The Hallowed Hunt (The Chalion Series Book 3)

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Penric and the Shaman: Penric and Desdemona Book 3 English Edition. Detalhes do produto Formato: Spectrum Literary Agency, Inc.

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Compartilhe seus pensamentos com outros clientes. I see why some other McMaster Bujold fans have been somewhat disappointed in this book compared to her other works, but I think the issue is just a difference in tone. As they are read, these stories take on a cool, almost remote grief, because they are told against a backdrop of grave loss: Whether that culture is sourced in archaeology or fantasy, whether it did or will or may exist some-when in the universe, doesn't matter.

What does matter is the power of the author's vision, and the depths of our own response to it. The stories evoke our truest desires. We hunger for their fierce bright certainties, for times when the holy spoke outright to ordinary hearts, when high deeds and greatness might be claimed by anyone with faith to hear and courage to follow their call. But however strongly we feel their pull, we are separated from them by an unimaginable distance of time and diminishment.

We no longer expect the gods, dressed in their mysteries and terrible glory, to intrude upon our daily lives; the seasons have lost their meaning, and the places of the earth no longer drop us to the ground in awe and trembling. The distance in time also makes it harder for us as readers to fully enter into the characters' personalities. Their assumptions, expectations and choices are often very much removed from our own, especially for modern women.

I sometimes find myself getting furious at a female character's reaction to some injustice, like Ijada's rather calm acceptance of Prince Boleso's intent to rape her, but I've come to realize that the problem doesn't lie in the character's response, but in my social and cultural expectations. I'm wanting the character to share my outrage at her plight and react the way I would, when my anger simply indicates that the author has done a very good job of writing a character who's living in a very different culture or era, or just doesn't think the way I do.

For Ijada, what bothered her most wasn't the prospect of being raped, as that seemed common enough in her society that she'd already thought about her options and decided how best to react. Rather she felt betrayed by Prince Boleso's broken vow to protect her and her rights as his liege; she was furious that she had to imperil her soul by defending herself violently against him, and she was horrified and outraged at the impiety of his attempt to bind her will while she lived, and prevent her soul from reaching her god once she died. None of those things would bother many modern people, because we don't think this way anymore.

We too seldom value our honor or oaths very dearly, most people see self-defense as completely justifiable, and few people believe anyone else could control them completely or prevent their souls from moving on to whatever existence is to come. We don't share Igada's experiences, culture, religion or belief systems, so we also may have a hard time understanding many of her reactions or those of the other people in the book.

We just aren't those people, maybe we couldn't ever be those people--or maybe we've just forgotten how. Maybe we've just lost the way of seeing the world as they do--and yet stories like this can remind us of them so clearly that, even as we live in the story, we also feel the pain of knowing that there is no way back to that time or place or way of being human. It has already vanished and once the tale is finished, we are left clinging only to a few fragments of its history, or the power of the author's imagination. Thousands of years ago, great writers were believe to carry a divine spark, a gift of the gods that burned with their truth.

That fragment of light was seen sometimes as stolen, like Prometheus' fire or Raven's orb of sun, and for human beings, its light was both joy and suffering for everyone involved--and though the joy always seemed to just edge out the pain, both cut deeply into the soul. The best books are like that, and McMaster Bujold has written one here. So you've written two books in a series featuring the same characters, each of which is more acclaimed than the last. So how do you follow that up? Why, by writing a new book in the same world that features none of the characters the readership has grown to love, takes place on a different continent entirely and just to put a stake in the idea that anyone you're familiar with might show up, takes place a few centuries before the main action.

Its not a completely crazy idea although somewhat daring for Bujold because one of her strengths as a writer is the ability to turn to the same characters again and again but a little further down the timeline, giving her a chance to develop them and explore the different stages of their lives. Here, it shows her real focus is the setting itself, specifically the culture and the history. It also doesn't hurt that she probably took the last set of characters as far as she could go with them without making it seem as if they were some kind of weird crisis-magnet. Here, she takes us out of the pseudo-Spanish setting of the first two books and into a more wooded, cooler setting that feels more classicly Middle Ages than anything we've seen before.

