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Orphans of Chaos (Chronicles of Chaos Series #1)

Orphans of Chaos (Chronicles of Chaos Series #1)

4.1 24
by John C. Wright

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The first book of two or more of a fantasy from Wright. A bunch of smart kids at a boarding school discover that they aren't human, nor are their teachers. A lot of magic happens.


The first book of two or more of a fantasy from Wright. A bunch of smart kids at a boarding school discover that they aren't human, nor are their teachers. A lot of magic happens.

Editorial Reviews

Publishers Weekly
At first glance, Wright's myth-infused fantasy looks like something older Harry Potter fans might enjoy with its creaky British boarding school setting and its five ageless orphans-Colin, Quentin, Victor, Vanity and Amelia-each with a supernatural gift. But the underlying theme of dominance and submission plus a fair amount of physics and theology make this definitely a book for adults. A spanking scene involving the precocious Amelia Armstrong Windrose, who can travel into the fourth dimension, may offend some readers, but others will find it playful. Wright (Mists of Everness) doesn't fully develop the intriguing premise of these unusual students trapped in a school run by Greek gods as hostages in a bizarre war, but presumably he'll do so in later installments. Those who like sophisticated fantasy with a mild erotic charge will be most rewarded. Agent, Sternig & Byrne Literary Agency. (Nov.) Copyright 2005 Reed Business Information.
Amelia and her four friends have been isolated within an English boarding school for their entire lives. They chose their own names and know nothing of their parents. Each is brilliant and also has a special gift that school officials wish to keep concealed. As the defiant teens grow older, however, they become more difficult to contain and begin to learn about their true natures. They soon discover that they are being held as hostages in a war between the Greek gods, a conflict made even more complicated by the death of Zeus. Wright too often launches into complex scientific explanations. While attempting to spy on a meeting, Amelia stops to explain what she means by "world-lines"-"Imagine every object as a worm . . . drawing a line through time. The one line toward the direction of lesser-entropy we call 'past', and its position is determined within the limits of its quantum uncertainty. The multiple lines toward the direction of greater-entropy, we call 'future', and their locations, to simultaneous observers, . . ." Huh? Also Wright assumes that the reader has a thorough knowledge of Greek mythology. Those who do not quickly will become frustrated. The overabundance of Greek names and references is made even more confusing by the fact that one person can be referred to by several different names. This reviewer cringed when halfway through the novel, Amelia had to stop and explain to her friends (and the reader) what was happening. As an alternative, purchase books in the Percy Jackson and the Olympians series by Rick Riordan. VOYA CODES: 2Q 3P S A/YA (Better editing or work by the author might have warranted a 3Q; Will appeal with pushing; Senior High, defined as grades 10 to 12;Adult-marketed book recommended for Young Adults). 2005, Tor, 320p., Ages 15 to Adult.
—David Goodale
Library Journal
Five orphans attending a British boarding school gradually realize that they are something other than human. Each one possesses special powers (some are science-based, while others are paranormal and magical in nature) that should not coexist in the same universe. Who they are and why they have come together is the mystery the orphans must solve in order to find their true homes. Wright (The Last Guardian of Everness) has written a modern-day fantasy that borrows from many traditions and mythologies and has the feel of an epic. A solid selection for most libraries. Copyright 2005 Reed Business Information.
Kirkus Reviews
Start of a complex mythology-based series from the author of the astonishing far-future Golden Age trilogy (The Golden Transcendence, 2003, etc.). Five orphans are being raised and educated in a most peculiar school. They are the only students. They don't know their real names or true ages-they may be teenagers or much older. Discipline is strict, even brutal: They are permitted no heat, forbidden to talk during meals and locked in their rooms at night. They do, however, have strange talents. Red-headed Vanity can find secret passages in places where, perhaps, none previously existed. Narrator Amelia can see and manipulate energies in four or more dimensions. Loud, gruff Colin works magic simply by the power of will. Logical Victor controls matter using his mind. Quiet Quentin may be a warlock whose familiar, Apsu, is an animate walking-stick. The staff is equally odd: matron-like Mrs. Wren is often the worse for drink; headmaster Boggin intimidates by sheer physical presence; sinister Dr. Fell administers potions evidently intended to suppress the development of the children's powers; horrid Mr. Glum lusts after both girls but especially Amelia. A meeting of the Board of Visitors and Governors takes place, upon which Amelia and Victor contrive to eavesdrop. The children's origins, we soon learn, are stranger than even they have imagined. Fascinatingly, dazzlingly, almost pointlessly erudite fantasy that trends inexorably toward science fiction; addicts will pounce.
From the Publisher

