The Standing Dead (Paperback)

The problem with "Chosen" was, however, both simple and profound: it had little or no plot. It was a wonderful - even grand - canvas, but it hardly moved an inch.

In "The Standing Dead" - the second part of what seems to be a trilogy - Pinto has had to face this drawback by attempting to to drive the story forwards. He's done so bravely, but with less than perfect results.

Essentially, the story in "Dead" takes off where "Chosen" left off: with Pinto's protagonist Carnelian, along with his new-found lover Osidian, being held captive by what turns out to be a simple bunch of slavers. On their way to cash in on their prize, the slavers are attacked by Tribesmen from the Outer Reach (a people dominated by the Chosen and forced to proffer a number of their childern as slaves regularly, but otherwise left generally unmolested). Carnelian and Osidian are then taken by the Tribesmen to their home - the Koppie - where Carnelian becomes enamoured of the local customs, whilst Osidian becomes an increasingly dominating and debilitating force in the local community, slowly destroying their (imagined) rural peace.

The rest of the story follows these lines - Carnelian's basic goodness and Osidian's essential decrepitude being portrayed in equally stark measure - without hardly a single twist (or even an occasional surprising insight) to enliven matters.

What this means is that, in terms of plot, "Dead" is basically a one-way street. You can see what's coming, then it comes. And then it comes again. And throughout, you find yourself wondering, with increasing puzzlement, why Carnelian (or anyone else you may care about, for that matter) doesn't simply *do* something, instead of letting all hell slowly settle around them.

Given "Chosen's" weakness (style over substance, vision over plot), this is not that surprising. Whilst Pinto does try to provide a better storyline this time round, he's still struggling. He's great at painting portraits, at depicting static visions - but he's still not good at action. In fact, he doesn't seem to understand the concept all that clearly: "Dead" hardly contains a character that seems alive - that appears capable of moment of his or her own accord. To put it another way: Pinto's moulding his cast to fit his vision, instead of allowing them to embody that vision themselves. And, more strongly than in "Chosen", the vision we're talking about is ultimately one of horror: this book doesn't end on a happy note, to say the least.

That ending, by the way, reminded me of a combination of "Heart of Darkness" and just about any good modern-day horror story you might like to come up with (Stephen King's Pet Semetary, for example). And it must be said that Pinto pulls this off with considerable skill; it is in the closing chapters that his undeniable writing skills combine with his subject material and he manages to create something very memorable.

Still, a capacity for convincing and intelligent horror is, in itself, perhaps insufficient for being a great fantasy author. And since Pinto has embarked on what can only be judged as an epic fantasy, he should be judged along those lines.

In my view, in "Dead", he is yet found wanting, despite obvious and enviable talents. Perhaps the next (and final) volume will re-address this, perhaps not. Assuming that it will conclude this story, it should, in any case, answer many questions.

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As Osidian heals in mind and body, he becomes angry with those who betrayed him. He seeks vengeance and realizes this tribe is the first cannon fodder tool to succeed. Carnelian tries to talk him out of it as he enjoys his new lifestyle and just wants to live in peace. However, the charismatic Osidian begins rallying the impressionable young around his cause while Carnelian attempts to stop the rising tide.

As he did in his first book THE CHOSEN of the Stone Dance of the Chameleon trilogy, Ricardo Pinto paints an extremely complex world filled with deep social systems. The varying races and tribes seem so authentic and the Masters come across as the ruling God-like upper caste. Though it helps to read the first novel because the audience will have a greater understanding of the predicament that the lead couple face at the start, fans of violent barbaric fantasy that hides nothing will appreciate the middle endeavor.

Harriet Klausner

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As is typical of a fantasy trilogy, this is the middle of the action. There are rules to typical fantasy:
#1: Don't read it without reading the first.
#2: Don't expect what happens in it to be unresolved at the end, and don't expect the first's issues to be resolved at all or even addressed by the end of the second. The second book of a trilogy is about character development, not about plot advancement: it is thus, and ever has been since Tolkien.

Did I enjoy this book? Overall yes: I'm buying a copy here, despite having gotten a British hardcover of it a year ago, and despite having bought a copy of that for the friend who introduced me to the first book, as well.
If you aren't any of the people I said shouldn't pick this book up, you'll probably enjoy the heck out of it. But read the first book (The Chosen is its title) first. Read them sequentially.

I can't stress that enough.

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