The Sharing Knife - Book 4: Horizon
By Lois Mcmaster Bujold
http://www.dendarii.com/
Eos; 1 edition (January 27, 2009)
ISBN-10: 0061375365
ISBN-13: 978-0061375361

Review by Lezlie Kinyon

Reviews of Books 2 & 3 can be found in Starlit Tales November 2007: The Sharing Knife, Volume II – Legacy review by Mark Ungar and September 2008: The Sharing Knife, Volume Three: Passage, review by Mark Ungar.

Lois Mcmaster Bujold, like her middle name, is a recognized master of both science fiction (re: the "Vor" series) and fantasy (Paladin of Souls, The Hallowed Hunt). Horizon is the latest in her Sharing Knife series concerning Fawn and Dag, an unlikely pair of lovers going against both convention and a strictly enforced racial barrier between Fawn's people ("Farmers") and Dag's ("Lakewalkers"). The Sharing Knife Book. 4: Horizon

Beyond physical differences are psychic ones that make barriers created by fear and superstition. The Lakewalker warrior/wizards practice what the Farmers call "magic": knowing and manipulating "ground", a naturally occurring energy (akin to "chi") in all living things. Fawn's people, the Farmers, cannot perceive the existence of "ground".

Lakewalkers use "ground" for healing and, most importantly, for destroying deadly "malice’s'. Although this volume in the series is a satisfying conclusion to the story of Fawn and Dag, Bujold, in Horizons, has left the question open as to what exactly a "malice" is, possibly making room for another book in this series. In book 4, Bujold continues to explore the relationship between Farmers and Lakewalkers, through the eyes of Fawn and Dag, as the principles undertake a journey "home" through mountainous terrain to the "north": largely unsettled country. Besides the usual dangers of journey by wagon and horseback, the party once again meets up with superstition and fear between the two peoples. Dag takes "time out" to study healing under a master in a Lakewalker "Camp", and, as in Book 2, Fawn's presence is met with suspicion and hostility. Ultimately, they are forced to return to the road. Unexpectedly, the Lakewalker master healer joins them.

Horizon has less in the way of "romantic" passages than the previous books, fewer descriptions of Fawn and Dag's lovemaking or internal struggles. We find that the couple has found equilibrium of sorts, leaving the author to concentrate once again on the action of the tale and on world building. The characters are well drawn, the world consistent and precise in descriptive passages. The action is swift and engaging. Bujold neither flirts with nor succumbs to sentimentalism, anachronisms, or cliché in her story telling - as is so often the downfall of fantasy fiction writers. What stands out throughout this series is the author's mastery of the world she builds. Resembling, in important ways, the American West of two centuries ago, it also resembles any society where exploration and settlement of loosely knit, liaise-fair collection of communities co-exist more-or-less peaceably. The economy is presented as agrarian, with the signs of a developing industrial base it the scattered urban communities. The Farmer communities are literate, competent, and while scattered, engage in trade and learning - at least on a practicum level. Lakewalkers, by contrast, are (at least in theory) semi-nomadic, living in tents grouped into Camps, having few possessions, little agriculture, and little technology beyond the work of "ground". Lakewalkers are related by a complex clan-kinship system, their lives focusing around the centuries-long battle with "malice’s". There is no central governance system, yet everyone speaks a common language. There is a sense of a monoculture in both communities, hinting at a distant past when the two peoples were part of a whole. One quickly realized that this state-of-affairs has been going on for a very long time. The 'malices', are a left-over from some long-ago conflict that has left a "blight" across half the world. A conflict that no one remembers the nature or the causes of and very little of even an oral tradition remains.
    On a final note, the cadence of the dialect Bujold has created for The Sharing Knife series is beautiful to read, and, even to read aloud. Consistent and evocative, with a heartening lack of "creeping modernisms" that plague other fantasists, this is a true highlight of the series. What the reader is left with is a satisfying sense of Bujold's own comfort with her craft. Overall, Horizon is well worth a trip to your local bookstore or public library. Be sure to set aside a weekend to read it, once you've pick this one up, it'll be hard to put it down.
 