The five-god religion that we've seen in the other books has been well established but it wasn't that long ago that the culture that followed the old ways was still prominent, personified by a "Hallow King" and a definite bend toward shamanism that isn't so much a furry convention with swords but dealing with the spirits of animals in a way that is somewhat less than metaphorical as everyone starts to find out really quickly.

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The Hallowed Hunt

Read reviews that mention hallowed hunt paladin of souls curse of chalion lois mcmaster mcmaster bujold lady ijada chalion and paladin previous books takes place lord ingrey chalion series worth reading third book main characters ingrey and ijada main character kin wolfcliff science fiction ingrey kin spirit animals. There was a problem filtering reviews right now. Please try again later. Kindle Edition Verified Purchase.

I see why some other McMaster Bujold fans have been somewhat disappointed in this book compared to her other works, but I think the issue is just a difference in tone. As they are read, these stories take on a cool, almost remote grief, because they are told against a backdrop of grave loss: Whether that culture is sourced in archaeology or fantasy, whether it did or will or may exist some-when in the universe, doesn't matter.

What does matter is the power of the author's vision, and the depths of our own response to it. The stories evoke our truest desires. We hunger for their fierce bright certainties, for times when the holy spoke outright to ordinary hearts, when high deeds and greatness might be claimed by anyone with faith to hear and courage to follow their call.

But however strongly we feel their pull, we are separated from them by an unimaginable distance of time and diminishment. We no longer expect the gods, dressed in their mysteries and terrible glory, to intrude upon our daily lives; the seasons have lost their meaning, and the places of the earth no longer drop us to the ground in awe and trembling. The distance in time also makes it harder for us as readers to fully enter into the characters' personalities.

Their assumptions, expectations and choices are often very much removed from our own, especially for modern women. I sometimes find myself getting furious at a female character's reaction to some injustice, like Ijada's rather calm acceptance of Prince Boleso's intent to rape her, but I've come to realize that the problem doesn't lie in the character's response, but in my social and cultural expectations.

I'm wanting the character to share my outrage at her plight and react the way I would, when my anger simply indicates that the author has done a very good job of writing a character who's living in a very different culture or era, or just doesn't think the way I do. For Ijada, what bothered her most wasn't the prospect of being raped, as that seemed common enough in her society that she'd already thought about her options and decided how best to react. Rather she felt betrayed by Prince Boleso's broken vow to protect her and her rights as his liege; she was furious that she had to imperil her soul by defending herself violently against him, and she was horrified and outraged at the impiety of his attempt to bind her will while she lived, and prevent her soul from reaching her god once she died.

Science fiction. Fantasy. The universe. And related subjects.

None of those things would bother many modern people, because we don't think this way anymore. We too seldom value our honor or oaths very dearly, most people see self-defense as completely justifiable, and few people believe anyone else could control them completely or prevent their souls from moving on to whatever existence is to come. We don't share Igada's experiences, culture, religion or belief systems, so we also may have a hard time understanding many of her reactions or those of the other people in the book. We just aren't those people, maybe we couldn't ever be those people--or maybe we've just forgotten how.

Maybe we've just lost the way of seeing the world as they do--and yet stories like this can remind us of them so clearly that, even as we live in the story, we also feel the pain of knowing that there is no way back to that time or place or way of being human. It has already vanished and once the tale is finished, we are left clinging only to a few fragments of its history, or the power of the author's imagination. Thousands of years ago, great writers were believe to carry a divine spark, a gift of the gods that burned with their truth.

That fragment of light was seen sometimes as stolen, like Prometheus' fire or Raven's orb of sun, and for human beings, its light was both joy and suffering for everyone involved--and though the joy always seemed to just edge out the pain, both cut deeply into the soul. The best books are like that, and McMaster Bujold has written one here. Mass Market Paperback Verified Purchase. So you've written two books in a series featuring the same characters, each of which is more acclaimed than the last. So how do you follow that up? Why, by writing a new book in the same world that features none of the characters the readership has grown to love, takes place on a different continent entirely and just to put a stake in the idea that anyone you're familiar with might show up, takes place a few centuries before the main action.

Its not a completely crazy idea although somewhat daring for Bujold because one of her strengths as a writer is the ability to turn to the same characters again and again but a little further down the timeline, giving her a chance to develop them and explore the different stages of their lives.

