“A Druid Born” is an uplifting tale of adventure and self-discovery, told from the point of view of a young chieftan’s daughter, Regan. Narrated from a first-person perspective, we follow Regan as she faces personal challenges and learns about herself and her blossoming abilities. Magic is present mildly throughout the story, in the form of shamanistic rites, visions, or herbal remedies.

For its target audience, this novel will be quite a treat. The writing is competent and solid, and the pages fly by. Unlike many books for younger readers, it does not come off as juvenile, but maintains a dignified maturity that is refreshing. The subject matter and events are mostly personal in nature, and include the kinds of things that young readers might themselves be facing: conflict with the wishes of parents, and changes brought about by approaching adulthood. In contrast to the book’s title, there is very little that is dark, and nothing I’d call disturbing. The drama is dealt with gently, with a responsible eye toward impressionable readers.

Druidic culture is lightly showcased, and there is a flavor of Celtic life throughout. At times I wanted to see more of this, however, as it felt like the author was only scratching the surface of a deeper ability she has in this regard.

The bond between mother and daughter is central, and is presented in a way that may be particularly appealing to young female readers. Regan’s family situation in the story is a little unusual, and her desire to be close to the spirit of her mother becomes an important part of her quest.

There are a few drawbacks worth mentioning. Foremost is the shortness of the book. The text comprises what would only be two or three chapters in similar novels. A dedicated reader would require only a couple of afternoons to finish the short novel. Though meant for less experienced readers, it seemed that more could have been written. The language, as well, seemed a touch too simple. Perhaps this is simply due to my bias as an adult reader.

Also, I found the characters to be slightly shallow and underdeveloped. Given the few pages to work with, it’s to be expected, perhaps. Additionally, there are some minor anachronisms which pop out here and there – unlikely references to real-world places and history that pulled me out of the story as I read. These were only slight distractions, however.

Additionally, the first-person perspective has a way of narrowing the story. It decreases the potential for characters other than Regan to be interesting, and detracts a little bit from tension that might exist otherwise – we know nothing bad will happen to Regan, because she’s retelling the story for us.

The book finishes on an optimistic note, as Regan completes her journey ready to take on the world and her approaching womanhood. “A Druid Born” very much has the feel of a motivational work. It was a pleasant, if brief, read, and one which I would not hesitate to recommend to readers aged 10-16.

Unicorn Races, which is written by Stephen J. Brooks and illustrated by award-winning artist Linda Crokett takes us on an adventure with Abigail into her imagination. We watch as she finds herself in a magical forest with all sorts of magical creatures and treats as six very colorful unicorns race into the night sky

Stephen Brooks' story is one that will bring to life the wonderful magical creatures of the forest and is appropriate for children. Sometimes children's books either have a story too advanced, or have something that some parents might not approve of. This is not the case in Unicorn Races, it is a story for all ages.


"There in the deep of the woods, by a slow moving stream, was a royal feast prepared by elves and fairies of cookies and cakes..."


"The unicorns rose up, neighing and huffing, read for the race to begin."

Brooks paints a picture with words that Crokett does the exact opposite with by bringing to life with description her artwork.

The quality of the book is top notch from the nice puffy front hardcover, to the ultra glossy thick pages. This makes a nice canvas for Linda Crockett's artwork to be displayed. Each page is its own little piece of artwork that should be framed in a children's room, or printed out and sold on posters for people decorating young girls' rooms. Each page is sprinkled with a bit of stardust that truly makes the pages jump to life. The only issue I had with the artwork was that Abigail's face seemed to stand out a bit from the rest of the artwork, I do not know if this was something that was a conscious decision by the artist or not. Everything else was very colorful and dreamlike.

My two boys (2 and 4) sat through a reading of the book, they got really interested once the racing of the unicorns started as they both love racing. I have yet to try its wiles on a girl, but I believe it will be met with enthusiasm and enjoyment. This will be one of those books that your young girl will ask for night in and night out.

When I reflect on Shannara, we are going back to the baby steps of a love affair with Fantasy that if not taken when they were, I would have probably found myself not inundated with advanced copies for a site I co-own dedicated to the subject of Speculative Fiction itself. It was not my first venture into Fantasy, but it was perhaps the first series I continued simply because it was Fantasy. Later in life I’d realize I was already a fan of the fantastic and it could be illustrated with books I read before – be it from Tolkien, Stevenson, Lovecraft, or others but I think then it was just about adventures then and Shannara offered another place I hadn’t been before, and at that age being someone who was used to and loved travel even then it was not only enough – it was optimal. I was as a child lucky enough to had already seen places and found myself at a place where so many rarely left their own state. Be it the Coliseum, the Parthenon/Acropolis, Pisa, The Sistine Chapel, Pompeii, Ercolano, the real Oktoboer Fest, Carnivale, Mardi Gras, Big Ben, Venice – Vesuvius or Fuji, the Pyramids, the Louvre a ride on The Orient Express and countless German and French castles and cathedrals and rugs from Turkey later – when I sat in history classes I always felt a chapter ahead, it was a review for me, not an introduction. Later, I’d I found myself in the dirty south of the U.S. which at the time was something not unlike exile from meaningful culture. Later, I’d recognize a highly functionable and welcome order to it all but at the time I think I was substituting that sense of wonder lost, with a maze of wonder at the library. I’m not at all sure if there were books I didn’t like then, in fact there may not have been even ‘good’ or ‘bad’ they were just all part of one large journey for me, some legs were just more memorable and some more staying power - better than I remembered - when I made the journey back, but if not, it does not taint what came before. To me I was just chillin’ with Huck one week, fishing with Ahab the next, sharing riddles in Hed after that, blew trees in the Shire a month after, all while walking through Shadow with my bud Brand who was babbling about chaos, and all because years before I wanted to go beyond where the wild things were. You see, Allanon and me, well, we go way back; before Bremen found him hiding all shook - we were already tight, even before me and Jessica used to have mélange sessions. I’d tell you my last name is Creel, but that’s another shadow, one me and only the Grimpond talk about but what you need to know is that when I wasn’t being a hell raiser as a youth, I could be found plotting my next secret vacance in my room, or what looked like plotting otherwise, why was I so quiet? Nobody complained, least of all me, because I was in my comfort zone – and I had been there before, and in fact I could fuck around and tell you how to get to Varleet from the Vale on a budget right now – like I said I’d been there before.

