The gods who created this world have abandoned it. In their mercy, however, they chained the rogue godand the monstrous creatures he created to plague mortalkindin the vast and inhospitable wasteland of the Bourne. The magical Veil that contains them has protected humankind for millennia and the monsters are little more than tales told to frighten children. But the Veil has become weak and creatures of Nightmare have come through. To fight them, the races of men must form a great alliance to try and stop the creatures.
But there is dissent. One king won't answer the call, his pride blinding him even to the poison in his own court. Another would see Convocation fail for his own political advantage. And still others believe Convocation is not enough. Some turn to the talents of the Sheason, who can shape the very essence of the world to their will. But their order is divided, on the brink of collapse.
Tahn Junell remembers friends who despaired in a place left barren by war. One of the few who have actually faced the unspeakable horde in battle, Tahn sees something else at work and wonders about the nature of the creatures on the other side of the Veil. He chooses to go to a place of his youth, a place of science, daring to think he can find a way to prevent slaughter, prevent war.
And his choices may reshape a world . . . .
The second title in the Vault of Heaven series, Peter Orullian's Trial of Intentions is a mesmerizing fantasy epic that turns the conventions of the genre on its head
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Trial of Intentions
Book Two of The Vault of Heaven
By Peter Orullian
Tom Doherty AssociatesCopyright © 2015 Peter Orullian
All rights reserved.
The Right Draw
Mercy has many faces. One of them looks like cruelty.
—Reconciliationist defense of the gods' placement of the Quiet inside the Bourne
Tahn Junell raced north across the Soliel plain, and his past raced with him. He ran in the dark and cold of predawn. A canopy of bright stars shone in clear skies above. And underfoot, his boots pounded an urgent rhythm against the shale. In his left hand, he clenched his bow. In his mind, growing dread pushed away the crush of his recently returned memory. Ahead, still out of sight, marching on the city of Naltus Far ... came the Quiet.
Abandoning gods. The Quiet. Just a few moon cycles ago, these storied races had been to Tahn just that. Stories. Stories he'd believed, but only in that distant way that death concerned the living. Their story told of being herded and sealed deep in the far west and north—distant lands known as the Bourne, a place created by the gods before they'd abandoned the world as lost.
One of his Far companions tapped his shoulder and pointed. "Over there." Ahead on the left stood a dolmen risen from great slabs of shale.
Tahn concentrated, taking care where he put his feet, trying to move without drawing any attention. The three Far from the city guard ran close, their flight over the stones quiet as a whisper on the plain. They'd insisted on bearing him company. There'd been no time to argue.
Through light winds that carried the scent of shale and sage, they ran. A hundred strides on, they ducked into a shallow depression beside the dolmen. In the lee side of the tomb, Tahn drew quick breaths, the Far hardly winded.
"I'm Daen," the Far captain said softly. He showed Tahn a wry smile—acquaintances coming here, now—and put out his hand.
"Tahn." He clasped the Far's hand in the grip of friendship.
"I know. This is Jarron and Aelos." Daen gestured toward the two behind him. Each nodded a greeting. "Now, do you want to tell us why we've rushed headlong toward several colloughs of Bar'dyn?" Daen's smile turned inquiring.
Tahn looked in the direction of the advancing army. It was still a long way off. But he pictured it in his head. Just one collough was a thousand strong. So, several of them ... deafened gods! And the Bar'dyn: a Quiet race two heads taller than most men and twice as broad; their hide like elm bark, but tougher, more pliable.
He listened. Only the sound of heavy feet on shale. Distant. The Bar'dyn beat no drum, blew no horn. The absence of sound got inside him like the still of a late-autumn morning before the slaughter of winter stock.
Tahn looked back at Daen. They had a little while to wait, and the Far captain deserved an answer. "Seems reckless, doesn't it." He showed them each a humorless smile. "The truth? I couldn't help myself."
None of the Far replied. It wasn't condescension. More like disarming patience. Which struck Tahn odd, since the Far possessed an almost unnatural speed and grace. A godsgift. And their lives were spent in rehearsal for war. Endless training and vigilance to protect an old language.
"I wouldn't even be in Naltus if it weren't for the Quiet." Tahn looked down at the bow in his lap, suddenly not sure what he meant to do. His bow—any bow—was a very dear, very old friend. He'd been firing one since he could hold a deep draw. But his bow against an army? I might finally have waded too far into the cesspit.
