Customer Reviews

Tiassa (Vlad Taltos)

5 star:		(12)
4 star:		(11)
3 star:		(11)
2 star:		(2)
1 star:		(4)

 

 

I've loved the series since I bought the just published "Jhereg" ages ago. I've done the ups and downs as we rode the roller coaster as the morality changed after Brust's own personal experiences with killings. So I guess this shouldn't be too much of a shocker, but it is a bit of a disappointment...

We spent years with the buildup of spellbreaker, and finally the great weapon is created... and then....

I keep waiting for more about the *after*, because I've been so curious. But this one again jumps in time, forwards, backwards, forwards... Pre marriage, post marriage.

And while the parts written from Vlad's point of view are as enjoyable as ever, as others have mentioned, there's not a lot of that...

We get to learn a little more about Devera, but beyond that, there just didn't seem that much here that moved the story forward at all, nor did it really fill in any big questions anywhere else.

I'm beginning to feel like I did mid way through the sword of truth series, where things just stalled so horribly and we had to wade through the morass in fear we might miss the couple good pages in a book... I'm NOT saying that this is at that point, but it's certainly nearing it...

Steven Brust is one of the four or five authors I ever recommend to others, but I'm getting to the point now where I feel I need to specify certain books so that people don't get the wrong impression. I'd rather have them learn about the author from the incomparable Jhereg than thinking this is the epitome of his writing...

So let's hope that we get back on track with the engaging stories again, because when he's hot, no other author compares...

Tiassa, Brust's thirteenth novel, is one of the most ambitious to date. It incorporates a myriad of writing styles from his past Dragaera works; the typical Vlad first-person, the third-person character-per-chapter narrative used in Brokedown Palace, and as much of the book focuses on Khaavren and his family, a bit more of Paarfi. This book is by no means a stylistic exercise, however; it has a focal point that stays very focused on the plot, and the way the story is presented actually gives a new way of looking at things. It was especially interesting to see, during the course of an investigation, the way Khaavren and a number of those in his employ measured Vlad's worth with a sense of begrudging respect, or the way Norathar and Cawti feel towards one another/the Empire, how idiotic Piro's 'benevolent highwayman' schtick appears in Vlad's world, etc.

I've seen other reviewers claim that this book does nothing to further the story, a criticism I honestly would've lodged against Iorich, which, while a decent read, did little to advance the overall plot or provide opportunity for character growth. Tiassa not only sheds some light on some things that have been alluded to in past books (Devera, the Issola bard, the box he talks to) but also drops some HUGE hints toward the future of the series, one in particular stated almost outright by a certain Imperial official.

If I have to levy a criticism against it, it would be that it is definitely not the best place to jump into the series (though arguably that has been true for several books at this point) and it does heavily incorporate characters (and the ridiculously, hilariously overwrought writing style) of the Khaavren romances, which I adore, but could be confusing even to long-time readers if they've never strayed outside of the main Vlad series. Chronologically, it's all over the place; it jumps from events happening just after Yendi to around the same time as Dragon to slightly before (or after) Iorich.

Its a great book for long-time fans of Brust, and definitely one of the best in the series, both in terms of story and general writing. Not to be missed.

Okay, well that was just a Taltos fanboy's dream.

Fair warning, I've liked pretty much every book in this series, even Jhegaala, which was too convoluted and ponderous for me to get much of a buzz from. But this makes up for it fifteen times over. We get tantalizing hints at longstanding questions, not to mention the reappearance of fan-favorite characters... and a certain fan-favorite narrator.

This is not a good entry point into this series. It was written for people who have read both the last twelve Taltos novels as well as the five Phoenix Guards books. Anyone else might well be lost. But read them. You're in for a treat.

"Tiassa", the 19th installment in Steven Brust's Dragaeriad, is easily the series' most satisfying read since 2004's "Sethra Lavode". Its cast list ranges from such shady characters as assassins, prostitutes, and musicians, to the highest functionaries of the Dragaeran Empire: prime ministers and court wizards, counts and countesses, princesses and empresses, and even the proverbial gods, demi-gods, and -- yes of course -- heroes.