“Wright’s myth-infused fantasy looks like something older Harry Potter fans might enjoy with its creaky British boarding school setting and its five ageless orphans—Colin, Quentin, Victor, Vanity, and Amelia each with a supernatural gift.” —Publishers Weekly on Orphans of Chaos

“Wright's Orphans of Chaos is a stylish roller-coaster ride through the best loops and swerves of science fiction and fantasy. Zelazny lovers in particular ought to love this book as much as I did.” —Sherwood Smith

“A bit like C.S. Lewis's Chronicles of Narnia updated by half a century, but with more gusto.” —Locus on Orphans of Chaos

“I don't know if John Wright's intent for Orphans of Chaos was to write a Harry Potter for grownups. But that's what he's accomplished. . . .highly enjoyable.” —SFsite

“An exciting, unusual, and very satisfying ride through the author's imagination, and the results are certainly going to make Wright even more of a hot property.” —Chronicle on Orphans of Chaos

“Start of a complex mythology-based series from the author of the astonishing far-future Golden Age trilogy . . . . Fascinatingly, dazzlingly…erudite fantasy that trends inexorably toward science fiction; addicts will pounce.” —Kirkus, starred review on Orphans of Chaos

Product Details

Tom Doherty Associates
Publication date:
Chronicles of Chaos Series , #1
Product dimensions:
6.40(w) x 9.52(h) x 1.05(d)

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Read an Excerpt


The Boundaries


The estate grounds were, at once, our home, our academy, and our prison. We were outnumbered by campus staff, and by the imposing old Georgian and Edwardian edifices. There were more mares in the stables than there were students in the classrooms. It was only the five of us.

The estate was bound to the North by the Barrows, to the West by the sea cliff, to the East by the low, gray hills of the Downs. What bound us to the South is a matter of dispute.


Colin claimed the forest was the only boundary to the South. His story was that the wood had no further side, but extended forever, with the trees growing ever taller, the shade ever darker, and beasts within it ever more dangerous, huge, and savage. He said that beyond the world’s end the trees were titanic, the darkness was from Tartarus, and the beasts were vast enough to swallow the sun and moon.

When the two of us broke into the Headmaster’s library, I climbed up to wipe with my skirt the dust from the glass-covered map that stood above the volumes and antique folios of the oaken bookshelf. The map showed Wales to the North and Cornwall to the South. To the East were English towns famous from history and legend: Bristol and Bath, Hastings and Canterbury and Cambridge. There was London, queen of all cities. Beyond the White Cliffs of Dover was the Channel and Calais on the coast of France, gateway to the continent, to places rich and bright and beautiful and ever so far away.

Colin rolled his eyes, which were large, startlingly blue, and very expressive. "And you believe our world is the one depicted on that map?" His voice dripped silky contempt.

He ducked his head to peer up at my under-things, but scampered back when I aimed a kick at his head.


Quentin, on the other hand, implied the Old Road (which ran through the forest) constituted the boundary to the South. He argued that the Straight Tracks were older than the Roman road built atop them; older than the standing stone we found among the gray hills of the Downs; older than the green mound on the South Lawn.

He spoke of ley lines, and energy paths and mysterious connections between certain hilltops, standing stones, the crumbled ruins of the tower on a rock in the bay we all called the "lighthouse." He had charts to show their alignments with various rising and setting stars on certain dates. He used an astrology chart from the back of one of Mrs. Wren’s magazines to show, with some plane geometry, why the Straight Tracks defined the transition point between different astral domains. The argument was incomprehensible, and that made it easier to believe.

Where Colin was loud, Quentin was quiet, indrawn, unassuming. He never claimed to be a warlock, and therefore we all thought he was.

Vanity and I saw him on the Manor House roof tiles one October midnight, talking to a winged shape too large to be a crow. It took flight, and we saw its outline against the moon.


Victor was more logical. He argued that the Southern boundary was the new highway B-4247, which led from the coast to Oxwich Green. This new highway was on our side of the forest, and cut through it in places. Following the highway toward the bay led to the fishing village of Abertwyi, from which the island of Worm’s Head could be seen. Victor said the highway right-of-way followed the legal boundary as defined in the courthouse records for Shire of West Glamorgan, which listed the metes and bounds of the Estate.