"We guessed that much," said Daen.
Tahn locked eyes with the Far captain, who returned a searching stare. "Two cycles ago, I was living a happy, unremarkable life. Small town called the Hollows. Only interesting thing about me was a nagging lack of memory. Had no recollection of anything before my twelfth year. Then, not long before I turned eighteen ... a Sheason shows up."
The Far Jarron took a quick breath.
Tahn nodded at the response. "First day I met Vendanj, I realized stories about the Sheason are true. I saw him render the Will. Move things ... kill. With little more than a thought."
"Vendanj is a friend of the king's," Daen said. "Not everyone distrusts him."
Tahn gave a weak smile to that. "Well, he arrived just before the Quiet got to my town, too."
He then looked away to the southwest, at Naltus, a magnificent city risen mostly of the black shale that dominated the long plains. In the predawn light, it was still an imposing thing to look at. It never gleamed. It didn't light up with thousands of lights as Recityv or any other large city. It didn't bustle with industry and trade. It didn't build reputation with art and culture. But the city itself was a striking place, drawn with inflexible lines. It had a permanence and stoicism about it. The kind of place you wanted to be when a storm hit, where you wouldn't fear wind and hard light. And where rain lifted the fresh scent of washed rock. Altogether different than the Hollows, with its hardwood forests and loam.
What Tahn wouldn't have given for some hard apple cider and a round of lies in the form of Hollows gossip. "Vendanj convinced me to follow him to Tillinghast."
This time it was Aelos who made a noise, something in his throat, like a warning. It reminded Tahn that even the Far people, with their gift for battle and their stewardship over the Language of the Framers ... even they didn't go to Tillinghast.
"Did you make it to the far ledge?" Daen asked.
Tahn turned and looked in the direction of the Saeculorum Mountains, which rose in dark, jagged lines to the east. Impossibly high. Yes, he'd made it there. He and the few friends who'd come with him out of the Hollows. Though, only he had stood near that ledge at the far end of everything. A place where the earth renewed itself. Or used to.
He'd faced a Draethmorte there, one of the old servants of the dissenting god. More than that. He'd faced the awful embrace of the strange clouds that hung beyond the edge of Tillinghast. They'd somehow shown him all the choices of his life—those he'd made, and those he'd failed to make. It was a terrible thing to see the missed opportunity to help a friend. Or stranger. Wrapping around him, those clouds had also shown him the repercussions of those choices, possible futures. The heavy burden of that knowledge had nearly killed him.
It ached in him still.
But he'd survived the Draethmorte. And the clouds. And he'd done so by learning that he possessed an ability: to draw an empty bow, and fire a part of himself. He couldn't explain it any better than that. It was like shooting a strange mix of thought and emotion. And it left him chilled to the marrow and feeling incomplete. Diminished. At least for a while. Maybe something had happened to him in the wilds of Stonemount. Maybe the ghostly barrow robber he'd encountered there had touched him. Touched his mind. Or soul. Maybe both. Whether the barrow robber or not, something had helped him fire himself at Tillinghast. Though he damn sure didn't want to do it again, and had no real idea how to control it, anyhow.
"Yes, we made it to the far ledge," he finally said.
He could tell Daen understood plenty about what lay on the other side of the Saeculorum. But the Far captain had the courtesy not to press.
Tahn, though, found relief in sharing some of what had happened. "Near the top, Vendanj restored my memory. He thought it would help me survive up there."
Jarron glanced at the Saeculorum range. "Did it?"
Tahn didn't have an answer to that, and shrugged.
Daen put a hand on Tahn's shoulder. "The Sheason believed if you survived Tillinghast, you could help turn the Quiet back this time. Meet those who've given themselves to the dissenting god ... in war." He nodded in the direction of the army marching toward them.
Twice before—the wars of the First and Second Promise—the races of the Eastlands had pushed the Quiet back, avoided the dominion they seemed bent toward. Now, they came again.
"Mostly right," said Tahn, "except all I've been fighting since Tillinghast is a head full of bad memories. For two damn days, I've done nothing but sit around in your king's manor, remembering." His grip tightened on his bow, and he spoke through clenched teeth. "Better to be moving. Better to hold someone ... or something, accountable for that past."
"Idleness makes memory bitter." Daen spoke it like a rote phrase, like something a mother says to scold a laggard child.
Tahn forced a smile, but the feel of it was manic. "Vendanj was the one who took my memory in the first place. Thought it would protect me ..."
