Rhapsody: Child of Blood (Symphony of Ages Series #1)

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Rhapsody is a woman, a Singer of some talent, who is swept up into events of world-shattering import. On the run from an old romantic interest who won't take no for an answer, Rhapsody literally bumps into a couple of shady characters: half-breeds who come to her rescue in the nick of time. Only the rescue turns into an abduction, and Rhapsody soon finds herself dragged along on an epic voyage, one that spans centuries and ranges across a wonder-filled fantasy world.
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1999 Hard cover New. Glued binding. Paper over boards. With dust jacket. 479 p.

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Rhapsody: Child of Blood

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Overview

Rhapsody is a woman, a Singer of some talent, who is swept up into events of world-shattering import. On the run from an old romantic interest who won't take no for an answer, Rhapsody literally bumps into a couple of shady characters: half-breeds who come to her rescue in the nick of time. Only the rescue turns into an abduction, and Rhapsody soon finds herself dragged along on an epic voyage, one that spans centuries and ranges across a wonder-filled fantasy world.
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Editorial Reviews

Publishers Weekly - Publisher's Weekly
Distinguished by superior wit and intelligence, this fantasy debut opens what looks to be an outstanding saga. In the ancient city of Easton, Rhapsody is learning musical magic after a brief time as a courtesan. While running from trouble caused by one of her ex-clients, she encounters two strangers, the assassin Achmed and the gigantic mercenary Grunthor. By hailing Achmed as her brother, Rhapsody not only saves her own life but breaks the control that the sorcerer Tsoltan, a servant of the fire demons known as F'dor, had over the mercenary. The three companions flee both human and magical forces that pursue them by climbing down the root of the Great Tree; as they pass through the fire at the center of Earth, their situation is magically transformed. They emerge not just on the other side of the world but 14 centuries in the future, when the land is torn by ethnic, religious and magical warfare arising from a multitude of realistic motives--all depicted in exhaustive detail. But their demonic pursuers have also crossed time and space in pursuit; to counter them, Achmed determines to become king of the barbaric Firbolg. This huge and complex novel draws expertly on deep scholarship in Celtic, Norse and animist folklore, myth and history. With exemplary skill, it weaves these elements into its characterizations, world building and depiction of magic to create a narrative that grips throughout. This is one of the finest high fantasy debuts in years. Agent, Richard Curtis. 100,000 first printing; major ad/promo. (Sept.) Copyright 1999 Cahners Business Information.
VOYA
The land of Serendair is inhabited by humans, elflike Lirin, and the Bolg, a large, furry, warlike race. Rhapsody, a reformed halfLirin prostitute, runs from her enemies directly into the path of Achmed and Grunthor, two monstrouslooking Bolgish warriors. In the heat of the moment, she adopts them as her brothers and they defend her. The three become unwilling companions, outrunning human and demonic foes, and traveling together through time. Gradually, they grow close, especially when they find themselves more than a millennium from home, surrounded by danger, and with no way to return. After a particularly clumsy beginning, the prose improves. The grudging friendship that develops among Achmed, Grunthor, and Rhapsody is fun to watch. There is plenty of suspense until twothirds of the way through the book, when the story loses momentum with the introduction of a new central character and plot line, taking the narrative in a lessinteresting direction. Nevertheless serious fantasy fans may enjoy the bantering relationship of the three main characters, the kindhearted Grunthor's Cockney speech patterns (he says "Oi" for "I" and drops his "h"s), and Achmed's acid tongue. Rhapsody's dazzling beauty gets tiresome, especially because men react to the mere sight of her by falling into explicit sexual fantasies. The end clearly paves the way for a sequel, or perhaps a long line of them. VOYA CODES: 2Q 2P S A/YA (Better editing or work by the author might have warranted a 3Q; For the YA with a special interest in the subject; Senior High, defined as grades 10 to 12; Adult and Young Adult). 1999, Tor, Ages 16 to Adult, 544p, $27.95. Reviewer: Rebecca Barnhouse
Library Journal
Thrown into the past for a brief moment, Gwydion falls in love with a young woman named Emily only to lose her when he returns abruptly to his own time. In a parallel story, a true bard named Rhapsody travels through time to a distant future, where she uncovers a conspiracy of evil with its roots in a past now lost to her forever. Haydon's first novel launches her characters on an epic quest that spans centuries and lifetimes as an ancient prophecy moves inexorably toward fulfillment. Set in a world that borrows loosely from Celtic mythology, this series opener belongs in most fantasy collections. Copyright 1999 Cahners Business Information.
Kirkus Reviews
First of a much-hyped fantasy series. In Serendair, ex-whore Rhapsody flees an insistent and thoroughly unpleasant former client, only to encounter an enigmatic assassin enslaved by a F'dor, a primordial fire-demon. By swearing kinship with the assassin and renaming him Achmed the Snake, Rhapsody unwittingly frees him. Deeply suspicious of Rhapsody's Namer magic, the new Achmed abducts and interrogates her. The infuriated F'dor, meanwhile, sends forth the Shing, a thousand-strong army of shadow-beings dedicated to hunting Achmed down. Rhapsody, Achmed, and Grunthor, Achmed's gigantic warrior-sidekick, head for the Enchanted Forest's Great Tree, Sagia, whose roots extend through space and time. As they clamber inside Sagia's vast roots, Achmed explains that he and Grunthor are Bolg, hereditary enemies of the F'dor, whom they kill because the F'dor intend to wake the Primal Wyrm from its slumber deep inside the world, destroying everything in fire. Later, when they come upon the Wyrm, Rhapsody sings it into prolonged sleep. But to escape Sagia, they must pass through the fire at the world's core, where each is remade: Rhapsody becomes stunningly beautiful (though unconscious of her beauty) and acquires a flaming sword; Grunthor gains the powers of the earth, while Achmed can clairvoyantly sense the path ahead. They emerge on the other side of the world, to learn that 1400 years have passed. Serendair has been destroyed, though immortal survivors have populated this new land. Achmed decides it's time the Bolg had a king. But a malevolent spirit followed the colonists. Did the F'dor survive too? A well-worked-out backdrop of impressive depth and appeal, and there's a reasonable ifanticlimactic resolution. Despite the hype, though, newcomer Haydon's still feeling her way. (First printing of 100,000)
From the Publisher
"The debut of a great new fantasy talent. With Rhapsody, Elizabeth Haydon begins an epic saga worthy of Eddings, Goodkind, and Jordan.... A spell-binding storyteller with the rare ability to manage memorable characters with both intimacy and power."—Romantic Times (4-1/2 stars out of 5)

"A stunningly told tale by a new fantasy author who is sure to go far."—Anne McCaffrey

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Product Details

  • ISBN-13: 9780312867522
  • Publisher: Tom Doherty Associates
  • Publication date: 9/4/1999
  • Series: Symphony of Ages Series , #1
  • Edition description: First Edition
  • Edition number: 1
  • Pages: 512
  • Product dimensions: 6.12 (w) x 9.24 (h) x 1.48 (d)

Meet the Author

As the daughter of an air force officer, Elizabeth Haydon began traveling at an early age and has since traveled all over the world. She draws on the imagery of these visits in the Symphony of Ages series, and blends her love of music, anthropology, herbalism and folklore into much of her writing. Haydon is also a harpist and a madrigal singer (a singer of medieval songs). Currently, she works as an editor in educational publishing and lives with her family on the East Coast.