  Beyond physical differences are psychic ones that make barriers created by fear and superstition. The Lakewalker warrior/wizards practice what the Farmers call "magic": knowing and manipulating "ground", a naturally occurring energy (akin to "chi") in all living things. Fawn's people, the Farmers, cannot perceive the existence of "ground".

Horizon has less in the way of "romantic" passages than the previous books, fewer descriptions of Fawn and Dag's lovemaking or internal struggles. We find that the couple has found equilibrium of sorts, leaving the author to concentrate once again on the action of the tale and on world building. The characters are well drawn, the world consistent and precise in descriptive passages. The action is swift and engaging. Bujold neither flirts with nor succumbs to sentimentalism, anachronisms, or cliché in her story telling - as is so often the downfall of fantasy fiction writers. What stands out throughout this series is the author's mastery of the world she builds. Resembling, in important ways, the American West of two centuries ago, it also resembles any society where exploration and settlement of loosely knit, liaise-fair collection of communities co-exist more-or-less peaceably. The economy is presented as agrarian, with the signs of a developing industrial base it the scattered urban communities. The Farmer communities are literate, competent, and while scattered, engage in trade and learning - at least on a practicum level. Lakewalkers, by contrast, are (at least in theory) semi-nomadic, living in tents grouped into Camps, having few possessions, little agriculture, and little technology beyond the work of "ground". Lakewalkers are related by a complex clan-kinship system, their lives focusing around the centuries-long battle with "malice’s". There is no central governance system, yet everyone speaks a common language. There is a sense of a monoculture in both communities, hinting at a distant past when the two peoples were part of a whole. One quickly realized that this state-of-affairs has been going on for a very long time. The 'malices', are a left-over from some long-ago conflict that has left a "blight" across half the world. A conflict that no one remembers the nature or the causes of and very little of even an oral tradition remains.

On a final note, the cadence of the dialect Bujold has created for The Sharing Knife series is beautiful to read, and, even to read aloud. Consistent and evocative, with a heartening lack of "creeping modernisms" that plague other fantasists, this is a true highlight of the series. What the reader is left with is a satisfying sense of Bujold's own comfort with her craft. Overall, Horizon is well worth a trip to your local bookstore or public library. Be sure to set aside a weekend to read it, once you've pick this one up, it'll be hard to put it down.

Water Bearer
Sally Oldfield
http://www.myspace.com/celebratingsallyoldfield
Remastered, Castle Music (2005) Released: 11 Jan 2005 12 tracks (39:15)
Original Release Date: 1978

Review by Lezlie Kinyon

Sally Oldfield, vocals, guitars, piano, synthesizers, harpsichord, pipe organ, mandolin, marimba, Glockenspiel, vibes, tubaphone, percussion; with Frank Ricotti, percussion, vibes, marimba; Dave Lawson, string synthesizer; Trevor Spencer, syn drums; Tim Wheater, cymbals; Jean Price, harp; Brian Burrows, vocal

Sally Oldfield is one of the major folk-rock female artists to emerge from the British cross-over music scene of the late 1970s. Water Bearer was her first international release. This re-mastered CD has proved more difficult to obtain than I had imagined. (I finally ordered a copy through Down Home Music www.downhomemusic.com on San Pablo in El Cerrito.)
Water Bearer has been a favorite of "old hippies'", folkies, Tolkien fans, New Romantics, "spiritual" and occult bookshop owners, and neo-Pagans since it's release in 1978. (If only the local music and book-dealers would carry a few copies ...) With that caveat, this is truly a special recording and worth the trouble to find. Oldfield's multi-talented instrumental and vocal styles have been influential across musical genres from Celtic folk to more mainstream pop, this re-master of a classic recording is a welcome addition to any collection. Described as firmly in the vanguard of 1970s prog rock, Oldfield's Tolkien-esque, folkloric-inspired, lyrical compositions flow one into another creating a montage of acoustic music that both support and lift Oldfield's sweet soprano vocals.

