s dying, and his empire is buckling under the strain of his autocratic rule. In a time ripe for rebellion, Kuni Garu, a charismatic working-class rogue (the “Dandelion”), and Mata Zyndu, the proud son of a fallen aristrocratic family (the “Chrysanthemum”) are determined to see that dream through. At the brink of victory, though, their fast friendship suddenly turns into deadly enmity, and things aren’t quite so clear cut.The writing style and narrative structure of THE GRACE OF KINGS is fairly unique – it is told simply but perceptively, with myth/folktale qualities. I read somewhere that it’s influenced by Chinese pingshu storytelling, but I know nothing about that. There’s no point of view character, instead we get the whole story from a variety of different points of view as the plot demands, sometimes switching to entirely new characters from across the continent from where our protagonists are. None of the scenes lasts very long, the dialogue is economical and direct (but not so much so as to be unrealistic/humorous like the Belgariad, for example) but still conveys immense subtlety.I ended up comparing THE GRACE OF KINGS to THE LIONS OF AL-RASSAN by Guy Gavriel Kay, which I read only a few weeks ago, and it’s not really a fair comparison, but I’ll talk about it (no spoilers) since I’m sure it influences my review. Both books are about two larger than life men and the conflict that they are forced into, and both have extraordinary but different styles of prose. In THE LIONS OF AL-RASSAN, we’re firmly focused on the characters – Rodrigo Belmonte and Ammar ibn Khairan are truly larger than life, incredible, men through the force of their own personalities, representing the best a human can aim to be. The reader cannot help but love them. In THE GRACE OF KINGS, the focus is more on the tale that is being told – Kuni Garu and Mata Zyndu are more a product of their circumstances. Their personalities are very much evident, but much of what they do is because of advice, politics, the intervention of the gods. They are certainly extraordinary heroes within their world, but they still act in accordance with their natures, they don’t try to rise above them.This makes complete sense if you look at it in terms of Western and Eastern philosophy – the Western tradition focused a lot on improving the self and the role of every individual (THE LIONS OF AL-RASSAN is a parallel of Moorish Spain), but Eastern philosophy emphasizes interconnectedness and inevitability (THE GRACE OF KINGS is inspired by ancient China). It’s a pretty minor distinction, but it made THE GRACE OF KINGS seem grimmer and not have as much heart, although it just comes from using a different storytelling tradition.Okay, so this book is well-written, but it is also a lot of fun. Ken Liu calls it “silkpunk” – a riff on steampunk that is inspired by East Asian antiquity, and it features some fascinating takes on traditional steampunk technologies – airships, submarines, gliders, and other cool gadgets. There are multiple wars in this book, so there’s plenty of thrilling and often cinematic action. There’s a lot of unexpected humor, and some truly dramatic moments (the one where Mata Zyndu finds his horse, for instance), often aided by the gods.Speaking of the gods, I loved how they were portrayed. Each of the countries has their own god, and they (of course) swear not to interfere in the affairs of mortals, and manage to sneak a whole bunch of interfering in while keeping to the letter of their agreement. They’re often not any wiser than the mortals, though, and although their motivations can be mysterious, sometimes they are quite petty. I’m familiar with spiteful, squabbling gods from Hindu mythology, and they heightened the mythological feel of the book.Although the plot of the book was based loosely on the rise of the Han dynasty in ancient China, I appreciated the fact that the world was very different from ancient China. The Islands of Dara are an archipelago, for one, and their customs are not distinctly evocative of any one place. The world seemed organically built based on the geography and the cultural interplay, and that is the best kind of world.The one thing that I didn’t enjoy about the book was how much of what happened happened because people were greedy and power-hungry. I think this goes back to the same kind of inevitability that I talked about earlier – it almost felt like many of the characters were the same kind of person, and the only reason they acted differently was because of their circumstances. Rebels replaced tyrants and became tyrants themselves, competent men and women let their competency go to their head and ended up destroying everything they’d worked for because they wanted more power. There were exceptions, but even they were tempted. It seemed like a world where ambition was expected, or maybe the story only focused on the ambitious people; I’m not sure – it is a book that’s about empires toppling, after all. I kept wishing for some nice characters, but they all ended up dead. If you’re a fan of A Song of Ice and Fire etc., this may be a feature, not a bug.I’m uncertain about how I feel about the end of the book. It was a self-contained story, but the way everyone was acting made me uneasy for the future. It does make me excited to read the next book, though – especially because Ken Liu has said that each book will have a different theme, and the next one will focus more on historical misogyny.
- Rating: 4 out of 5 stars4/5This epic fantasy spans decades, starting with a corrupt rulership that has much of the population enslaved one way or another, plenty of folks plot and scheme for a better life. Folks get their wish, sort of, as factions break away from the old regime. Kuni Garu and Mata Zyndu become leaders of two of these factions and eventually good friends. However, the glory of battle after battle and the resultant peace will test their friendship.This was a beautiful, sweeping story. The characters were fascinating and the cast was well balanced. At first, I thought the story would be a kind of alternate Japanese ancient history tale with some mythology tossed in. I was a bit off the mark. While this story has that indeed, there is so much more going on. Various ethnicities are represented and while the story centers around a series of islands, there is plenty of back and forth with the mainland. The characters, by and large, know the world is larger than their immediate settings. Also, there are deities gambling on their chosen favorites, finding sneaky little ways to affect the world they watch.I especially loved the fighting kites. Yes, these are kites that a warrior straps to their back and they are lifted into the air to do either reconnaissance or battle. There are several scenes that make good use of these kites. There are also airships in play as well!There are plenty of ladies in this novel and they are not trivial bits of pretty fluff either. Gia is skilled at herb lore and administering her household. She’s a fit mind to spar with one of our heroes, Kuni. Late to the show we get a female warrior, Jin, and I hope we see more of her in Book 2. There are other ladies with large and small roles, but these two really stood out to me.Kuni wasn’t my favorite character in the beginning but he grew to be so. He starts off as a bit of a wastrel and layabout. He gambles and drinks too much and refuses to work. Yes, he still lives with his parents, so they have to put up with his self-centered uselessness even as they see that he’s clothed and fed. Then things start to change for him and he becomes something else by the middle of the book. He kind of stumbles into his calling.Meanwhile, Mata struck me as a fascinating character right from the beginning. He’s from a royal family and was raised to be a ruler, if not the supreme ruler. He has refined manners and tastes. Plus he is simply physically imposing with his 8 foot stature and his double pupils. Yes, double pupils. Go look that up. There’s plenty of mesmerizing images even if there isn’t a scientifically documented occurrence.There’s one drawback to this book and that is all the rather long info dumps. The author writes beautifully, so often I found myself in the middle of an interesting info dump before I knew it. However, there are so many of them that I felt that a good chunk of this book was written like a history novel instead of an action-packed epic fantasy. Perhaps that is exactly what the author intended. Even with all the info dumps, I still really enjoyed the tale.The Narration: Michael Kramer is a long-time favorite narrator and he doesn’t disappoint with this performance. He has a matter-of-fact voice for the longer info dumps and a variety of voices and accents for the multitude of characters. He’s also great with emotions for the more poignant scenes.