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Read an Excerpt

Chapter Four


Deep in the foothills of the High Reaches, within the Spire, the silent vault of obsidian that was its hidden seat of power, the red-rimmed eyes of the F'dor's human host broke open in the darkness.

The chain had snapped.

Slowly Tsoltan sat up on the smoothly polished catafalque where he customarily took his repose. He passed his hands through the darkness, grasping futilely for the invisible ends of the metaphysical restraint that had held his greatest trophy in servitude. Nothing; not even a frayed thread of his former absolute control.

The Brother had slipped his leash.

As his anger mounted, the air around the demon-priest grew suddenly dry and thin, on the verge of tangibly cracking. Tsoltan rose quickly and strode down the long hallways to the Deep Chamber.

Sparks ignited behind him, combusting tapestries, altarcloths, and the robes of a few unfortunate priests along the way. His minions gasped for breath in the smothering air and shivered in the black light of the flames, recognizing the fire for what it was-the prelude to the venting of the demon's wrath.

In fury he ascended the red-veined marble steps to the highest altar, his place of blood sacrifice. A solid block of obsidian, mined in the Second Age by the Nain of the Northern Mountains, it had once been the cornerstone of a temple to the All-God, the Deity of Life, built by the united races.

Now it rested at the top of the enormous staircase of concentric marble circles reaching to the unseen ceiling of the Spire, its leather limb restraints and metal collection vessels amusing testimony to how times had changed. It had seemed a fitting place tostore the true name of the Brother, the Dhracian whose birthright had bequeathed him a link to the life's blood of the populace of Serendair. The Child of Blood, as he was known in some circles.

Vast ceremonial braziers, standing cold and silent, roared to hideous life in a wide, screaming circle of black fire as he raged past. The smoky flames threw grisly shadows on the distant walls, twisting and writhing in grim anticipation.

Upon reaching the sacrificial altar, Tsoltan hesitated for a moment. He extended a shaking hand and gently caressed the symbols of hatred exquisitely carved into the polished surface, tracing the crusted black channels that laced the smooth top, curving downward into a brass well in the center.

Through this metal mouth he had fed the assassin's captive soul the blood of the Brother's own race, and, when the Dhracians were largely exterminated, that of other innocents, by way of keeping his unique blood bond alive even in slavery.

It had been especially effective in ensuring the Brother's cooperation in his master plan, though he had no illusions about the assassin's allegiance. It would have been a coup just to secure his services; the Brother had a reputation, prior to the capture of his true name, for taking only those assignments that he selected himself. His enslavement changed all that. It had made him Tsoltan's most effective weapon and his primary agent in the completion of the plan's final steps.

The F'dor's hands gripped the altar table more firmly now. He muttered the words of Opening in the ancient language of the Before-Time, perverse countersigns of power tied directly to the birth of Fire, the element from which all of his race had sprung. The black stone altar glimmered for a moment, then glowed red as the fire within the obsidian burned, liquefying the stone into molten glass. With a hissing snap, the altar split in two.

Tsoltan tore through the layers of aqueous stone inside and reached into the hollow reliquary within the belly of the altar where the Brother's name had been entombed. When the name had first been brought to the altar to be sealed in the coffer it had been the most singular moment of satisfaction the F'dor had ever experienced, at least in this lifetime.

It was the culmination of great search and great expense, first in obtaining the name, and then capturing it. Finally, the greatest Namer in all of Serendair had been persuaded, after months of torture so excruciating that it bordered on artistry, to write the name in musical script on a scroll of ancient silk. Tsoltan himself had taken the scroll from the man's lifeless hand and surrounded it lovingly with a whirling sphere of protective power, born of firelight and held in place by the spinning of the Earth itself. It had been a thing of great beauty, and securing it within the altar had left him strangely sad, almost bereft of the joy its capture had brought him.

Not, however, as bereft as he felt now. The reliquary held no radiant globe, no Namer's scroll, only the fragments and crumbs of silk left over from what seemed to have been a small explosion. Feverishly Tsoltan gathered the pieces, searching for the musical script, but what few shreds remained were blank.

A howl of fury echoed through the mammoth chamber, cracking many of the obsidian walls. Tsoltan's servants waited in dread to be called in, but heard no further sound. A moment later, their apprehension expanded into full-fledged horror. They could feel the darkness fall about them, palpable and cold as a mist on their shoulders.

Tsoltan was summoning the Shing.


* * *


Rhapsody was already in the throes of a nightmare when the enormous leathery hand cupped her mouth, snapping her eyes open. Her heart, thrown into feverish racing, pounded so loudly she feared it would rip forth from her chest, but like the scream Grunthor's hand had stifled, it remained in place for the moment, unable to escape, careening off her ribs in panic.

"Sshhh, Miss. Don't move. Stay 'ere, Darlin', and don't make any noise, eh?" The giant's voice was soft. Rhapsody nodded slightly. Grunthor removed his hand and moved away.

Beneath her back she could feel the ground rumble. She strained to hear over the whine of the night wind, and after a moment thought she could make out the sound of distant horses, many of them, galloping hard.

With great effort she twisted onto her side, taking care not to rise above the grassy scrub where she had fallen into her troubled sleep. The fire was gone without a trace.

Grunthor knelt beside her in a shaft of moonlight, his enormous shape obliterating any other view she might have had. He was gleefully pulling weapons from his back and boot scabbards, fondly examining each blade in the muted light, humming softly to himself. Then, with surprising alacrity and silence, he was gone.

"You don't follow directions particularly well, Rhapsody." The silty voice came from directly over her. Rhapsody choked back a gasp and quickly lay flat again. Above her was nothing but darkness. "Grunthor told you not to move. It was for your own good."

Near her head she felt a slight movement of air, and the darkness twisted before her eyes. Achmed crouched beside her. "Of course, you're welcome to make yourself a target if you'd like. After all, these idiots coming momentarily are friends of yours."

"Michael?" Even in a whisper, the crack in her voice was clear.

From within the veiled hood, mismatched eyes stared down at her thoughtfully for a long moment, then looked up in the direction Grunthor had gone. She was aware of a faint hum, an almost-insectlike buzzing, then Achmed looked down at her again. When he spoke his voice was soft and sandy.

"His men. He's not with them."

"How can you know that?"

A low, distinct sound of irritation came from above her. "You're right. Why don't you stand up, wave your arms and call out to him? I'm sure he'll be glad to see you if he's there."

"I'm-I'm sorry," she whispered, swallowing the choking knot of fear that had risen in her throat. There was no response. She waited a moment longer, then squinted. She could no longer see him. "Achmed?"