We knew Victor had disappeared when the group all went to Mass one Sunday in Abertwyi-town. We did not know how he got over the stone wall surrounding the churchyard and courthouse unseen, or picked the lock on the massive iron grate, forged into fanciful shapes of leaves and black roses, which blocked the courthouse doors. Victor just was able to do things like that.

We know what he had been looking for, though. We all knew: records of our parents.

"I was naïve to expect our records to be there," he confided in me curtly. "The adoption records and genealogies only apply to men."

I cocked an eyebrow at him, and gave him an arch look. "And what about women, then?"

"The word refers to both sexes."

"Does it, really? You’ll never talk me into going with you to the Kissing Well, if you sit there and say I look to you like a man."

"Define your terms. We are certainly human. We are certainly not Homo sapiens."

And, after a moment, he said, "Actually, I do not recall asking you about going to the Kissing Well. Your comment seems to be based on a false assumption."

Victor was, in some ways, the smartest one of the five of us. In other ways, he was just so stupid.

I should explain that, during that summer, the chapel attached to the estate had been undergoing repairs for water damage from the rains. When Mr. Glum, the groundskeeper, brought Victor, dragged by his ear, back to stand before the Headmaster, there was a consultation in the library among the Board of Trustees. The next Sunday we went to Mass in our own chapel, water-streaked walls behind the saints covered with tarp, scaffolding blocking the stained-glass windows, and everything. Further expeditions to Abertwyi were canceled.

Victor’s argument was brief and solid. A boundary was a fiction defined by law; there were documents reciting the applicable law; and they named the new highway as the boundary. Q.E.D.


Vanity was of the opinion that if we did not know where the boundary was, it could not affect us.

Her argument ran along these lines: we had been warned something bad would happen to us if we went over the boundaries, or tarried too long on the far side. But boundaries do not exist in the material world. A rock or a tree on one side or the other of an imaginary line is still a rock or a tree, is it not?

Therefore the boundaries only exist, as Vanity put it, "in our fancy."

"Think of it this way," she would say, between various ejaculations and digressions. "If everyone woke up tomorrow and agreed we should spell ‘dog’ C-A-T, why, dogs would be cats as far as we could tell. But the dogs would not care what we called them. If everyone woke up and said, ‘Vanity is the Queen of England!’ why, then, I’d be the Queen of England, provided the army and the tax gatherers were among the people who said it. If only half the army said it, we’d have a civil war."

The boundary to the South was no different. As one moved South there were trees upon the south lawn, a few, and then more, and then scattered copses, then thick copses. At some point, you would find yourself in a place with no grass underfoot, where no one had stepped before, and see trees which had never felt the bite of an axe. But where exactly was the dividing line?

The trees were thick around the servants’ quarters, the stables, and the pump house. They were thicker beyond the old brick smithy. They were thicker still beyond the even older green mound connected with local King Arthur tales; but that mound was bare of trees itself, and one came from the shadows of silent leaves into a wide round area of surprising sunlight, where four standing stones held a tilted slab high above wild grass. The stones were gray, and no moss grew on them, and no sunlight ever seemed to warm them.

Vanity said that Arthur’s Table clearly could not be in the forest, because there were no trees there. A forest, by definition (Vanity would exclaim) was a place full of trees, wasn’t it?

So (she would conclude triumphantly), there was no Southern boundary, provided we all agreed that there was none. What other people said amongst themselves was their own affair.

Colin would ask sarcastically, "And when they send Mr. Glum and his savage dog to hunt us down and maul us, does it then, at some point, become our affair?"

Vanity would roll her eyes and say, "If the dog mauls us on this side of the boundary, we could still say he was on the other side, couldn’t we? Things like boundaries don’t exist if you don’t see them when you look for them, do they?"

"And I guess dog fangs don’t exist if you don’t feel it when your arm gets ripped off, right?"

"Exactly! Suppose the dog only thought he mauled us, but we did not see him nor feel him when he came to attack us! How do you know the dog hadn’t just dreamed or imagined he attacked us? We could agree he hadn’t done it, couldn’t we? We could even agree the dog had agreed not to hunt us!"

