Synopsis
Louis Song is completing his last year of high school in Edinburgh. His world revolves around achieving academic excellence and acceptance to a top university. For Louis, his grades mean everything. But self-doubt and exhaustion plague him as he often studies into the early hours of the morning.
Annwfn is the mystical name of the Celtic Otherworld. It is also the name of Louis’s friend, Anne Engliesin. Anne is brilliant; top of their year, she makes getting perfect grades look easy. And like Louis, who is Scottish-Asian, she too is different, keeping secret that her father was among a group of survivors who escaped the Otherworld and who now make their lives in modern Edinburgh. Her mum’s a native Scot, but her father is a descendant of a mythical people.
An Otherworld demon now seeks to destroy the remaining survivors, and this includes Anne. Icelos, or “Ice” is the personification of nightmares. Only Louis, with his intellect and true heart, has what it takes to protect his friends. But what Louis doesn’t realise is that, in saving the lives of his friends, his stature against the evil of the world grows until his life becomes the greatest prize of all.
At a high level, The Son of Poetry is a conflict between the evil Sluagh and the Aos Si (which is the Irish form for such fae-like beings; I don’t know why Gill did not use the Scottish Gaelic daoine sìth). Caught up in the middle of dark events, teenager Louis Song doggedly works to save the girl he loves.
The right amount of detail anchors a reader, allowing them to live the story with the characters. Unfortunately, the minutiae in this tale slows the pace to a crawl, and much of the ponderous 200,000 word count could have been cut to aid flow. Though the writing holds potential, it is riddled with inconsistencies, often restating the obvious while not providing enough context to prevent non sequiturs. Gill executes many of the slower scenes with well phrased, if unnecessary, description. But when the intensity picks up, the words frequently get in their own way. And while the characters—both good and evil—are quite vivid, I often felt the author was telling me how to interpret them, instead of showing me convincingly.
The sluagh’s mindless cruelty takes center stage, and a stark look at the lowlifes in the underbelly of Edinburgh and repeated f-bombs push the book further towards the graphic end of the spectrum. We seem to spend a lot of time focusing on evil, because we can; meanwhile, many of the more heroic moments feel awkward and sentimental: “If eyes were windows to the soul, then Louis wanted to see into Anne’s, and she stared back into his.” Yet there are page-turning passages, and the scene in which Nym has to coach Louis up a sheer cliff face had me feeling like I was learning to climb right there with him.
The book left me with unresolved questions, and several promising themes fell flat. Singing, for instance, clearly has some connection with magic, but while choral music is often described in detail, this was never tied into the broader story. Certain evil creatures conveniently (and literally) disappear without explanation. The main conflict remains fuzzy, as I never fully grasped the identity of the antagonist, nor his intent in targeting Anne. And though most character arcs resolve, the compelling Chief Inspector Larimore seems left out in the cold.
Nevertheless, readers with an interest in Scotland or Celtic mythology may enjoy this tale of an unlikely hero managing to save the day.
Comments