The warm night wind blew over her, whipping loose tendrils of golden hair and a few dried blades of long grass over her face. Rhapsody closed her eyes as the rumbling in the ground grew louder; the horsemen were coming nearer. She tried to keep them shut, but found herself involuntarily searching for stars in the sky above her, its blackness muted in the blistering light of the full moon. There was nothing she could do now but wait and listen.


* * *


Karvolt, Michael's lieutenant, reined his horse to a slow walk, signaling the others to caution. The scorched meadowgrass was high in the peak of summer and undulated gently in the night wind; otherwise, there was nothing in sight for miles around, nor had there been since they left Easton.

Nonetheless he had sensed a hesitancy in his mount, an unwillingness in the gelding that usually signaled danger, although it might just as easily be the animal's exhaustion instead. They had been riding at a ridiculous pace, inspired by the ferocity of their leader's reaction to the discovery that his quarry had escaped. Each of the nineteen other men in the hunting party reined his mount to a stop in response.

Karvolt's black eyes scanned the dips and swales of the Wide Meadows again, listening to the clamor of the overheated horses coming to halt over the labored breathing and muttering of his men. The night wind blew through his matted hair, caressing his neck, but instead of drying the pouring sweat it only served to throw a chill through him. He shook it off; there was nothing in sight, just the waving highgrass and the billowing shadows cast by the moon.

Absently he wedged his forefinger into the collar of his mail to ease the chafed welt that was rising there. His glance shifted to the men, some wearily leaning against the necks of their mounts, others uncapping their waterskins and drinking gratefully. He patted the gelding and felt it trembling still. Karvolt looked around once again at the wide panorama of darkness. Nothing.

"Careful," he instructed in a low, clipped tone; Karvolt was a man for whom words came at great mental expense. "My horse's actin' afright. Anybody else's?"

As if in response, from the ground in their midst came an ear-splitting, heart-exploding roar, a war-scream that was equal parts anger and mirth, triumph and savagery. Ascending with it, equally fast, came its source.

The flickering shadows of the midsummer moon only illuminated part of the man-monster, a hideous mountain of snarling claws, tusks and muscle wrapped in hide-like armor, both worn on his body and, worse, an intrinsic part of it. The beast was whetting two gleaming blades, one against the other. As it reached its full height it threw back its head and laughed uproariously, a sound even more gruesome than its initial roar.

To a one the horses reared, screaming, tossing and trampling their shocked riders in their fright. A maelstrom of panicking horseflesh swirled in the windy meadow, a few resorting to rolling on the ground or bucking the soldiers off like stinging flies, amid the shouts and cries of terror.

After a few initial seconds of snorting misdirection the animals broke free and dashed off, in a loose, frightened herd, to the west. One unlucky soldier, unable to disengage from his stirrups, was dragged along with them, his screams echoing for only a moment, choking off abruptly long before the horses were out of sight.

"I think that's a unanimous 'yes.'"

Karvolt, who had managed to rise to one knee after disengaging from his fleeing mount, turned slowly and looked behind him, panting.

Coming toward him was what appeared to be a moving slice of the night. As it got closer he could make out that it was a man, swathed in a cloak with a deep, veiled hood, whispering across the field like an ill wind, coming his way unhurriedly. Karvolt scrambled backward over the broken body of one of his men, grasping at the hilt of his weapon with a shaking, sweaty hand.

He glanced quickly over his shoulder and then ahead again, judging the distance of the fallen saddle and saddlebags behind him to be just a few paces too far to serve as cover. Off to his left he could hear the sickening ring of metal and the subsequent thudding of falling heads and bodies as the giant lopped away, still laughing aloud.

Karvolt backed away, trembling, struggling to hang on to his composure and balance. Around him, men who had lost the fight against panic were bolting, only to be decapitated or impaled with something thrown by the chuckling giant. In his darkest nightmares, and all his bloody campaigns with the Wind of Death, he could never have imagined this. He rose to a unsteady stance and drew.

The other soldiers, some motionless in injury, others in fear, were bringing forth their weapons as well. Karvolt limped slowly back, his eyes all the while on the moving shadow, its cloak dancing smoothly in the warm wind.

The man was coming rapidly, fluidly, stopping before each of the fallen soldiers, swiftly removing their weapons from their hands, deflecting their final charges, with a patient, almost professional air. Though he knew they were attacking to the best of their remaining ability, it seemed to Karvolt that the soldiers were almost handing over their weapons to him. The shadow-man moved faster than his strained eyes could follow, slitting a throat, inserting a dagger into an ear, respectfully, almost kindly.

He passed between each of the remaining soldiers on the ground, gliding from man to man like an angelic spirit, offering a hand to one as to a long-lost kinsman, then moving the blade from the soldier's grasp to his own and returning it, with one near-invisible motion, into the pit beneath the man's arm. With an air that was almost gentle he held down a hand to leave a neck exposed, dispensing death more swiftly and efficiently than Karvolt had ever seen, switching hands freely, never pausing, but never pushing. For all that Michael might call himself the Wind of Death, this truly was seeing the wind itself.

Time slowed for Karvolt as the realization came upon him, like a comforting mantle, of the imminence of his own death. Detachedly he was aware of the tightness of the skin around his eyes and across his brow. He knew his face was fixed in the skull-like expression of utter terror he had seen so often in the faces of his own victims, though he felt little of the actual fear it must be displaying.

As the hooded man finished with the last of his remaining comrades and started on the final approach toward him, Karvolt wondered with the last of his abilities of supposition how all the mothers he had put to the sword over the years had managed to fight until the end, as they invariably had. All his years of training and experience in murderous slaughter and the reactions that came with them had deserted him utterly in the face of death.

Summoning the last of his will, Karvolt swung the triatine that had been his father's before him, knowing that it was in vain, and fell back. The man stood over him now. Karvolt was sure he was being looked at from within the dark hood with sympathy. His weapon was gripped by a thin, iron-strong hand that closed over his own trembling one. The voice that spoke in his ear was courteous, almost courtly.

"Allow me."

As even deeper darkness surrounded him, Karvolt was vaguely aware of the subtle twist that repositioned the triatine, then thrust the thin, triple-bladed sword through his chest.

In his last moment he noted the surprising lack of pain, and the absence of effort that the shadow before him expended on withdrawing the weapon; the weight of his own body falling away drew him off it quite cleanly. His vision closed in on him, starting at the outer edges of his eyes. He only heard fragments of the words the giant exchanged with his executioner.

"You certainly took your time gettin' to 'im, Sir."

"He had an interesting blade. Add it to your collection."


* * *


When Grunthor returned he found Rhapsody exactly where he had left her, motionless, staring directly above her. He pushed aside the body of one of Michael's soldiers who had fallen within a hairbreadth of her, extended an enormous hand and dragged her gently to her feet.

"Ya all right, Miss?" The Bolg followed behind her, watching her expressionless face as she surveyed the carnage in the field. Rhapsody nodded slightly, continuing her examination. She shivered in the wind and ran her hands over her arms as if chilled, but otherwise betrayed no outward sign of emotion.