"From the Quiet," Daen finished. "So you're here with a kind of blind vengeance. Angry at the world. Angry at what you believe are the bad choices of people who care for you."
The wind died then, wrapping them in a sullen silence. A silence broken only by the low drone of thousands of heavy feet crossing the shale plain toward them. Into that silence Tahn said simply, "No."
"No?" Daen cocked his head with skepticism.
"I'm not some angry youth." Tahn's smile softened, and he leveled an earnest look on the Far captain. "If I'm reckless, it's because I'm scared. And angry. Do I want to drop a few Quiet with this?" He tapped his bow. "Silent hells, yes. But when I saw them from my window in your king's manor this morning ... I'll be a dead god's privy hole if I'm going to let the Far meet them without me." He pointed to the Quiet army marching in from the northeast. "An army that's probably here because of me."
Daen studied Tahn a long moment. "It's reckless ... but reasonable." He grinned. "Well, listen to me, will you? I sound as contradictory as a Hollows man." His grin faded to a kind of thankful seriousness. "I'm glad you were awake to see them from your window, Tahn. Somehow our scouts failed to get us word."
He'd been up early, as he always was. To greet the dawn. Or rather, imagine it before it came. Those soft moments were more important to him now than ever. Because images plagued him night and day. Images from Tillinghast. Images from a newly remembered past. Sometimes the images gave him the shakes. Sometimes he broke out in a sweat.
Tahn looked again now into the east, anticipating sunrise. The color of the moon caught his eye. Red cast. Lunar eclipse. By the look of it, the eclipse had been full a few hours ago. Secula, the first moon, was passing through the sun's penumbra. He'd seen a full eclipse once in ... Aubade Grove! The memories wouldn't stop. He'd spent several years of his young life in the Grove. A place dedicated to the study of the sky. A community of science. This, at least, was a happy memory.
Does the eclipse have anything to do with this Quiet army?
An interesting thought, but there wasn't time to pursue it. The low drone of thousands of Quiet striding the stony plain was growing louder, closer.
"We'll wait until the First Legion joins us on the shale." Daen spoke with the certainty of one used to giving orders. "Anything we observe, we'll report back to our battle strategists."
They didn't understand Tahn's need to run out to meet this army any more than his friends would have. Sutter and Mira, especially. Sutter because he'd been Tahn's friend since Tahn had arrived in the Hollows. And Mira because—unless he missed his guess—she loved him. So, he'd sent word of the Quiet's approach, and slipped from the king's manor unnoticed.
"I won't do anything foolish," Tahn assured Daen, and began crawling toward the lip of the depression.
The Far captain grabbed Tahn's arm, the smile gone from his face. "What makes you so eager to die?"
Tahn spared a look at the bow in his hand, then stared sharply back at the Far. "I don't want to die. And I don't want you to die because of me."
The Far captain didn't let go. "I've never understood man's bloodlust, even for the right cause. It makes him foolish."
Tahn sighed, acknowledging the sentiment. "I'm not here for glory." He clenched his teeth again, days of frustration getting the better of him—memories of a forgotten past, images of possible futures. "But I have to do something."
The Far continued to hold him, appraising. Finally, he nodded. "Just promise me you won't run in until we see the king emerge from the wall with the First Legion."
Tahn agreed, and the two crawled to the rim of the depression and peeked over the edge onto the rocky plane. What they saw stole Tahn's breath: more Bar'dyn than he could ever have imagined. The line stretched out of sight, and behind it row after row after row ... "Dear dead gods," Tahn whispered under his breath. Naltus would fall. Even with the great skill of the Far. Even with the help of Vendanj and his Sheason abilities.
We can't win. Despair filled him in a way he'd felt only once before—at Tillinghast.
And on they came. No battle cries. No horns. Just the steady march over dry, dark stone. A hundred strides away, closing, countless feet pounded the shale like a war machine. Tahn's heart began to hammer in his chest.
Beside him, Daen spoke in a tongue Tahn didn't understand. The sound of it like a prayer ... and a curse.
* * *
Then he saw something that he would see in his dreams for a very long time. The Quiet army stopped thirty strides from him. The front line of Bar'dyn parted, and a slow procession emerged from the horde. First came a tall, withered figure wrapped in gauzy robes the color of dried blood. Velle! Silent hells. The Velle were like Sheason, renderers of the Will, except they refused to bear the cost of their rendering. They drew it from other sources.