- Rating: 3 out of 5 stars3/5This is one of those times where I can see the merit of a book even though I didn't connect to it as much as I had hoped. I did tear up by the end of The Grace of Kings, but it was a long time getting there. I felt like I kept trying to give this book a big hug and it kept putting its arm out to stop me from getting close. The writing style makes it feel very much like you're watching everything happen from pretty far away and you don't get much chance to emotionally connect with the bajillion characters. If you like battles, this is the book for you. I don't much care for battles and war, so while I'm happy I finished it in hindsight because I really liked moments, I probably won't continue the series.
1 person found this helpful
- Rating: 4 out of 5 stars4/5This was kind of strange, but not necessarily bad. The long Asian-style names made it very hard to keep track of a large cast of characters (especially on audio) and for the first 20% of the story it was there didn't seem to be any main characters. It jumped around a bunch and then at some point it was finally obvious. The good thing was that once the main characters were obvious they were very likable characters.The other strange thing about it is that it seemed like it could end multiple times, but didn't. It threw me, but I actually like it because it was original. It was like there were multiple climax's to the story, like "Yeah! Everything worked out, the good guys won! ... oh wait, Houston, we have a problem." I definitely glad that the last 5 hours of listening wasn't a epicly long epilogue. This almost seemed like an Asian "Game of Thrones", but it was nowhere near as gritty and engrossing. So maybe a YA Game of Thrones. Maybe especially because there was no real magic going on and lots of political intrigue.
- Rating: 5 out of 5 stars5/5When I first started reading this book, I thought it would be a historical fiction novel featuring Edgar Allen Poe and the Usher family that he wrote about over a century ago. It turned out to be set in modern day. I was hoping for historical fiction given that McCammon is terrific as an author in that genre. Having said that, Usher’s Passing did not disappoint.It was an interesting and imaginative tale. In this world, the Usher family is one of the wealthiest in the world, with their fortune tied to the sale of arms. Rix Usher is the outcast of the family. He’s a horror writer (I imagine Robert McCammon put some elements of himself into this character). He’s vehemently against the family business but returns to their compound in North Carolina with his father dying. Although Rix doesn’t want anything to do with the family business, he wants to write an expose/history of the family in sordid detail. But what lurks beneath the surface is the supernatural and how the family has been able to achieve the fortune through ties with otherworldly forces.There are some nice twists and turns in this novel. The main baddie here is the Pumpkin Man, a supernatural character who has been abducting children for decades. When the reveal was finally made about the Pumpkin Man’s identity, I was surprised. It was a well delivered set up that made sense in retrospect but caught me off guard. I thought there was good character development in this novel, with a good many memorable characters. The writing was strong and purposeful. The supernatural elements mixed in well with the parts that were grounded in reality. My only negative was that I felt it dragged in certain parts and could have used some trimming to make it a tighter story.Carl Alves - author of The Invocation
- Rating: 5 out of 5 stars5/5Three of my favourite books by Guy Gavriel Kay are Lions of Al-Rassan, Under Heaven and River of Stars. The Grace of Kings is very much a book that belongs in this company.
Like all three books, this is also fantasy light set in an imagined world. Like Under Heaven and River of Stars it is clearly about a version of China painted by someone who very much cares for the source material and is willing to spend considerlable prose to get the ambience just right. The poetry, the characters and the entire set is painted with the same care Ken Liu use in his short stories.
Like Lions of Al-Rassan this is also a book about friendship, about war and how power changes relationships. It's also a book about heroes.
But it is not a book by Kay. There's more action, the cast and the stage is larger. This is neither better nor worse, just different. Liu is creating something new, whereas Kay was recreating something that could have been. Liu uses a slightly broader brush than Kay and Kay hits harder with his emotional punches.
They are both delightful.1 person found this helpful
Book preview
The Grace of Kings - Ken Liu
ALL UNDER HEAVEN
CHAPTER ONE
AN ASSASSIN
ZUDI: THE SEVENTH MONTH IN THE FOURTEENTH YEAR OF THE REIGN OF ONE BRIGHT HEAVEN.
A white bird hung still in the clear western sky and flapped its wings sporadically.
Perhaps it was a raptor that had left its nest on one of the soaring peaks of the Er-Mé Mountains a few miles away in search of prey. But this was not a good day for hunting—a raptor’s usual domain, this sun-parched section of the Porin Plains, had been taken over by people.
Thousands of spectators lined both sides of the wide road out of Zudi; they paid the bird no attention. They were here for the Imperial Procession.
They had gasped in awe as a fleet of giant Imperial airships passed overhead, shifting gracefully from one elegant formation to another. They had gawped in respectful silence as the heavy battle-carts rolled before them, thick bundles of ox sinew draping from the stone-throwing arms. They had praised the emperor’s foresight and generosity as his engineers sprayed the crowd with perfumed water from ice wagons, cool and refreshing in the hot sun and dusty air of northern Cocru. They had clapped and cheered the best dancers the six conquered Tiro states had to offer: five hundred Faça maidens who gyrated seductively in the veil dance, a sight once reserved for the royal court in Boama; four hundred Cocru sword twirlers who spun their blades into bright chrysanthemums of cold light that melded martial glory with lyrical grace; dozens of elegant, stately elephants from wild, sparsely settled Écofi Island, painted with the colors of the Seven States—the largest male draped in the white flag of Xana, as one would expect, while the others wore the rainbow colors of the conquered lands.
The elephants pulled a moving platform on which stood two hundred of the best singers all the Islands of Dara had to offer, a choir whose existence would have been impossible before the Xana Conquest. They sang a new song, a composition by the great imperial scholar Lügo Crupo to celebrate the occasion of the Imperial tour of the Islands:
To the north: Fruitful Faça, green as the eyes of kind Rufizo,
Pastures ever kissed by sweet rain, craggy highlands shrouded in mist.
Soldiers walking next to the moving platform tossed trinkets into the crowd: Xana-style decorative knots made with bits of colorful string to represent the Seven States. The shapes of the knots were meant to evoke the logograms for prosperity
and luck.
Spectators scrambled and fought one another to catch a memento of this exciting day.
To the south: Castled Cocru, fields of sorghum and rice, both pale and dark,
Red, for martial glory, white, like proud Rapa, black, as mournful Kana.
The crowd cheered especially loudly after this verse about their homeland.
To the west: Alluring Amu, the jewel of Tututika,
Luminous elegance, filigreed cities surround two blue lakes.
To the east: Gleaming Gan, where Tazu’s trades and gambles glitter,
Wealthy as the sea’s bounty, cultured like the scholars’ layered gray robes.
Walking behind the singers, other soldiers held up long silk banners embroidered with elaborate scenes of the beauty and wonder of the Seven States: moonlight glinting from snowcapped Mount Kiji; schools of fish sparkling in Lake Tututika at sunrise; breaching crubens and whales sighted off the shores of Wolf’s Paw; joyous crowds lining the wide streets in Pan, the capital; serious scholars debating policy in front of the wise, all-knowing emperor. . . .
To the northwest: High-minded Haan, forum of philosophy,
Tracing the tortuous paths of the gods on Lutho’s yellow shell.
In the middle: Ring-wooded Rima, where sunlight pierces ancient
Forests to dapple the ground, as sharp as Fithowéo’s black sword.
Between each verse, the crowd bellowed out the chorus along with the singers:
We bow down, bow down, bow down to Xana, Zenith, Ruler of Air,
Why resist, why persist against Lord Kiji in strife that we can’t bear?