"Quite a testimony to your charms," Achmed said, a grim half-smile visible even under his veiled hood. "I guess they were just dying to see you again."

Rhapsody stopped before Karvolt's body. The men watched as her slender back went rigid. She crouched down and took the corpse by the shoulder, turning it slightly to better see the face. Then, like a rolling wave, hate swam visibly through her muscles.

She leapt to her feet and aimed an impressively savage kick squarely at the corpse's head, then another, and another, with growing intensity. Between shallow breaths she began to mutter a string of inspired curses more vile than either of the men remembered hearing, much to Grunthor's delight.

"Balls! Not bad for a little sparker! She could teach me an oath or two, eh, Sir? Figger she knows 'im?"

Achmed smiled. "What gave you such a notion? Give her another shot or two, then see if you can pull her off. We need to be heading on."


* * *


Smoke from the breakfast fire hung low in the heavy morning air, blending with the rising fog of dawn, as Achmed had intended. The girl was not back yet, having excused herself a few moments before and walked a short distance away, to the other side of a deep swale in the field, out of sight. He could feel her anyway, her heartbeat slow and steady, not as it would be had she been preparing to run. He stirred the fire and the clumping stew in the pot that hung over it.

Her words of courteous leaving were the first she had uttered all night, though she had not been given to speaking much before that, anyway. Grunthor had inquired several times in the course of their march if she was all right, and each time she had nodded politely, staring straight ahead as they walked. He knew that the giant felt her to be traumatized, but Achmed was more inclined to believe that she was traveling down old roads in her mind, roads much rougher than the rocky fields they were now crossing. It didn't matter to him in either case.

They would need to bring her along. It had been his belief and position from the first discussion with Grunthor after their exit from Easton, but he was even more sure of it now. Her safety was not of concern; her problems with the Waste of Breath were her own matter. Far more important was the insurance having her alive would provide until he could determine what exactly had happened with his name.

The collar of his servitude, the invisible chokehold that he had worn since the F'dor had come into possession of his identity was gone, broken from his neck as certainly as anything he had ever known. From the moment she had uttered her inane comment in the cool darkness of Easton's back alley he had been free of it, and more: he had actually become a different man. She had changed not only what he was called, but who he was, a dangerous power to be entrusted to one whose actions characterized her as idiotic. That power must be substantial, colossal, in fact, to subvert the will of the F'dor. A powerful idiot; marvelous. Achmed snorted in irritation.

The name change had not seemed to affect his birthright. He was still assailed by the pounding of the heartbeats of millions, drumming in his dreams and each waking moment as they had from the moment of his birth.

But the details of this new arrangement of identity remained to be seen. He would need to retain her, at least until they arrived at their destination, to ensure that there was no unfinished business, no detail in the situation that he had not accounted for. The Brother, before his enslavement, had been the master not only of his own destiny, but the destiny of anyone else he chose. This Namer's actions may have returned him to that state, or may not have; he now knew nothing about himself whatsoever. Another man might have been grateful for the salvation. Achmed was merely annoyed.

In the distance he could hear a soft, bright tone rising on the morning wind, a sound that eased the age-old pounding in his blood and cleared his mind; the girl was singing. An orange ray of dusty sunlight had pierced the blue gloom of morning, illuminating the smoky haze around them. He turned quickly to look at Grunthor, who had just awakened and was staring off in the direction she had gone as if entranced. The giant then shook his head, as if shaking off sleep, and turned to meet his glance.

"What's that?"

The man now known as Achmed the Snake gave the pungent stew another stir.

"Devotions."

"Eh?"

He banged the metal spoon savagely against the side of the pot. "She's Liringlas, a Skysinger. The kind of Lirin that mark the rising and setting of the sun and stars with song."

The giant broke into a wide, pasty grin. "Lovely. And just 'ow do you know that lit'le bit o' fact?" Achmed shrugged but said nothing. Dhracians and Lirin had ancestral ties, but he deemed it a piece of information not worthy of explanation.

A moment later the sweet music ended, taking with it the fragile sense of well-being it had brought a moment before. By the time Rhapsody returned to camp, Achmed's hidden face was wrapped in a scowl again. By contrast, the grim expression that had beset her features the night before was gone, replaced by a placid, almost cheerful mien

"Good morning," she said. She smiled, and the giant smiled in return.

"Mornin', Miss. Ya feelin' better?"

"Yes, thank you. Good morning, Achmed." She didn't wait for a reply, but sat down next to her gear and began tightening the leather bindings on her pack. "Thank you for your-assistance last night."

The sun cracked the horizon behind her, bathing her in a shaft of rosy golden light, causing her hair to gleam brightly. She pulled a crust of bread out of the pocket of her vest, then brushed the crumbs from the long sleeves of her white muslin shirt, stained with grass and dirt. She held out the bread, offering to share. When the men ignored her, she took a bite, wiping her mud-brown wool trousers free of debris.

"Eat quickly," Achmed said, ladling the stew into two battered steel mugs. "We have a lot of distance to cover today."

Rhapsody stopped in mid-chew, then swallowed painfully. "We? Today? What do you mean?" The Dhracian handed Grunthor a mug, then raised one to his own lips, saying nothing. "I thought-Michael's men are dead."

Achmed lowered his mug. "Are all Namers given to such rash leaps of assumption? He has many men. That was only one contingent. Do you really think it was the only one he sent?" He ignored Grunthor's glance and raised the mug to his lips once more.

Rhapsody's face went white for a moment, then hardened into a considered, calm expression. "How far to the Tree?"

"Less than a fortnight, if the weather holds and field conditions don't worsen."

The Singer nodded again. "And are you still willing to let me come with you?"

Achmed finished his stew, wiped the remaining droplets out of the depths of the mug with his forefinger and shook it out, upside down, over the fire. He tossed grass into the other utensils, spun them out as well, and stowed them away, her question hanging heavy in the air. Finally, when the equipment was packed he shouldered his weapon and gear, slipping both beneath the black cloak.

"If you can keep up, and keep your mouth shut, I'll consider it."


* * *


They made their way at a brutal overland speed, traveling in long stretches, for a dozen nightmarish days, stopping rarely, barely pausing before moving on. Traveling time was not limited to either day or night, but rather to Achmed's scouting. It seemed to Rhapsody that he had some sense of inner warning about the presence of other beings, man or animal, that stood between them and the wood.

They might hide for hours, waiting for a group of unknowing travelers to move out of their path. When this would happen, she would take the opportunity to doze, not knowing when it would come again. Or they might go for an entire day at a forced march clip if the way was clear. The men were used to the pace, and she could keep up fairly well, only needing to stop when she found the sun in the same place it had been once more without a rest break. After a week she was able to match their pace, and they traveled quickly, and in silence.

Finally, at noon on the twelfth day, Achmed pointed directly south and stopped. The two exchanged soft words in a language Rhapsody had never heard except between them, then Grunthor turned to her.

"Well, Miss, you up for a good ten mile run?"