A careful writer who makes it look deceptively easy, Mr Brust publishes all his books in petite, 17-chapter units, squeezing a lot more into these short volumes than meets the eye. After a dozen 17-chapter Vlad books and ten 17-chapter units in the (five) Khaavren books, "Tiassa" at last combines all main characters from both series. Although its cast list is large for so short a book, only a few minor characters are new to the series. No mere parade of cameos, all major characters see their plotlines advanced further in this book than in the three previous installments combined. Moreso than any other volume, "Tiassa" includes distinct elements linking back to every other previous book, rewarding long-time followers without (wholly) disenfranchising newcomers. We know that there are only six books to go, and Brust is obviously gathering the diverse threads together into one stream in time for the grand finale. More than just bringing them all together, Tiassa also moves them all forward.

House Tiassa is emblematic of inspiration, a catalyst for turning subconscious ideas into surprising actions. As befits a book entitled "Tiassa", it is our favorite Tiassas, all of them both brave and clever, who here take center stage: Khaavren, long-time Captain of the Phoenix Guards; Daro, the Countess his wife; and their son Piro, one-time highwayman and Viscount of Adrilankha. Never content to rest on his laurels, Mr Brust uses a different narrative technique and framing device in almost every volume in the series, and in this "Tiassa" is no different. It is not so much a single novel as three novellas and three short stories linked by a common element, the silver tiassa, with each segment having its own distinctive narrative voice.

No one writing fantasy today does witty dialogue as well as Mr Brust. Sometimes laconic, sometimes scintillating, it is the hilarious repartee that makes this book such a delight to read -- and to reread. Recalling Roger Zelazny's wise-cracking gods in some places and in others Alexandre Dumas' silver-tongued cavaliers, it is no surprise that Brust tips his hat to both literary antecedents.

Unlike sprawling thousand-page novels painfully commonplace in today's market, each portion of "Tiassa" is tightly honed and free of gratuitous cruft. That means if you find something that seems irrelevant, you're probably missing something -- and it may well be something important. There's plenty more going on in every section of the book, major and minor, than is spelled out directly in so many words. A second and even a third reading will continue to reveal prize gems easily missed in a quick first reading.

The book's first major segment, "Tag", is a welcome return to the young Vlad we first met almost 30 years ago, back when he was still running his own outfit for the Jhereg. Like those early volumes, this is told in an engaging first-person narrative from Vlad, which means we get to hear his inner thoughts and his silent exchanges with his jhereg familiar, Loiosh. The main story has Vlad and Piro each trying to out-con the other against a backdrop of familiar characters we haven't seen much of for a long time, including Kragar, Malestav, Sticks, and Vlad's soon-to-be-wife, Cawti. The sharp repartee will leave you in stitches, like this one where Vlad addresses Piro, the Blue Fox:

..... "You've stated your position exactly," I said. "I'm proud of you."
..... Ibronka stirred and said to Bluey, "Mind if I eviscerate him?"
..... "Just one?" he said. "And an Easterner?"
..... "I'm not thinking of a fight, more of pest control."

The middle section of the book, "Whitecrest", takes place years after the first section, with House Jhereg trying to con the Empire into finding Vlad for them. It features a different viewpoint character in each chapter, first with Khaavren, then with later chapters centering around Daro, Cawti, and Norathar. We see Cawti's story-line advance as she does for Vlad what he had previously done for her: saves his butt. In an unexpected but welcome reprise as the Dagger of the Jhereg, Cawti teams up with her old partner, now-princess Norathar, who with a little help from Daro and the sub-rosa cooperation of Empress Zerika, manage to save Vlad from a threat he doesn't even learn about. Brust's skill at writing convincing and strong female leads with their own viewpoints really shines here in the book's middle section, a relief from the cardboard cut-outs too often seen in the genre.

