Under Heaven

Following the disappointment of the "The Last Light Of The Sun" I am glad to say this one show GGK back to form. This book is fascinating, the characters believable and the story is gripping.

The only thing I didn't like was the poems as I didn't think they added anything but as I skipped over them - it didn't detract from the story.

Highly recommended.

This book struck me as having more fantastical elements - ghosts, shamans, etc. than the other Guy Gavriel Kay books that I have read. Despite this, I quite enjoyed the characters, and the tension that is created in the plot when characters do not follow tropes, but act according to their natures.

I can't say enough good things about this story. It is so well written, that you forget you are reading, and enter into a land and people that will enthrall and entice you. The descriptions of the characters is superb, and combining several story lines, there is no fluff in the plot that marches too fast. I find myself pacing my reading so as not to finish it too quickly, and leave the land and people Kay has helped me become a part of. Get this book, devour it, and look for his other novels, I am.

To my relief and joy (Ysabel did nothing for me), Kay returned to alternative historical fantasy with his typical finesse. I won't re-cap as so many before have done much more eloquently. I will simply say I was as delighted with Under Heaven as I was with his Byzantine novels, Tigana and The Lions of Al-Rassan. I finished the book at some odd, quiet hour after midnight and found myself emotionally moved to rate this book. It left me with an aching longing that I have rarely encountered in the 27 years I've been reading fantasy. He is truly one of the top few masters at alternative historical fantasy and I yearn for the next novel already.

This is a very engaging story, with strong China influence, and well worth a read. The characters are well developed, the plot is interesting and not overly simplistic, and overall a very enjoyable read.

Contains spoilers.

This novel is fine psuedo-historical fantasy, but it is not great. There are too many niggling details that make it into something less. I have never been very good at writing holistic reviews, so I will point out a few of the things that bothered me.

**

Mr. Kay romanticizes the rampant mistreatment of women in this novel. Their only roles in the book are as lust objects, slaves, and servants. That alone would not make the book anti-feminist: for example, R. Scott Bakker's novels paint women as being even more abased than they are in this story, but I would not call them sexist.

The difference between this novel and those is that Kay's female characters have made their peace with or even embraced their mistreatment. They seem to revel in it. It is as if Kay said to himself, "Wouldn't it be great if sex slaves felt this way? Then, that is how I shall write them." Except from the perspective of a man who finds such views convenient, the internal monologues of the female characters in the story are entirely unbelievable. No one would talk about such poor circumstances the way these women do.

**

It's jarring when characters treat other characters differently than their actions merit. Although Shen Tai is a great man looked at from a far lens, his day to day behavior is foolish and mean. He continuously mistreats his body guard and other servants. He has a quick temper, which is rarely the mark of a wise man. He gets upset about things that simply don't make sense (like Kay's incessantly repeated "he is so tired of being acted upon" line).

Despite these flaws, he gathers a number of followers and friends who befriend him for no obvious reason I can see. It's fortunate that Mr. Kay puts a single great deed in his past to explain all the characters' attraction to Shen, but for me that is insufficient. A single great act in a man's past is rarely enough to induce another to sacrifice his life on behalf of that man.

**

Many events in the plot seem to happen simply because Mr. Kay felt they were necessary (or titillating), not because they make sense in light of the story. The killing of a certain individual late in the story by a group of soldiers felt more like a moment placed to jerk tears than a likely reaction to the situation by the soldiers. The way yet another character propositions Shen Tai nearer still the end feels forced: Mr. Shen certainly gave her no reason to love him during the story, so the most likely explanation is that the protagonist needed a female prize to wrap the story up. Of course, the move is telegraphed from the beginning -- since the woman is the first character the protagonist meets, of course she is going to be his gift later on. It is almost as if the woman has no internal state in the story; her only motivation is to be exactly what is convenient for the protagonist. Even the setting feels like a cynical nod toward the fascination many nerds have with Eastern culture.

Elements like these give the story a made-up feeling at odds with its description by some reviewers as a great work.