"Run? We haven't stopped for the night yet. I don't think I can do it."

"Oi was afraid you might say that. 'Ere, then." He crouched down and patted his shoulder. Rhapsody stared at him, exhaustion making her confused, then realized foggily that he wanted to carry her on his back, a prospect she particularly loathed. She shuddered at the sight of the many hilts and blade handles protruding from various moorings and bandoliers that crossed his shoulders. It would be like lying down in a field of swords.

"No. I'm sorry, I can't."

The cloaked figure turned to her, and beneath the hood she could see the irritation in his eyes.

"We're almost there. Choose now: shall we abandon you here, or are you going to be gracious about Grunthor's offer of help? The woods are in sight; those that defend them are not. These are bad days; they take no risks with wanderers strolling near their outposts."

Rhapsody looked around. She had no idea where she was, nor could she see the forest. As she had several times since beginning the journey, she considered staying put, hoping that whatever she encountered after the two moved on would be safer company. But, also as she had decided before, her traveling companions rescued her, had not tried to harm her, and looked out for her in their own way. So she swallowed her displeasure and agreed.

"Very well, I'll walk as long as I can first, all right?"

"Fine, Miss, just let me know when you're tired."

She rolled her eyes. "I've been tired for days. I'll let you know when I can't go on."

"Fair enough," said the giant.


* * *


The moon was on the wane. It hung low in the sky, trimmed with blood-red mist, a silent observer of the answer to the F'dor's summons.

From deep within the dark temple the call had come, channeled out through the massive stone steeple above, standing black against the night sky.

The towering obelisk was an architectural marvel, a joint masterpiece of man and of nature. Thousands of tons of basalt base and obsidian shaft reached up into the darkness that surrounded its well-hidden cavern in the High Reaches, Serendair's forbidding northern mountain range. The actual spire of the mammoth fortress a mile below the ground, the shadowy monolith pierced the racing clouds, thrusting skyward proudly, almost insolently, tapering to a point in which was carved the image of a single eye. As the chant began, the scraps of vaporous mist that hovered in the humid air around the Spire dissipated instantly; the eye was clearing, readying itself.

The ancient words of summoning, spoken by the dark priest at the altar of blood sacrifice, were not known in the language of this Age, or even the two Ages previous to it. They came from the Before-Time, the primordial era when the elements of the universe were being born, and symbolized the most ancient and essential of all ties: the link between the element of fire and the race that sprang from it, the F'dor.

Twisted, avaricious beings with a deceptive, jealous nature, the few surviving F'dor shared a common longing to consume the world around them, much like the fire from which they came. Also like fire, F'dor had no corporeal form, but rather fed off a more solid host, the way fire grows by consuming fuel, destroying it in the process.

The demon-spirit that clung to Tsoltan, high-priest to the Goddess of Void in the world of men, had made its way to power slowly, patiently, over time. From the moment of its birth in the earth's fiery belly it had taken a long world view, planning its steps carefully, willingly attaching itself to hosts who were weak or inconsequential in order to give itself the time to grow into the fullness of its potential.

Even as it passed, through death or conquest, to increasingly powerful hosts, it held back, reserved the time of its revelation, to ensure that nothing compromised its ultimate goal. The possession of Tsoltan had been an inspired one, achieved willingly, early in his priesthood. The duality of his nature served to make him doubly strong, leant a strategic composure to his innate desire to devour. Living at one moment in the world of men, the next in the dark domain of black fire, Tsoltan existed on two levels, both as man and as demon.

And neither of them had the power he needed over the Brother.

From the ground around the Spire dew began to rise, steamy mist ascending into the scorching air of the summer night. Hot vapors twisted and danced, forming clouds that in the light of the just-past-full moon grew longer, taller, then began to hold a human shape.

First one, then several, then many, then a multitude of glistening figures formed beneath the unblinking eye of the obelisk, robed like the Brother himself, but with utter darkness within their hoods where a face would be. The bodily frames on which the mist-cloth hung began as thin and skeletal, but as the chant continued they took on the appearance of flesh, of a sinewy musculature, of fire-tipped claws, unseen indications of the demon's substantial investment of power expended in bringing them into being. The thousand eyes of the F'dor. The Shing.

In the great vault below, Tsoltan watched them assemble through the obelisk's eye, trembling with strain and joy. They lingered motionless in the air, absorbing more and more of the heat their master had committed to them, stripping it from himself, growing stronger as his power ebbed.

Within their empty hoods a glimmer could occasionally be seen, perhaps a moonbeam reflecting off the mist, but more likely the reflection of the lens of the immense eye which they now formed. In the world of living men one moment, in the spirit world the next, flitting back and forth between the two domains, much like their master himself, the Shing waited. They were as ephemeral as the wind, but not as fleeting: when sent forth to seek their quarry, they were as relentless as Time, as unforgiving as death.

Tsoltan clutched the altar, his strength waning like the moon on the fields above. In a moment his thousand eyes would set forth, resolutely combing each pocket of air, each step of the wide world, searching endlessly until they found their prey. When they finally came upon him, the results would be horrific.

The demon-priest trembled as weakness washed over him. The Shing would be taking virtually all of his life force with them, a heavy risk. As one knee, then the other, crumbled out from under him, Tsoltan wondered if the Brother would appreciate the compliment. His head struck the polished obsidian floor as he fell, splitting his brow and staining the stone with blood, an appropriate sign.

"The Brother. Find him," he whispered hollowly.

Tsoltan, high-priest, man and symbiotic demon-spirit, rolled onto his back and stared into the blackness overhead. A mile above, a thousand Shing turned and set forth on the wind, under the unblinking gaze of one solitary eye.



Excerpted from Rhapsody by Elizabeth Haydon. Copyright © 1999 by Elizabeth Haydon. Excerpted by permission. All rights reserved. No part of this excerpt may be reproduced or reprinted without permission in writing from the publisher.


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Table of Contents

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Interviews & Essays

Back in 1999, B&N.com SF & Fantasy editor Andrew LeCount had the pleasure of speaking with author Elizabeth Haydon. Topics discussed included the launch of her ambitious new fantasy epic, Rhapsody, her strict attention to detail, her favorite character to write, and the wild New Orleans night that sparked her writing career. Enjoy our interview.

B&N.com: Tell us about your debut fantasy novel, Rhapsody. Set up the story line for those who have yet to discover it.

Elizabeth Haydon: Three mismatched companions come together unintentionally and end up escaping the devastation of their homeland in a fiery cataclysm. Rhapsody is the story of their journey across time, away from the doomed Island of Serendair to a place that may be even more dangerous; the riddle entwined in the history of the new land; and the mystery of the evil that may have survived with them.

Rhapsody is a Singer, a woman who has been forced to serve some time in the streets as a prostitute and now is studying the ancient musical arts of her mother's people, the Lirin science of Naming. While attempting to escape the henchmen of an obsessed former client, she falls in with two shady characters, a gigantic Firbolg mercenary named Grunthor, who is a Sergeant-Major by trade, and a mysterious assassin known only as The Brother. Both men are on the run from an ancient demon who is in possession of The Brother's true name, planning to flee the Island.