The book's longest and final section, "Special Tasks", takes place several years afterwards, making it chronologically the saga's latest installment so far published. Like the other Khaavren Romances of which this section arguably forms a part, this one is distinctively narrated by one Paarfi of Roundwood, an ironic and sometimes intrusive narrator. A deliciously amusing example of this can be found when Vlad and Khaavren meet again for the first time since 1987's "Teckla":

........... The Easterner squeezed his eyes shut again, then opened them once more.
..... "I know you," he said. "You are Lord Khaavren, are you not? Brigadier
..... of the Phoenix Guards?"
........... "Captain," said Khaavren, both by way of affirmation and correction,
..... thus conveying the maximum amount of information in the fewest possible
..... words; a custom of his, and one that this historian has, in fact, adopted
..... for himself, holding efficiency of language to be a high virtue in all
..... written works without exception.

As in the many-layered tales of fellow fantasist, Gene Wolf, none of Brust's narrators is entirely reliable. They have not just their own agendas, but their own blind spots, too. Although this is more obvious with Paarfi than with Vlad, Brust makes it clear with Vlad's very first line at the start of "Tag", where he begins his narrative saying, "I lie sometimes, just so you know."

Because "Special Tasks" is narrated by Paarfi, he does not know what Vlad knows. Paarfi is only partly aware of Vlad's two jhereg, Loiosh and Rocza, and seems curiously oblivious to Godslayer, Vlad's Great Weapon that he acquired back in 2001's "Issola". Nonetheless, several plot-critical incidents that take place offstage can be fully explained only when this powerful artifact is taken into account. Alone but for his jhereg, Vlad somehow manages to survive an attack by nine armed assailants. Later, just after a confederate returns Godslayer to Vlad in the sickbed in which he hasn't even the strength to sit up, he suddenly climbs out the window when backs are turned. But because neither of these events was directly witnessed by the narrator, the reader must, like Khaavren, reconstruct what really occurred from available clues. Previous readers of 2010's "Iorich" will quickly realize that Godslayer, which Vlad calls Lady Teldra and which can instantly heal him of all wounds despite his amulet against witchcraft and sorcery, has just done so here, but others will, like Khaavren, be left pondering the mystery.

The book's epilogue turns from Paarfi's narrative back to Vlad's, but this is not the epilogue it appears to be. The events depicted are not subsequent to those at the end of the previous section, but rather an alternate and entirely different re-telling of the same discoveries and conclusions. Both cannot be true. Is either? The reader must decide which narrator to believe, and how far.

Like any other work of fine art, this one provides pleasure on multiple levels by rewarding repeated visits with new insights and interpretations. Thanks to Mr Brust's skill at his craft, this book is bigger than its modest page count would otherwise suggest. His economy with words, his talent only for showing not telling, and his practice of dropping subtle clues to the broader picture behind the picture, all contribute to making this book a bargain for its page count.

"Tiassa" is an absolute tour de force, a reader's delight.

I have read much of Steven Brust's work and have always liked the Jhereg novels the most. That being said... this book is divided into several smaller stories and only the first is written from the point of view of Vlad. The last is not only written from a different viewpoint but is also written in a style reminiscent of The Three Musketeers. (lots and lots of ponderous dialogue). This makes for an interesting perspective but totaly lacks the page turning excitement I was expecting.

I wish the honor of addressing the reader with a few words concerning this book, its author, and some of the remarks made by others who have been so kind as to contribute to this forum.

First, I would add my humble concurrence to those who have pointed out that this is not a book for those new to Brust's Dragaera novels. The reader needs to be acquainted with both the Khaavren romances and the Vlad Taltos novels to appreciate properly this novel which combines elements from both series.

Does Brust bring it off? I say emphatically that he does. I rank this novel among the best of Vlad Taltos series, the equal of Issola and Dzur.