Kay is an entertaining writer. He has found a way to make ancient history even more appealing to me than usual in his fantasy/historical novels. Well, the two that I have read so far, Tigana and Under Heaven, have both been good enough to encourage a high level of interest that allowed me to stay invested in long books with dozens of characters. I wouldn't have imagined that I would be so fascinated by a story from (ostensibly) Tang Dynasty China, but this one did the trick. I don't know if it is complementary to say that I am even more impressed by the author's apparent scholarship than his skill as a novelist, but I find myself frequently marveling at the depth of his knowledge. Perhaps there are writers with greater literary gifts, but there are few who tell such fascinating stories.

Interesting debate here about the importance of having characters at the centre of the power structure or not. I think that the mostly peripheral yet highly evocative situations of the primary characters are great in this book. But the conversation on here really made me think about whether I would generalise about this question of whether I prefer books where characters are not right at the centre of the power structure . So, yes, I think so. I love this book, and tend to prefer character driven historical novels or fantasies where the characters are NOT at the top of the food chain. As I don't think it's just great men and women that make the world interesting or make things happen, I don't want to read fiction which is completely centred on kings, princesses, most powerful mages in the world et cetera, and if they are, they have to be pretty damn interesting and have some kind of genuine regular person/ outsider status (and not just stableboy becomes Prince /most powerful mage !) I think Robin Hobb's Fitzchivalry is a good example of an inside/outsider person that really works.

In general, though, I think people who are artisans, poets, soldiers, officials, travelers at interesting or world changing times give a wonderful standpoint from which to take apart all the interesting cultural, economic and social factors which go into making what makes humans behave they way they do, especially under great stress.

With the move towards so-called "dark" fantasy we have shifted to a primary emphasis on militarised power in fantasy. And the genre is even more male-dominated than ever before. Mark Lawrence does amazingly well churning out this kind of "twisted adolescent makes good and beats everybody else up with nicely ghoulish surroundings" narrative. I find his characters completely uninteresting though I really did try due to strong recommendations. I don't understand why book markets need to be driven by the tastes of young men . Maybe movies do , but I know there are a lot of people who share my own feelings about the undesirable directions of recent fantasy. Maybe it's about the genre trying to increase its readership rather than publish books which will please longer-time aficionados?

As another reviewer pointed out K 's female characters are great , significant, subtle, clever , without being ridiculous swashbuckling anachronisms. I wish that they were more authors producing the kind of work done by Kay, Le Guin, Daniel Abrahams, and Hobb. I don't need kingdoms to rise and fall every 200 pages, or vast amounts of violence. Subtle characterisation, emotional complexity, great nature writing , and true heroism (which is often quiet) are what interests me .

By the way I would also recommend Sean Russell's Initiate Brother duology, another fantastic historical fantasy based on Chinese history. Perhaps even better than this one . I do agree with some reviewers that Kay's philosophical asides are a bit annoying, (and get worse with River of Stars). Otherwise though , what a fantastically beautiful, well researched, and thoroughly engaging book . Enjoy!

There's a certain wisdom when reading the store product reviews that you should automatically adjust all review numbers down half a star to a full star. There's simply too many "throw away" 5-star reviews--especially for books--with zero insight, given as if the reviewer seems to feel the need to fulfill an obligation, and it's simply too much work to offer a more nuanced 3-star or 4-star review that the product rightfully deserves.

I want to be unequivocally clear: this 5-star review is not one of those. If anything I would say that this 5-star review was earned more meritoriously than any other book I've reviewed.

I've now read five of Guy Gavriel Kay's novels, and this one was far and away my favorite---the most captivating, the most intriguing, with some of the most well-written characters. This novel, along with Tigana, are the pinnacle of Kay's works.

To put it in perspective, I'd put Kay's work into three basic tiers:

Tier I: The Masterpieces
Tigana
Under Heaven

Tier II: The Worthy Efforts
Sailing to Sarantium + Lord of Emperors

Tier III: Above Average but Flawed
Song for Arbonne
Ysabel

Incomplete Grades: The Fionavar Tapestry --- (I tried getting into Book 1 of the Fionavar tapestry and had mentally checked out within the first 25 pages. Nothing about the setup or story interested me. At some point I'll get back to them again.)

But back to Under Heaven --- What is it about this book that points to its greatness? First, the prose --- the prose is rhythmic and beautiful, as in all of Kay's works, but Under Heaven goes a step further by somehow enmeshing the reader into the cadences, the thought processes, the inner workings of an ancient Chinese mindset. As an American, I could simply FEEL that I was reading the words and thoughts of a "foreign" culture, expressed in ways that made more sense to those embedded within it, while still conveying the meaning to me. For this alone, Under Heaven would be nearly a 4-star effort.