Colin would respond with something like, "Why bother arguing with me? Why don’t you just agree that I agree, so that, in your world, I have?"

Vanity would rejoin, "Because I prefer to agree that you argued and you lost, as anyone who heard the dumb things you say would agree."

Colin was not one to give up easily. "If you merely dreamed you had found a secret way out of here, that would not let you walk through a solid stone wall, would it?"

"Of course not. But no one knows which walls are solid and which are hollow because no one can see the inside of the solid ones, can they? The ones you can see inside aren’t hollow, are they? No one else has any proof one way or another."

Vanity’s argument was as incomprehensible as Quentin’s, and as brief (when pared down) as Victor’s. Apparently as long as she, Vanity, in her solipsistic purity, did not believe the Southern boundary existed, then, for all practical purposes, it would not.


Vanity was short, redheaded, with a dusting of freckles on her cheeks. Her eyes were the most enormous emerald, and they sparkled. She had a little upturned snub nose I always envied just a bit. She was fair skinned and always wore a straw skimmer to keep the sun off her face.

With her lips so pale a rose color, and her eyebrows so light, I always thought she looked like a statue of fine brass, held in a furnace of flame so hot as to be invisible, so that she seemed to glow. Even when frowning, she seemed to be smiling.

She was curvy and she took wry amusement at the fact that the boys, the male teachers, even Mr. Glum, could have their gazes magnetized by her when she walked by.

I always thought Vanity was a little sweet on Colin, because she yelled at him and called him names. In the romances I read, that was a sure sign of growing affection.

As I grew older, I noticed how carefully she noticed everything Quentin did, Quentin the quiet one, and I realized she doted on him. And I began to realize Vanity actually was annoyed and exasperated by Colin.

That was when I realized, for the first time, that the five of us were not the tightly knit band of Three Musketeers Plus Two that Victor said we were, one for all and all for one, and all that.

It was not until I was around an age which, in a human being, would be between sixteen or eighteen or so, when I had the thought that with two girls and three boys, one of the boys in our merry band would end up a bachelor, or married to a stranger.

I remember where I was when this thought came to me. I was sitting on the lip of the Kissing Well, with my skirts flapping in the gusts coming from the bay, quite alone. I had just come from the infirmary, and was still seasick from Dr. Fell’s most recent round of vaccinations. We were usually allowed to skip lessons any afternoon when Dr. Fell worked on us, provided we made up the lessons later. The well was high on a hillside, and overlooked the water. Sea mews were crying, and the sad sound lingered in the air.

It was spring, I remember, and two male birds were fighting. That was what prompted my thought.

That was also when I started wondering what my future would be. I wanted to be a pilot, an explorer. A cowgirl with a pistol. Anything that got me away from here. The idea of being a housewife seemed intolerably dull and lacking in glamour. On the other hand, the idea of never having a child was like death.

And then I said aloud to the well, "But what if they never let us go?"

The voice in the well said back softly, ". . . never let us go . .. ?"


My name is Amelia Armstrong Windrose. I should say, I call myself that; my real name was lost with my parents.

We chose our own names when we were eight or ten or so. It was not until we started sneaking off the estate grounds that we realized that other children in the village were christened at birth, and kept anniversaries of their birthdays, and knew their ages.

We knew about birthdays from various readings, of course. There were references to such things from histories, where boy kings had to be killed before they ascended the throne, or from gothic romances, where girl heirs had to be wedded before they came into their majority. We knew, in a general way, what a birthday party was.

Mrs. Wren started holding them for us, with snappers and barkers and wrapped gifts, and candles on cake with icing, and toasts and games, when we complained. But her notion was to have them twice or three times a year, usually during months with no other holidays of note. And the number of candles she put on the cake could be anywhere from one to one score, depending on her mood, or the success of her shopping.

The gifts we got from her did not seem odd at the time, for we had no other basis of comparison. Once I got a wrapped roast duck, which had turned cold in the cardboard box, and lay amid its own congealed grease. Another time, a box of nails.

Colin got one of Mrs. Wren’s shoes at that same party; Vanity got a drawer from the kitchen with knives and spoons in it. And yet, other times, her gifts were things of wonder and pleasure: a wooden rocking horse, painted fine, brave colors; a toy train set with an electric motor and a cunning little chimney that puffed real smoke; a dress of breathtaking beauty, made of a soft scarlet fabric, perhaps satin; an orb of pale crystal that glowed like a firefly when you held it in your hand and thought warm thoughts; a walking stick with a carved jackal head with silver ears, which Quentin was convinced could find buried streams and fountains underground.