When discussing Shannara or Terry Brooks work in general – those that even take the time to do so anymore - many find it difficult to isolate a specific topic, having to express their stance on him and the fact alone should speak on his presence in the field. I myself am not gifted enough to buck that trend and as I type this I find myself unable to think in the box. I don’t love or hate the works of Brooks - but no different than any other writer at times I have loved and hated them. It is this relationship, this passion that defines fandom for me. Writers evolve and more importantly readers do as well and it’s not a shift that occurs one or in one direction. If we rightfully view the works of Rowling as an anomaly in regards to its measure of success in book sales – not just fantasy sales – then Brooks sits among the most successful who has ever done this and while to some that is somehow proof of impropriety against art itself, such stances prove to cause only minor chinks in the armor in one of the few writers in this field’s history that I think has a legitimate claim to being a generation’s introduction to the form – even if, irrefutably, largely borrowed beyond anyone’s attempt at shielding with the worst of paper-arguments ‘nothing new under the sun’. For myself, while presently – and for some years - my tastes have moved away from what Shannara has to offer but while I have aged and expanded upon my reading and bear with me, lore, of this corner of fiction that offers a perspective in a larger picture beyond the lines that are often the topics of heated and too often-linked discussions I try not to lose, replace, or dilute the veracity of my experience at the time. Addendums certainly - but no subtractions. The relevance of these statements to this review is due to the relationship that Dark Wraith of Shannara has with previous Shannara material, and more importantly, chapters I’m not only very familiar with, but chapters that I will always be familiar with. While it is The Heritage of Shannara arc that represents the best Brooks has shown in Shannara, and aside from his Word/Void work (in particular Angel Fire East) my favorite in his body of work, it seems to in his first three books in particular that fall into a timeline that sowed and cultivated the fanbase noted above. The Sword of Shannara, The Elfstones of Shannara, and The Wishsong of Shannara are not classic books, but they attempted to capture and perhaps even remind of classic tales in a form many had been waiting for, whether they were conscious of it or not. It is within these three books that the most resonant of threads could be found to truly test the waters of a market and platform I feel very strongly about: the OGN – the original graphic novel. With the success of King and Hamilton projects in sequential art, I’m interested in seeing more of and how others will follow suit and Brook’s attempt will be an interesting gauge due to that existing fanbase noted above.

When Dark Wraith of Shannara showed up at the door in January I must admit some measure of curiosity. I am perhaps a bigger fan of comics than I am in any other form of reading and I think that’s telling for anyone who is aware of how much time I put into a site like Fantasybookspot.com I love getting my VanderMeer, Erikson, Mieville, Zivkovic, Martin, Jonathan Carroll and Jeffrey Ford books – and releases by Saramago, Ishiguro, and McCarthy are close to spiritual experiences bound up and sold on shelves; Speculative fiction is close to my heart, but more than anything, I love my sequential art – I love my comics. It also presents a very low risk investment in my time, I tend to commit to my novels even if I don’t see anything of value hundreds of pages in – a habit that I think is the only plausible explanation on why so many people are familiar with books like The Fifth Sorceress. I have my own preferences and I get perhaps unequal opportunities to explore them and this format allows for a shot of Shannara I otherwise wouldn’t indulge in, and this is something I consider a fortunate circumstance.

Dark Wraith takes place some three years after The Wishsong of Shannara and utilizes principle characters from that book. This was an auspicious discovery for me as my favorite denizen of the Four Lands was introduced within those pages and the opportunity to see further adventures of Slanter was more appealing than I would have wagered. Wishsong, more than the other books really offered a group-quest that lingered due to the number of characters and the finality of where some of those paths led in how they would affect the survivors. It was also the end of the first arc and to the reader a geopolitical era and tone in Shannara that would be come forth from the Heritage arc. Because of this, I think it was the best place to mine further adventures and also a minefield due to a chance of pulling on strands knotted close to hearts. When finishing the 160 pages, I saw both of my thoughts play out. In familiar fashion a member of the Ohmsford family is recruited to continue their legacy as Allanon’s chosen champions and protectors of the land and this time –as promised - it will fall on Jair, burdened with his charge and a promise, he once again seeks out the Mwellrets who (in Wishsong) failing in their attempt and I guess strangely upset at being freed of being enslaved by the power of the Ildratch (because, you know, their evil) have plotted a new course of action: restoring the Druid Keep of Paranor to the land to unlock the knowledge within its walls. It should be said that there is not a tremendous amount attempted here, it’s a straightforward read that offers little in regards to searching for invisible thought bubbles mid-page but I think if it is aiming at the age-group I think it is, this wasn’t unforeseen or unintended. I was reading Brian K. Vaughn’s The Escapist (in collected form) at the same time and there is more going on, more weight on several individual panels and single lines in it then can be found within the entirety of Dark Wraith, but it offered this real interesting dynamic as when I was getting most disinterested in Dark Wraith I’d pick The Escapist up and it was almost telling me to take it (Dark Wraith) for what it was (anybody – and by that I mean everybody should – who had read The Escapists understands). What drove me nuts from the beginning was something that actually makes a substantial amount of sense in regards to character and story – a boy emulating someone he looked up to and able to manifesting what is most likely semi-fantasy even on its own but when augmented with legitimate need becomes something more. In comics nothing is guaranteed, especially death, and while there isn’t a true resurrection within the pages, given the nature of the original character, it’s close enough to want to reflexively argue otherwise – and that isn’t even a problem in itself or abnormal, but it did create this major and what looks to be the central element in any works to come after that if you find yourself not behind puts a very tangible ceiling on how much one can enjoy the story (and possibly further adventures). The death of Garet Jax (Wishsong of Shannara) is one of the really great deaths in the history of fiction – largely because it ended the existence of one of the most heinous, no-dimensional characters ever conceived. Garet Jax was a weapons master – unequaled, the best there is or ever was, yada, yada, yada.. He was also a walking deus ex machina – a mortal force of nature that would solve the majority of the quest’s problems by skillfully, hitting shit - sometimes hard. When he wasn’t (actively) being cool, we were being told how kewl he was by others. Let me say this about Brooks – he is consistently able to bring conclusions that satisfy and he does this by surrounding the inevitable saving of the day with a recognition of sacrifice and acceptance that does resonate and finds a corner in our memory that doesn’t fade. He showed this many times; with Amberle (Elfstones of Shannara), Allannon; he showed this with a debt and bond of two races being acknowledged by an injured Elf and Dwarf – and what these instances do is bind the allegiance of generations of Ohmsfords through representatives of the land – it is the people who become what they fight for, what they are loyal to, and through them the Four Lands and taken to the end the reader themselves. The death of Garet Jax, while welcome by me and clearly writing that was on the wall from the novel’s beginning was still one of those great moments in this child’s reading history. The ambiguity of the event, a mystery of whether or not the mortal demise of a man unequalled was in fact the reward he searched and trained for or was his sacrifice a delightful, if sobering, reality check. Say what people want to say, but these are terrific books for younger readers and Brook’s ability as a closer pays off. Like I said there is no true resurrection, thus it seems like I’m shadowboxing a bit, but the usage of the Wishsong that transforms Jair into Jax is strikes me as an element that would have been high on my list of not basing a story or a series of forthcoming stories on. The other underlining theme of Jair struggling to keep his promise of abandoning the Wishsong that he made to his sister and coincides with the familiar ‘power corrupts and eventually enslaves’ forms the apparent meat of the story that will take new readers for a tour and returning visitors a spin down memory lane. This is really an admittance of not caring for the fundamental premise and it was difficult for me to shake that as I read on as nothing really evolved from the transformation that made me not think just seeing Jair and Slanter reuniting to get by on wits, luck and experience would be more fun. I realize that some could consider it the sweetest thing imaginable, but for me it just strikes me as a decision that sounds better and perhaps even exciting as an idea thrown out there and dismissed after a second thought than it looks on paper and brought to fruition. What we are set-up for is basically a condition that allows Jair to handle any imaginable situation by being someone else and the balance is supposed to be given by Jair’s personal regret of lying to his sister in the course of saving his own life. That just cannot last for any length of time as the fundamental conflict for people who are used to reading even the least competent of fiction - indeed it got old just within these pages alone. We knew it was going to happen, we knew what going to happen when it did, we knew what Jair was going to ponder later and while it is passable – if not memorable - once it is a cycle that has to stop now and cannot carry another story. The backdrop of an adventure; the where, who, and when of it will not matter if these continue to be the bookends of the tale. I don’t know, I was looking for something to occur that even if not perceptible by the new reader, that was an attempt at really grabbing prior visitors – to let us know these graphic novels are projects that go beyond what we may want to read, but reads the afficianado has to read, filling in the gaps in the puzzle or introducing new ones – calling back to what some may hold dear, maximizing the fact that there is a fanbase that’s reading, waiting for that single moment of recognition that goes beyond bearing a name, when we look up and see familiar stars when we stop reading about wonder and start breathing it and Dark Wraith of Shannara never took that step for me. It was like following familiar tracks but upon catching up you find that they just belong to those wearing the same brand of shoes – the occupants, strangers.