The Velle's garments rustled as the wind kicked up again, brushing across the shale plain. Tahn's throat tightened. Not because of the Velle, or at least not the Velle alone, but because of what it held in its grasp: a couple of black tethers, and at the end of each ... a child no more than eight years of age.
"No," Tahn whispered. He lowered his face into the shale, needing to look away, wanting to deny the obvious use the Velle had of them.
When he looked again, two more Velle had come forward. One was female in appearance, and stood in a magisterial dress of midnight blue. The gown had broad cuffs and wide lapels, and polished black buttons in a triple column down the front. The broadly padded shoulders of the garment gave her an imposing, regal look. The third Velle might have been any field hand from any working farm in the Hollows. He wore a simple coat that looked comfortable, warm, and well used. His trousers and boots were likewise unremarkable. He didn't appear ill fed. Or angry. He simply stood, looking on at the city as any man might after a long walk.
And in the collective hands of these Velle, tethers to six children. The little ones hunched against their bindings. Ragged makeshift smocks hung from their thin shoulders. Each gust of wind pulled at the loose, soiled garments, revealing skin drawn tight over ribs and knobby legs appearing brittle to the touch.
Worst of all was the look in the children's faces—haunted and scared. And scarred. A look he knew. A look resembling the one worn by many of the children from the Scar. A desolate place he'd only recently remembered. A place where he'd spent a large part of his childhood. Learning to fight. To distrust. Lessons of the abandoned.
Not every memory of the Scar had been bad, though. A name and face flared in his mind: Alemdra. But the bright memory of her quickly changed. Old grief became new at the thought of a ridge where they'd run to watch the sunrise, and seen a friend end her days. Devin. Some wounds, he realized, simply couldn't be healed. No atonement was complete enough.
The Velle yanked at the fetters, gathering the small ones close on each side. The children didn't yelp or complain, though grimaces of pain rose in a few faces. Mostly, they fought to keep their balance and avoid falling hard on the shale.
Then the Velle reached down and wrapped their fingers around the wrists of the young ones.
The Far king's legion hadn't emerged from the city wall. The siege on Naltus hadn't yet begun. But Tahn knew the attack these Velle were preparing, fueled by the lives of these six children, would be catastrophic. Naltus might be destroyed before a single sword was raised.
Beside him, the Far captain cursed again and crept down to the dolmen to consult with his fellows. What do I do? His grip tightened on his bow. The tales of lone heroes standing against armies were author fancies. Fun to read, but wrong. All wrong. He could get off a few shots at the renderers before any of the Bar'dyn could react. But that wouldn't be enough to stop them, or save the children.
Each Velle raised a hand toward Naltus. Tahn had to do something. Now.
Without thinking further, he climbed onto the shale plain and stood, setting his feet. He pulled his bow up in a smooth, swift motion as he drew an arrow.
Softly he began, "I draw with the strength of my arms, but release as the Will—"
He stopped, not finishing the words he'd spoken all his life when drawing his bow, words taught to him by his father, to seek the rightness of his draw. The rightness of a kill. His father and Vendanj had meant for him to avoid wrongfully killing anything, or anyone, because they'd thought one day they might need him to go to Tillinghast, where his chances of surviving were better if he went untainted by a wrong or selfish draw.
Excerpted from Trial of Intentions by Peter Orullian. Copyright © 2015 Peter Orullian. Excerpted by permission of Tom Doherty Associates.
All rights reserved. No part of this excerpt may be reproduced or reprinted without permission in writing from the publisher.
Excerpts are provided by Dial-A-Book Inc. solely for the personal use of visitors to this web site.