However, the characters take things up another level. The interesting thing about the characters in Under Heaven is that individually, no one them presents enough of themselves for the reader to fully embrace them. All of them are seen at something of a distance, a distance created by the time and culture, and a distance created between themselves. Yet somehow, by interweaving them all together, you begin to see the missing pieces in all of them. You do not see the full spectrum of Shen Tai's mourning or honor without seeing his brother and sister. You do not see the full meaning of the Precious Consort's "golden handcuffs" until you see her interact with Shen Tai and the First Minister. You do not understand Spring Rain's torment and dilemma until you see her through both her eyes and Shen Tai's.

In reading other reviews of this book, it's interesting to me how some people find some of Kay's other works more resonant. Some found Song for Arbonne better than Under Heaven (whereas I saw Song for Arbonne as somewhat forgettable). Others seem to think that Under Heaven is actually something of a retread of Sailing to Sarantium, which I didn't see at all.

If anything, I think it speaks somewhat to Guy Gavriel Kay's talents, that all can recognize greatness when they see it, if only in the ways it speaks to them.

In terms of plot, I don't want to delve too heavily into Under Heaven here. The main character, Shen Tai, is the son of a general who is honoring the fallen dead of a war, who through sheer unexpected folly is granted a gift of 250 priceless horses, and as a result becomes embroiled in the politics of his time.

Compelled to journey to the Kitai empire's capital to reconcile this gift, he is forced to make choices about how and why the bestowing of this gift now carries meanings beyond meanings more himself and his family. He must come to understand the nature of power; now elevated to near-noble status, Shen Tai has to reconcile how his own choices and loyalties may now have a grand impact upon hundreds of thousands, if not millions of others within the empire.

This book is at once dazzling and introspecting, filled with both the brutality of intrigue and subtle pathos. Under Heaven is truly a testament to the power of words---the way they can drive us, sink into us, burn into our minds, find ways into the places in our soul.

If that sort of writing appeals to you at all, do yourself a favor and read Under Heaven.

An intriguing historical fantasy based on China's Tang Dynasty, richly descriptive of the time and place, and strongly drawing us into the lives and emotions of the major characters. The author deftly balances the era's social prejudices against women and those who do not belong to the wealthy or powerful military families with a few key people who defy the stereotypes and an invented, or perhaps augmented, trained warrior group that includes women.

My only complaints are that the detailed descriptions of the dynasty's bureaucracy and such later in the book slowed the pace too much and felt redundant, and the resolution of the main character's love life was predictable early on.

In "Under Heaven" the beautifully-crafted historical fantasy Guy Gavriel Kay sweeps the reader into a setting reminiscent of the Tang Dynasty in 18th century China. As the plot opens a courageous and pious Shen Tai is burying the bones of fallen soldiers who fought in a great battle between Kitan and Tagur, silencing the mourning of their ghosts. In appreciation for the two years Tai has humbly laboured at Kuala Nor in memory of his late father General Shen Gao he receives word that the Princess of Rygyal is sending him 250 coveted Sardian horses, an unimaginable gift that not only will dramatically change his future, but brings danger and forces him return to Xinan. Fearing for his life after an assassination attempt Tai begins a journey that has him confronting other death threats and political intrigues as well as a brewing rebellion to topple Emperor Taizu.

Guy Gavriel Kay brings to life a wealthy society with peaceful borders and flourishing trade route. The Ninth Dynasty under an aging Emperor who clings as much to the hope of immortality as he does to the "Precious Consort" in his bed is as precarious as it is dazzling. In an atmosphere that blends superstition, corruption and treachery, Shen Tai struggles to survive his courage outweighing any fear as his searches for the man and motive behind the attacks on his life.

Like pieces on a chess board, the author intricately weaves subplots into this well-developed, imaginative story with connections to Tai's past or his survival in the multi-layered machinations at court; like that of his sister Li-Mei's sudden elevation to a royal Princess and her subsequent escape from an arranged marriage to the brutal Borgü heir. Fast-paced, the action escalates not only with continual assaults on Tai's life but with the heartless brutality of a rebellion that threatens his friends and allies. In an emotionally -charged, complex plot that flows effortlessly from beginning to end new alliances are forged as others crumble through tragic death and betrayal.

