It's 2017 and angels and demons walk the earth. Once they were human; now they are unkin, transformed by the ancient machine-code language of reality itself. They seek The Book of All Hours, the mythical tome within which the blueprint for all reality is transcribed, which has been lost somewhere in the Vellum – the vast realm of eternity upon which our world is a mere scratch.
The Vellum, where the unkin are gathering for war.
The Vellum, where a fallen angel and a renegade devil are about to settle an age-old feud.
The Vellum, where the past, present, and future will collide with ancient worlds and myths.
And the Vellum will burn....
©2005 Hal Duncan (P)2011 Audible, Inc.
I'm a voracious audiobibliophile, mainly interested in speculative fiction, with the occasional mimetic fiction or non-fiction title sneaking in.
I had not even read the back copy, and so had absolutely no idea what to expect. Maybe a fantasy set in a vaguely Scottish monastery, though full of the fantastic imagination and powerful writing I expected from the many recommendations I’ve received over the past few years for this book, also on my “first novels to be nominated for the World Fantasy Award” list. It turns out to be a novel of an endless war between angels and demons, re-cast and re-cast again and again through history and mythology from Enki to Enoch to Metatron. Much of the storyline is either contemporary, or set in a near future of VR and AR goggles. It is there a kinship with parts of Snow Crash is felt, though themes of deep linguistics and layers of archaelogy permeate the novel throughout. There’s a density of ideas and frame-shifting, mind-screwing avalanche of sensawunda that I can compare to only a few novels, like Hannu Rajaniemi’s The Quantum Thief or M. John Harrison’s Light. There’s also, through the multiple split by millenia and then decades timelines, somewhat reminiscent of Daren Aronofsky’s The Fountain, but a more apt comparison might be with David Mitchell’s Cloud Atlas, with souls replaying their dances across multiple lives. But these don’t really capture what’s going on at all, either. It’s brilliantly original and creative, heartbreakingly personal and yet epic, fantastical yet with technological elements as well. Fantastic book. (And I haven’t even touched the plot… which is perhaps a bit disjointed, adding to the effect of amazement over the imaginative romping Duncan is doing across myths and history, with a bleak, devastating gut-punch of an ending, with a mouth full of dirt for dinner.) The narration — let me back up. So, this book in its novel form is presented in such a way, told in such a way, that there were doubts as to how well the narrative could be followed in audio. But Clark was fantastic. I’d never heard of him — this looks to have been his first professional narration, which boggles the mind. (It looks like he spent the better part of 2012 narrating a dozen of Steven Brust’s Vlad Taltos novels.) But he was wonderful: carrying Seamus’ Irish brogue, Metatron’s power, gritty when needed, soft when needed. A fantastic audiobook on top of a fantastic book.
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