In the midst of a brewing rebellion, a series of brutal supernatural murders strikes at the heart of the Crescent Moon Kingdoms. Every note in Ahmed’s debut comes from an authentic place, a cultural awareness not unlike Motown in the 1960′s.įrom a plot standpoint, Throne of the Crescent Moon is about a power struggle between the iron-fisted Khalif and the subversive Falcon Prince. Not soul in a Biblical sense, although there’s some of that too I mean soul like Barry Gordy. It also possesses tremendous heart and soul. Saladin Ahmed’s sword and sorcery novel, Throne of the Crescent Moon, is a superficial adventure novel at first glance. I knew that was wrong, but didn’t have a way to prove it. When I did that, I opened myself up to the criticism that a sword and sorcery novel lacks those things on purpose. (Feb.When I reviewed Seven Princes by John Fultz back in 2011, I heavily criticized the sword and sorcery novel for lacking character, plot, and, well… substance. Unobtrusive hints of backstory contribute to the sense that this novel is part of a larger ongoing tale, and the Arab-influenced setting is full of vibrant description, characters, and religious expressions that will delight readers weary of pseudo-European epics.
They soon discover that the mysterious figure plans to cast an ancient sacrificial spell powerful enough to wreck the world.
Hunting the sorcerer who raised the ghuls, Adoulla and his religiously uptight swordsman apprentice, Raseed, are aided by the lone Badawi survivor, a girl named Zamia who can transform into a lion. Doctor Adoulla Makhslood is a professional destroyer of ghuls, clawed creatures whose hissing sounds like “a thousand serpents rasping with a man’s hatred.” He’s almost ready to retire when an unheard-of number of the monsters all but wipe out an entire clan of the Badawi people. Ahmed’s debut masterfully paints a world both bright and terrible.
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