Phew. I’m exhausted. I just finished reading 624 pages of book, and it was a monstrosity of a story. Not monstrosity as in bad but enormous. A Conjuring of Light is what I would’ve called the equivalent of an epic. And that’s a huge change in tone considering its sister volumes weren’t anywhere close in length, at least, not in terms of page numbers.
About two brothers whose fates are intertwined, literally – the two brothers share a lifeline after what happened the previous story. I guess that’s what happens when you die and your brother’s a magician – they both are in the midst of a tragedy after a magic-demon takes over their city and threatens their kingdom. Oh. Did I forget to mention these brothers are royalty?
What I really enjoyed about this book was not necessarily its plot line, but it’s unique strategy in presenting that plot. I was used to reading this book from a few of the main characters perspectives, either Lila (magician of grey London) or Kell (magician of red London) or Rhy (prince of red London). But in this book, I read from multiple POVs. And plenty of them characters I’ve never heard from before. And that’s what I really want to examine in this post. So forgive its length.
|Chapter||Character||Why their POV?|
|1.1||Lila||Because she is testing her magic to the extent of an Antari, testing if she is in fact Antari, and if she can save Kell in time.|
|1.2||Holland||To show that Osaron’s will had conquered Holland’s, that it was no longer Holland’s body but Osaron’s.|
|1.3||Kell||Because Kell’s magic is disappearing due to the collar, and Rhy is dying.|
|1.4||Rhy||Because he’s dying.|
|1.5||Alucard||Alucard can see the strands of magic, watch them disappear as the threads tying Rhy to this Earth disappear.|
|1.6||Lila||Because Lila is fighting to save Kell, to save Rhy.|
|1.7||Kell||Until Kell gets his magic back and fights to reach Rhy, realizing along the way that Lila had a fake eye the entire time. That she was Antari, like him.|
As you can see, there’s no specific order to the perspectives. It just jumps from character to character, but I kind of like this method. If you notice the first 6 chapters, even though they center on different characters, they center on one plot-point event: Kell wearing the collar that saps your magic strength, making it so you can’t access magic at all. Leading to Rhy dying.
And I really like this idea because when you read a story, it feels very linear. This happens often when you see an event only from one character’s perspective, but when Schwab changes this pattern, showing us at least 5 different perspectives, it gives the event a sort of 3-dimensional perspective, almost like you were Neo in the Matrix when all the cameras went off to create a 360-freeze-frame effect. It’s a very good way to flush out an event and fill in a scene.
And if you haven’t notice, she doesn’t use the same characters every time.
|Chapter||Character||Why their POV?|
|1.11||Osaron||To reveal the arch enemy of all worlds, and how much he thrives in Kell’s magic-filled world.|
|2.1||Kisimyr||Because even though Osaron can take over some people, for others, he burns through them too quickly. Part of the population of Red London dies like Kisimyr.|
|2.5||Lenos||The man who has the sixth sense of foreshadow, and warns the reader that the demon king is taking over the city from a citizen POV.|
|3.2||Emira||The queen and mother of Rhy, who regrets not better raising Kell, to use him as more of a guardian than a brother, even though it was part of that closeness that saved Rhy.|
|4.1||Nasi||To show that scars are a sense of pride for London citizens; it shows that you’ve survived.|
|4.3||King Maxim||Because the King is willing to do whatever it takes to save his city, same as his son and Kell.|
|6.1||Ned Tuttle||To show how close Osaron is to taking over all the Londons, including the Grey.|
|9.1||Tieren||To reveal a small theme, that”Love an loss are like a ship and the sea. They rise together. The more we love, the more we have to lose. But the only way to avoid loss is to avoid love. And what a sad world that would be” (371).|
As you can see, Schwab switches perspective quite often. But, there’s not as many as I initially thought. With this book, there are 13 different perspectives, as well as an omniscient perspective that pops up once or twice. But with fifteen sections, each with their own series of short chapters, this multiple POV doesn’t feel as overwhelming as it should in a normal-sized book. And because each character adds a piece to the resolution of the plot, it helps make this book feel like a world rather than just a theater, with the spotlight focused on one character or one perspective.
I think I would definitely feel inclined to use a technique like this in the future.
Schwab, V. E. A Conjuring of Light. New York, NY: Tor, 2017. Print.