Realistic and complex the characters are unforgettable with all their flaws and faults, adding to the power, suspense and passion as the gripping drama unfolds. Shen Tai the second son of an respected General is hardworking and humble becoming muscled, leathery and calloused burying the dead at Kuala Nor. Kind, considerate and observant he gains a dangerous new purpose in his life after being gifted with prized Sardian horses. In contrast his brother Shen Liu the principal advisor to the first Minister is ambitious, eloquent and persuasive; a man willing to barter his sister for power and influence. In a land where women are valued for their silence, sexual charm and subservience, Wei Song is a skilled Kanlin warrior hired to protect Tai. Superstitious, feisty and intuitive her loyalty and dedication to Tai are unquestionable. In contrast Spring Rain working in a pleasure house in the North District is determined to change her fortune when she's bought for an exorbitant amount by the first Minister. Even though her life's controlled, she's extremely confident using her charm and sexual prowess to gain the respect and love of the servants and to protect herself and those she cares for. Likable Sima Zian (the Banished Immortal) a former bandit is a renowned poet is discerning and humorous especially when drunk while Wen Zhou is the influential, power-hungry Minister who's arrogance and vindictiveness cost him his life.

"Under Heaven" is a masterpiece of storytelling, a rich blend of fantasy and history that is compelling and powerful, keeping the reader on the edge of their seat until the end. I remain an ardent fan of this imaginative Canadian writer who with a stroke of the pen can build an dazzling Empire only to have it shatter when an emissary of the ghosts of the dead gifted with an indescribable treasure brings change.

Guy Gavriel Kay's latest historical fantasy, Under Heaven, is gorgeous. If you're already a fan of GGK, you know exactly what kind of delight you're in for. Under Heaven is every bit as wonderful as Tigana, A Song for Arbonne, and The Last Light of the Sun. Every bit.

Under Heaven takes place in Kitai -- an alternate Tang Dynasty (but not so alternate that you won't recognize the names of many of the characters if you read just a brief history of the Tang Dynasty). The civilization and culture is experiencing a golden age and family honor is one of the highest ideals. Shen Tai, in order to honor his dead father, has spent two solitary years burying the bones -- and silencing the ghosts -- of thousands of men who died in a battle between Kitai and neighboring Tagur. Just as his mourning period is about to end, three strange things happen almost simultaneously: a friend shows up with urgent news from the capital city Xinan, an assassin is sent to kill Shen Tai, and the princess of Tagur gives Shen Tai 250 Sardian horses -- an incomprehensibly valuable gift that instantly catapults him to the highest ranks of Xinan society. Now Shen Tai must journey back to Xinan, he's got assassins on his tail, he doesn't know who he can trust, and he has no idea that war is brewing and his return may be the catalyst.

I've already said that Under Heaven is just as gorgeous as Kay's previous historical fantasies: It's well-researched, carefully constructed, tightly plotted, and beautifully written. The mingling of the real and the magical is delicate -- there are no wizards or wands, but just the acknowledgment of the existence of the supernatural and the weird. Most impressively, GGK's work is always full of poetry, passion, and life. His characters, those who play major roles and minor ones, feel like real people and, whether we like them or not, we come to understand their histories, motivations, frustrations, and desires. We smile when they laugh, our hearts race when they're afraid, and we cry when they mourn.

Another feature that sets Kay's historical fantasies apart from others is his ability to completely immerse us in a real culture without telling us that he's doing so. Some historical writers feel the need to drop names, exposit, and lecture. In contrast, Guy Gavriel Kay brings a historical period to life without making us feel like we're reading a textbook or that we're required to admire his research and knowledge. Since we spend most of our time in Mr. Kay's characters' heads, I also appreciate that these characters are all fictional (Mr. Kay explains why he does it this way in the introduction and I completely agree with his philosophy).

I read Penguin Audio's version of Under Heaven, narrated by Simon Vance. For years Mr. Vance has been one of my favorite narrators, and he's wonderful here, as usual. If you're an audiobook reader, you'll definitely want to try this version read by the incomparable Mr. Vance. Regardless, you don't want to miss Under Heaven -- it may be the best fantasy novel of 2010.

