These are the first two installments in a four-book series by Abraham, for whom this is his first series (he’s published some short fiction as well).  I’m quite impressed with these first two installments, which have an original style and tone, and are not burdened with the usual tropes of medieval European fantastic literature, or a retelling of LOTR or some variation on Arthurian tales.

Abraham’s milieu is an Asian-inspired place, a loose federation of feudal city-states whose people live in allegiance to their local Khai, a semi-dynastic ruler.  The Khai and their cities are protected and supported by the andat, who are a spiritual being who are created and controlled by so-called Poets, who bind the andat for the duration of their lives.  The andat are embodiments in human form of a particular idea, described and bound through the precise and complex grammars of ancient languages.  The two that we encounter in these two books are Removing-the-Part-that-Continues (aka “Seedless”) and Stone-Made-Soft.  Both have tremendous power in their very limited sphere, and represent sort of the “weapons of mass destruction” that the cities of the Khaiem hold and wield to keep themselves safe in a world of hostile powers.

The first two books center around a particular character, Otah, who is a “surplus” sixth son of one of the Khaiem.  According to tradition, only the first three sons can inherit their father’s chair, and the younger sons can either accept ritual branding to denounce their claim, enter the Poet’s school (sort of the priesthood), or be hunted down and killed by his elder brothers.  Deciding that none of these choices are acceptable, he changes his name and goes into hiding.Events involving geopolitics, the andat Seedless,  various plots, and the impending death of Otah’s father make this self-imposed exile impossible, and a complex and interesting story unfolds through the first two books.

Abraham’s writing is spare and lean.  He sketches character, places, ideas with a great economy of words, with a good balance of characterizations, description, and narrative.  The andat are the only element of the fantastic here — the overall narrative more about relationships, choices, and consequences than about magic or the great “saga” themes.  That is in itself an achievement in an fantasy genre littered with “me too” authors.  If I have a complaint, its that perhaps Abraham’s writing is a bit too spare.  I would have liked more time with these characters, places, and ideas.  I guess that’s why I’ll have to wait for the next two books.

Highly recommended.