Second and finally, because I do not wish to bore the reader with excessive verbiage, I will conclude with a few words which I believe will clarify the structure of the novel. Some reviewers have argued, perhaps with some justification, that the book is more a collection of related short pieces than a novel. If one accepts this point of view, which I am willing to do for a moment in an effort to present both sides of the question, then the book will be seen to be of the following structure:

Prolog in the voice of Lord Taltos
The Silver Tiassa, a short story in the voice of Devera
Tag, a short novel (five chapters) in the voice of Lord Taltos
Whitecrest, a short novel (five chapters)
Conception, a short story from several points of view, mainly that of the goddess Verra, Lady Aliera e'Kieron, and the Emperor Kieron.
Special Tasks, a short novel (six chapters) in the voice of Lord Paarfi of Roundwood, a celebrated (or is it notorious?) author of the Dragaeran Empire.
Epilog in the voice of Lord Taltos

Does this not confirm the book is a collection? So many voices, such a mixture of viewpoints. But harken. There is another and most instructive way to look at the book. If we add up the numbers of the chapters of what have been described as three short novels we find the total to be sixteen. If we further deign to describe "The Silver Tiassa" as a work of one chapter, then the book may be considered to be of the following structure:

Prolog
Eleven chapters
Interlude
Six chapters
Epilog

In total there are seventeen chapters, which I have the honor to point out is the number of Houses in the Empire. All the novels in the Vlad Taltos series have seventeen chapters. This one is no different. Mr. Brust is merely and once again pushing the boundary of structure while maintaining the important invariants that contribute to the beauty of his work.

Post scriptum: The interlude "Conception" is in itself well worth the modest price requested by the sellers of the book.

I've been slightly in love with Brust's character of Vlad Taltos since I first read Yendi in the late 80s. Like any long-running series, I am impatient to read the end of the story, and yet I want the discovery process to last as long as possible. Unlike some of the other novels, in which we are entertained but the over-arching issues aren't addressed, Tiassa does move the story arc forward. Or, perhaps more specifically: Brust sets a lot of game pieces on the chess board, and it appears that in the *next* book we might see them put in motion.

That's fine with me, because Brust is up to his usual good form, and I read this book as though it was a library book due yesterday.

It isn't the usual "Vlad" novel, though, in that the story is told in vignettes, covering about a decade, from the viewpoint of several people -- only one of whom is Vlad. The binding factor is a silver ornament with maybe-special powers. I won't tell you a lot about the plot because I don't want to spoil the pleasure of your discovery. But what worked best for me is the many ways we see Vlad and his effect on those around him. There's his own story, which any VladLover will adore, because it takes place when he and Cawti are engaged to be married. And Vlad in love is just so incredibly sweet even if he's busy organizing mayhem (which just-so-happens to involve the silver tiassa as a lure). But in later years, when others have need of the item, the story is told from the viewpoints of a few of the characters we met in the Dumas-inspired The Phoenix Guards (which I confess was not my favorite of Brust's books), most of whom have no idea who Vlad is. If you *did* love the books with Khaavren and Daro, you probably wondered, "How would these folks deal with our 'present day' characters?" and now you'll find out. Best of all, there are a few scenes from Cawti's point of view, which may be worth the price of the book alone. For one thing, we see Cawti's relationship with Noranthar, which Vlad never really talks about in "his" books.

Mostly, however, this is just plain GOOD READING. There's no way you would start with this book (really, don't even think of it), but any Vlad Taltos fan will enjoy this one.

Steven Brust is the renegade literary son of Fritz Leiber and Gene Wolfe, taking from one a devil-may-care attitude, a casually brilliant cast-off-detail attitude towards worldbuilding, and a sensibility just a hair bloodier and more calculating than the reader expects, and from the other a sense that every detail has been precisely chosen, a reticence to ever give a fact twice, and a sense of humor even darker and more secretive than Leiber's. The Vlad Taltos novels are Brust's central work: a sequence of thirteen novels (so far), set in a world many dozens of millennia in the future and (probably) very far away in space, in which the main characters are men and a race remotely extracted from men, with creatures called gods and aliens with the powers of gods lurking around the edges of the narrative but never coming close enough to be entirely caught by the lens of story. Each book has been a separate, discrete novel, ostensibly completely understandable on its own and telling a distinct story -- and, yet, that reticence of detail and worldbuilding sense mean that Vlad's world only makes sense through the slow accretion of those details, and through a conscious effort to bring them all into focus together.