In the course of their tangled meeting, Rhapsody uses her newly learned power to rename the Brother "Achmed the Snake". This action snaps the metaphysical collar of servitude the demon has used to keep the assassin in his thrall, setting "Achmed" free. The two men decide to take Rhapsody with them, since they don't know whether her actions have saved the assassin or compromised him even further.

The companions travel to a primeval wood, a holy forest where the Great Tree, Sagia, grows. Legend says that this enormous oak grows in one of the five places where time itself began, and its roots wind through the Earth, tying it to all things that grow. It is through the root of this tree that the three companions escape, and find themselves on the other side of time, 14 centuries in the future, in a place colonized by the descendants of the people who fled their homeland before it was destroyed. As they traverse this new and strangely violent continent, they begin to suspect that they are not the only inhabitants of Serendair who have survived -- that the evil they escaped on one side of the world may be here, in the new world, hiding in wait for its time to come forth.

B&N.com: Explain your use of music in Rhapsody.

EH: In the mythos of this story, the five elements that formed the world -- fire, water, air, earth, and ether (the matter that makes up the stars) -- still resonate power left over from the time of creation. That power gives off vibrations. Certain individuals, because of physiology or training, can manipulate those vibrations and derive power from them. I suppose some might call this magic, but it has a scientific basis.

Achmed is an example of physiology making use of those vibrations. He is half-Dhracian, a race that has a skin-web of exposed veins and nerve endings that make Dhracians sensitive to the currents of the air and the various signatures of vibration around them. Achmed's particular gift allows him to track the heartbeats of humanoid prey; he can sense the unique rhythm of an individual's heart, match his own pulse to it, and follow it without error. In a way, this is a use of music.

Rhapsody is a more traditional example of musicianship. At one point, she explains to Achmed and Grunthor that different kinds of music are the maps through the vibrations that make up all the world, and that if you have the right map, it will take you to wherever you want to go. Those of her race and profession have long studied musical lore and are the depository of a vast treasure of songs of history. In addition, she has attained the highest level of this profession; she's a Namer, someone so attuned to the music of a given thing's name that she can alter the reality around it through musical manipulation. Namers are foresworn to the truth, because if they interject any false notes into a given "song," it dilutes its power.

There is music all through the Rhapsody trilogy -- grisly (and humorous) marching cadences sung by the Firbolg, songs of healing and Naming, war chants and lullabies -- it is ever-present in the description of the world around them, the wind in the forest trees, the song of the Earth as they crawl within it. My clearest memory of C. S. Lewis and Tolkien was hearing music the whole time I was reading, like a soundtrack. I hope that comes across somewhat in Rhapsody as well.

B&N.com: How much research went into your novel? According to your web site (www.elizabethhaydon.com), many of the marvelous weapons in Rhapsody were influenced by actual arms. Give us a few examples.

EH: An embarrassing amount of research went into this book; I'm an editor by profession, and we tend to be anal-retentive when it comes to accuracy. It would be nice to be able to relax a little and just let the creativity flow, but alas, I fear it will be an uphill battle against my nature as long as I'm writing. In addition to the research, I coaxed quite a few experts in various fields to review the manuscript for accuracy, to make sure the herbalism, music theory, archaeology, anthropology of the various racial societies, weaponry, and military tactics were all correct. The languages are linguistically accurate. Everything else I just kind of made up.

Some weapons examples: The knives that the Bolg manufacture are based on a triple-bladed throwing knife of the Bwaka people of central Africa, which rotates in flight and can pierce at almost any attitude at which it impacts. Achmed's cwellan (which is the Old English word for "kill") is based on a form of Mongolian crossbow, which hurled projectiles at a side angle by force of recoil. Grunthor is a weapons enthusiast and a walking arsenal; I had to make certain that the tech level of the weapons in his stash were appropriate to the approximate technology period of Rhapsody and to the natural resources of the places he had traveled.

B&N.com: Talk a bit about the prophecy in which you refer to the "lifestages of all men" -- Blood, Earth, and Sky.

EH: Aw, come on -- that would be telling! Well, OK, just a little bit. The prophecy you refer to was uttered at the end of a terrible war, which had divided the Cymrians against each other and the continent against itself. They were looking for a reason to have hope, and they asked the Seer of the Future, who was mad and spoke in riddles, if so great a rift could be mended. This was her answer:

The Three shall come,
leaving early,
arriving late,
The lifestages of all men:
Child of Blood,
Child of Earth,
Child of the Sky.

Each man,
formed in blood and born in it,
Walks the Earth and sustained by it,
Reaching to the sky,
and sheltered beneath it,
He ascends there only in his ending,
becoming part of the stars.

Blood gives new beginning,
Earth gives sustenance,
the Sky gives dreams in life --
eternity in death.

Thus shall the Three be,
one to the other.

One of the repeating themes in the trilogy examines truth and deception, and how close they can sometimes be. While the Seers can only speak the truth, they don't always reveal everything they know, and sometimes what they say is technically true, but deceiving. Prophecies can have more than one meaning, and they don't always mean what they seem. Achmed ignores them for this reason.

The line in the prophecy that is in the past tense -- formed in blood and born in it -- is in general a reference to birth, the first lifestage of man. The line in the present tense -- walks the Earth and sustained by it -- alludes to the second and primary lifestage, the actual lifespan. The line in future tense -- reaching to the sky, and sheltered beneath it, he ascends there only in his ending, becoming part of the stars -- refers to death and afterlife. Each of these examples also refers to one of the Three, those whose coming was foretold as one way that the rift might be healed. It is possible that Achmed could be the Child of Blood, given that he is an assassin; Grunthor is tied to the Earth; and Rhapsody is Liringlas, a Skysinger, the race known as children of the sky. But of course, I can't promise anything, because, after all, one should never trust prophecies completely, because they don't necessarily mean what they seem.

B&N.com: Do you have a favorite character to write? I must say, Grunthor is my favorite to read.

EH: He's my favorite to write as well. What's fun about Grunthor is that he's such a contradiction -- ferocious and gentle, a brutal adversary, a no-nonsense Sergeant Major to his troops, but sweet to Rhapsody and later to Jo, the teenage street urchin she adopts. For a Firbolg crossbred with an even more monstrous race, he embodies a good deal of personal wisdom and uncommon grace. He likes to sing grisly marching songs. Plus he's funny. He is the fulcrum between Achmed and Rhapsody, who are opposite sides of the same coin. While they both undergo tremendous transition, Grunthor remains consistent. And he reminds me a great deal of my editor, Jim Minz.

B&N.com: What drove you to write fantasy fiction in the first place?