It is, I know, awfully hip to say one loves the purity of black and white, and in the sense of seeing older works brought back in a collected or archive format with specific creators/pencilers I agree, but for the most part I’d be disingenuous in saying I prefer non-color. It certainly is appropriate and even optimal in some cases and this happens – I think – to be one of them. Jair himself echoed my thoughts early in the story, as an Ohmsford will once again find themselves on the banks of the Silver River on the way to a greater journey:

The black and white art helps creates this distance even when standing at what amounts to a figurative bridge in-story and for the most part I really took to the art. It is impossible for the visuals we created in our imaginations to be rendered as we saw it but there were no choices that troubled me terribly and even some that played out well and I think balanced the idea of a book for younger readers that still gave the sense of aging for those familiar with the novels and you can see this with Kimber who is a full blown tuttin now and apparently doesn't require clothing any longer. She lives in the cut, not a trailer park, still it is very alive. For the most part, the art exceeded expectations for me and managed find that middle-ground that was part of the contrast we’d see between the first two novels arcs.

Interestingly enough, I feel that the Dark Wraith of Shannara serves as better appetizer for the uninitiated to take a look at the novels and not as much as a product that at the end demands attention by those looking for more Shannara. This was a rather disappointing development for me simply because aside from seeming backwards to me, but from a purely selfish standpoint, as a former reader of Shannara I fall into the secondary category! I think in some ways, it may be underestimating the sophistication of the Manga reader, but I admit the American Manga market is something I don’t have near a comprehensive knowledge of , having not lived on those shores during it’s apparent rise in popularity and my own Manga reads are chosen with heavy deliberation as though I am a huge comic book fan and half-Japanese – I’m not what I’d call an avid fan of Manga. That said, it does give a gist of what occurred in the novel that will not leave the reader with the feeling of an incomplete tale, and that with just about everything else noted really brings us to the bottom line with this release. It’s damn well put together in terms of being friendly for anyone to pickup and comprehend – be it strictly Manga, strictly graphic novel, strictly comic book, existing Shannara fans, people who may have just read Wishsong of Shannara, or any combination of the above, but I finished not at all inspired to read on (the implication of further adventures and a continuing story is implied in the end – and by the time this review sees light possibly even announced) to any but the most loyal of fans and to me would be better suited as a nice online web comic project for fans to read between novels. I was reminded I once liked these characters but they were built with a shelf-life that I thought correctly optimized them already and nothing in these pages suggests otherwise. I think Brooks himself may have initially been aware of this (at the time) and avoided it with his early work by continuing tales in the setting with successive generations. What bothers me the most is that if you are like when you see a new project like this announced, you tend to reread source material to warm up for the event, but this 160 pages ends up not paying that off, indeed it doesn't seem to event attempt to.