If the servile words bothered those in this Cocru crowd who had probably taken up arms against the Xana invaders scarcely more than a dozen years ago, any mutterings were drowned out by the full-throated, frenzied singing of the men and women around them. The hypnotic chant held a power of its own, as if by mere repetition the words gained weight, became more true.
But the crowd wasn’t close to being satisfied by the spectacle thus far. They hadn’t seen the heart of the Procession yet: the emperor.
The white bird glided closer. Its wings seemed to be as wide and long as the spinning vanes of the windmills in Zudi that drew water from deep wells and piped it into the houses of the wealthy—too big to be an ordinary eagle or vulture. A few spectators looked up and idly wondered if it was a giant Mingén falcon, taken more than a thousand miles from its home in faraway Rui Island and released here by the emperor’s trainers to impress the crowd.
But an Imperial scout hidden among the crowd looked at the bird and furrowed his brows. Then he turned and shoved his way through the crowd toward the temporary viewing platform where the local officials were gathered.
Anticipation among the spectators grew as the Imperial Guards passed by, marching like columns of mechanical men: eyes straight ahead, legs and arms swinging in unison, stringed marionettes under the guidance of a single pair of hands. Their discipline and order contrasted sharply with the dynamic dancers who had passed before them.
After a momentary pause, the crowd roared their approval. Never mind that this same army had slaughtered Cocru’s soldiers and disgraced her old nobles. The people watching simply wanted spectacle, and they loved the gleaming armor and the martial splendor.
The bird drifted even closer.
Coming through! Coming through!
Two fourteen-year-old boys shoved their way through the tightly packed crowd like a pair of colts butting through a sugarcane field.
The boy in the lead, Kuni Garu, wore his long, straight, black hair in a topknot in the style of a student in the private academies. He was stocky—not fat but well-muscled, with strong arms and thighs. His eyes, long and narrow like most men from Cocru, glinted with intelligence that verged on slyness. He made no effort to be gentle, elbowing men and women aside as he forced his way forward. Behind him, he left a trail of bruised ribs and angry curses.
The boy in the back, Rin Coda, was gangly and nervous, and as he followed his friend through the throng like a seagull dragged along on the tailwind of a ship, he murmured apologies at the enraged men and women around them.
Kuni, I think we’ll be okay just standing in the back,
Rin said. "I really don’t think this is a good idea."
Then don’t think,
Kuni said. "Your problem is that you think too much. Just do."
Master Loing says that the gods want us to always think before we act.
Rin winced and ducked out of the way as another man swore at the pair and took a swing at them.
No one knows what the gods want.
Kuni didn’t look back as he forged ahead. Not even Master Loing.
They finally made it through the dense crowd and stood right next to the road, where white chalk lines indicated how far spectators could stand.
Now, this is what I call a view,
Kuni said, breathing deeply and taking everything in. He whistled appreciatively as the last of the semi-nude Faça veil dancers passed in front of him. I can see the attraction of being emperor.
Stop talking like that! Do you want to go to jail?
Rin looked nervously around to see if anyone was paying attention—Kuni had a habit of saying outrageous things that could be easily interpreted as treason.
"Now, doesn’t this beat sitting in class practicing carving wax logograms and memorizing Kon Fiji’s Treatise on Moral Relations? Kuni draped his arm around Rin’s shoulders.
Admit it: You’re glad you came with me."
Master Loing had explained that he wasn’t going to close his school for the Procession because he believed the emperor wouldn’t want the children to interrupt their studies—but Rin secretly suspected that it was because Master Loing didn’t approve of the emperor. A lot of people in Zudi had complicated views about the emperor.
"Master Loing would definitely not approve of this," Rin said, but he couldn’t take his eyes away from the veil dancers either.
Kuni laughed. If the master is going to slap us with his ferule for skipping classes for three full days anyway, we might as well get our pain’s worth.
Except you always seem to come up with some clever argument to wiggle out of being punished, and I end up getting double strokes!
The crowd’s cheers rose to a crescendo.
On top of the Throne Pagoda, the emperor was seated with his legs stretched out in front of him in the position of thakrido, cushioned by soft silk pillows. Only the emperor would be able to sit like this publicly, as everyone was his social inferior.
The Throne Pagoda was a five-story bamboo-and-silk structure erected on a platform formed from twenty thick bamboo poles—ten across, ten perpendicular—carried on the shoulders of a hundred men, their chests and arms bare, oiled to glisten in the sunlight.
The four lower stories of the Throne Pagoda were filled with intricate, jewel-like clockwork models whose movements illustrated the Four Realms of the Universe: the World of Fire down below—filled with demons who mined diamond and gold; then, the World of Water—full of fish and serpents and pulsing jellyfish; next, the World of Earth, in which men lived—islands floating over the four seas; and finally the World of Air above all—the domain of birds and spirits.
Wrapped in a robe of shimmering silk, his crown a splendid creation of gold and glittering gems topped by the statuette of a cruben, the scaled whale and lord of the Four Placid Seas, whose single horn was made from the purest ivory at the heart of a young elephant’s tusk and whose eyes were formed by a pair of heavy black diamonds—the largest diamonds in all of Dara, taken from the treasury of Cocru when it had fallen to Xana fifteen years earlier—Emperor Mapidéré shaded his eyes with one hand and squinted at the approaching form of the great bird.
"What is that?" he wondered aloud.
At the foot of the slow-moving Throne Pagoda, the Imperial scout informed the Captain of the Imperial Guards that the officials in Zudi all claimed to have never seen anything like the strange bird. The captain whispered some orders, and the Imperial Guards, the most elite troops in all of Dara, tightened their formation around the Pagoda-bearers.
The emperor continued to stare at the giant bird, which slowly and steadily drifted closer. It flapped its wings once, and the emperor, straining to listen through the noise of the clamoring, fervent crowd, thought he heard it cry out in a startlingly human manner.
The Imperial tour of the Islands had already gone on for more than eight months. Emperor Mapidéré understood well the necessity of visibly reminding the conquered population of Xana’s might and authority, but he was tired. He longed to be back in Pan, the Immaculate City, his new capital, where he could enjoy his zoo and aquarium, filled with animals from all over Dara—including a few exotic ones that had been given as tribute by pirates who sailed far beyond the horizon. He wished he could eat meals prepared by his favorite chef instead of the strange offerings in each place he visited—they might be the best delicacies that the gentry of each town could scrounge up and proffer, but it was tedious to have to wait for tasters to sample each one for poison, and inevitably the dishes were too fatty or too spicy and upset his stomach.
Above all, he was bored. The hundreds of evening receptions hosted by local officials and dignitaries merged into one endless morass. No matter where he went, the pledges of fealty and declarations of submission all sounded the same. Often, he felt as though he were sitting alone in the middle of a theater while the same performance was put on every night around him, with different actors saying the same lines in various settings.
The emperor leaned forward: this strange bird was the most exciting thing that had happened in days.
Now that it was closer, he could pick out more details. It was . . . not a bird at all.
It was a great kite made of paper, silk, and bamboo, except that no string tethered it to the ground. Beneath the kite—could it be?—hung the figure of a man.
Interesting,
the emperor said.
