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25 of 25 people found the following review helpful:
5.0 out of 5 stars
Compulsory and Compulsive Reading, March 28, 2002
This review is from: The Face in the Frost (Paperback)
My initial reading of this book was when it first came out in paperback in 1978. This isn't by way of bragging, but simply to point out that it impressed me so much that I still have that very copy of the book, despite many relocations and resizings of my own library. For its time it was so unlike any other fantasy book that it made an immediate impression and has continued to do so to this very day. Written with a deceiving simplicity that, no doubt, owes its origins to Bellairs' many successes as a writer of horror fiction for young adults, 'The Face in the Frost' is the tale of two wizards who must prevent the completion of a spell so awful it would bring the ruin of their world. When Prospero (not the one on the island) finds his comfy and peculiar home under siege by baleful magick he is alarmed. The appearance of his old friend and co-wizard Roger Bacon (the very one) only confirms that ominous portents are about. Faced with giant moths and a force of giant menacing shadows they make their escape, bent on finding the source of the problem. In short order they realize that someone is in the process of activating a spell inscribed in a legendary tome. They must face illusion, traps, and even death trying to discover the identity of the book's new owner. And then, once the identity is known they must wrest the book from its keeper's grasp and bring it to destruction. In a trick unknown since Aristotle's Cave, Bellairs manages to fit this detailed and wide ranging quest into a novel of less than two hundred pages. For this accomplishment, if no other, Bellairs deserves a great deal of appreciation. Bellairs characters are gem-like, as is the world in which they move. The tone of the narrative is quite humorous, with Prospero and Bacon getting much of the credit for keeping up a banter full of strange twists that seems to wander at will across time and place without any disastrous side effects. The narrative, in contrast, is quite chilling. Bellairs shows a fine ability to create suspense and horror without having enormous quantities of gore splattered over the pages. On several occasions I found myself unexpectedly spooked by what on the surface was comparative mild-mannered prose. For all the time I've had this book I have always been surprised that I haven't come across more of Bellairs' work. It is only recently, thanks to the Internet, that I discovered that Bellairs was pre-eminently known as a writer of youthful fiction, and that he died prematurely. In retrospect, it is probably only a fortunate accident that 'The Face in the Frost' crossed over into adult fiction. It certainly could be read with great enjoyment by anyone who can cope with Bellairs clear but literate writing style. Lest I forget, the story is accompanied by many wonderful illustrations from the pen of Marilyn Fitschen, which the reader will find as pleasant as the story.
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10 of 11 people found the following review helpful:
5.0 out of 5 stars
Quintessence of Fantasy, August 1, 2005
This is fantasy reduced to its purest form. From a laugh out loud first few pages you are plunged into nightmare and horror through to a purely satisfying ending. In decades of reading fantasy I know of no story that better illustrates the form. Something different than Tolkien's idealized fairy-tale, and something better than mere horror, this is a superb book.
Prospero - and not the one you are thinking of, either - and Roger Bacon must solve the riddle of an unreadable book before that riddle and a more powerful wizard kills them. The threat is all the more real because neither you nor the characters understand it; we understand the side effects well enough. But Bellairs lets you guess what might happen unless Prospero and Bacon act. Nameless horrors can be the most frightening of all.
Bellairs died far too young, leaving only a handful of children's books, outlines for a few more and this tale. We can only wish there were more.
Originally published in paperback by Ace in 1969, that early edition was brilliantly illustrated by Marilyn Fitschen. Her perfectly apt, child-like illustrations didn't make it to this new hardbound edition, so you miss the macabre heraldic device of Melichus, and the spooky illustrations of Bellairs' scenes. It's a loss only partially made up for by the fine Anton Pieck cover drawing, completely appropriate to the story's secret. The paperback was printed, unhappily, on typical Ace cheap paper, and is now browned and brittle. Finding it isn't easy and may no longer be worth the effort.
Still, despite the missing drawings, it is wonderful to have The Face in the Frost back in print. This should be on your short list of the best fantasy stories written. It's a story you will read again and again Highly recommended; simply superb.
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8 of 9 people found the following review helpful:
5.0 out of 5 stars
Fantasy Horror, June 20, 1997
By A Customer
This is a fantasy novel that rejects all the cliches that have plagued the genre over the years. It starts innocently enough, with a good natured Wizard by the name of Prospero starting what looks like simply another day. Incidents shortly take a sharp turn after that, as he finds himself the focus of supernatural events that are beyond his powers.
From there, the tone alternates from humor to mystery to horror as Prospero and his friend, Roger Bacon, strive to unravel the mystery behind a supernatural force threatening not only themselves, but the world itself.
This is an intelligent book, and makes no attempt to talk down to its audiance. The humor serves to underline the tension, rather than belittle it. Another pleasent surprise, is that the horror and suspense of this story is not immersed in blood and gore, which is all too frequently found in most horror attempts.
I would recommend "The Face in the Frost" to anyone appreciating horror or Fantasy. Even those who do not care for the Fantasy genre should still appreciate this story, as it serves more as a backdrop than as a main element of the story itself
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