Beneath the Twisted Trees is the fourth in Bradley P.
Beaulieu’s The Song of the Shattered
Sands series. It’s filled with the intricate world-building, the emotional
depth, the detailed characterisation we’ve come to expect; all of that wrapped
up in a plot which has a constant roiling boil of tension, punctuated by
explosive revelation, the narrative ground shifting underneath the reader’s
feet. It is, in short, rather good. If you’re here after the first three books,
and want to know if you should carry on – then here’s the unequivocal yes.
There’s a lot going on here (it’s a rather thick book), but a strong, rewarding
story is being told as a result.
So here we are, anyway with a city surrounded by a desert.
The city is its own welter of political concerns, but the desert is no longer
quiescent. And of course, there are third party actors. Those looking in from
outside, seeing something they can exploit, a rival they can bring down, a
threat that can be neutralised.
So lets talk about the desert. It’s at the hart of the text,
an environment which surrounds and swallows characters whole. This is a space
filled with baking sands, and with the occasional life-giving oasis. Fleets
sail across it, with tough wheels to drive the sane and trim sails to take
advantage of the win. Sailing the dunes is not for the faint hearted, but here
we have the potential, crackling like lightning between the grains of sand. The
silence, the life, the soaring birds of the desert are all there, an ecosystem
which exists as a force much like the ocean, washing people upon it. As they
struggle between themselves, the sands are always there, waiting to seize upon
anything abandoned.
In the centre of this unrelenting seeming-emptiness sits
Sharakai. Less a city on a hill than a city between the dunes. It has high
walls, and pits for fighters, and markets, and kings, so many kings, and a
resistance willing to fight and die for change. The city is ruled by the
king,s, a rapidly diminishing number of immortal oligarchs. Their slow removal
due to infighting and enem action, and their struggles with their children,
desperate to rise to the power they see as their birthright, are brutal,
vicious, and entirely believable. When rulers carry divinity and the gift of
immortality, still one may rise up to claim what one things they are due. The
city is a heartbeat, fast and brutal and bloody, unforgiving and certain.
Until it skips a beat. Then, things may struggle out of control.
In this liminal space, between the Kigns and the desert, we
find Ceda, once again. The kings are monsters, that’s undeniable. They use
their immortality to suppress history, to hide atrocities behind what may be
nominally considered lesser atrocities. But they keep the city safe, swathed in
sorcery and ruthlessness. Though they do not accept internal opposition, still
less are they willing to accept external power. But that’s changing here, in
these pages. As Kings are eliminated, the populace fees their hand less on
their shoulders. But external forces are poised to fill the vacuum, fleets from
across the sea and beyond. The text does a good job of showing us Malasani,
Qaimiri, as distinct cultures, with their own goals and loyalties, and with
rulers whose decisions will make or break them. We spend more of our time
amongst these powers in this book than we had previously, and by the end, they
each feel like a living, complex culture with its own needs and mores.
As ever, Sharakai is alive, and the desert, perhaps more
than previously, is alive; now those who step upon the sands in trepidation
take their turn.
This hols true of the characters as well. Ceda remains the
star, here. Her feral energy pours off the page, even when she’s lost in
thought. She has to take a lot of decisions very quickly, and though some of
them are difficult, still the text crackles with the choices she makes. Ceda,
not to put a point on it, kicks arse She’s not afraid to get into a fight –
indeed, quite the reverse. At the same time, she’s embracing the mysticism of
her life, of the powers she’s having to embrace on her own course for revenge
and for truth. And even more, she’s coming to terms with being a leader, not just a fighter. With having to make the hard choices which get people killed. While the
kings will stand and make the argument that each sacrifice is necessary, Ceda’s
evolution is in parallel. She’s not willing to sacrifice friends on the altar of
power – or at least, not yet. The truth will out.
And in her search she’s supported by a fantastic
interweaving of parallel tales. There are the blood mages on the run, desperate
to avoid notice, but trying to break free nonetheless. And the aide to the
Qaimiri queen, a man desperate to rescue his monarch from herself, and willing
to take horrendous risks with body and soul to do so. And the pair of a man and
a desert djinn, a warped love story whose truth has yet to be entirely
realised, but lies mapped in desolation. And the fellow seeking to turn back
the tide of Malasani, an old friend of Ceda’s whose compassion may be his
greatest weakness.
They all live and breathe between the leaves of the book,
and they each drive the plot in their own way. Fundamentally though, the people
feel like people. The entities – desert ghosts, deities, immortal kings – are
strange and real and terrible, but still you can eel something of their needs.
Ceda is the heart, but every one else is a key to the text as well.
I won’t go too far with the plot, but if you’ve come this
far, through the rich, detailed world and the convincing, heartfelt characters,
you won’t be surprised by the emotional investment. The story pulls no punches
here, building up and creatively detonating tension, and making you care about
each of the maladjusted characters. There’s parts that are a slow boil
conspiracy, parts that are a fast-paced adventure, and segments which are a
sweeping, epic scene of combat. Each has emotional integrity, and will grab you
until its work is done.
Its an absolute stormer of a text, given a pitch perfect
fusion of characterisation, universe and plot; as such I would say that you
should pick it up.
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