The most interesting reading for me came after the story itself in the ‘making of Dark Wraith of Shannara’ segment that is also followed by a sketch-book of the artist, Edwin David. It’s rather brief but has some interesting insight on the collaboration between Robert Place Napton, who adapted (if I’m reading this correctly) Terry’s outline, David and Brooks. Visually I think Dark Wraith of Shannara is a success, the story itself does nothing for me, andI wonder how much could have been done about it, even though its really not relevant in terms of allocating opinion. It is what it is – no matter how it got there. Now in truth, I did find the story flat, a bit uneventful, it never approaches possessing any degree of suspense or a payoff and it reads very much like a preliminary outline put straight to paper. The story itself is just uninspired and felt more like a story that occurred without leaving any evidence it passed. It was like having that feeling that you just read a book but experienced a synopsis and when this occurs what happens is you get an opinion of a project that once finished, doesn’t deviate from whatever (preconceived) you had coming in. I found that upon completion I could describe (if asked) what happens in two - not unusually long - sentences in a manner that would make reading the actual 160 pages an absolutely redundant experience. I don’t like making comparisons out of thin air, as I said before at the same time I was reading this, I also happened to be reading the collected (hardcover) of Brian K. Vaughan’s The Escapists and while I can tell somebody what it was about as well (perhaps with two especially long sentences in this case) it would not in any way diminish the experience of the read itself – it had life beyond summary. There is nothing for the reader to bring to or take away from the story that they didn’t possess before. It just goes through the motions, and one feels like such a venue could be used to get dirty in the Four Lands and really what we are left with what seems more chum thrown to potential new readers than something those of us with the soil of the Westlands still stuck in our boots or seen the pride of Callahorn first-hand can get excited about. It is in a word, unnecessary, and when putting a brand that means something to many on a book, it’s the one quality you can’t be. It should be said I stopped reading Brooks after the Voyage of Jerle Shannara arc and there perhaps may be call-backs imbedded from material beyond that, that may add dimension to this graphic novel that I cannot be aware of but not once did I feel like I ever went back. One could, I suppose, possibly compare it to The Hedge Knight, which was material that chronicled activities that took place prior to the timeline in Martin’s A Song of Ice and Fire and what you got was not a mind-blowing or essential addition, but still it was a piece, and with Dark Wraith and as someone familiar with the material and the legacy of the Ohmsfords it just doesn’t feel like a progression or even just a continuation of that, and if it tripped and fell flat, it somehow managed to do so without ever walking.

Shades!

Which is all it ended up being, nothing substantial; looks good, and while the spark of Jair’s future with Kimber leaves the faintest ripples of interest, there is just not enough brewing here that could ultimately make it recommendable and I find any attempt at lauding it impossible without following it with "for what it is" – and that’s usually the worst of signs.

Jay Tomio
The Bodhisattva

The Serpent’s Spell is a delightful tale about two orphans and a school for magic. Sounds a bit familiar doesn’t it? Actually, while there are some very striking similarities between this story and the very famous one, I kind of liked it anyway. It has an atmosphere and mood of its own and of course is written for a younger audience. Though the cover states that it is Teen Fiction, I would put it at a little younger than that. While many people will decry this tale as derivative, I tend to think of it as Bridgman paying homage to an author that got kids back into books. Rae Bridgman gives a knowing nod in the direction of that famous author; knowing because her readers will most definitely move on up in that direction.

Just for the fun of it, I will go over some of the most noticeable similarities first and then I will describe the arc of the story itself and the good and bad bits therein. Here are some of the parallels:

Serpent’s Spell - Harry Potter
Orphans - Orphan
Rufus Crookshank - Crookshanks the mischievous cat
Practical Joking Ghost Peerslie - Practical Joking Ghost Peeves
School for Magic - School for Magic
Gruffud’s Academy - Gryffindor House
Snakes - Parseltongue
Talking Statues - Talking Paintings
Ditchball/Magical Sport - Quiddich

Will is an orphan who has lived with his grandmother since his parents were killed. When his grandmother dies during an apartment fire, he gets sent off to live with two distant aunts. On his way there, Will observes what has to be some sort of trick as he has never been exposed to magic before. Questioning this once he arrives he is told all about magic, that anyone can use it, and that he will be enrolled in a school to teach him how to use it. Once he and Sophie are enrolled at Gruffud’s Academy, they set about learning quickly. At the same time, there seems to be some troubles with the snake population. Snakes being a wonderful and magical creature, when the population starts dwindling, people begin to worry. Through studies, field trips and magical sports, Will and Sophie work to solve the snake population problems and find the villain behind it all.

I found this to be a very charming and engaging story, even after identifying some of the similar elements. Including lovely illustrations and quizzical latin phrases for each chapter, it was fun to turn the pages. I think the main downfall of the book is the many plot holes the author seemed to miss plugging. These are things that either a child reader will question immediately or will completely ignore. Not being a child I have no way of telling, though I will say that in my experience children seem to be both more questioning and more forgiving than adults so this could go either way. As expected in a story for children, the characters were one dimensional. Despite or perhaps because of this, the story moved along at a quick pace without a great deal of background, atmosphere and characterization. I do not believe that in this instance, these are true negatives. I would definitely enjoy reading this one as a bedtime story to my godchild or passing it along to my nieces and nephews.

Let me confess up front, I find the consolatory, self-indulgent nature of much recent middle grade and young adult fiction troubling. I started reading novel-length fiction when I was 10 or 11 years old, the same age as the protagonist of Brent Hartinger's Dreamquest and the age of its intended audience. Before I reached age 12, I had lived six impossible lives and more. I had been dragged from my sedentary middle age to assist a band of dwarves in recovering stolen property; worked with a group of rats to save my cinder block home for myself and my children; assisted a mute swan in finding true love; escaped those who refused to understand my love of music and impressed a fair of fire lizards; was given the job of assistant pig-keeper (which to a city-dwelling child seemed impossible); had been the smartest child in the world (something that certainly was impossible) who was yet tricked by adults into winning a war in space; and yes, I had gone down a rabbit hole and discovered a land of wonders at the other end.

These books that have lingered in my memory all have something in common. Because, as works of fantasy fiction, they deal so centrally with the impossible, none of their protagonists could ever be an exact match for me or any other reader. Some stretch of sympathy, some imaginative striving to meet the other half-way and understand their situation and worldview, was always required. This in turn informed my understanding of the potential of fantasy fiction: that it could foster in readers -- particularly younger readers, whose sense of the world is just beginning to emerge -- a disposition toward understanding others, an inclination toward thinking beyond ourselves.

It is this aspect that is wholly absent from Dreamquest. The main character, Julie Fray, is an 11 year old girl caught in a war between her parents. Julie's father, a Hollywood producer, invites her to a film screening; Julie's mother, a consumer product demonstrator, responds by inviting her to a product convention the same day. Julie's mother prepares a special dinner; Julie's father tries to convince Julie to have a snack beforehand so they'll be less hungry. Julie's parents "hated each other very much," she knew, yet "were staying together for her sake." Because of the constant tension, Julie is beset by nightmares in which her parents see her as a pawn in a game of chess they're playing, see her as a meal to carve up between them, and finally fail to see her at all as they argue over who will vacuum a room -- not realizing that their dueling vacuums are pulling a shrunken Julie apart.