In Under Heaven, Guy Gavriel Kay has created a masterpiece of an Oriental culture, that of the land of Kitai. It relates a time of intrigue, political maneuvering, rebellion and change. The book's hero, Shen Tai, is suddenly thrust into this environment and must adapt to survive.

The book opens in a remote location called Kuala Nor. It is the site of an ancient battle where thousands of men were killed, their bleached bones still hungering for honor. Shen Tai spends two years at this site, during his time of mourning for his father who was a famous General. He spends his days far from all he knows and those he loves, burying the bones of the dead soldiers, both Kitan and those of the enemy force. Although he expects nothing from this labor, it does not go unnoticed. At the end of his time, two events happen. First is that an assassin, sent by enemies back at the Kitan royal court, attempts to kill him. Second, a Princess, who is the daughter of the Kitan Emperor but who was sent to a bordering country in a political marriage, makes a life-changing gift to Shen Tai.

Horses are the lifeblood of the armies and of trade. Most valued of all are Sardian horses. One is more than most men can ever hope to attain. The Princess sends Tai two hundred and fifty of these magnificent horses. This is a life-changing gift; a gift that will echo down the ages. Shen Tai must find a way to get to the Emperor's Court and give this gift to him for national prestige and honor. There are many who will try to stop him and gain the horses for their own gain. The Court is full of rival factions, each vying for favor and the possibility of future honors as the Emperor weakens with age. In addition to the political relationships, there is also the effect of love. Men do anything for the women they love, but at the same time the women also are caught up in the intricate games of statesmanship that are the daily fare of Court life. These love relationships are finely honed and the reader must read more to find out what will happen in the rivalries that exist between men over love.

Kay has written a masterpiece. It straddles the genres of historical fiction and fantasy and in doing so, takes the reader on a fascinating and engaging journey. The characters are finely drawn and their intricate relationships are revealed slowly to the reader. The political intrigue and themes of honor, entitlement and military maneuvering is presented in a complex story that leaves the reader with a sigh of contentment as they turn the last page. This book is recommended for all readers.

First posted on the store.co.uk on 25 September 2011

Some commentators did not like this book, even as fans of Kay. This may be because the fiction is inspired by Tang China (618 to 907 AD) and more accuratly with the rebellion of An Lu Shan, an event that is not well known in the West. This event riped apart the Empire in the middle of the 8th century, latest 8 years, caused millions of deaths (according to certain estimates, some 70% of the 50 million population) and impoverished China for decades.

Maybe also, some didn't like the somewhat unfamiliar poetry and characters, all of which are based on historical people. As usual, however, Kay's research is flawless. Even an equivalent of the Sardian Horses existed, although the author may have significantly enhanced its importance in the novel, comprared to the historical context. These were the horses bred in Ferghana (in Central Asia), some of which were exported to Tibet - one of China's most powerful ennemies at the time (Tagur in the book) and China (Kitan).

The story telling also has many of Kay's usual ingredients. The characters, starting with the most powerful one, seem entirely unable to cope and do anything to avert the coming disaster. This sense of doom and impending catastrophy can also be found in a number of his other novels (the Lions of Al-Rassan or Song for Arbonne come to mind), together with the idea that nothing will ever be the same afterwards. Clearly, you either likes this - as I do - or you don't, in which case this book will clearly not work for you.

I wasn't really convinced with the Kanlin (a loose interpretation of the Shaolin warrior monks?) who seem to be used as bodyguards, secretaries, interpreters, diplomats and, more precisely, trusted third parties and could include both men and women. I was also a bit unconvinced when learning how easily one of them could renounce her vows, although given the circumstances, it is possible. However, these are essentially quibbles. I loved that book and read right through it. I hope you will enjoy it just as much as I did.

I picked up this novel with some apprehension and great excitement also. GGK has honed some of my favorite novels, such as Tigana and The Lions of Al-Rasson. At the same time, his two most recent works have had much less impact upon me as a reader.

I am happy to say that Under Heaven harkens back to the former novels.