EH: Clinical insanity. Actually, it was a favor to an editorial friend. I had read C. S. Lewis as a young child, Tolkien as an older one, and some fantasy in college, but had lost touch with the field after that. I work in educational publishing. In 1994, I met up with an editorial friend and mentor in New Orleans at the American Library Association conference, and he asked me to write him a fantasy that might cross over to other genres and contain some of the mutual interests we shared, like medieval music, history, anthropology, and herbalism. I was uncertain about it (we had been drinking something called Dixie Blackened Voodoo, and initially, I thought he was drunk when he suggested it) because I had never written a novel before, but when it became clear he really wanted me to do it, I gave it a shot. I created a universe's history and then fell in love with the story. Writing in this genre has awakened a long-dormant creative side of me that I never realized I missed so much.

B&N.com: Is it true there is a movie in the works?

EH: Yes, it was optioned for film even before it was offered to publishers as a book. The screenplay is almost done.

B&N.com: Rhapsody is a massive fantasy novel -- in size and in scope. How many volumes do you see your series spanning? When can we expect Volume No. 2?

EH: Volume Two of the trilogy, Prophecy: Child of Earth,, is due out in July 2000. It's complete and in the process of minor revisions right now, so I don't expect any significant delays unless I get a hernia carrying it to the post office.

Part of the development of the Rhapsody trilogy was the mapping out of the world's history from its formation to its destruction. I wrote it with a time line; if the beginning of the world is zero on the time line, and the farthest event I could envision is ten, Rhapsody takes place approximately at six. I know what came before this era, and what will follow it.

Because this story is a history, it has many epochs to it, eras of time which are distinct stories. The trilogy that began with Rhapsody will offer a definitive conclusion to this story at the end of the third volume. I'm an impatient reader myself, and I need some points of conclusion in a story, so I can't see myself writing a completely open-ended series with the same characters going through a series of new adventures each time. That being said, there are eras both before and after this trilogy that I would love to explore. The surviving characters from this trilogy do have future stories. Also extremely interesting to me is the exploration of the stories that precede the trilogy -- the events that are history to the people in Rhapsody. All of this depends, of course, on the readers.

B&N.com: Thank you for taking the time to answer our questions, Elizabeth. Tons of luck with Rhapsody.

EH: Thank you. I appreciate your time and the opportunity.

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Customer Reviews

Average Rating 4.5
( 115 )
Rating Distribution

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4 Star

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See All Sort by: Showing 1 – 20 of 115 Customer Reviews
  • Posted October 22, 2008

    Disappointing

    To be honest, I¿m a little shocked to see this book getting such rave reviews when I found myself so disappointed in it. While I can see the appeal of it I think its faults weigh it down, smothering any real promise the series held.<BR/><BR/>I¿ve read reviews applauding Haydon for her three-dimensional, realistically flawed characters, and couldn¿t disagree more. They all come across as stereotypes to me ¿ the sarcastic assassin, best in the world; his humor relief sidekick, a monster with a gold heart; and the selfless, achingly beautiful title character, the most powerful in the book ¿ characters who, with some work, could have come across as interesting and, more importantly, likeable. As it stands, however, I couldn¿t have cared less about any of them, quite a bad thing when nearly half the book focuses solely on their interactions with each other, and the two sequels only increased my annoyance, partially with Rhapsody.<BR/><BR/>Rhapsody is beautiful, and you better get used to hearing about it because the book never fails to remind you. It¿s not a natural beauty, however, but rather something gained through the plot, and enthralls anyone who sees her to the point of mindless lust and distraction. I¿ve seen incredibly beauty done well before but this serves no purpose except to make Rhapsody that much more special, and her mindless refusal to accept her changes quickly becomes aggravating.<BR/><BR/>Rhapsody is an annoying perfect character, even when her looks aren¿t taken into account. She¿s got powers that are unmatched; is selfless to the point of stupidity, which, even when commented on, works out in her favor; and is either proved right at the end or wins every confrontation. Who doesn¿t like to see their MC fail once and a while, to seriously struggle for something and lose? And don¿t let her prostitution history fool you; it barely left any lasting effect and one particular passage just proves her selflessness yet again, proving that this point in her history was just a ploy to make the reader feel sorry for her.<BR/><BR/>The plot didn¿t strike me as anything special and at times seems to lose itself or wander off, with the characters doing this-and-that despite the apparent urgency of their situation. The characters reactions to events were rather limited, and when I think back I can only recall Rhapsody usually being angry over one thing or another, stubbornly refusing to see the other person¿s point of view or let them explain him or herself. And how easily things to seem come to them; I never felt like they were really working for anything because the consequences either weren¿t there or were forgotten a few chapters later. Want to become the most powerful nation on the planet and uncover an ancient civilization? Accomplishable in a few easy months, with the added bonus of embarrassing anyone who tries to stop you in a crushing display of power.<BR/><BR/>On a positive note, while the writing can become overly descriptive and you¿ll hear the same prophecy three or four times, I found it easy enough to read and some of the descriptions were even pleasant. Considering the flaws, though, I do regret spending my money on this. I suggest renting it from a library first, if possible, as it has the ability to leave a bad taste in your mouth.

    5 out of 7 people found this review helpful.

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  • Posted January 6, 2011

    more from this reviewer

    I Also Recommend:

    Great Series!

    Although this first book is a bit slow-starting, it is the beginning of one of the most original series of the fantasy genre! It contains strong, memorable characters, interesting plot-lines, and a great deal of clever dialog! It is one of the few series I made time to read twice - and that's saying something! If you like this series, you might also like the "Thief's Gamble" by Mckenna, the "Wayfarer Redemption" by Sara Douglass, and "Aware" by Glenda Larke.

    3 out of 3 people found this review helpful.

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  • Anonymous

    Posted October 5, 2010

    Incomplete Series...

    Great series, but unfinished. As of 2006, no information or anything about the next book is to be found anywhere. She dropped this series and moved onto a childrens series. As far as I'm concerned all her Symphony of Ages books should be pulled off the shelves. Its unfair to her readers. I would have never spent the money knowing it wouldn't be finished. I don't recommend any of these books.

    2 out of 3 people found this review helpful.

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  • Anonymous

    Posted June 22, 2012

    Exellent

    I first read this triligy several years ago and gound it a captivating, exciting, and imaginative tale. The characters are well drawn with a depth that brings each to vivid life. The tale is full of an immediacy but also full of mystery and deep drama which expands slowly over time. The pace is spot on with just the right degree of emotional depth drawing in the reader and engaging the heart while providing pulse pounding action, suspense, mystery, and emotional depth. I highly reccomend not only the triligy but also the following related books. ---------------------- I am excited the author finally converted her work to the Nook. I misplaced my original hard copies during a move and have waited quite awhile to obtain digital copies.

    1 out of 1 people found this review helpful.

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  • Posted November 22, 2010

    Rhapsody Long Time Fan

    I love these books. The first three are wonderfull but you probably don't want to buy the hardcovers for the last three because second series is unfinished. I don't know if a new one is coming out or not (havent looked recently). But the first three are wonderful. 4 and 5 are good too but that I have seen the secon series is not finished. I have not yet red the 6th book (assassin king). I hope it is as good as her other books.

    1 out of 1 people found this review helpful.