 

And so things come to a head: Julie awakens from the last nightmare to discover that she's been sucked into the realm where her nightmares are made (called "Slumberia"), a realm that looks very much like a movie studio. Here she encounters a dream production assistant, the dream writer, the dream producer, and others who aid or hinder her quest to put an end to her nightmares. Julie must race against time before the Slumberian day ends and she is trapped in the dream realm -- and before Vivian, the actress who plays Julie in her nightmares, ruins Julie's life in the waking world.

It's a clever concept, a setting with a simple yet powerful central twist that offers many wondrous possibilities. In fleshing out the dream realm, Hartinger borrows equally from classics such as Alice and Wonderland and The Wizard of Oz, and more contemporary works such as Piers Anthony's Xanth series and Neil Gaimain's Sandman (not to mention the Castlevania video game series). Indeed, in the first half of the novel there is a touch too much derivative material in the details, too many nods to older works that water down the original concept, and not enough of the creativity found in, say, Gaiman's Coraline or Miéville's Un Lun Dun. The second half of the book fares better in this regard, as Hartinger allows several of his own creations to come to the fore. In particular, he has a good eye for inventive species such as the armored knight-birds, and the Moon People with their hidden faces.

The language of Dreamquest is clear but not dumbed-down, important for this age group of new novel readers. There were two or three isolated writing problems, but nothing serious; a general lack of description pervades the book, but this just makes clear that the focus of Dreamquest is Julie's quest. Unfortunately, this is where the novel's problems are centered.

What we know about Julie is that her parents are warring, she is caught in the middle, and this gives her nightmares. She has one friend at school whom we learn nothing about (aside from the fact that they are both predictably scorned by the most popular girls: one wonders what the impact is, on people and on reading, of the constant demonization of popular children in books -- certainly there's precious little encouragement in most books for popular people to read). And that's it. There is no effort made to give Julie thoughts, interests, hopes or dimensions other than those centered around the battle of her parents and the resulting nightmares, and the story itself is likewise focused entirely on resolving the problem. Along the way, Julie meets people who seem to exist solely to help her (the good characters) or hinder her (the "unquestionably evil" characters) on her journey. While Julie struggles to adjust to the idea that her dreams are produced by the dream realm, there is no awareness of the parallel paradigm shift that the residents of the dream realm must undergo, the realization that there is a world outside the dream realm, that Julie is a real person. All aspects of the book are so self-absorbed, so focused on Julie's problem, that it's difficult to imagine the book being of interest to anyone not struggling with the same problem. There's just not enough of anything else in the book.

 

Certainly I don't begrudge any middle grader with a difficult home life what relief they can get. I do wish, however, that Hartinger had striven a bit harder for universality in his treatment. As one book stacked up against those I mentioned previously, Dreamquest is somewhat mediocre but largely harmless. As an instance of a wider recent trend, well, I wonder what happens to children who grow up reading mainly books that deal with direct analogues of their own lives, where they are "the main character," the most important person in a realm where everyone else automatically understands them "exactly" and can be neatly split into those who help and those who hinder. I wonder what happens to the development of their imagination and their understanding of other people, and in turn their own self-awareness.

To his credit, Hartinger does not offer up the sort of easy resolution where Julie's parents realize what they're doing and everyone lives happily ever after: Julie is struggling for control of her dreams in this book, not her waking life. Indeed, in terms of up-front messages, Dreamquest has some good ones: worry first about controlling yourself rather than what you can't control; a diverse group of friends can be wonderful to have. It's the subtext that is more problematic. How can someone learn to control their own hopes and dreams; how can someone learn to make friends? Vivian, the actress who plays Julie in her dreams, escapes into the waking world and easily manipulates both Julie's parents and teachers, while also making inroads with the popular girls. Vivian is very much Julie's doppelganger, her shadow, but Julie sees her as purely a physical adversary to be "taken on" and "beaten," without any awareness of the choices she represents. Similarly, confronted by the tortured agonies of the dream writer, by the mess of the whole dream production system, Julie gains no added insight into her father, doesn't ever seem aware of any connection. In fact this connection underscores the problem of the novel. In the first chapter, speaking of the Hollywood films made by her father, Julie bemoans how "what happened out in that land of make-believe was far more interesting to her father than anything real" like his family. Yet within the novel, the "real" is presented in one-dimensional caricatures and bare brush strokes, while it is Slumberia and its residents that are depicted as having multiple dimensions, past histories and future aspirations -- with no connection made between the two realms. And so which are we as readers supposed to prefer? Which is Julie? In her own way, by the end of the book she is in much the same place as her father.

Hartinger's bio page mentions that he's working on a sequel, which may address some of these points. Certainly the ability to dream your own dreams, to have a vision of the future to aspire to -- the topics this novel attempts to cover -- are important first steps towards a more satisfying resolution. And Hartinger has created some good raw material to work with. But as a novel, as a stand-alone story, Dreamquest plays too heavily on the childhood need for importance without enough acknowledgment that we develop as people -- and resolve problems -- in large part by understanding others. Instead, what Dreamquest seems to say is that if you want relief from a troubled home situation, your best bet is to just go to sleep early and dream happy dreams.

-- Matt Denault

"The Faeries of Dreamdark: Blackbringer" is a first novel by artist Laini Taylor. Don't let the fact that she's an artist worry you. She successfully writes an amazing fantasy story that should keep kids and adults happy. The book is targeted for young readers, most likely in the 8-12 set, but it could easily hold the attention of older readers who are looking for a good story but aren't quite up to the rigors of the latest epic doorstop.

The novel follows Magpie Windwitch, a young faery who travels the world hunting devils who were released from their bottles by humans. That might sound like a typical Djinn to you, but rest assured, while there are Djinn in this book they are not devils and the distinction is made abundantly clear. There are also imps (both good and bad) along with good and bad faeries. Magpie travels with an actor's troupe of crows who serve as her surrogate family. A routine hunt turns into a much bigger journey when they discover that they aren't hunting the typical devil.

I found the book to be original and imaginative. I don't think I've ever seen the particular bent Taylor uses for her Djinn and while the overall laws governing the magic have been done before, the style the author gives the explanations for how the magic works (and there are explanations, rather than the overdone and oversimplified "magic works here, doesn't matter how") really turns it into a fitting method of introducing how the peculiar physics of Dreamdark work.