There are numerous strengths to this novel. The story is tightly written focusing on a central cast of characters. This is refreshing in an era where fantasy stories are told in trilogies, tetralogies, and even decalogies. In its scope, it is not epic fantasy. Rather it is fantasy that focuses on humanity. It focuses on the emotions, decisions, and experiences that define who we are. The characters are fully fleshed out, intimately written. Like GGK greatest works, he pulls you into the struggle of his cast of characters and then pulls on your heart strings as life and death bring change, for good or bad, to that cast. In this, I was reminded of the last chapters of Tigana, though this novel fell just short of that incredible standard for me.

It may even be incorrect to define this novel as fantasy. It has minor elements of fantasy, heavy elements of historical fiction, and above all is simply excellent literature. There is no magic and there are no non-human characters. However, the well written story should appeal to fans of any genre who are simply looking for a good read.

Are there weaknesses to the novel? Certainly none that are glaring or stood out to me. There are a few gritty scenes, but nothing that approaches that of modern fantasy standards set by GRRM or Joe Abercrombie. There are heavy undertones of sexuality throughout the book, but these are handled rather deftly by the author and are made to seem beautiful rather than banal. At times the story is slow, or rather the author takes the privilege of expounding on his world and adding background. In this, the story lacks some of the non-stop pacing that other fantasy novels employ. I did not find this to be a weakness, but others might. I have read enough GGK to trust myself implicitly to his capable hands when reading his novels.

There are many authors thriving in the fantasy genre. There are a select few authors pushing the boundries of the genre. Guy Gavriel Kay transcends the genre. If you like a good read, may I recommend Under Heaven.

'.. unless it was the moment you drew your first breath in the world.'

This novel is set in the fictional world of Kitai, which is based on China's Tang dynasty (618-907 CE). The novel opens with Shen Tai, the second son of a famous Kitan general, observing his two year mourning period for his father by burying the dead of both armies at Kuala Nor, the site of his father's greatest battle. His efforts - to bury the bones of one hundred thousand soldiers from both the Kitan and Taguran armies - are appreciated by both sides. Both sides support his efforts by replenishing his supplies. One day, towards the end of his two years, the Tagurans deliver a letter. This letter disrupts his life: he has been presented with 250 Sardian horses as a gift in recognition of his courage and piety. Five of these highly prized horses would be a gift for an Emperor, 250 is a dangerous, life-changing gift.

Shen Tai must leave Kuala Nor for the imperial court: once knowledge of this gift is public, his life will be in danger. Once Shen Tai leaves Kuala Nor, he comes into contact with Kanlin warriors, with bureaucrats and courtesans and ultimately with the Kitan court. His journey is not straightforward: there are those who seek to kill him as his gift threatens the balance of power in an empire that is now faltering.

I thoroughly enjoyed this novel, and while I recognised many of the Chinese cultural and historical influences on the world of Kitai, it was the well developed characters that made the story so enjoyable. Shen Tai may be the central character, and his journey is the one we are most focussed on. But it is not the only journey taking place, and the secondary characters and journeys are an important part of the world Guy Gavriel Kay has created.

`Sometimes the one life we are allowed is enough.'

Jennifer Cameron-Smith

What an intriguing story! How many people ever give thought to how a gift can cause problems?
I found this story to be grand and believable. Here, we have one fairly average person who finds that his personal
commitment to doing a good thing, out of sight of the world, brings unwanted rewards, and, the attention of the most
feared, hated and malevolent rulers of a dynasty! All because of a "gift".
They kill his friend. They take his sister. And his brother can't be trusted!
But, our hero is deeper than he appears. He can do this. He can run the gauntlet.

Shen Tai, a restless second-son, chooses to honor his deceased father by going to the distant and desolate site of a great battle fought by his father, the general, twenty years before and bury the scattered bones of the dead. Kitan society, with its structured way of life, it's scholars vying for status and power as ministers to the Emperor, the Emperor overseeing rich and powerful lands that cast all kingdoms around it into the shade, is not quite sure what to make of Tai's bizarre actions. However, honoring the dead is something admirable and good. Tai's very personal actions are noticed by powers he has little awareness of, and which could easily kill him if he doesn't learn quickly. When he is given a gift by a Kitan princess, now married to former enemies along the border of the battlefield he toils in, Tai is suddenly catapulted into significance in the Empire of Kitan and beyond.

Like a butterfly flapping its wings, small and large actions, the whims of royalty to jealousy over a courtesan contribute to the fate of an Empire and thousands of souls. There is intrigue and politics between nations and between factions of the court, mysterious assassins and societies, strange barbarian spells, and individual journeys of people finding their way in a larger world.

