The Winter Road is Adrian Selby’s second journey into the
world he started with the excellent (albeit occasionally impenetrable) Snakewood. That said, this is a standalone,
rather than a sequel, occurring generations before the events of the other book,
and without any direct ties.
With that in mind, what is there to like about The Winter
Road? Well, there’s the world. There’s
the people in it. And there’s the story that they tell together. The narrative
shines, as individuals feel hope and pain and regret and love and betrayal,
against a backdrop which shapes them as much as they act upon it. Each is a part
of a greater whole, and together they make something with real energy, real
spark, and real humanity.
So, the world, then. In some ways, it’s a tightly coupled
one. Families hold to their land. Some swear loyalty to others, and there’s the
sense of a slowly evolving feudal sensibility. But the numbers involved seem
relatively small, each family keeping an isolated holding, each family
separated by hours or days from its nearest neighbour. What binds them is a web
of blood, but it’s strained at the edges. That isolation is visible further up
the chain as well. Though there is a family at the head of the society shown to
the reader, they have a limit to their reach – there are sections of the
surrounding land, ‘The Circle’ that are outside of their reach, that haven’t
been contacted for generations. And in the distance are murmurings of larger,
more centralised states, with standing armies and potentially acquisitive natures.
This is a world which is connected within itself, but not
outside itself. Where there’s a sense of something lost, a knowledge that once,
those missing parts of the Circle could be spoken to, eventually. Selby does an
excellent job of showing us the wilderness of the Circle. Its land is vast, ans often hostile, with a
penchant for semi-desolate plains, for snow, for people living in mountains and
more than willing to drop a rock on your head if you might be carrying food. The
prose carries a sweeping, stark, brutal grandeur, which matches the environment
perfectly. You can feel the harsh crunch of the snow and the frost on your
breath, or the slow thrum of verdant growth from the towering vegetation that
is the mysterious stopped heart of the Circle.
And the road. It’s an actual road. Outposts flickering along
it like candles in a gale, as it inches forward around the Circle, trying to
reconnect everything that’s lost. This is a detailed, well thought out world,
with its own history, culture and dreams, all of which help to inform the
decisions of the people that live in it. It not only seems real in the instant
that you read it, but has enough depth behind it to make you want to know more,
as well.
Speaking of the people behind it – the protagonist of the
tale is Teyr Amondsen. Teyr is a relative rarity, a woman who became a soldier.
She’s also something more of a rarity, a soldier that came home alive, and came
home rich. In a world where combat is typically hand-to hand, and where the
ingestion of plant-based ‘brews’ provides seemingly supernatural strength and
speed at the cost of a comedown and long term side-effects, actually surviving
to spend your money is a novelty. But Teyr has come home.
The narrative has two interleaving layers – one, Teyr’s
story as she starts on an expedition to help build out her great dream, her
road. And one in the aftermath of that expedition, as she deals with the
conseqeunces and what happens next. The earlier of those gives us a wonderful
insight into a complicated woman. Tired of picking blood out from under her
nails, not content to simply sit on her hands, she’s making something happen.
There’s some wonderful subtexts here about why Teyr decides to go big or go
home, why she wants to bring the Circle back together. It isn’t afraid to look
at her relationships, her past, her family – they all tie together into a web
of connections which help her feel human. Maybe this is someone doing the right
thing, but they’re doing this specific right thing for their own reason, too –
a history which is largely off the page, but which is masterfully implied for
the reader to pick up and run with.
Speaking of family – Teyr’s relationship with her immediate
family, a spouse and child, is a joy to read throughout. There’s a complex
emotional boquet about it. Teyr is unashamed of lioving her man in part for his
looks, and there’s a certain sexuality running through the undertones of their
dialogue. But there’s also romance, affection, and a wry practicality in her
dealings with both spouse and son which will probably be recognisable to many
parents. It’s to Selby’s credit that the sense of love, the familial warmth that
overruns Teyr when she looks on her family, is so palpable. You can taste the
way she cares for them, feel their importance in every incidental gesture. There are silences, and arguments, and
discussions, and moments of self doubt, Which makes it all feel the more alive,
the more real. It’s a relationship which feels genuine, a partnership doing its
best, and even on the occasions where it stumbles, the interaction in this
family is always a fantastic read.
Tetr is happy, at least some of the time, but it isn’t all
she is, to be sure. The darker side is there, one which is willing to take
fight-brews, to break heads, to do whatever she has to do in order to meet her
goals. But if she’s sometimes (literally) lethally direct, she’s never less
than sympathetic. This is bold, honest characterisation, drawn with a finely
detailed brush. Admittedly, to stretch the metaphor, the brush is sometimes
covered in someone’s blood. But it has an emotional sharpness and intensity
which mean that understanding Teyr is simultaneously very easy and a long term
project. The way she is, the end-point of her pasts, leaves her raw and broken
and healing and husbanding regrets and living in hope. What all that makes
Teyr, is alive. I cared about her story. I wanted to see where she’d been, and
who she’d become on her journey. I was drawn in to her relationships, to
empathise, to sympathise, to condemn, to understand. Teyr is a pitch-perfect
protagonist, a multi-faceted woman who doesn’t take any crap, lives with her
demons, and keeps on moving forward from a world which scarred and still scars
her – and is also a loving spouse and caregiver, and a veteran killer.
Basically, Teyr’s brilliant.
The plot? Well, I won’t get into it too much. I will say
that some of the narrative complexities of Snakewood have been pared away.
Though there are the interweaving narratives as the core of the story, connecting
them is fairly straightforward, and it shouldn’t be too difficult to keep track
of what’s happening, and to whom. The rest? Well, I’ll let it be a surprise.
But there’s a lot in here, that’s for sure. Teyr is building a road, in a land
which hasn’t had much use for trade and talk, and may even seem absurdly proud
of its isolation. That means politics. Which in a world connected by blood,
also means family. But there are other, larger problems on the horizon, and
Teyr really has no idea what she’s getting into.
There’s some fantastically kinetic, dirty, bloody fight
scenes which made me wince. There’s acts of casual villainy that provoked a
gasp or the occasional swear. But this isn’t entirely grim. It’s not all bad
people doing bad things for bad reasons. There’s hope in here, there’s people
doing good because they can, trying to do the right thing, and sometimes even
succeeding. There’s struggles against enforced cultural norms, on all sides,
and a fair swathe of betrayal, heroism and sacrifice. It’s also Teyr’s story,
the story of where she is, how she got there, and the price she paid. The
narrative serves as an emotional stiletto, its emotional edge surrounded by
hard words and hard fighting, making a book which it was impossible to put
down.
This one is an absolutely cracking read, and I’d suggest you
go pick it up right now.
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