An Engaging World, Despite Its Executional Flaws
It is hard to fully categorize this novel. Medieval fantasy, certainly. (That the setting is a vague number of centuries, even millennia in the future, does not disallow this classification.) A coming of age story, perhaps. (The protagonist is oddly static, despite experiencing within the novel's pages one of the most formative of adolescent experiences: first love.) Future dystopian, yes, though without any explanation as to the nature of humanity's technological devolution. An antihero tale, most definitely this of all others. That said, if there is any typecasting in this story, it is not in its genre(s) and related plot. It would be in its characters.<br><br>
As this novel is widely touted as the beginning of a trilogy, it suffers from that. The protagonist Thomas Cale, while interesting, is stoic in the extreme. Indeed, any changes to his demeanor occur largely in the exposition from other characters' points of view. Perhaps Cale becomes more self-aware to his true, more heroic nature during the story, but any evidence comes primarily through narrative from other characters' points of view. Overall, it makes Cale look altogether a "pawn" instead of a "knight," even in any small part. The love interest, Arbella, is of course the complete opposite of Cale. She is an aristocrat and exceptionally beautiful, and of course the story of their love is told almost entirely from the point of view of their class distinctions.<br><br>
The world of Hoffman's story is a direct borrowing of European history, in which every event is expanded infinitely. Memphis is politically Rome. Its leader is the Doge (cf. Renaissance Venice), the patriarch of a large aristocracy who embrace the cult of beauty more than the 17th century French court and the cult of chivalry to an extent that makes Bushido look mild. Of course, this aristocracy does so quite oddly. The Sanctuary is the headquarters of a religious group that is an extremely thinly veiled analog to Roman Catholicism, complete with its own Pontiff. Combine the most extreme asceticism with the most regimented of the Crusade-era militaristic orders, and you have the Sanctuary. They worship the "Hanged Redeemer," the son of the One True God and of the one pure woman ever to exist. They have a litany of saints and martyrs and feast days for each. The parallels go on yet further. Their enemies are the Antagonists (=Protestants). Their battle is a recapitulation of World War I in France, only where the trench warfare extends for far longer.<br><br>
The ending is problematic, too. Yes, this is the first part of a trilogy, but ending the story with such a cliffhanger makes the ending of the first Spiderman movie a less obvious set-up for a sequel. It was a trite cliffhanger reveal that does, at least, explain the title.<br><br>
Such obvious borrowings could be excused if it were not for Hoffman's writing style. Hoffman almost randomly introduces asides breaking the narrative "fourth wall" (to steal a metaphor from theatre/cinema). Each aside says the same thing in different wording, "Give the person(s) a break. You'd do the same in his/her/their position." Thus, what would otherwise be an adult book with appeal and accessibility to teenagers certainly gains the narrative tone of a story for pre-teen children or younger. Hoffman's book
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