For the first time, Guy Gavriel Kay has chosen to set a tale in the fabulous alternate reality of a China during the heights of the Tang dynasty and the fabled Silk Road. All of Kay's books are well worth looking at, and this one delivers on a glimpse into a fascinating world with complex histories, cultures and people.

Guy Gavriel Kay's literary niche is the quasi-historical novel. Combining a solid historical foundation with mysticism and magic, his work up to this novel was centered in Europe. With Under Heaven, and its recent sequel River of Stars, he has moved in a very different direction.

This is a wondrous, marvelous book. Set in 8th century Kitai (a thinly disguised fictional China), the novel centers on Shen Tai, the Second Son of a noted general, Shen Gao. Shen Gao had won a bloody battle at Kuala Nor, near Kitai's border with the Empire of Tagur (Tibet) that had killed scores of thousands of soldiers on both sides. The experience left Shen Gao disillusioned with empire and the military. After Kuala Nor, he had peacefully lived out his life at the family ancestral home. The novel begins two years after Shen Gao's death. Shen Tai, to honor his father, had spent those two years burying the dead at Kuala Nor. The battlefield is a haunted place, with the ghosts of the slaughtered crying out at night for release. As he buries them, they fall silent.

In silent recognition of his honoring the dead of both sides, Shen Tai is periodically resupplied by both Kitai and Tagur. One day, a Taguran officer appears with news. Chang-wan, daughter of the Emperor of Kitai and one of the wives of the Emperor of Tagur, has given Shen Tai a priceless gift - 250 Sardian (Persian) horses. It is said that you give someone one Sardian horse to reward him greatly. You give him four or five to exalt him above his fellows, propel him toward rank, and earn him jealousy, possibly mortal jealousy. Giving two hundred fifty is unthinkable - a gift to overwhelm an emperor. Indeed, shortly after receiving them, Shen Tai receives a warning from his former mistress, Spring Rain (now the favorite concubine of the first minister of Kitai), that there is a plot to have him killed. And he is shortly visited by an assassin. But the horses cannot be the reason for this plot; Spring Rain had sent the warning before Shen Tai had received the gift.

A primary focus of the novel is the complicated relationship between Shen Tai and his older brother, Shen Liu, principal advisor to the first minister of Kitai. Juxtaposed with the relationship between the Shen brothers is the even darker relationship between the sons of the kaghan of the Bogà (Mongols). Meshag, the older son, owes his life to Shen Tai. To honor his debt, he sets out to rescue Shen Li-Mei, sister of the Shen brothers, from an arranged marriage that Shen Liu had planned between Li-Mei and Tarduk, Meshag's younger brother.

The book is rich in mysticism, Chinese philosophy, the grandeur (and petty intrigues) of the Court, beautiful courtesans and wily concubines who exert vast power behind the throne, war, heroism, cowardice, avarice, love, honor, dishonor, - in short, life. And there are also werewolves and shamans.

The book is a pleasure to read. Kay has captured the subtleties of indirect expression that was characteristic of imperial China; people rarely say directly what they mean (that is considered rude and possibly dangerous if the wrong ears hear you) but if you have learned how to listen "between the lines", you can discern meaning. The language is beautiful, the characters are vivid, the plot is fast paced, and the canvas is vast. Read and enjoy.

Could be a great book - instead it is only good. Too long and disjointed. It needs heavy editing. The concept is intriguing, and the characters are interesting. The setting, and time period of ancient China are interesting too. But the story lacks real cohesiveness. The ending is disappointing after all the action in the rest of the novel. He just ties together loose ends with a sort of summary. And the writing style is annoying. The author likes the use of parentheses to explain or connect ideas, which I find rather unsophisticated in a writer.
I enjoyed parts of it. Am I recommending it to friends? Not really. And then only with reservations

I think all readers enter into a story with their own set of expectations and hopes. Personally I like the author to draw me into a story through his/her characters. I want to know what's in their heads and what motivates their actions. I also delight in language that entices me with its richness and detail, that allows me to revel in the imagery and setting. Finally, a compelling story that carried me along like whitewater rafting.

This book filled all my requirements in spades and it even has a satisfying conclusion. I finished the 592 pages in just over two days, which says something about how much I enjoyed it.