I wouldn't give this book to a child with a particularly vivid imagination if they're predisposed to nightmares. Taylor's descriptions are vivid and call forth very particular images. One of the imps in the book is a particularly vile little creature and he's got some rather disgusting habits, which means that even though the main character is a girl, there are probably more than a few little boys out there that won't mind the fact too much. There are fight scenes, killings, dragons, skeletons, skulls, and a clan of tattooed warrior faeries in the book as well. It's tightly paced, which means that there's little chance that attention to the story will wander.

The only other thing that gave me a little concern is that the crows in the book smoke cheroot cigarettes. Many of the characters refer to the smoking as being smelly and gross and it's considered a very low class thing to do. I don't think that the smoking warrants ignoring or deriding this book however, because it's really just a little character tic that gives the crows a little more depth.

The characters are well written and the reader will get a sense very early on that each character acts within the realm of their established personality nearly flawlessly. There are no moments of shocked questioning of a character's motives or sudden flips in teperament that cause confusion. They're very solidly and believably written.

The illustrations in the book, as well as the cover, are by Laini Taylor, I believe. (My proof copy doesn't actually credit the cover illustrator, and I couldn't seem to find the information elsewhere) The illustrations are sparse, but well-placed. They are black and white drawings that are appropriate to the story, even though very few of them appear to be an actual scene in the book. The illustrations seem to be there to help the reader envision the characters as the author sees them, which adds to the book rather than detracting from it. It's clear that the centerpiece of this book is the story, the pictures are just small treats hidden between the pages, to be uncovered unexpectedly in the midst of reading.

The story is self-contained, wrapping itself up satisfyingly and at a reasonable pace, though not so neatly as to seem completely pat. There are a few loose ends, including indications that the particularly nasty little imp mentioned previously is going to return in future novels, but they aren't the sort of loose ends that make the reader feel gypped. Instead, I'm honestly looking forward to reading the rest of the series. I want to know what else is going to happen in the realm of Dreamdark and what will become of Magpie Windwitch. It's the first new fantasy series I've gotten excited about in a long time. I highly recommend this book to anyone who wants a good fantasy adventure.

Wayne Thomas Batson is a relatively new author whose first published work, The Door Within is the beginning of a trilogy set in another world known as The Realm. The teenaged protagonist, Aidan Thomas, finds himself rudely uprooted from his home and best friend, and moved with his parents across country to Colorado to care for his ailing grandfather.


Aidan has always felt himself to be an outcast, a bit overweight, and awkward. For reasons that even Aidan cannot fathom, Robby Pierson, a popular and talented athlete in school, befriended him back in Maryland and the two boys shared a close friendship and many adventures. But now Aidan is in Colorado, a place where he has no friends, his parents are busy with their jobs, and Grampin is like a stranger to Aidan.


However, while exploring the basement of the house, Aidan discovers a set of scrolls. The scrolls tell a story, one which includes how the king of Alleble sacrificed his life to save his people. But it is explained that although the king died “…it was merely the body that was slain by The Betrayer. King Eliam is far more than flesh. He is everlasting.“ So, with the scrolls to guide him and urgings from Grampin to believe, Aidan finds a way to open the door within to this other realm described in the scrolls.


The Door Within is an unabashed Christian allegory retelling the betrayal of Jesus Christ, his resurrection, and how service to Jesus will be rewarded with everlasting life.


The people of The Realm are known as Glimpses, and those who have placed their faith in King Eliam are easily distinguished by their ivory skin and eyes that glint blue.

Emphasis on their physical traits, “her skin was ghostly white”, “’You! Dark Skin!’ he ridiculed”, “And through the gaping hole, like a sea of black and red, poured the armies of Paragory” unfortunately brought to mind unsettling thoughts. Given the overall tone of the novel, I did not like the idea of being able to determine one's belief system based on something like eye color. It struck me as judging a person's character based on their physical attributes.


Mr. Batson earnestly endeavors to impart a positive message of salvation. The author’s zealousness to tell this story is evidenced by his stating to the reader why a character feels a certain way rather than allowing those feelings to be conveyed through character actions and discourse. Events are immediately explained leaving nothing to be discovered, eliminating any sense of mystery. There is no room in between the lines lest an interpretation be made that was not intended.


The Door Within may appeal to very young readers. But even with the inclusion of unicorns, flying dragons, and knights in shining armor, this didactic parable lacks charm and a sense of wonder.

This book, while probably intended to be marketed for teens is a book I would actually suggest for tween readers. The prose is simple and straightforward, which makes me think that it would also serve well as a book to be read aloud to a younger child. The reading difficulty is certainly less than any of the Harry Potter books.

It was an easy, quick read but there was nothing that struck me as particularly original or ground-breaking in the story. It was a pleasant, almost formulaic quest narrative that was easy to predict.

The book is centered on Kim, a twelve year-old boy who dreams his way into a fantasy realm in order to save his younger sister who has mysteriously fallen into a coma. Kim encounters the evil overlord who wants to conquer the entire realm of Magic Moon first, but manages to escape. He then journeys on to fulfill a prophecy in the hopes that he can save both Magic Moon and his sister.

In essence, the plot seemed like a synthesis of every Tolkeinesque quest fantasy that has ever involved a band of friends trying to save the world boiled down into a thin soup of a story that's both easily consumed and readily digested. It is, more than anything, a starter book. This is the kind of thing you read to a kid you know is going to love fantasy books as they grow up, but who isn't quite ready for the complexities of C.S. Lewis, Susan Cooper, or Lloyd Alexander. There are a few parts that might be a little intense for very small readers or listeners, but there aren't any real terror inducing moments. It's the sort of book where reassurances are readily offered, even if you haven't read it, because it's the kind of book where everything turns out okay in the end in a wonderfully neat, tidy little package.

"Magic Moon" is not a horrible book. It's not even a bad book. It wasn't a book I had to force myself through, but it also wasn't a book that surprised me. That in itself isn't a terrible thing. Sometimes, it's comforting to be able to read something that will, most certainly, end in a "happily ever after" mode that is satisfying (because that's really the only way the book could end) and doesn't leave room for an endless amount of pathetic sequels.

"Magic Moon" was a charming little fairy tale that was nice to use to pass the time. Definitely not a classic, but certainly worth a look if you've got a youngster around who will enjoy a fairy tale.