One birthday party, the Headmaster simply announced we were to choose names for ourselves, and put our baby-names behind us. Only Quentin refused to choose, and kept his original name. I, who had been Secunda, used the chance to name myself after my heroine, the American aviatrix, Amelia Earhart. My family name I took from that eight-pointed star which decorates maps and determines North.

You see, I had always felt closed-in and trapped by the walls and boundaries of our estate. No matter how handsome and fine the grounds, it was still a cage to me. My dreams were for far, unguessed horizons, hidden springs of unknown rivers, un-climbed mountains shrouded in cloud. The edges of maps interested me more than the middles.

Naturally, such dreams led me to admire that breed of men who sailed those horizons, found those springs, conquered those mountains. Roald Admussen was my idol, along with Hanno, Leif Erickson, and Sir Francis Drake. My favorite books from Edgar Rice Burroughs were those where the lost city of Ophir appeared.

Amelia Earhart seemed so brave and gay, her smile so cheerful and fearless, in the one picture in the little encyclopedia entry I found of her, that only she could be my namesake.

I told myself she had not been lost at sea, but had discovered some tropic island so fair and so like Eden, that she landed her plane at once, knowing no one else would ever be daring and cunning enough to find the route she had flown. All the years that had gone by, with her still not found, seemed to confirm my theory.

My name, invented when I was perhaps a twelve-year-old, may seem silly now. But I console myself that young Tertia named herself after a novel by William Makepeace Thackeray, so that she could be called Miss Fair. We are lucky she did not end up called Miss Pride N. Prejudice.


I cannot describe myself except to say that I am either very vain or very beautiful, and that I hope I am the latter, while suspecting I may be the former. My hair is blond, beyond shoulder length, and I liked to wear it queued up and out of the way. My complexion has been tanned by spending much time out of doors in the wind and weather.

I always had the idea, when I was young, that if I stared in the mirror long enough at some feature, my lips or eyes, some sun freckles I did not care for, or a mole, I could somehow, by force of will, "stare" my face to a more perfect shape—clearer skin, higher cheekbones, eyes greener, or more long-lashed, perhaps slightly tilted and exotic.

And because this does indeed describe me, then as now, I had always had the unspoken, haughty assumption that plain girls either lacked willpower, or lacked imagination. It is my least attractive feature, this prejudice against the unsightly, and it is based on a very wrong notion of what life is like for normal people. It gives me no pleasure to notice that many normal people have the selfsame prejudice against the plain, but with far less reason than I.

I am tall. Rather, I should say, I am tall for a girl, but I hope you will understand me if I say I was taller when I was younger. Everyone but Primus, who became Victor Invictus Triumph, was smaller than me, and I could outrun and outwrestle my two younger brothers.


I remember the day when Quartinus, who turned into Colin Ib-lis mac FirBolg, proved he could master me. There was some quarrel over who was to pluck apples from the tree, and I threw one at his head hard enough to raise a bruise. He grinned, as he did when he was angry, and chased me down. You see, I laughed because the last time we had raced, I had beaten him. Now he tackled me, rolled me on the ground, and took my hair in one hand to yank my head back—something he would never have done to a boy. Still, I grinned, because the last time we fought, I had toppled him downhill.

And so I struck and I wrestled and I pushed and I kicked, but my blows seemed, by some magic, to have been robbed of their force. Just one year before, he had been a child, and I could bully him. Where had my strength gone?

He pinned my wrists to the ground, and knelt on my legs to prevent me from kicking. Suddenly, the game turned into something serious, mysterious, and somehow horrible. I writhed and struggled in his grasp, and I somehow knew, knew beyond doubt, that I would never be stronger than a man again. Not ever.

Colin smiled, and ordered me to apologize, and he bent his head forward to stare into my eyes. I wonder if he was trying to awe me with his frowning gaze, to hypnotize me with his luminous blue eyes.

If so, he succeeded beyond his dreams. This boy, whom I had never really liked, now seemed inexpressibly powerful to me: manly, potent, confident. I will not tell you all my wild thoughts at that moment. But I wanted him to kiss me. Worse yet, I wanted not to want it, and to have him steal a kiss from me nonetheless.

