The Seven is the third in Peter Newman’s “Vagrant” series. I
thought the first, “The Vagrant” was a great story, told in an interesting way,
and the second was a great piece of fantasy in its own right. That meant that
The Seven had some pretty big narrative boots to fill, as it moved the series
toward its conclusion.
Set years after the end of the previous book, the world of
The Seven is equal parts familiar and strange. In the north, the sclerotic
empire of the Winged Eye is now resting under the somewhat benevolent hand of
Vesper. An idealist, with a penchant for trusting people and making unlikely
friends, Vesper is determined to shake things up in the Empire of the Eye. As
the Empire is learning to live with the disintegration of its greatest threat,
the Breach which spewed otherworldly influences into the more familiar realm,
it’s in something of a state of flux. Vesper closed the breach. Vesper has the
sword of one of the Seven, the divine leaders of the Empire, most of whom haven’t
been seen for years. Newman shows us an Empire terrified of change, one which
has been in stasis alongside its leaders, perhaps for too long – and now has no
idea how to cope with change. The rituals and habits that have pushed society
through millennia are taking a long time to change. Still, Vesper is making a go
of it, using her assumed authority. It’s interesting to see the institutions of
the Empire slowly drifting apart at the seams, as it copes with no longer
having an external threat to define itself against.
At the same time, there’s still the issue of the Infernals,
those otherworldy essences which arrived in the world before the closure of the
Breach. They, and the half-breeds, a fusion of humanity and Infernal essence,
are having to redefine themselves as well. Without the Breach as a constant
source of reinforcements, they’re having to consider a longer term perspective.
The half –breeds have formed communities, and they’re learning to live in the
twisted version of land that’s available in the south, over the sea from the
Empire of the Eye. This is no longer a world of eternal war, of expansion,
defeat and conquest – but a world that exists afterwards, where the survivors
have to learn how to live with each other.
As one might expect after years of conflict, this is…rather difficult.
As with the Eye, the fragmented domains of the Infernals are under pressure to
change, to adapt to their new situation. As with the Empire, there’s always the
danger that they’ll self-immolate whilst doing so.
All parts of this world are beautifully detailed and
inventively realised – the straight-backed legions of the eye, led by knights
with singing swords are a stark contrast to the Infernals that can inhabit
multiple bodies, or graft extra limbs to themselves, or the half-breeds whose
brush with Infernals has left them fearsome giants. You can believe in the Eye,
its searching, wavering gaze, and in the demons, with their energy and desire
to exist, and the half-breeds and their plans to build better lives. They’re
all internally consistent, cohesive, and rich with meaning.
As the world teeters on the brink between the hope of change
and the old certainty of war, none of them are quite prepared for the Seven.
The characters – well, there’s a great many old favourites
here, but the stars of the show are, I think, Vesper and the Vagrant, along
with Vesper’s daughter, Reela. Vesper is
a little taller now than she was in The Malice, a leader struggling to work out
how to draw people together, to get them to build something new, and put down
old grudges. She’s given her own weaknesses – a need, in particular, to do
everything she can, a refusal to make time for her own emotional connections in
the sea of larger things. As ever, the consequences of these flaws are explored
alongside the benefits that they bring; even as Vesper is building a newer,
happier world, her own relationships have a sense of fragility about them, the
energy that would sustain them pushed out into the world. Watching Vesper, whom
we last saw as a child, struggling to speak with her own young daughter, is
heartbreaking. She’s away for too long, and disconnected from her own life to
the extent that her daughter is, if not afraid of her, then hurt by her,
suffering the consequences of her absence.
Into that void steps The Vagrant, a father to Vesper and a
figure to emulate for Reela (which causes some complex conflicts within the
heart of her own father). The Vagrant is older than we may remember, but
willing to put on armour and help his daughter change the world. Still silent,
and like Vesper, still stubbornly unwilling to accept injustice, he moves
through the narrative like a tide of obsidian – obdurate and unstoppable, with
a sharp edge. Father and daughter together are a delight – their emotional connection
obvious and their conflicts believable and human.
Reela is the third of this tripod, and clearly idolises The
Vagrant. Her feelings for Vesper are more complex; you can sense the anger at
abandonment there in the prose, along with the yearning for acceptance and love
that sits alongside it. This is a story about family, amongst other things, and
this one – The Vagrant, Vesper and Reela – is under strain. That said, it’s
also still clearly a family – occasionally fraught and argumentative, but tied
together by bonds of affection nonetheless.
Other returning favourites include Samael – a man who became
part of an Infernal knight, now struggling to determine who exactly he is, and
what he’d like to be. Samael’s discussions with Vesper verge on the
philosophical, and his stoic search for a sense of self is deeply compelling
reading. In this search he’s matched by the mysterious First, an Infernal that
holds its essence across multiple bodies, a distributed consciousness, which
struggles to understand humanity and the world in which it exists. Their
separate journeys toward understanding are fascinating.
Perhaps the characters who loom largest are the titular
Seven, and their creator. We get some understanding of the drivers behind the
creation of the Seven within flashbacks, watching a woman determined to save
the world ruthlessly take the steps she feels are required to do so. The Seven
are visible in both timelines – as the end product of the past, the long term
wardens of the Empire of the Eye. In the present, they’re somewhat more
complex. If the world is not to their liking, they have the capacity to unmake
it, and hold in their hands an Empire which regards them as divinities. They’re
mythical figures, as the book begins. Each becomes distinguishable from the
others though, the stories of their pasts being revealed, and the decisions
they make in the face of the present setting them apart from each other. The
Seven are the ultimate authority for the older vision of the world, stepping
into the new society which Vesper is struggling to construct. Seeing them as
individuals, they seem complicated, driven, forbidding - and at least as
strange as the Infernals they were meant to oppose.
The main strand of the narrative is centred around Vesper’s
efforts to create a new world in the aftermath of the old – but there’s a lot
going on there. There’s some politics, as disparate factions are dragged together.
There’s the social changes going on in the Empire and in the south. There’s
some absolutely storming battle scenes, kinetically, gracefully, bloodily and
uncompromisingly written. There’s scenes of love and affection to warm the
heart, and some betrayals which threaten to break it. This is a story of a world being brought
together, and of different visions for the way that world will rebuild. It’s
complicated, captivating stuff – but Newman’s liquid prose makes it a great
read.
Also, and I feel I have to mention this – there’s a goat.
Several goats, in fact.
If you’re new to Newman’s world, I’d suggest picking up The
Vagrant and working forward from there. If, on the other hand, you were left on
tenterhooks after The Malice, if you wanted to know what happened next, if you’ve
wondered about The Seven, and the fates of Vesper, the Vagrant and their goats –
then you owe it to yourself to pick up this absolutely excellent conclusion to
the series.
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