Hidden Talents by David Lubar (originally published in 1999, this is a Tor Starscape Books release)

Hidden Talents is a fun and funky Afterschool Special of a book. Certainly not as politically correct or rigidly prudish as that American TV icon, but it has that innocence and urge to make everything end up right. I like this type of optimism. Unfortunately life rarely follows our suggested patterns. And while Lubar is attempting to give us a moral, he most definitely entertains, whether that moral will leak out to the pre-teen and teenaged readers that may pick it up is another question.

Martin Anderson is the kid at the center of the story. He’s just been sent to Edgeview Alternative School which happens to be the place where all the troubled kids go when none of the normal schools with deal with them anymore. As expected, at first Martin is miserable. He’s away from his family, from all of his friends and in an unfamiliar place all alone. He adjusts rather quickly though and makes himself some friends. He soon begins to notice that the kids that make up his group of friends are special.

Once he realizes that his friends all have some sort of hidden talent, Martin sets out to both prove it to them and help them utilize their talents to their advantage. With his help and lots of practice, the group begins to learn how to use their talents in new and interesting ways. This comes in particularly helpful when they discover that their school is about to be closed down.

David Lubar mixes up a fun and humorous style with tidbits of intellectual insight and realistic family troubles. The other kids of the Edgeview school are also a mix of realistic wishfulness and mischief.

Even though this was a book meant to be enjoyed by the younger set, ages 10 and up, I truly enjoyed the story for itself. It was easy to read without being condescending and never stooped to the purely prudish flavor of the Afterschool Special. I’d recommend this as in-class reading. Teachers could mine a great deal of different discussions from this one book that they’ll enjoy reading and enjoy discussing.

Yes I know let us just get it out of the way. This is a vanity press/print on demand whatever you want to call it type of book. Also let us note, this is a children's book and that seven up there is based against other childrens books. Phew now those disclaimers are out of the way we can get down to business. So I suggest glancing over at the very least the following link about Hodag which you can find Here about Hodag Wow and you said this was a children's book? WTF no way, there are crazed devil beasts on that link. Well read a little further down where you can read it is a hoax (or is it?). This is where we can then flip it and take this into the minds of children as a tale of fun.

It is a nice little story of Happy the Hodag and Buddy the Bulldog in standard children rhyming style. I always find that enjoyable...give me a nice cadence for a childrens book and I dont mind reading it. The illustration style is very South Park meets Davy and Golith. Decent stuff I enjoyed the pictures as well I should in relation to the story. The author/illustrator does a nice job and creates little jokes in the background pictures which are perfect for the kiddies. Bigfoot yelling ah-boogada boogady boo! chasing the man with the rubber legs is just good stuff. The price of the book is a little high but I think this is because it is POD. Someone at a big company should snatch Jill up to write some more children's books. She is at least on par if not better then a ton of the stuff I see at the bookstore in the childrens section.

I will sum it up though by saying that people already familiar with the Hodag will have a more enjoyable experience reading this to their children. This should be selling like hotcakes in Northern Wisconsin. Sometimes you can find a decent POD book, but my guess is more often then not they are of the children's variety. You can read more at the author's website Happy and Buddy

In Fenzig’s Fortune, we have the tale of Fenzig, a fifteen year old gnome and thief who is caught trying to steal from the king. Thinking that he is doomed to die, Fenzig soon learns that the king has other plans for him.


King Erlgrane is a greedy man who wants Fenzig to use his thieving skills to steal three emeralds from a nearby rival. A slow acting spell that will kill Fenzig within two weeks is cast upon the young gnome to ensure that he returns with the emeralds, so that he may be given the antidote to the fatal spell.


Fenzig’s Fortune is full of spells, warring kingdoms, magical items, and an evil wizard.


Unfortunately, this novel breaks that Golden Rule of writing: Show, Don’t Tell. The reader is guided through this tale by the inner thoughts of Fenzig. When we aren’t reading about what Fenzig is thinking, we are subjected to his constant muttering and whispering to himself. As if that weren’t annoying enough, a magic necklace enters the picture which enables the wearer to read the thoughts of others. So when Fenzig’s companion is wearing this necklace, he doesn’t even bother to even mutter as he knows his thoughts can simply be read by his companion as well the reader.

Although this book is aimed at a younger audience, the inner monologues and dialogues still struck me as banal and even corny.




No doubt, the reader is supposed to find Fenzig cute and forgive him for being a thief. After all, he doesn’t steal everything a person owns and he only steals from those he thinks can afford it. But every time he’s caught stealing, he makes empty promises to go “straight” if they’ll just let him go. His companion Carmen considers Fenzig “a fine little fellow, and I enjoy his company.” He says this about Fenzig even though he read the little gnome’s thoughts just the other day wherein Fenzig was plotting on how to relieve Carmen of his wagon and horses. In fact, Fenzig knocked him out with a frying pan. I don’t consider those actions to be cute or fine.


The back of the book credits Jean Rabe with having written twenty fantasy novels and more than a few short stories in a range of genres. Yet Fenzig’s Fortune reads like an amateur effort. Although I read the entire book, I still give it a 1 because if I had not been reading it for review, I would not have gotten past the first two dozen pages before giving up entirely.

Lavender-Green Magic is the fifth of The Magic Books written by Andre Norton and originally published in 1974. It tells the story of Holly Wade who, along with twin brother and sister Crockett and Judy, have moved to Dimsdale, a city much more rural than their native Boston. While their mother works during the week at a nursing home, the children stay with their Grandparents. Not only are their grandparents mostly unfamiliar, known only as the relatives who send odd gifts for holidays and birthdays, but they live in a junkyard.

For the twins Crock and Judy, this is a fun and interesting change. For the older Holly, this is a devastating blow. Not only is Dimsdale populated by mostly whites, but she has to deal with that and the fact that they now live in a dump. As one of the few African-American students in her new school, afraid to make friends and worried about what people may think of her, this transition is much harder for Holly.

Soon after their move, however, the children find the key to an overgrown maze on the junkyard property. The mystery behind the maze is the catalyst that changes Holly forever. She has to learn how to accept her blessings for what they are and to accept that her actions can make changes, both for the better and for worse.

This is a nice little story with a several morals. Written over thirty years ago, the thoughts and ideas presented here are still valid today. With the reprinting, Tor has added a Reader’s Guide that would make this a wonderful addition to class reading curriculum. The guide presents thought provoking questions as well as research topics and creative writing activities.

The only issue I truly had with the book was the heavy accent Norton used to present class differences in her characters. While this is a completely understandable tool, I was a bit thrown off by it at first. Considering that this book should be for children however, I wouldn’t count this against it. This is a good way to get readers to go over what they’ve read and understand the meaning behind it.