The Captain of the Imperial Guards rushed up the delicate spiral stairs inside the Pagoda, taking the rungs two or three at a time. "Rénga, we should take precautions."
The emperor nodded.
The bearers lowered the Throne Pagoda to the ground. The Imperial Guards halted their march. Archers took up positions around the Pagoda, and shieldmen gathered at the foot of the structure to create a temporary bunker walled and roofed by their great interlocking pavises, like the shell of a tortoise. The emperor pounded his legs to get circulation back into his stiff muscles so that he could get up.
The crowd sensed that this was not a planned part of the Procession. They craned their necks and followed the aim of the archers’ nocked arrows.
The strange gliding contraption was now only a few hundred yards away.
The man hanging from the kite pulled on a few ropes dangling near him. The kite-bird suddenly folded its wings and dove at the Throne Pagoda, covering the remaining distance in a few heartbeats. The man ululated, a long, piercing cry that made the crowd below shiver despite the heat.
Death to Xana and Mapidéré! Long live the Great Haan!
Before anyone could react, the kite rider launched a ball of fire at the Throne Pagoda. The emperor stared at the impending missile, too stunned to move.
Rénga!
The Captain of the Imperial Guards was next to the emperor in a second; with one hand, he pushed the old man off the throne and then, with a grunt, he lifted the throne—a heavy ironwood sitting-board covered in gold—with his other hand like a giant pavise. The missile exploded against it in a fiery blast, and the resulting pieces bounced off and fell to the ground, throwing hissing, burning globs of oily tar in all directions in secondary explosions, setting everything they touched aflame. Unfortunate dancers and soldiers screamed as the sticky burning liquid adhered to their bodies and faces, and flaming tongues instantly engulfed them.
Although the heavy throne had shielded the Captain of the Imperial Guards and the emperor from much of the initial explosion, a few stray fiery tongues had singed off much of the hair on the captain and left the right side of his face and his right arm badly burned. But the emperor, though shocked, was unharmed.
The captain dropped the throne, and, wincing with pain, he leaned over the side of the Pagoda and shouted down at the shocked archers. Fire at will!
He cursed himself at the emphasis on absolute discipline he had instilled in the guards so that they focused more on obeying orders than reacting on their own initiative. But it had been so long since the last attempt on the emperor’s life that everyone had been lulled into a false sense of security. He would have to look into improvements in training—assuming he got to keep his own head after this failure.
The archers launched their arrows in a volley. The assassin pulled on the strings of the kite, folded the wings, and banked in a tight arc to get out of the way. The spent bolts fell like black rain from the sky.
Thousands of dancers and spectators merged into the panicked chaos of a screaming and jostling mob.
"I told you this was a bad idea! Rin looked around frantically for somewhere to hide. He yelped and jumped out of the way of a falling arrow. Beside him, two men lay dead with arrows sticking out of their backs.
I should never have agreed to help you with that lie to your parents about school being closed. Your schemes always end with me in trouble! We’ve got to run!"
If you run and trip in that crowd, you’re going to get trampled,
said Kuni. Besides, how can you want to miss this?
Oh gods, we’re all going to die!
Another arrow fell and stuck into the ground less than a foot away. A few more people fell down screaming as their bodies were pierced.
We’re not dead yet.
Kuni dashed into the road and returned with a shield one of the soldiers had dropped.
Duck!
he yelled, and pulled Rin down with him into a crouch, raising the shield over their heads. An arrow thunked against the shield.
Lady Rapa and Lady Kana, p-pr-protect me!
muttered Rin with his eyes squeezed tightly shut. If I survive this, I promise to listen to my mother and never skip school again, and I’ll obey the ancient sages and stay away from honey-tongued friends who lead me astray. . . .
But Kuni was already peeking around the shield.
The kite rider jackknifed his legs hard, causing the wings of his kite to flap a few times in rapid succession. The kite pulled straight up, gaining some altitude. The rider pulled the reins, turned around in a tight arc, and came at the Throne Pagoda again.
The emperor, who had recovered from the initial shock, was being escorted down the spiraling stairs. But he was still only halfway to the foot of the Throne Pagoda, caught between the Worlds of Earth and Fire.
"Rénga, please forgive me!" The Captain of the Imperial Guards ducked and lifted the emperor’s body, thrust him over the side of the Pagoda, and dropped him.
The soldiers below had already stretched out a long, stiff piece of cloth. The emperor landed in it, trampolined up and down a few times, but appeared unhurt.
Kuni caught a glimpse of the emperor in the brief moment before he was rushed under the protective shell of overlapping shields. Years of alchemical medicine—taken in the hope of extending his life—had wreaked havoc with his body. Though the emperor was only fifty-five, he looked to be thirty years older. But Kuni was most struck by the old man’s hooded eyes peering out of his wrinkled face, eyes that for a moment had shown surprise and fear.
The sound of the kite diving behind Kuni was like a piece of rough cloth being torn. Get down!
He pushed Rin to the ground and flopped on top of his friend, pulling the shield above their heads. Pretend you are a turtle.
Rin tried to flatten himself against the earth under Kuni. I wish a ditch would open up so I could crawl into it.
More flaming tar exploded around the Throne Pagoda. Some struck the top of the shield bunker, and as the sizzling tar oozed into the gaps between the shields, the soldiers beneath cried out in pain but held their positions. At the direction of the officers, the soldiers lifted and sloped their shields in unison to throw off the burning tar, like a crocodile flexing its scales to shake off excess water.
I think it’s safe now,
said Kuni. He took away the shield and rolled off Rin.
Slowly, Rin sat up and watched his friend without comprehension. Kuni was rolling along the ground as if he was frolicking in the snow—how could Kuni think of playing games at a time like this?
Then he saw the smoke rising from Kuni’s clothes. He yelped and hurried over, helping to extinguish the flames by slapping at Kuni’s voluminous robes with his long sleeves.
Thanks, Rin,
said Kuni. He sat up and tried to smile, but only managed a wince.
Rin examined Kuni: A few drops of burning oil had landed on his back. Through the smoking holes in the robe, Rin could see that the flesh underneath was raw, charred, and oozing blood.
Oh gods! Does it hurt?
Only a little,
said Kuni.
If you weren’t on top of me . . .
Rin swallowed. Kuni Garu, you’re a real friend.
Eh, think nothing of it,
said Kuni. As Sage Kon Fiji said: One should always—ow!—be ready to stick knives between one’s ribs if that would help a friend.
He tried to put some swagger into this speech but the pain made his voice unsteady. See, Master Loing did teach me something.
That’s the part you remember? But that wasn’t Kon Fiji. You’re quoting from a bandit debating Kon Fiji.
Who says bandits don’t have virtues too?
The sound of flapping wings interrupted them. The boys looked up. Slowly, gracefully, like an albatross turning over the sea, the kite flapped its wings, rose, turned around in a large circle, and began a third bombing run toward the Throne Pagoda. The rider was clearly tiring and could not gain as much altitude this time. The kite was very close to the ground.
A few of the archers managed to shoot holes in the wings of the stringless kite, and a few of the arrows even struck the rider, though his thick leather armor seemed to be reinforced in some manner, and the arrows stuck only briefly in the leather before falling off harmlessly.
Again, he folded the wings of his craft and accelerated toward the Throne Pagoda like a diving kingfisher.