Table of Contents
Map: The East of Aeshau Vaal in the Age of Rumor,
Map: The Bourne in the Age of Rumor,
Book Two: Trial of Intentions,
Prologue: A Third Purpose,
1. The Right Draw,
2. Losing a Step,
3. Dark and Bright,
4. Songs of Retribution,
5. A Different Aim,
6. Hope Burns,
8. Causing Death,
9. Lamentations: The Past,
10. Lamentations: The Present,
11. Lamentations: The Future,
12. An Overdue Conversation,
13. Call for Intent,
15. Nothing More, Nothing Less,
16. Gardens of Song,
17. The Bourne: Prelude,
18. Death of a Song,
19. Some Must Lead,
21. Two Sides of the Same,
22. Given or Taken,
23. The Poison of Politics,
24. Old Friends,
25. The Bourne: Nocturne,
26. Chilled Milk,
27. The Write Words,
28. Secrets in a Vault,
30. A Fifth Man,
31. Parchment War,
32. The Bourne: Fugue,
34. Those Left Behind,
35. The Child's Voice,
36. Call Your Vote,
37. More than Scales,
38. It's Not What You Hear,
41. The Bourne: Canon,
42. The Smith King,
43. Sky Proofs,
44. Everything's a Fight,
45. The Uses of Youth,
46. First Sodalist,
47. An Illicit Diarist,
48. A Private Audience,
50. Thank You,
52. A Touch of Resonance,
53. Trial of Intention,
54. A Civil Argument,
55. Grant's Defense,
56. The Bourne: Elegy,
58. The First One,
59. A Dangerous Endeavor,
60. A Hard Choice,
61. A Widening Schism,
63. Fields of Wheat,
64. A Quiet House,
66. Just an Evening Stroll,
67. The Bourne: Toccata,
68. A Clash of Wills,
69. In the Company of Eggbirds,
71. New Alliances,
73. A Succession Team,
75. Two Ways to Serve,
76. The Bourne: Vespers,
77. What Steel Can Do,
78. A Better Parabola,
79. Gathering Old Stories,
81. Uncommon Understanding,
82. Pall Stones,
83. The College of Physics,
84. The Patience of Friends,
85. No Grey Country,
86. Old and Young,
87. The Bourne: Requiem,
88. Broken Will,
90. A Case for Resonance,
91. Throne of Bones,
92. Echoes of a Song,
About the Author,
Tor Books by Peter Orullian,
Most Helpful Customer Reviews
Peter Orullian weaves for us a profound and sweeping tale of heroism and treachery, tender love and bitter hatred, and brings us a cast of believable characters-none of whom are entirely good nor evil. The power of this story resonates through the many lands of Orullian’s world and the lives of the various peoples therein. He shows excellent examples of the advantages and drawbacks both of quick action and belabored discourse. This book is a thumping good read and worth every breathtaking page turn.
Yes, this is the second instalment in the Vault of Heaven Trilogy, and yes I have read the first book although I did not review it. Unfortunately though, for this book, it is not a standalone read and therefore the first must be read to make any sense of this one. The main protagonists are many in both books, and their stories continue in this one; we see them grow from the children we first met in The Unremembered to adults that are still connected to their inner children at times. I usually go into great detail about my likes and dislikes of characters in the books I read, but with this cast of characters I felt the mixed emotions one has when confronted with Family and all the imperfections they bring with them. At times I just wanted to shake some sense into them and ask ‘why? Just why?’ and at others I was in my full cheerleading garb, pom-poms and all doing high kicks to spur them on. One thing I did find disappointing was the forced humour in the dialogue, this had come so easily in the first book as it does between friends, but in this one it seemed as if they were just trying to keep the humour going at all costs. I am hoping that this stilted humour is more a result of the events the characters have been through up to the end of this novel, and not an indication that the Author has lost his humourous pen. Rather than just continue expanding on characters from the first novel, the Author brings new ones into the storyline, and some that were introduced in Book One become integral to the storyline in this novel. Unlike Book One, Trial of Intentions is up and moving from the very first chapter; the reader has moments where the pace slows down enough for them to calm their racing pulses before picking up and propelling them through to the very end of the book. Something I was pleased to find in this second instalment that was present in the first was a musical quality that accompanies the writing of this Author; in gentle areas easy listening folk music is brought to mind in the way the language is placed on the page and I found myself reading everything rather than skipping the ‘song’ sections as I do in Lord of The Rings or The Hobbit; even when the action really picked up it was as if somewhere just out of view there was a rock guitarist playing some riff to accompany the action. Whereas Clockwork Angels by Kevin J Anderson was music (an album of the same name by Rush) to words, this is a book that could be translated from words to music. All of the major plotlines end on a cliff-hanger that leaves the reader waiting with baited breath for the final book in this trilogy, hopefully it won’t be as long as the wait has being for The Doors of Stone, book three of The Kingkiller Chronicle. Despite the cliff-hanger endings, unlike so many books that finish in this manner, this one does not leave the reader feeling that the book is unfinished and that the Author decided they’d had enough and sent it off to the publisher as is. I highly recommend both this book, and the first in the trilogy, for those who love to read this genre. It was expansive, it was epic and it was rich with hidden things that come out when the novel was reread (I have to say I am on my fourth reading of this book).
