As a Witness for the Dead, Thara Celehar can speak to the recently departed: see the last thing they saw, know the last thought they had, experience the last thing they felt. It is his duty to use that ability to ascertain the intent of the dead and to find the killers of the murdered. Celehar’s time in the city of Amalo has brought him both friends and enemies—and no little notoriety. Now, when solving the murder of a marquise raises more questions than it answers, he finds himself exploring Amalo’s dark underside.
De normal el libro en mitad de una trilogía suele sufrir de un montón de cosas que este se salta porque: a) el misterio policíaco empieza y termina en cada novela, b) son novelas de 200 páginas, todo concentradito y c) tampoco pasa demasiado en el arco de personaje de Celehar en el primero como para que te sorprenda que estemos un poco igual en el segundo.
Encima se guarda su pequeño as en la manga al final para darte ganitas del tercero. Bien jugado, Addison.
I read this quickly while somewhat sleep deprived, so I don't have as coherent an impression as I might have hoped.
Like the previous "Witness for the Dead" this is essentially a noir detective novel with fantasy elements. The characters are engaging, although the villains turn out not to have much redeeming qualities.
It's hard not to see the Goblin / Elf dynamic as some kind of comment on race and racism, although it wasn't really clear to me if the book was commenting on contemporary society or just reflecting it.
The book relies on the reader having some recall of the previous two, but especially Witness for the Dead. The reader needs the previous book not only for background on the world, but also on the relationships.
Like in Witness for the Dead, the use of an imagined dialect of English is crucial to both …
I read this quickly while somewhat sleep deprived, so I don't have as coherent an impression as I might have hoped.
Like the previous "Witness for the Dead" this is essentially a noir detective novel with fantasy elements. The characters are engaging, although the villains turn out not to have much redeeming qualities.
It's hard not to see the Goblin / Elf dynamic as some kind of comment on race and racism, although it wasn't really clear to me if the book was commenting on contemporary society or just reflecting it.
The book relies on the reader having some recall of the previous two, but especially Witness for the Dead. The reader needs the previous book not only for background on the world, but also on the relationships.
Like in Witness for the Dead, the use of an imagined dialect of English is crucial to both the atmosphere and the characterizations. Speakers (or students) of French or German will recognize the notion of formal and informal pronouns and their collision with plural. Other words seem to be borrowed from older variations of English, helping to paint the picture of a kind of steampunk early-modern world.