The archers continued to shoot at the assassin, but he ignored the hailstorm of arrows and held his course. Flaming missiles exploded against the sides of the Throne Pagoda. Within seconds, the silk-and-bamboo construction turned into a tower of fire.
But the emperor was now safely ensconced under the pavises of the shieldmen, and with every passing moment, more archers gathered around the emperor’s position. The rider could see that his prize was out of reach.
Instead of another bombing attempt, the kite rider turned his machine to the south, away from the Procession, and kicked hard with his dwindling strength to gain some altitude.
He’s heading to Zudi,
Rin said. You think anyone we know back home helped him?
Kuni shook his head. When the kite had passed directly over him and Rin, it had temporarily blotted out the glare of the sun. He had seen that the rider was a young man, not even thirty. He had the dark skin and long limbs common to the men of Haan, up north. For a fraction of a second, the rider, looking down, had locked gazes with Kuni, and Kuni’s heart thrilled with the fervent passion and purposeful intensity in those bright-green eyes.
He made the emperor afraid,
Kuni said, as if to himself. The emperor is just a man, after all.
A wide smile broke on his face.
Before Rin could shush his friend again, great black shadows covered them. The boys looked up and saw yet more reasons for the kite rider’s retreat.
Six graceful airships, each about three hundred feet long, the pride of the Imperial air force, drifted overhead. The airships had been at the head of the Imperial Procession, both to scout ahead and to impress the spectators. It had taken a while before the oarsmen could turn the ships around to bring them to the emperor’s aid.
The stringless kite grew smaller and smaller. The airships lumbered after the escaping assassin, their great feathered oars beating the air like the wings of fat geese struggling to lift off. The rider was already too far for the airships’ archers and stringed battle kites. They would not reach the city of Zudi before the nimble man landed and disappeared into its alleys.
The emperor, huddled in the dim shadows of the shield bunker, was furious, but he retained a calm mien. This was not the first assassination attempt, and it would not be the last; only this one had come closest to succeeding.
As he gave his order, his voice was emotionless and implacable.
Find that man. Even if you have to tear apart every house in Zudi and burn down the estates of all the nobles in Haan, bring him before me.
CHAPTER TWO
MATA ZYNDU
FARUN, IN THE TUNOA ISLANDS:
THE NINTH MONTH IN THE FOURTEENTH YEAR OF THE REIGN OF ONE BRIGHT HEAVEN.
Few would have guessed that the man towering above the noisy crowd at the edge of the town square of Farun was only a boy of fourteen. The jostling townspeople kept a respectful distance from Mata Zyndu’s seven-and-a-half-foot frame, rippling with muscle everywhere.
They’re afraid of you,
Phin Zyndu, the boy’s uncle, said with pride in his voice. He looked up into Mata’s face and sighed. I wish your father and grandfather could see you today.
The boy nodded but said nothing, looking over the bobbing heads of the crowd like a crane among sandpipers. Unlike the brown eyes most common in Cocru, Mata’s eyes were coal-black, but each held two pupils that glowed with a faint light, a rare condition that many had believed was mythical.
Those double-pupiled eyes allowed him to see more sharply and farther than most people, and as he scanned the horizon, he lingered on the slender, dark tower of stone to the north, just outside of town. It stood next to the sea like a dagger stuck into the rocky beach. Mata could just make out the great arched windows near the top of the tower, whose frames were intricately decorated with carvings of the Two Ravens, black and white, their beaks meeting at the apex of the arch to hold up a stone chrysanthemum with a thousand petals.
That was the main tower of the ancestral castle of the Zyndu Clan. These days it belonged to Datun Zatoma, commander of the Xana garrison guarding Farun. Mata Zyndu hated to think about that commoner, not even a warrior but a mere scribe, squatting in the ancient, storied halls that rightfully belonged to his family.
Mata forced himself back into the present. He leaned down to whisper to Phin, I want to get closer.
The Imperial Procession had just arrived in Tunoa by sea from the southern part of the Big Island, where rumor had it that the emperor had survived an assassination attempt near Zudi. As Mata and Phin made their way forward, the crowd parted effortlessly and silently before Mata like waves before a ship’s prow.
They stopped just short of the front row, and Mata hunched down to his uncle’s height to avoid drawing attention from the emperor’s guards.
They’re here!
the crowd shouted as airships burst through the clouds near the horizon and the tip of the Throne Pagoda rose into sight.
While the townspeople cheered the beautiful dancers and applauded the daring soldiers, Mata Zyndu had eyes only for Emperor Mapidéré. At long last, he would set his eyes on the face of the enemy.
A wall of soldiers now stood in a circle on top of the Pagoda, arrows nocked, swords drawn. The emperor sat in their midst, and the spectators could only catch occasional glimpses of his face.
Mata had imagined an old man grown soft and fat from complacency, but instead, through the wall of soldiers, as through a veil, he saw a gaunt figure with hard, expressionless eyes.
How alone he is, high above in his peerless splendor.
And how afraid.
Phin and Mata looked at each other. Each saw in the other’s eyes the same mixture of sorrow and smoldering hatred. Phin didn’t have to speak aloud. Mata had heard from his uncle the same words every day of his life:
Do not forget.
Back when Emperor Mapidéré was still only the young King of Xana, and when the army of Xana routed the crumbling forces of the Six States across land, sea, and sky, one man had stood in its way: Dazu Zyndu, Duke of Tunoa and Marshal of Cocru.
The Zyndus came from a long line of great Cocru generals. But when Dazu was a young man, he was scrawny and sickly. His father and grandfather decided to send him north, far away from the family’s fiefdom in the Tunoa Islands, to be trained under the legendary master swordsman Médo in the misty isles called the Silkworm Eggs, at the other end of Dara.
After one look at Dazu, Médo said, I’m too old and you’re too little. I taught my last student years ago. Leave me in peace.
But Dazu did not leave. He knelt outside Médo’s house for ten days and ten nights, refusing food or drink except rainwater. On the eleventh day, Dazu collapsed to the ground, and Médo was moved by Dazu’s persistence and accepted him as a student.
But instead of teaching the young man sword fighting, Médo used Dazu only as a ranch hand to care for his small herd of cattle. Dazu did not complain. In the cold and rocky mountains, the young man followed the herd everywhere, watching for wolves hiding in the mist and huddling for warmth among the lowing cows at night.
When a new calf was born in the spring, Médo told Dazu to carry the baby animal back to his house for a weigh-in each day so that the calf’s legs would not be injured by the sharp stones on the ground. This involved walking many miles. At first the trip was easy, but as the calf gained weight, the trip became more difficult.
The calf is capable of walking quite well now,
Dazu said. He never stumbles.
"But I told you to carry him back here, the teacher said.
The first thing a soldier must learn is to obey orders."
Every day, the calf grew a little heavier, and every day, Dazu had to struggle a little harder. He would collapse, exhausted, when he finally got to the ranch, and the calf would bound out of his arms, glad to be able to walk on his own and stretch out.
When winter rolled around again, Médo handed him a wooden sword and asked him to strike as hard as he could at the practice dummy. Dazu looked with distaste at the crude weapon with no edge, but he swung obediently.
The wooden dummy fell in half, cut clean through. He looked at the sword in his hand with wonder.
It’s not the sword,
his teacher said. Have you looked at yourself lately?
He brought Dazu to stand in front of a brightly polished shield.