Sort of Game of Thrones Lite, set in Medieval China. Overall it works fairly well - the author is careful in introducing us to a somewhat unfamiliar setting. The story is mostly plot-driven, although there are a few nice metaphors and motifs. I would call it "historical fiction" rather than fantasy, as the supernatural element is quite limited, and doesn't greatly impact the storyline. About as much political intrigue, murder, and warfare in 500+ pages as you'd get in 2 chapters of Game of Thrones, but at points has a similar feel. Characters were good, but not stunningly complex. There are some unexpected twists at the end, just when I was sure it would go with the predictable outcome. About 2/3 of the way through, the author introduces an occasional narrator from the point of view of future historians, which works well but would work even better if it had been consistent throughout. The map and list of characters at the start are unusually helpful - each location/person named in the story is represented, and no more.
Overall a good book, but much more on the "fiction" end of the spectrum rather than "literature".

Under Heaven is the long-awaited new novel by master fantasist Guy Gavriel Kay -- and let's get the most important news out of the way: it was 100% worth the wait.

Fans of Guy Gavriel Kay know that his novels often take place in what appear to be fantasy versions of real countries: A Song for Arbonne is set in 13th century France, The Lions of Al-Rassan in Spain during the Moorish occupation, and so on. Likewise, Under Heaven once again gently blends history and fantasy, taking place in Kitai, a country strongly reminiscent of China, during the Tang dynasty.

Here we meet Shen Tai, who is honoring his recently deceased father (a famed general) by burying the dead at the ghost-ridden site of a major battle. One fateful morning during this long, lonely exile, he learns that he has been given a gift that's literally fit for royalty: 250 Heavenly Horses. This sudden wealth could catapult him to the highest levels of society... or put a huge target on his back.

It's hard to imagine a better hook to drag readers into this story, and once the plot gets going, it never loses momentum, introducing new characters and revealing details about Shen Tai's past at a steady pace. The slow unfolding of the plot, involving various family members and former acquaintances of Shen Tai, is one of the most enjoyable aspects of this novel, so I won't include any further plot summary and leave the rest for you to discover and enjoy. Suffice it to say that you'll have trouble putting this novel down, once you get started.

Once again, Guy Gavriel Kay's work straddles the line between historical fiction and fantasy. It's a testament to his talent that he can bring a historical period, especially one many people may know little about, to life in such vivid, believable fashion. Rest assured, there are definite fantasy elements here, but the novel has firm roots in the actual history, and reworks and remixes many elements from the actual Tang period. Just hit up Wikipedia for "Tang Dynasty," and you'll immediately recognize several historical personages and events that the author has included in some form in Under Heaven. But no worries: even if you have no interest in the historical underpinning of the novel, you'll have no problems at all understanding and enjoying the story.

Another pillar of Guy Gavriel Kay's works is the strong characterization, and Under Heaven doesn't disappoint. For me, the most memorable characters, aside from Shen Tai, were Sima Zian, the bon vivant poet, and Wen Jian, the Precious Consort of the Emperor, whose character arc in this novel is simply unforgettable.

And finally, next to the historical base and characterization, the third aspect of Guy Gavriel Kay's work that can't be ignored is the prose. Like his previous works, this novel is filled with beautiful imagery and the most delicate dialogue you'll find in current fantasy. It may not make complete sense to call descriptive prose "courteous," but that's the one word that comes to mind: just like the careful speaking style of some of the characters, who can imply so much while saying so little, and who occasionally make an exclamation or pose a question without employing the expected tone or punctuation and instead using the carefully measured weight of every word, Guy Gavriel Kay often uses a subtle, even understated way to describe events, places and people. You could imagine someone narrating this story in a soft, muted tone, eyes lowered, respectfully letting the words speak for themselves while not trying to let emotion impinge on their meaning. It's a gorgeous balancing act, and a rare pleasure to read.

This is one of those novels that's so good, you'll occasionally close the book after finishing a chapter, just to enjoy and savor what you've read before moving on. While I admire everything Guy Gavriel Kay has written recently, his newest novel is easily my favorite novel by him since 1995's The Lions of Al-Rassan. Expect to see Under Heaven on the short list for all the major awards next year, and do yourself a favor: pick up a copy.