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  • Posted September 7, 2010

    more from this reviewer

    Amazing Fantasy book loaded with love, passion, violence and all the goodies you are looking for.

    What a fantastic jumpstart to a great serious. Haydon is a master of generating in vivid detail the environment in which surrounds Rhapsody. You can picture your self right next to her playing the harp, saving children and slaying half man creatures. Each adventure Rhapsody forgoes turns into a highly detailed rendering of the best fanstasy world iv ever read about. Being a huge fan of fantasy books and a avid reading of hundreds of fantasy novels, Rhapsody by far tops the list. It marvelous how Haydon creates each character so unique from any others I have ever read. Haydon just nails the amazing details and the love and passion i have not found in any other fantasy novels, but she didnt leave out the blood and gore for the male readers who will also enjoy this stunning read of the most real fantasy world iv ever journeyed in through a book.

    1 out of 2 people found this review helpful.

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  • Posted May 21, 2009

    more from this reviewer

    I Also Recommend:

    An amazing novel worthy of J.R.R. tolkien!!!!!!!!!!!!

    this book was amazing, i took it camping with me and i didn't do anything while i was there until the book was finished. it keeps you on the edge of your seat, you get to know the characters at an early stage so that you fell everything that they feel... you really CONNECT with the characters.. the plot is amazing... it has amazing twists, and turns, it is very climatic- and her other novels and even her childrens books are just as great- i can't wait to read more from this author...!

    1 out of 1 people found this review helpful.

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  • Anonymous

    Posted December 22, 2008

    I Also Recommend:

    I truly enjoyed this, over and over

    This book is definitely one of those I will always keep around and recommend to my friends. Although some doubt the characters, it's the story line that is beautiful in and of itself with the attention to detail in trying to recreate an entirely new world. Admittedly, no one can surpass the sort of world created by someone like Tolkein, but in that way, it works for this story. Yes, as one reviewer said, you do tend to hear a lot about just how beautiful the main character is, but there's a reason - it's one of her main insecurities and often functions as a reason for the story's conflicts (in other words, it wouldn't make sense having men start wars around one woman for no apparent reason apart from the fact that her beauty is hypnotic).<BR/>The story is beautiful and very complex and there are quite, albeit mostly supporting characters that are extremely complicated, but there's a reason and it's understandable when you read the first book. Their personalities aren't meant to be confusing - the point is that you're supposed to be worrying about the reaction the other characters have to the main three.

    1 out of 1 people found this review helpful.

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  • Anonymous

    Posted February 20, 2006

    Truly a well orchestrated Symphony

    Please note that this review goes for the entire series, but fear not, there are NO spoilers. First I must commend Haydon's genius for her powerful control not only of her characters' personalities and individualities, but also her amazing talent for having them grow on each other, and her command of verbal fluency for each. Second, I find the strange allure of a book series revolving around time, vibrations and history mindboggling. She has turned three things so trite (to me) into some of my favorite things. Bravo. Third, the plot is refreshingly interesting. It's rare to find a fantasy book where the story makes sense, doesn't contradict itself, yet adds new criteria with each and every page. Besides, Haydon has done a spectacular job at making a female character--a whore no less--into a main character that doesn't seem revolting at all--okay, maybe a little, but not much--an assassin portrayed with love, torn into by his past and plagued by the present, with only the future to comfort him, and a giant cannibal with a mean array of war ballads and a great source of comic relief. Haydon has turned the everlasting fantasy genre backwards, upside down, and inside out. Thank you for restoring my favorite genre back into something readable, plausible, and yet...fantastic. With all the meaning I can muster, -Leavaros Dapple

    1 out of 2 people found this review helpful.

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  • Anonymous

    Posted January 28, 2002

    BORING!

    I made the hastly jugement that one should never make when buying a book - I juged it on the cover. The only thing I can say for this book is that it has good orginal discriptions. The reason i find this book so unbearable is on the acount nothing happens untill page 300. I mean after the first 80 or so pages the charcters were stuck in a monsterous sized tree for 160 pages, sleeping, eating, and building relations with one another. YAWN. How this book managed to find its way on the best sellers the world may never know. Writers need to take more responsiablity for what they put their readers through.

    1 out of 3 people found this review helpful.

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  • Anonymous

    Posted April 24, 2014

    Favorite book ever!

    A must read!

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  • Anonymous

    Posted October 17, 2013

    READ THIS BEFORE BUYING

    DON'T BUY BEFORE READING THIS!!! I would have recommended this series to anyone (I got excited about the first 3 each being over 1,000 pages and loved the plot and characters) but after the 6th one I could not find the next book. That's because there ISN'T ONE... just ends abruptly in the middle of a brewing war and what seems to be the climax of the series! Then I find out it's never been finished!!! What a blow to the stomach, a heartwrenching disappointment, and a waste of time and money....

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  • Anonymous

    Posted September 16, 2012

    Not finished

    I found the 6 book series was great. Until the end of the last book. The series just stops and has never been finished, i do not recommend this because of this. And there is no more website to go to. I cant find her wedsite. Furthermore i have just wasted my time and money that will never be finished. Just one more point fir her and her publishers who are collecting royalties, you have made your money off me this time , but you have certainly made my sympathies more favorable to self publishing arthors

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  • Anonymous

    Posted July 6, 2012

    Enjoyable Read

    I really enjoyed this book!

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  • Posted May 30, 2010

    I Also Recommend:

    love the whole series

    I loved this series. These are my all time favorite books. The Assassin King was my least favorite but i loved Destiny.

    0 out of 1 people found this review helpful.

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  • Posted May 19, 2010

    more from this reviewer

    I Also Recommend:

    Amazing series!

    Rhapsody is just the beginning of an epic tale of a love that lasts time, war, and the destruction of a world. If you want high fantasy this is the series that has it all. Haydon mixes the magic of music and the elements of the earth to create a story that is intricate and detailed without being overly obsessive about description

    0 out of 1 people found this review helpful.

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  • Posted January 26, 2010

    more from this reviewer

    I Also Recommend:

    Very original

    When reading this book, everything is so vivid and new. I love the way it starts and throws you into the story. The middle was a little slow, but it just helps you sympathize with the characters. I love the comedy and naivety of Rhapsody, you just fall in love with her at first sight. I will continue to keep this book in my library.

    0 out of 1 people found this review helpful.

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  • Anonymous

    Posted August 7, 2007

    Beautiful

    I love this book and the series. I highly recommend this book to all fiction readers, even the ones that don't normally like 'sci-fi'.

    0 out of 1 people found this review helpful.

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  • Anonymous

    Posted June 17, 2007

    The Best!!

    This was one of the most wonderful books I have ever read. I must have read it a hundred times and then the two that follow are just as great. I recommend this book to everyone.

    0 out of 1 people found this review helpful.

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  • Anonymous

    Posted April 6, 2007

    Read at your own risk. You might not be able to stop!

    This book is enthralling! Easily one of the best books i have read, and certainly different from the 'norm.' Easy to pick up, hard to put down. No word of a lie.

    0 out of 1 people found this review helpful.

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