The young man could hardly recognize the reflection. His shoulders filled the frame of the mirror. His arms and thighs were twice as thick as he remembered, and his chest bulged over his narrow waist.
"A great warrior trusts not his weapons, but himself. When you possess true strength, you can deal a killing blow even if all you have is a blade of grass.
Now you’re finally ready to learn from me. But first, go thank the calf for making you strong.
Dazu Zyndu was unmatched on the battlefield. While the armies of the other Tiro states succumbed like kindling before the fierce hordes of Xana, the men of Cocru, led by Duke Zyndu, held back the assaults of Xana like a steady dam against a raging flood.
Because his troops were outnumbered, Duke Zyndu placed them in strategically located forts and garrison towns across Cocru. Whenever Xana invaded, he directed his men to ignore the taunts of Xana commanders and stay behind the walls like a turtle retreating into its shell.
But whenever the Xana army tried to bypass these well-defended forts and cities, the defenders would swoop out of their fortresses like moray eels erupting from their secret crevices and attack ferociously from the rear to cut off Xana supply lines. Though Gotha Tonyeti, the great Xana general, had at his disposal many more men and better equipment than Duke Zyndu, he was bogged down by Zyndu’s tactics and could not advance.
Tonyeti called Zyndu the Bearded Tortoise,
intending it as an insult, but Dazu laughed and adopted the moniker as a badge of pride.
Unable to prevail on the field, Tonyeti resorted to plots. He spread rumors in Çaruza, the Cocru capital, of the ambition of Duke Zyndu.
Why does Duke Zyndu not attack Xana, but only hide behind stone walls?
the people whispered to one another. The Xana army is clearly no match for the might of Cocru, and yet the duke hesitates and leaves the invaders occupying our fields. Perhaps the duke has a secret agreement with Gotha Tonyeti, and Tonyeti is only pretending to be attacking. Could they be plotting to overthrow the king and set up Duke Zyndu as his replacement?
The King of Cocru became suspicious and ordered Duke Zyndu to abandon his defensive positions and engage Tonyeti in field battles. This would be a mistake, Dazu Zyndu explained, but his arguments only made the king more suspicious.
Duke Zyndu had no choice. He put on his armor and led the charge. Tonyeti’s forces seemed to melt before the fearsome Cocru warriors. The Xana troops kept on falling back, and back, and then collapsed into total chaos.
The duke pursued the defeated Tonyeti into a deep valley, where the Xana general disappeared into the dark woods. Suddenly, Xana troops, five times the number of men Zyndu had with him, emerged from the sides of the valley in ambush and cut off his path of retreat. Zyndu understood then that he had been tricked, and there was nothing to do but to surrender.
Dazu Zyndu negotiated for the safety of his soldiers as war prisoners and then took his own life, unable to live with the shame of capitulation. Gotha Tonyeti reneged on his promise and buried alive all the surrendered Cocru soldiers.
Çaruza fell three days later.
Mapidéré decided to make an example of the Zyndu Clan, who had resisted him for so long. Every male Zyndu within three degrees of relatedness was put to death and all the women sold to the indigo houses. Dazu Zyndu’s oldest son, Shiru, was flayed alive in Çaruza while Tonyeti’s men forced the capital’s citizens to watch and eat bits of his flesh afterward to confirm their loyalty to Xana. Dazu’s daughter, Soto, barricaded herself and her servants in their country estate and set fire to it to escape the worse fate that awaited her. The flames raged for a full day and night as though the goddess Kana was expressing her grief, and the heat was so intense that even Soto’s bones could not be found afterward in the wreckage.
Dazu’s youngest son, thirteen-year-old Phin, evaded capture for days by hiding in the maze of lightless storage rooms and tunnels in the basement of the Zyndu family castle. But in the end, Tonyeti’s soldiers caught him when he tried to sneak into the kitchen for a drink of water. The soldiers dragged the young man before the great general.
Tonyeti looked at the kneeling boy before him, trembling and sniveling with fear, and laughed.
It would be too shameful to kill you,
he said in his booming voice. Hiding like a rabbit instead of fighting like a wolf, how will you face your father and brother in the afterlife after this? You have not even a tenth of the courage of your sister. I will treat you just like your brother’s baby because you behave the same.
Against Mapidéré’s orders, Tonyeti had spared Shiru’s newborn son from slaughter. Nobles have to behave better than peasants,
he had said, even in war.
So Tonyeti’s soldiers released Phin, and the shamed boy stumbled out of the family castle with only his dead brother’s infant son, Mata, in his arms. Bereft of title, home, and clan, his life of ease and wealth stripped away like a dream, what was the boy going to do?
At the outer gate of the castle, Phin picked up a fallen red flag: singed, dirty, but still showing the embroidered gold chrysanthemum, emblem of the Zyndu Clan. He wrapped Mata in it, scant protection against the winter air, and uncovered the baby’s face by lifting up a corner of the cloth.
Baby Mata blinked and stared, two pupils in each black eye. A faint light glowed from the pupils.
Phin sucked in his breath. Among the ancient Ano, it was said that those with double pupils had the special attention of the gods. Most such children were blind from birth. Barely more than a child himself, Phin had never paid much attention to the wailing bundle that was his newborn nephew. This was the first time he had realized Mata’s condition.
Phin moved his hand in front of the baby, uncertain if he was blind. Mata’s eyes did not move, but then the baby turned and focused his eyes on Phin’s.
Among the double-pupiled, a rare few had the sight of an eagle, and it was said that they were destined for greatness.
Relieved, Phin held the baby against his chest, against his thundering heart, and after a moment, a teardrop, hot as blood, fell from Phin’s eyes onto Mata’s face. The baby began to cry.
Phin bent down and touched his forehead to the baby’s. The gesture calmed the child. Phin whispered, "We have only each other now. Don’t let what has been done to our family pass into oblivion. Do not forget."
The baby seemed to understand. He struggled to free his tiny arms from the flag wrapped around him, raised them toward Phin, and clenched his fists.
Phin lifted his face to the sky and laughed into the falling snow. He carefully covered the baby’s face with the flag again and walked away from the castle.
Mata’s frown reminded Phin of Dazu Zyndu’s serious mien while deep in thought. Mata’s smile was a replica of the smile of Soto, Phin’s dead sister, when she ran around the garden as a child. Mata’s sleeping face had the same serenity as Phin’s older brother, Shiru, who had always told Phin to be more patient.
Gazing at Mata, Phin understood why he had been spared. The little boy was the last and brightest chrysanthemum blossom at the tip of the noble tree formed by generations of the Zyndu Clan. Phin vowed to Kana and Rapa, the twin goddesses of Cocru, that he would do everything in his power to nurture and protect Mata.
And he would make his heart cold and his blood hot, like icy Rapa and fiery Kana. For the sake of Mata, he would learn to become hard and sharp instead of pampered and soft. In vengeance, even a rabbit can learn to become a wolf.
Phin had to rely on occasional handouts from loyalist families who sympathized with the plight of the Zyndu Clan until he killed two thieves sleeping in a field and took their loot, which he then invested in a little farm outside Farun. There, he taught Mata to fish, to hunt, and to fight with a sword, after learning those skills himself under the severe tutelage of trial-and-error: The first time he shot a deer, he vomited at the sight of blood; the first time he swung a sword, he almost cut off his own foot. He cursed himself again and again for how he had luxuriated in his former life of ease and learned nothing of use.