I found the pace of the book even slower then the first book. Too much detail that did not need to be included.
Trial of Intentions brings you into a world on the brink of war and in the midst of mythical and political upheaval. The author takes the time to build - in creative detail - the environment and the societies that bind this civilization together as it unravels. He makes no attempt to avoid the expected themes or tropes of the fantasy genre but rather threads them together to create a world that builds on of the darker aspects of fantasy. It poses the over-arching question: Could you live with the consequences of where you permitted destiny to take you? The story's told through multiple points of view (third person, subjective, limited - for the English majors amongst us) moving the characters, and the story, forward through the telling of events often occurring in tandem to one another. Although, it can take a minute to catch the rhythm of the POV shifts (they're neither abrupt nor pull you out of the storytelling just plentiful) once you realize that each discovery or action told through each character builds on the whole without tainting it with the opinion of perspective that can often happen with one over-reaching narrator. Knowing the impact of what (seem like) personal decisions - from their point of view- on themselves or others is vital to understanding the direction of the story. The beauty of the Orullian's storytelling is, you think you know where everything's going but you are wrong - repeatedly. Orullian explores the idea of prophecy from a new angle raising the question of: what if when serving your sacred duty you focus on one aspect of your task over the other as more important only to realize not only were you wrong to do so but you can never undue that mistake. I found the dialogue between characters pointed and felt it fully enriches your involvement in these moments of discovery and confrontation. The characters, Tahn, Vendanj, Wendra, Mira, and Grant (there are others as the story advances) each have a role - often of cataclysmic change or realization - that greatly impacts the direction of their world: acts made in anger, demands made of others, withholding transformative information from someone, a choice not made, a burden unloaded to the detriment of another. Their feelings matter, their motivations are important, and the consequences can’t ever be discounted. I have to say I like journeyman/quest tales; meeting a character and knowing that you'll be traveling along with them learning about their life path or embracing a destiny previously unknown. I think these stories make for some of the best world-building, myth exploring, and character creation. You become invested in the characters and willing to follow their journey (even when you're yelling at the book - yes I still do that - because someone just did something you find consummately stupid). This is not short story (page count 720) but is one told with intention. There are no wasted words or "throw away scenes." This is not short story (page count 720) but is one told with intention. There are no wasted words or "throw away scenes." This book requires a slight (I read a lot so this may be a bit relative) time commitment. That being said, I'm usually willing to give a writer time to, as they say, get to the point. I like the unraveling of a mystery, the telling of a tale through an epic exploration. Orullian more than makes the journey worth the reading.
If you are a fan of Rothfuss's "Kingkiller Chronicle" or Jordan's "Wheel of Time", you will find yourself immersed in Aeshau Vaal, the world within the pages of Peter Orullian's epic, "The Vault of Heaven", which began with "The Unremembered". "The Unremembered" was your traditional fantasy story with a twist – while the young protagonist, Tahn, is thrown out into a strange world and embarks on a journey, he has no memory of his first twelve years of life. The monsters and creatures who invade their world are from a place called the Bourne, which is separated from their realm by a veil of music that is slowly weakening. "Trial of Intentions", the second book in the series, builds upon the ideas of the first volume on a larger scale. We see glimpses from characters within the Bourne and see that not all of the creatures are as hard-hearted as our main characters make them out to be. We get a glimpse into political intrigue and are shown more of the world's magic – the power of music. It's all connected, building up to a powerful ending that is sure to resonate with you. "Trial of Intentions" was everything "The Unremembered" was and more. With this one, the world Orullian has created feels much more real and rich. Peter Orullian is not a big name in the fantasy genre (yet), but he is sure to become your next favorite author. His prose is poetic without being superfluous and the ideas presented in his epic series are coherent and original. How many times have you seen a magic system based on magic? Never. That's right, never. I fell quickly in love with the Vault of Heaven series, and I am eagerly awaiting book 3.