Here, it shows her real focus is the setting itself, specifically the culture and the history. It also doesn't hurt that she probably took the last set of characters as far as she could go with them without making it seem as if they were some kind of weird crisis-magnet. Here, she takes us out of the pseudo-Spanish setting of the first two books and into a more wooded, cooler setting that feels more classicly Middle Ages than anything we've seen before. The five-god religion that we've seen in the other books has been well established but it wasn't that long ago that the culture that followed the old ways was still prominent, personified by a "Hallow King" and a definite bend toward shamanism that isn't so much a furry convention with swords but dealing with the spirits of animals in a way that is somewhat less than metaphorical as everyone starts to find out really quickly.

By the time our story starts the current version of the Hallow King is on his last legs and everyone is sort of stuck in a holding pattern waiting for the old man to get on with it and head up to the King's Lounge in the sky. Fortunately to liven things up one of the princes decides to get himself murdered and its up to Lord Ingrey to sort out the mess and get the prince back for a proper burial before the funeral everyone cares about has to occur.

Animal souls: Lois McMaster Bujold’s The Hallowed Hunt | donnsboatshop.com

Sounds like an easy job, except its not. Before you think this is kind of medieval procedural, finding the culprit is the easy part, as the Lady Ijada decided to play her own version of "Clue" and got caught in the bedroom with the bloody hammer. Even her motive isn't hard to discern as the slightly nutty prince was in the process of having his way with her when she gave him a pretty definite "no means no".

And the knotted implications of that are what start to change everything. Like most of Bujold's protagonists Ingrey is a man who knows the ins and outs of the system he occupies but stands slightly outside of it and also like many of her characters that outsider status is due to a flaw he has little control over.

In this case, its because of the minor detail that he currently has a wolf spirit inhabiting his body, the product of a ritual his father made him go through years before. It more or less behaves itself but everyone still treats him like you'd treat any person who has the capability of being hungry like the wolf without being dressed in fabulously stylish s attire.

From then on we're in fairly familiar Bujold territory, as Ingrey has to escort Ijada back to the capital while also thinking of a way to keep her from getting executed and pretending that he's not falling in love with her, which would be task enough if he didn't keep trying to kill her.

As usual Bujold's character interactions are a highlight, perhaps even moreso here because Ingrey is a little spikier than we're used to from her main protagonists. Carrying a wolf inside his soul gives him a fairlyt constant ship on his shoulder and coupled with the typical political manuevering we've come to know and love, there's plenty of opportunity for him to scare the crap out of everyone around him, without pushing matters too far.

It makes for an interesting exploration of the religion that Bujold has already introduced and how it contrasts with the way things were done before especially since the religions were so radically different, in the other books the main argument was over whether there were four or five gods as well as a society caught in a holding pattern waiting for sudden change to arrive. Bujold is still as good a storyteller as ever but I do agree with some of the criticism that this feels more plot oriented than her previous books with the focus not as much on developing the characters as getting us to the ending.

Ingrey always seems on the back foot for most of the story, but he's inherently decent as is Ijada though her personality never seems to go beyond "nice" although the potency of her right hook is never in dispute and the other characters are just as finely drawn but seem to exist as taking breaks from more interesting stories, just popping by to get us to the next waypoint or dispense the needed information.

Even the poet-pirate with the polar bear seemed more like the wacky neighbor who drops by occassionally to liven things up. It helps that the plot itself is a stab at a deep dive into not just history but the legend that makes up what we believe is history, getting close to "Mythago Wood" territory and indeed the climax seems like a minor homage to that book and the idea that the beliefs of another time weren't simply faith but based on something much different than the surface world we live in.

The closer she brings us to that and how people, gods and history interact and influence each other, the more the book takes on a potent urgency, giving us a land so old that it refuses to pass away quietly. That idea and the somewhat haunting question of "who gives the funeral for the last shaman?

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Her answer to all that has a kind of poignancy even if I don't quite feel we arrive there organically the ultimate culmination of all the machinations we see seems like a lot of extra effort for what we do get but the ultimate result is a peacefulness we don't see often these days, an acceptance for the passing of a world that can't come back but is able to leave enough of itself behind to serve as more than just a reminder that it once existed, that vitality can still be possessed by what is already gone and you can't build ever upwards by eliminating the foundation.

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