I think that children will enjoy the story and it could provoke some insightful discussions on class differences, race differences and the challenges of being young.

Settle down, fanboys and fangirls! I'm sure you're all anxious to get your greedy, dirt-caked, little hands on A Dance with Dragons, but alas, you must bite your tongue and go outside or play some old videogames or read other books. Oh, the horror!

The Ice Dragon is the story of a little girl named Adara and the hardships she experiences for being what others call a "winter child." As a little girl, Adara witnessed the flight of the ice dragon, a legendary creature of the land, and saw in its wake a world of frost and harsh cold. She loved that world, and she loved the ice dragon. Instantly, she felt a connection. Others mocked her for her strangeness and even her family seemed at unease in her presence. By the time she was four years old, Adara had touched the ice dragon, proving that it could not hurt her like it could others. Soon she was riding on its back, soaring over her father's fields. But then soldiers mounted atop fiery dragons came down from the North and attacked the peaceful land of commoners. Is Adara and her ice dragon really their only hope?

All right, that was the standard synopsis blurb. Just stock dribble. Now, first things first—this is not a new story from Martin, but one he crafted some time ago in the 1980s. Probably before I was even born. Weird. It's been updated into the form of a children's book complete with gorgeous illustrations by Yvonne Gilbert. It is marketed as a children's book for a good reason; it's a children's book. Shall I write it again and put it in bold and italics?

It's a children's book.

Those fans of Martin's dark, unrelenting style to both his characters and settings will not find that here so much. The violence is minimal, even during the epic skyward battles laden with dragons. Very little blood and mayhem. Still, Martin is able to set moods and emotions in his characters that ring true. The artwork is beautiful, with a sketchy style that is more elegant than gritty with details. The lines are loose and the style is consistent throughout. It adds to the subdued themes of The Ice Dragon—courage, sacrifice, and love.

It is claimed to take part in the same fictional universe of ASOIAF, but I couldn't find much evidence of this. There was some mention of a nameless kingdom, the soldiers wearing green and white uniforms, and, of course, the existence of dragons. Other than that, this story could very well have taken place in Middle-earth or the Forgotten Realms (::shudders::). My assumption is that the story was written during the developmental stages of ASOIAF and when it came to some marketing sneakiness, this was the best bet to get eyes reading.

The Ice Dragon is a quick story to enjoy, one that, while a bit predictable, is still fun to read. The relationship between Adara and her dragon is one seen in many other books, but here it's actually believable. Maybe because the ice dragon doesn't talk and say things about destiny. Yeah, that's probably it. Martin has a way with words and I can see many young readers enjoying this book and moving on to his more adult works.

Now, George, get back to A Dance with Dragons. Thanks!

Grubbs Grady’s world changes forever when he discovers demon’s in his home. That night he learns that demon’s are real and so is magic. Recovering from the demon attack, he finds himself living with an eccentric Uncle. And soon learns that life is soon to become more interesting, with his nightmares resurfacing.

Personal thoughts – this is a YA read and quite short for a novel, so readers shouldn’t expect anything too involved.

It follows Grubb Grady’s life after his encounter with the demon, Lord Loss. After moving in with his Uncle Dervish, he begins to recover from the trauma. He makes a new friend, a young boy that believes he is Dervish’s son, and learns that various members of the family could practice magic, but worse still, some suffer from a terrible curse.
This story is written for YA’s upto 12 years, which I felt causes some conflict of interest for the plot. The scenes that involve Lord Loss and his demons are quite graphic. And there are other graphic scenes regarding the Grady family curse. However, the overall story is easy reading, which makes these graphic scenes seem out of place. I felt the horror elements weren’t appropriate for very young readers, and with the story been simplistic in it's tone this left me feeling frustrated. I felt if it the plot had been aimed at older teens this would have fitted in well with the horror theme.

Overall the story progresses quickly, too quickly at times some situations are merely brushed upon. Any chess players may appreciate that aspect of the story, as the Grady family are accomplished chess players, which has a prominent role in the story.

I did find some of the plot quite interesting and engaging, those mostly dealing with Lord Loss. Despite the book aimed at youngsters, I do feel that shouldn’t mean that all issues within the plot are brush over, as this left the character’s seeming shallow and their plight unimportant. I had expected a far better crafted book from this author, as his Vampire series is more engaging, with better developed characters.

The people over at Brown Trout Publishing were kind enough to send me a care package of books and the first one that I will be reviewing will be Dragon World that is a Childrens Illustrated Book about, you guessed it, Dragons.

I guess I have a few things to talk about here, the illustrations and the story itself. This being a childrens book, I do want to set the stage here, I have a two year old son currently so I feel I can talk from both the reviewer standpoint as well as the father standpoint of this book. That being said though this book is gauged to children ages 4 through 8 from what the Barnes and Noble website says.

Lets start with the good stuff, the illustrations. Wow, Rob does such a wonderful job at telling this story even if there were no words in the book, just by his pictures alone you would be able to understand the dragons and their life(more on this later). It is a visionary experience, where you truly feel like you are living a fairytale firsthand in this colorful world. The dragons seem filled with life, smiles and playful poses. The one thing I will say though is that the dragons themselves remind me like the dragon from The Neverending Story, which is a good thing. Mr. Brown has nailed the inquisitive nature of children with these illustrations and even brings me as an adult to pause and be stimulated by the artwork he has put together.

Ok now we have to talk about why I did not give this book a 10. Being very blunt in the middle of the story (this is more of a bit of prose then a story I guess) we get the following "But dragons who fight/with all their might -/tooth, claw and sword -/are all afraid of/the Dragon Lord./With dragon soldier/and dragon hound, he is always/battle-bound." Now this could just me being a little sheltered, but I don't really know if that is something I would want my child reading. I just feels wrong in this whimsical book about dragons. This is what has kept me from giving this book to my two year old, because I honestly think with these lines removed and the illustrations changed this book could be a great book for kids ages 2 to 100. Dacco on the other hand had a suggestion that I just cut these pages right out of the book and give it to my son that way. You know thats not such a bad idea.

I do not want this review to end on a bad note though because this book is truly a great piece of art with great depth in all of the illustrations that brings you back and back again to open it and jump into this fantastic world of dragons. Rob Brown and Brown Trout Publishing, thanks again for this journey.

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