The weight of the responsibility he undertook had turned his hair gray by the time he was twenty-five. Often, he sat alone at night outside their shack, after his little nephew had fallen asleep. Haunted by the memory of his weakness years ago, he brooded over whether he was doing enough, was even capable of doing enough, to set Mata on the right path, to pass on the courage and strength, and especially the yearning for glory, that was the boy’s birthright.
Dazu and Shiru had not wanted the delicate Phin to follow the path of war. They had indulged Phin’s love of literature and art, and look where that had gotten him. In a moment when the family needed him, Phin had been powerless, had been a coward who brought shame to the family name.
So he locked away memories of the kind words of Shiru and the gentleness of Dazu. Instead, he gave Mata a childhood that he thought they would have wanted. Whenever Mata hurt himself as all children did, Phin forced himself to refuse the boy any comfort until Mata learned that crying was useless. Whenever Mata fought with another boy from the town, Phin insisted that he press on until he emerged victorious. Phin never tolerated signs of weakness in the child and taught Mata to welcome every conflict as a chance to prove himself.
Over the years, Phin’s naturally kind heart became so wrapped and concealed in the roles he assigned himself that he could no longer tell where family legend ended and his own life began.
But once, when five-year-old Mata was gripped by an illness that threatened to take away his life, the boy saw through a crack in his uncle’s hard shell.
Mata had awoken from a feverish slumber and saw his uncle crying. The boy had never seen such a sight and thought he was still dreaming. Phin hugged Mata tightly—another gesture foreign to the child—and muttered many thanks to Kana and Rapa. You’re a Zyndu,
he said, as he did so often. You’re stronger than anyone.
But then he added in a voice that was gentle and strange, You are all that I have.
Mata had no memory of his real father, and Phin was his father, his hero. From Phin, he learned that the Zyndu name was sacred. Theirs was a family born of noble blood rich with glory, blood blessed by the gods, blood spilled by the emperor, blood that had to be avenged.
Phin and Mata sold their produce and pelts from hunted animals in town. Phin sought out surviving scholars, family friends, and acquaintances. A few of them surreptitiously kept a cache of ancient books, written in the old logograms unique to Cocru and forbidden by the emperor, and Phin borrowed or traded for them and taught Mata to read and write.
From these books and from his memory, Phin told Mata stories and legends of Cocru’s martial past and of the Zyndu Clan’s glorious history. Mata dreamed of emulating his grandfather, to carry on the legacy of his prowess. He ate only meat and bathed only in cold water. Having no living calf to carry, he volunteered to help the fishermen at the wharf unload their catch each day (and earned a few coppers doing so). He filled small sacks with rocks and tied them around his wrists and ankles so that each step required more strength. If there were two paths to a destination, he picked the longer and more arduous one. If there were two ways to do something, he chose the harder and more strenuous method. By the time he was twelve, he could lift the giant cauldron in front of the temple in Farun over his head.
Mata did not have much time for play, and so he made no meaningful friendships. He treasured the privilege of noble and ancient learning, won with so much hard work by his uncle. But Mata had little use for poetry. Instead, he loved books of history and military strategy. Through them, he learned about the golden past that was no more and came to realize that Xana’s sins were not limited to what had happened to his family. Mapidéré’s conquest had degraded the very foundations of the world,
as Phin told him time and again.
The origin of the old Tiro system was lost in the mists of time. Legend had it that the Islands of Dara were settled long ago by a people who called themselves the Ano, refugees of a sunken continent far over the seas to the west. Once they had defeated the barbarians who were the original inhabitants of the Islands, some of whom intermarried and became Ano, they promptly fell to fighting among themselves. Their descendants, over many generations and many wars, separated into various states.
Some scholars claimed the great ancient Ano lawgiver Aruano created the Tiro system in response to the chaotic wars among the states. The Classical Ano word tiro literally meant fellow,
and the most important principle of the system was that each Tiro state was an equal of every other Tiro state; no state had any authority over another. Only when one state committed a sin that offended the gods could the other states band together against it, and the leader of such a temporary alliance was given the title princeps, first tiro among equals.
The Seven States had coexisted for more than a thousand years, and but for that tyrant from Xana they would have existed for a thousand more. The kings of the Tiro states were the ultimate secular authorities, the anchors from which seven parallel Great Chains of Being dangled. They enfeoffed lands to the nobles, who each kept the peace in his domain and administered it like a miniature Tiro state. Each peasant paid his taxes and labor to a lord, and each lord to his lord, and so on up the chain.
The wisdom of the Tiro system was evident in the way it reflected the natural world. In the ancient forests of Dara, each great tree, like a Tiro state, stood independent of the others. No tree held sway over another. Yet each tree was made up of branches, and each branch of leaves, just as each king drew his strength from his nobles, and each noble from his peasantry. It was the same with the separate Islands of Dara, each composed of islets and lagoons, of bays and coves. The pattern of independent realms, each composed from miniature copies, could be found in coral reefs, in schools of fish, in drifting forests of kelp, in mineral crystals, and in the anatomy of animals.
It was the underlying order of the universe, a grid—like the warp and weft of the rough cloth woven by Cocru craftsmen—formed by horizontal lines of mutual respect among equals and vertical lines of downward obligation and upward fealty in which everyone knew his place.
Emperor Mapidéré had eliminated all that, swept it away like the armies of the Six States, like fallen leaves in autumn. A few of the old nobles who surrendered early got to keep their empty titles and sometimes even their castles and money, but that was all. Their lands were no longer theirs because all land now belonged to the Xana Empire, to the emperor himself. Instead of each lord giving the law in his domain, there now was but one law that governed all the Islands.
Instead of the scholars of each Tiro state writing with their own sets of logograms and arranging the zyndari letters in their own fashion, bound up with local tradition and history, everyone now had to write in the manner of Xana. Instead of each Tiro state determining its own system of weights and measures, its own way of judging and seeing the world, everyone now had to make their roads as wide as the distance between the wheels of a cart from the Immaculate City, their boxes as big as could be packed tightly into a boat from the port of Kriphi, the former Xana capital.
All sources of loyalty, of local attachment, were replaced with allegiance to the emperor. In place of the parallel chains of devotion forged by nobles, the emperor had put in a pyramid of petty bureaucrats—commoners who could barely write any logograms beyond those in their own names and who had to spell everything out in zyndari letters. Instead of ruling with the best, the emperor had chosen to elevate the craven, greedy, foolish, and low.
In this new world, the old orderly way of life was lost. No one knew his place. Commoners were living in castles while nobles huddled in drafty huts. Emperor Mapidéré’s sins were against nature, against the hidden pattern of the universe itself.
As the Procession disappeared into the distance, the crowd gradually dispersed. Now they had to return to the struggle of daily life: fields to harvest, sheep to tend, and fish to haul.
But Mata and Phin lingered.
They cheer for a man who murdered their fathers and grandfathers,
Phin said quietly. Then he spat.
Mata looked around at the departing men and women. They were like the sand and mud stirred up by the ocean. If you scooped up a cup of seawater, it would be full of swirling chaos that obscured the light.
But if you waited patiently, eventually the common dross and dregs would settle to the bottom, where they belonged, and the clear water would allow the light through, the noble and the pure.