I did not apologize, but snapped defiantly at him, "Do your worst!" And I tossed my head and yanked at my wrists in his grip. My fists seemed so little compared to his, and his grip seemed as strong as manacles. I felt entirely powerless, but the sensation seemed oddly intoxicating, rather than dreadful.

He did not do his worst. Instead, baffled, he stood up suddenly, releasing me, and seemed suddenly a boy again, a child I could defeat.

Excerpted from orphans of Chaos by John C. Wright.

Copyright © 2005 by John C. Wright.

Published in November 2006 by Tom Doherty Associates.

All rights reserved. This work is protected under copyright laws and reproduction is strictly prohibited. Permission to reproduce the material in any manner or medium must be secured from the Publisher.

Meet the Author

JOHN C. WRIGHT lives in Centreville, Virginia.

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Orphans of Chaos 4.1 out of 5 based on 0 ratings. 24 reviews.
NJ_Eric More than 1 year ago
I love this series and only wish it had more than three books in it. I am reaching the end of the third book, Titans of Chaos, and while I'm dying to find out the conclusion, I'm dreading not having any more to read about Amelia, the girl who can see and move through multiple extra dimensions; Colin, the boy who can do almost anything he wants if he's inspired enough; Quentin, the friend of the spirits (not a magician!); Victor, the atomically manipulating stoic; and Vanity, the Phaecian with the great boat and the ability to find passages, compartments, and shortcuts where it is questionable they existed before. SPOILER ALERTS!!! In this book you discover that the five children in the orphanage run by Headmaster Boggin may not be who they think they are. Instead, they are four children of the Titans of Chaos (Uranians, as opposed to the Olympians who are from Saturn, known as Zeus) and one Phaecian girl who seems to be able to find passages where they may not have existed before, that lead to places it is impossible for them to have led. The children in this first book are fairly ignorant of what is really going on, but they know it is not right, and they know they must get out!
Hendrydoso More than 1 year ago
I'm a big fan of any book that can wisk me away to another fantastic place. This book, for me, represents my most profound wisking away in many years. The author was able to head off most of my usual expectations with an unexpected writing style(slightly science tech manual at times) and a very fresh basic set of rules for his world. To his credit, he utilized the "chaos" element throughout the construction of his world. The characters are very unique from each other but almost in a paper, rock, scissors kind of way although they do not remain static and they provide for wonderful developement throughout the entire three books. For me I'll tip my hand and say the Mr. Wright currently represents the pinnacle of creativity and broad scope of ideas, that sits high on my wish list for stories to wisk me away.
Guest More than 1 year ago
Orphans of Chaos was described to me as Harry Potter for adults. Students have magical powers, but as a slant, the teachers are actually their enemies. I don¿t think this comparison does an accurate job of portraying the mood of the book, but it comes close. Orphans of Chaos - the first of a trilogy of fantasy books by John Charles Wright - takes place in an ambiguously old-fashioned boarding school in the UK, where five teenage students with no memory of their past start to realize their school is a jail, and their teachers are captors. The children stop taking their daily medicines, which awakens their dormant magical powers: each from a different and equally powerful paradigm. They slowly learn that they are hostages in a classic power play. All involved, including their teachers, are gods or servants of heaven. Narrated by one of the children - Amelia Windrose - they embark on a series of adventures to regain their memories, their powers, and escape their fate as political pawns. The book is written in a somewhat florid style. I enjoyed the pace, which alternates between dialog and adventure. The language and plot elements are evocative of a pseudo-Victorian setting, though we later learn that the book takes place around modern day. All of the adventures and magic are entertaining. Though there may be an overload on the number of minor characters involved, all of the people (gods?) have intriguing backgrounds. There are a few places where the book falls short. There¿s not a great continuity on which of the five children are involved in adventures or conversations. The children that are part of the action seem to be selected arbitrarily. Some of the descriptions of magic start out as plausible and easy to follow, and morph into the ridiculous by the end of the paragraph - I think this is done on purpose for comic effect, but I didn¿t find it very amusing, just annoying. In some places, we¿re given exposition in a very dense and unlikely format. But perhaps most of all, I felt the light sexuality too overt and a little disturbing. This may be a credit for some of my readers, but I¿m violently opposed to any glorifications of pedophiles in books. We never learn the girls¿ ages, but we know for sure that they¿re not women, even if they have the