The 11 tracks have a sense of peering into another world, a world of magic and fantasy, peopled with shining Faery beings, moonlit meadows, rolling skies, and deep wooded glades full of invitation.  It is a vision that begins with the first measure and deepens with every listening. Included is a song-cycle inspired by Tolkien's' The Lord of The Rings (Songs of the Quendi: Night Theme/Ring Theme/Wam Pum Song/Ring Chorus) and, to my mind, are far more interesting than anything composed for the recent films.  (Oldfield, herself, could have played Goldberry - had that sprite been included by the filmmaker.)  One can easily envision the Good Prof. nodding in appreciation of Oldfield's interpretation of the Ring Chorus of "Three Rings for Elven Kings...".  The Night of the Hunter's Moon is reminiscent of the ancient tales of the Wild Hunt or of Diana, the venerable Huntress of the Moon. (A YouTube video can be found here: http://www.youtube.com/watch?v=Odu4sfJHaTw).  Mirrors, a1980 hit single in the UK, begs to be sung along with and danced to: truly a song of celebration.  Fire and Honey is a passionate love song welcomed at handfastings and weddings alike.  The lyrical content of Water Bearer is upbeat and poetic, well within "faery" styles of the emergent New Romantics - of which she could easily be named a foremother.

 

Water Bearer
Sally Oldfield
http://www.myspace.com/celebratingsallyoldfield
Remastered, Castle Music (2005) Released: 11 Jan 2005 12 tracks (39:15)
Original Release Date: 1978

Review by Lezlie Kinyon

Sally Oldfield, vocals, guitars, piano, synthesizers, harpsichord, pipe organ, mandolin, marimba, Glockenspiel, vibes, tubaphone, percussion; with Frank Ricotti, percussion, vibes, marimba; Dave Lawson, string synthesizer; Trevor Spencer, syn drums; Tim Wheater, cymbals; Jean Price, harp; Brian Burrows, vocal

Sally Oldfield is one of the major folk-rock female artists to emerge from the British cross-over music scene of the late 1970s. Water Bearer was her first international release. This re-mastered CD has proved more difficult to obtain than I had imagined. (I finally ordered a copy through Down Home Music www.downhomemusic.com on San Pablo in El Cerrito.) 
Water Bearer has been a favorite of "old hippies'", folkies, Tolkien fans, New Romantics, "spiritual" and occult bookshop owners, and neo-Pagans since it's release in 1978. (If only the local music and book-dealers would carry a few copies ...) With that caveat, this is truly a special recording and worth the trouble to find. Oldfield's multi-talented instrumental and vocal styles have been influential across musical genres from Celtic folk to more mainstream pop, this re-master of a classic recording is a welcome addition to any collection. Described as firmly in the vanguard of 1970s prog rock, Oldfield's Tolkien-esque, folkloric-inspired, lyrical compositions flow one into another creating a montage of acoustic music that both support and lift Oldfield's sweet soprano vocals.

The 11 tracks have a sense of peering into another world, a world of magic and fantasy, peopled with shining Faery beings, moonlit meadows, rolling skies, and deep wooded glades full of invitation.  A vision that begins with the first measure and deepens with every listening. Included is a song-cycle inspired by Tolkeins' The Lord of The Rings (Songs of the Quendi: Night Theme/Ring Theme/Wam Pum Song/Ring Chorus) and, to my mind, are far more interesting than anything composed for the recent films.  (Oldfield, herself, could have played Goldberry - had that sprite been included by the filmmaker.)  One can easily envision the Good Prof. nodding in appreciation of Oldfield's interpretation of the Ring Chorus of "Three Rings for Elven Kings...".  The Night of the Hunter's Moon is reminiscent of the ancient tales of the Wild Hunt or of Diana, the venerable Huntress of the Moon. (A YouTube video can be found here: http://www.youtube.com/watch?v=Odu4sfJHaTw).  Mirrors, a1980 hit single in the UK, begs to be sung along with and danced to: truly a song of celebration.  Fire and Honey is a passionate love song welcomed at handfastings and weddings alike.  The lyrical content of Water Bearer is upbeat and poetic, well within "faery" styles of the emergent New Romantics - of which she could easily be named a fore-mother.




Q: What's the best thing about Pagan friends?
A: They worship the ground you walk on.