Mata Zyndu believed it was his destiny to restore clarity and order, as surely as the weight of history pulled everything down to its rightful place.
THE PROPHECY OF THE FISH
CHAPTER THREE
KUNI GARU
SEVEN YEARS LATER.
ZUDI: THE FIFTH MONTH IN THE TWENTY-FIRST YEAR OF THE REIGN OF ONE BRIGHT HEAVEN.
In Zudi, many stories were told about Kuni Garu.
The young man was the son of simple farmers who had big hopes for their children to move up in the world, hopes that Kuni somehow dashed again and again.
Oh, as a boy, Kuni had shown hints of brilliance—he could read and write three hundred logograms before he had turned five. Kuni’s mother, Naré, thanked Kana and Rapa every day and couldn’t stop telling all her friends how brilliant her little boy was. Thinking that the child had a future as a lettered man who could bring honor to the family, Kuni’s father, Féso, sent him at great expense to study at the private academy of Tumo Loing, a local scholar of great renown, who had served the King of Cocru as Minister of Grains before the Unification.
But Garu and his friend Rin Coda preferred to skip school whenever they could and go fishing. When he was caught, Kuni would apologize eloquently and profusely, convincing Master Loing that he was truly contrite and had learned his lesson. But soon he would be back to devising pranks with Rin and talking back at his teacher, questioning his explanations of the classics and pointing out errors in his reasoning until Loing finally ran out of patience and expelled him—and poor Rin Coda, too, for always following Kuni’s lead.
That was just fine with Kuni. He was a good drinker, talker, and brawler, and soon became close to all sorts of disreputable characters in Zudi: thieves, gangsters, tax collectors, Xana soldiers from the garrison, girls from the indigo houses, wealthy young men who had nothing better to do than stand around all day on street corners looking for trouble—as long as you breathed, had money to buy him a drink, and enjoyed dirty jokes and gossip, Kuni Garu was your friend.
The Garu family tried to steer the young man into gainful employment. Kado, Kuni’s elder brother, demonstrated an early instinct for business and became a local merchant of women’s dresses. He hired Kuni as a clerk. But Kuni professed a disdain for bowing to customers and laughing at their stupid jokes, and finally, after Kuni tried to implement a harebrained scheme of hiring girls from the indigo houses as models
for dresses, Kado had no choice but to fire him.
It would have boosted sales!
Kuni said. After the wealthy men saw the dresses on their favorite mistresses, they’d surely want to buy them for their wives.
Have you no concern for the reputation of your family?!
Kado chased Kuni into the streets wielding a measuring ruler.
By the time Kuni was seventeen, his father had had enough of the idling young man coming home every night drunk and asking for dinner. He locked him out of the house and told him to find somewhere else to stay and ruminate on how he was wasting his life and breaking his mother’s heart. Naré cried and cried and went to Kana and Rapa’s temple every day, praying for the goddesses to set her baby on the right path.
Reluctantly, Kado Garu took pity on his little brother and took him in. Kado’s generosity, however, was not shared by his wife, Tete. She took to serving dinner early, long before Kuni came home. And when she heard the sound of his steps in the entrance hall, Tete would bang empty pots loudly in the sink, indicating that there was no more food to be had.
Kuni quickly got the hint. Though he had thick skin—he had to when he hung out with the sort of friends he made—he was humiliated that his sister-in-law thought of him as only a mouth that she didn’t want to feed. He moved out and slept on the floor mats in the houses of his friends, roaming from house to house as he wore out his welcome.
He moved a lot.
The smell of fried pot stickers and ginger-vinegar. The sound of glasses filling with warm ale and cold beer.
. . . so then I said, ‘But your husband isn’t home!’ And she laughed and said, ‘That’s why you need to come in now!’
Kuni Garu!
Widow Wasu, proprietress of the Splendid Urn, tried to get the attention of the young man telling stories at the center of the crowd.
Yes, my lady?
Kuni reached out with his long arm and draped it around her shoulder. He gave her a loud, wet kiss on the cheek. She was in her forties and accepted that she was aging gracefully. Unlike some of the other tavern keepers, she didn’t slather herself with rouge and powder, and looked far more dignified as a result. Kuni often proclaimed to others how he was fond of her.
Wasu nimbly ducked out of Kuni’s embrace. She pulled him away from the others, winking at the laughing and shouting crowd, who hollered appreciatively. She dragged him into her office in the back of the bar, where she deposited him in a pillow on one side of the desk, and she herself took the pillow on the other.
Kneeling upright and with her back straight in formal mipa rari, she composed herself and put on what she thought was a stern face—this discussion needed to be focused on business, and Kuni Garu had a way of changing the topic whenever one wanted something from him.
You’ve hosted three parties at my place this month,
Wasu said. That’s a lot of beer and ale and fried pot stickers and fried squid. All the charges were put under your name. Your tab, at this point, is getting to be bigger than the lien on my inventory. I think you need to pay some of it.
Kuni leaned back on his pillow and stretched out his legs in a modified thakrido position, with one leg over the other, the way a man sat when he was with his mistress. Kuni narrowed his eyes, smirked at Wasu, and began to hum a song whose lyrics made Wasu blush.
Come on, Kuni,
Wasu said. I’m serious here. The tax collectors have been hounding me for weeks. You can’t treat me like a charity.
Kuni Garu curled his legs back under him and suddenly sat up in mipa rari. His eyes stayed narrowed, but the smirk disappeared from his face. Widow Wasu flinched even though she meant to stay firm with him. The man was a gangster, after all.
Mistress Wasu,
Kuni said in an even, low voice. How often would you say I come to drink at your place?
Practically every other day,
Wasu said.
And have you noticed any difference in your business on the days when I’m here and the days when I’m not?
Wasu sighed. This was Kuni’s trump card, and she knew he would bring it up. It’s a little better on the days when you are here,
she admitted.
"A little better?" Eyes as wide as teacups, he breathed loudly through his nose, as though his ego had been hurt.
Widow Wasu tried to decide whether she wanted to laugh at him or to throw something at the good-for-nothing young man. She settled by shaking her head and folding her arms across her chest.
Look at the crowd out there!
he went on. "It’s the middle of the day and this place is filled with paying customers. When I’m here, your business goes up by at least fifty percent."
This was a gross exaggeration, but Wasu had to concede that bar patrons did tend to stay longer and buy more drinks when Kuni was around. He was loud, told great dirty jokes, pretended to know something about everything—the man had no shame, and could get people around him to relax and enjoy themselves. He was like a bawdy troubadour, a tall-tale teller, and an impromptu gambling hall operator rolled into one. Maybe business didn’t go up by 50 percent, but 20 to 30 percent? That was probably accurate. And Kuni’s little gang also managed to keep the really dangerous men out of the Urn, the sort who would start fights and smash the furniture.
Sister,
Kuni said—now he was turning on his charm for her—we need to help each other. I like coming to the Urn with my friends—we all have a good time. And we like bringing you more business. But if you can’t see the benefits of this arrangement, I’ll take my act elsewhere.
Widow Wasu gave him a withering look, but she knew she wasn’t going to win this one.
You better tell such good stories that all those Imperial soldiers get totally drunk and empty their pockets.
She sighed. "And say something nice about the pork pot