In THE UNREMEMERED: Peter Orullian delivered a classical fantasy novel that hearkened to the stories of Tolkien, Brooks, and more. Heroic adventures, dramatic conflicts, and nuanced storytelling continue to be the hallmarks of Orullian’s writing. And he delivers all the joys of fantasy you could want. But, Orullian has found an untapped reservoir of talent in TRIAL OF INTENTIONS. Where THE UNREMEMBERED shines, TRIAL OF INTENTIONS transcends. Where THE UNREMEMBERED lagged or suffered, TRIAL OF INTENTIONS has displayed deftness that is far beyond its status as the second book in a series. Orullian is not just an author, but an artist. One of the rare writers, like Hemingway, Steinbeck, Lewis, and others, whose use of words, imagery, and literary techniques lifts him above his compatriots and peers into a category inhabited by the truly great. Orullian’s biggest crime and greatest triumph is the delightful abuse and magnificent use of emotion. TRIAL OF INTENTIONS will take you from joy, to sorrow, to triumph, to the utter abyss of defeat. Orullian has put the fantasy back in epic fantasy, and the new life his creation breathes into a genre that grows staler by the day, is a welcome wind of relief to any reader. The book is pretty massive. It could double as a self defense weapon. I’m not sure if that was intentional or not. The cover art looks half finished, like the artist just phoned it in with a first draft and some colors. Also, the image doesn’t fit the book. I mean, after reading the book, I realized the cover character is an astronomer. He’s holding a telescope. Not a flute. Woulda missed that otherwise. In my previous review, I praised Orullian’s magic system based on music. He really ups the game here, taking an interesting, unique magic system and creating an awesome underlying principle for it (which he calls Resonance), but then takes it one step further. He leverages that idea of Resonance into several different magic systems. All his magic systems work under an overarching methodology, and his world and writing benefit from it. But along with the magic, he includes science. Philosophy, astronomy, and more are all as important to the main characters, the plot, and the word as is the magic. I’ve never seen an epic fantasy where sciences were on an equal footing with magic. I’m not a scientist, but the science Orullian references seems accurate. Even if it weren’t, you could tell he’s researched the terms and descriptions–this is especially noticeable around the astronomy sections. In almost all epic fantasy, there’s a war. And the main characters are rushing to either prevent the war (through violence) or be in the war (with violence). In TRIAL OF INTENTIONS, one of Orullian’s protagonists’ whole goal is to prevent war by using knowledge, discourse, and a distinct lack of violence. I can’t recall the last epic fantasy where a main character spent a good portion of the book doing research, investigating, and debating to undo the violence and war that was sweeping towards him. There’s a lot of empathy in the approach the character brings, and the philosophical musings on life, hope, and the state of world really add to the characterization. You realize that Orullian has poured a lot of time, effort, and emotion into ensuring that this character solves and approaches his problems, and the world’s problems, from a human standpoint. Now, I’m not saying there’s no action or violence. Plenty of it. Other protagonists and antagonists in the book get into a healthy amount of battles. But it’s all done for the sake of plot, and the sake of necessity, which was a refreshing read. At the risk of spoilers, Orullian reaches into the bag of tropes (great evil, sealed away, blah blah blah), and deftly turns them on their head. Evil is present, but the evil is not where the idea of fantasy directs you to look. We get to look into the Bourne and see what’s there. We get to see what being sealed from the world has wrought upon that portion of the world and what it’s left behind. There’s a lot of tragedy hidden inside this trope of evil, and it took me two read-throughs to really grasp a lot of what was being delivered here. The antagonist of the story however, isn’t the sealed evil, it’s delivered in the persona of Roth Staned. An antagonist willing to do anything to stop the evil, turning to brutal, effective, and dark methods. The questions of morality and honor to one’s ideals are forced starkly against the complexness of Staned, and the story benefits greatly for them. Orullian continues this trope-turning with our protagonist. At the end of the first book, we discover some secrets about Tahn that change the way we view him. Throughout this book, Orullian continues to use our expectations against us, playing off our viewpoint, and then turning that same view against us, in surprising, and refreshing reveals. In my review of Orullian’s first book I said that “Frankly, to me, this is a work of art on par with the masters of the genre, Jordan, Rothfuss, Tolkien, and more.” A bold statement, but luckily, Orullian’s exceptional talent has risen up to defend my words. It’s rare to see a second book this much better than the first. Orullian is only getting better. Deeper writing. More subtle pacing and plot. Innovations in the story he’s telling, in a way that makes a reread of the first book, like reading a whole new book. Orullian has the rare gift of an artist, and this book deserves to fall into the annals of epic fantasy history. Recommended Age: 13+ Language: Relatively mild Violence: Plenty Sex: Referenced