necessary features. And yet, the girls are constantly seducing or are seduced by their teachers. I can handle overtones, but the scenarios - especially towards the end of the book - were constant and served little or no purpose for the story. I think I will read the rest of the trilogy, just to see how the adventure proceeds. And there¿s hope for the ¿bad guys¿ yet. I can¿t put a book down until I know for sure whether or not the characters are dynamic. There¿s a definite attachment for Amelia built up, and though the rest of the children sort of disappear towards the end of the book, I¿d like to be reunited with them. The occasional flaws and annoyances are minor enough, and the concept entertaining enough that I¿ll continue reading. I recommend this book to any fans of young adult fantasy who aren¿t put off by wordy, moderately-paced stories.
harstan More than 1 year ago
The five orphans (Colin, Quentin, Victor, Vanity and Amelia) are the only students at the school where they stay all the time being locked in their respective room every night. None know their real name, age, or their linage including where they come from as they chose their names when they were eight to ten years old. All that this quintet knows is the school where conditions are harsh and at times abusive at least for them................. Each has a unique talent. Amelia can observe and influence the physical world in four dimensions and perhaps more. Vanity locates hidden passages in locations where none seemingly existed before her finding them. Quentin is a warlock who has a familiar, Apsu that is a walking stick. Colin employs magic by mentally picturing what he wants to achieve and willing it to happen. Victor uses his mind to telekinetically control matter. ............... The staff is at least as weird as the pupils. When the Board of Visitors and Governors meet to discuss the pupils, Amelia and Victor listen in and learn somewhat about their origins, their Greek God keepers, and the war................ This is not Harry Potter¿s school as the students are abused by the staff including the spanking of Amelia and Professor Glum¿s lusting for her and somewhat for Vanity. The five youngsters have unique personalities and several of the faculty likewise have distinctive traits. The story line focuses more on their captivity and attempts to leave even if they just sneak into the nearby town rather than on the talents. Adult fantasy readers will appreciate this opening gamut of what appears to be the Prisoner locked away in a jail school in which discipline draws the line between the prevailing and the capitulated............... Harriet Klausner
Anonymous More than 1 year ago
Read it
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ChaoticSun More than 1 year ago
Orphans of Chaos is a fast paced adventure with five young(?) kids(?) trying to escape from an orphanage in England. Only, things aren't exactly as they seem. Greek mythology appears to not be so "mythological" after all! This is a book that I couldn't put down; it sucked me in and kept my attention captured through the very end.
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TomindaAdkins More than 1 year ago
A refreshing contemporary fantasy. While I couldn't exactly wrap my head around all the metaphysical qualities of the Orphans' powers, I enjoyed the author's rich descriptions and his mixing of realistic teenage angst (budding sexuality, strong and innocent desire for a classmate, rebellion, etc) with the discovery and development of immense magical power. The overall plot can get bogged down with mathematics and very confusing politics (between Greek gods, no doubt), but overall I am always happy to find any new fantasy that doesn't involve sexy women turning into cats. Orphans of Chaos, as a trilogy, is magical, riveting, and as fumblingly sexy as your first Seven Minutes in Heaven. Tominda Adkins Author, the Vessel Series
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Guest More than 1 year ago
I read a phenomenal amount of science fiction and I love this series. These are not human children, the dialogue is good, the mix of gods/goddesses, science and fantasy is well done and I was forced by my insatiable desire for a darn good story to buy all the books in this series in hardback. Argh. You will like this series if you wnjoy being surprised. An itty bitty warning - there is some sex and a little domination - it helps to recall that these are NOT HUMAN children, there minds have been wiped clean to keep them hostages against the good behavior of their families. Keep it in mind and enjoy all of this!
towma More than 1 year ago
These books are NOT for kids. Heck, they are not even for adults unless they have a degree in quantum physics. I can usually read a 600-700 page book in 2 days even with my work schedule. This took me almost 2 weeks and it is only 300 pages because I had to keep rereading the same lines over and over again just to comprehend what I was reading. Easily lost and WAY too much information before getting to the point of what the sentence, paragraph or chapter is about. I finally finished book one and even though I bought all 3 at the same time, I will not even open the 2nd and 3rd books. Ridiculous!!!!!!! Could be a good story if written more dumbed-down for the average-intellect mind.