TIASSA, that thirteenth novel, is actually not a novel -- it's three novellas, told from different points of view, all involving Vlad to some degree and tracing his interactions with a divine artifact in the form of a silver tiassa. (A Tiassa is a winged large cat -- see the one on the cover? -- and it's the symbol of one of the seventeen great houses that the Dragearans -- that race created from men I mentioned before --- divide themselves into.)

The novel is also called TIASSA because the central character of Brust's other series set in the same world -- a deeply droll and charming series of books called the Khaavren Romances, deeply influenced by a wordy 19th century translator of Dumas that Brust imprinted on when young, deliberately modeled on Dumas's Musketeer books, and ostensibly written by a long-winded and occasionally dim Draegearan noble named Paarfi of Roundwood -- is Khaavren, who is of the house of the Tiassa as well as being the captain of the Empress's personal Phoenix Guards. And Khaavren -- as well as his wife, the Countess of Whitecrest -- are as important to this book as Vlad is.

Along with those three novellas (or perhaps novelettes; it's not a long book), there's a bit of linking material to make it all flow, but those are all quite short (and only really will make sense to devoted readers of the series). The first is in Vlad's voice, set during his days as a crimelord (between Jhereg and Teckla, I believe), in which that silver tiassa statue is used as part of a con Vlad runs and in which Khaavren's son is involved. The second is in omniscient third-person, is set a few years later, when Vlad is on the run, and has at its center Vlad's then-estranged wife Cawti and the Countess of Whitecrest during an apparent major threat to the Empire. And the third is in the voice (uncredited) of Paarfi, with Khaavren as the central character and Vlad as a crime victim whose circumstances he investigates.

It's a particularly arch and oblique entry in the series, of primary interest to the kind of readers who re-read an entire series in preparation for a new book. For those people, TIASSA will be, I expect, another treasure trove of new hints and clues to place carefully next to the hints and clues from previous books to build a slightly more complete picture of the still-mysterious parts of Vlad's life. For those of us who prefer books to stand on their own, TIASSA will be somewhat less satisfying, though it's slyly entertaining and darkly amusing in all of its parts. But I would never recommend a new Brust reader start with TIASSA; there's far too much history and nuance left unstated here.

-- But of course.

Indeed.

-- So?

Yes.

-- Then, a review?

Naturally.

-- When?

Now.

This is, sort of, a Vlad Taltos novel, but it is more the three musketeers from a thousand years before, in Vlad's time, with him as a passing character on the side, loosely pulled together. Not a bad book, moves things forward, including his family and personal dynamics, but it is a slower novel, really a long short story's worth of material wrapped into a novel. A very good deal of narrative in the above fashion.

If you do not like the other series in the same world, but with a different style, you won't like this one. If you are interested in more information, more development and have patience for bits and scattered pieces (some of which are not pulled into the novel at all, but are just vignettes that are probably going to be more relevant in the past or future of the series), it is enjoyable.

I've read the Vlad Taltos series since they first came out. Over the years I've really enjoyed them. But, since Vlad left Andrilankha the series has lost a lot of luster. Brust seems to like to experiment with writing styles and at times seems bored with his character.

In Tiassa he wastes many pages of text with the weird convoluted style he uses in 500 Years After. He can actually write 5 pages of text to cover a paragraphs worth of plot. I keep hoping he brings Vlad back to Andrilankha and gets back to what the made the series in the first place.

I'm losing hope, though. Pity. This was once my favorite series and I waited for each installment.