Already in the first book (Melusine), it seemed to me that Monette read and liked Pratchett, perhaps not a usual trait in her type of genre. Focussing on labyrinths instead of prophecies and gods was also well done.Just like both male protagonists are said to nearly look the same, the second novel features a reversal of positions that makes it basically the same story again, featuring a sick one and a strong one. Mildmay's memories, seeming so pointedly more positive than Felix's though they both had been kept-thiefs, now openly show to have been just the same abuse, even down to the sexual.I found it hard to accept that Felix will never actually be shown exuding that magical charm the author keeps telling me about, but this time round Mildmay has the girly rejection feelings.And Felix is a shitbag to him, out of guilt and other notthatbad stuff, but it's worse than when he was wrongly afraid of Mildmay on the forward journey. The lovely side of this is whenever he realises how ugly other people see his bro, who is beautiful to him even though he also put him down about his grammar and style.The supporting characters are interesting.Amongst the bad things is Felix having sex with a sunling (and later he'll be with Gideon), and Mildmay having to ignore it. BUT, and I'm not sure if that doesn't make it worse, we only ever see his bad sex, when he's forced and repelled by other men, we never get Felix's pov when he has sex that he wants.As in book one, the magic keeps being basically not there; they are plagued by diseases of the body and the mind, physical and mental scarring and crippling. And the magic isn't even helping mend bones or anything useful at all ever!I saw that the third novel features the pov of the woman on the cover, and the fourth has such an ugly cover I shudder to think, but now that both guys feel the attraction I am hooked again, a stupid fish not finding anything but critical points, but not disliking it at all. :)About a third way in, I really liked it. F and M are together, there's UST and woe, but mainly them together makes it good. Of course I kinda loved Mildmay for a long time, what with being adorably misunderstood heroic scarred not-woobie. I also want the cover, the only one of the series I like - book one was half-cliché (and still not enough much too manly for skinny femme Felix) and the fourth makes me puke with it's macho muscles, but this one looks lovely and is OOP all over the world.I wasn't surprised they meet not just Gideon but also Marvortian and Bernard again, and just as there seems a little more description in the novel in general, the torture of these guys is actually horrible, like the raped female ghosts and unlike Felix's fate in book 1 (according to author and friend, I'm not normal in that respect though). I liked Gideon only when he's not paired with Felix, but that's even more inevitable once he's crippled! *gnaws frustratedly* Bernard was always oddly appealing. Another mirroring of F&M? The adventure segment of Mildmay risking his neck a third time for Felix's acquaintances had me quivering for him. (Thinking of those tiresome heroes that fight with bullets in them, and him still so crippled and torn, I find the only solution in men complaining much more about hurts, ie. that he's not really that cut-n-banged up; but he's in so much terrible pain constantly and he keeps being sent in and up and out and down)I'm not sure why they needed the obligation d'ame as well as the many other bonds that already connects the men (well, the plot/arc needs it *g*), but at least it offers more guh and cringe and gives that misleading intro another reason. Mildmay's thoughts, shame nobody really ever hears them, yes, and the self-critical irony, but then I also hope his convincing refusal to have no desire to fuck him is because he's been fucked over, and loving another man so deeply is just a better way of molly anyway.What I said about sex scenes changes once Felix takes Gideon as his lover, which he did partly in reaction to M calling him out about what he'd done to Mildmay. And how much sexier the brief scene here is than in SGA fic where R was tongueless (though in book 3, Monette/Felix claims he does not like the warm emptyness that clearly arouses him here).So for the next couple hundreds of pages, I just liked it. The American author annoyingly keeps having people ask each other "how are you/are you okay" and replying "I'm fine" but otherwise I just keep following in hopeful anticipation.But of course in the last fifth, after Mildmay helping Felix immeasurably, he sends MM out against the lethal Vey, after all the other horror he had sent him into, all the danger, unflinchingly - and with all that love it's odd he never grasps what he asks there. Felix seemed worried about MM at times, but not at all at these lethal moments, and I was so scared for Mildmay, never mind dying, that's not the point. Worse though than even that is how it makes it seem possible the woman gracing the cover of book 3 and getting her own pov will end up MMs partner. As cool as she turned out to be, it is breaking my heart, after I had grown some hope again. *hurting*I didn't cave in and skim ahead to avoid MMs capture, nor was it impatient anticipation of something good - I had to skim fastforward just to make sure Felix would get out of St. Crelifers again where, instead of fucking following MM, he'd let himself be dragged by Robert for no reason, after days of sitting around stupidly. Yes, I really want to hit Felix a lot and often :)Finally they are going to rescue the kidnapped Mildmay who usually does the rescuing, and on the occasion of his - not revealed - torture I want to note that I always suspected that MM might have been drilled into heterosexuality by his Keeper. His two cell mates, damaged as they are in mind and body, are still hilarious. I'm torn between shaking terror for MM again (yes, I know he won't die! and that Monette's tortures are usually not graphic) and laughing at them and their relationship to him. Oh yes, Pratchett. And then MM thinking he's no good at thinking anyway, and my heart always aching for him so. And at the apex of me going aaawww Mehitabel and him have loving sex and all my hopes seem crushed again (just not until I get book 4) - and even that is a lie, because M really makes it about affection and helping MM and gnnnnnnnnn Mildmay, damn you!I spent the next days feverishly failing to get my hands on Mirador, unwilling to trawl reviews, afraid of the implications of Bear's words about gay+straight m/m and of the lack of mention of Mildmay's torture in the first chapters of Mirador, which skips two years of different steady lovers - never before has my whole opinion of books depended solely on the outcome, but it reflects on and changes everything. Either this is one of my favourite books ever, or a coldly calculated prick-tease, random accumulation of pointless little episodes - here's hoping!
Picking up where we left Felix Harrowgate and Mildmay in the previous novel Melusine, we find the two brothers recuperating in the care of their mother’s people in the Garden of Nephele. But whereas Felix is regarded as an honoured guest, Mildmay is treated more like a prisoner, mistakenly considered the vicious monster responsible for Felix’s extensive and long term injuries.Once more or less recovered, they eventually decide to make their return to Melusine, facing more dangers, picking up more travelling companions and encountering former ones; including Gideon and Mavortian von Herber. When back in Melusine and the Mirador, Felix seeks to repair the Virtu, which involves him and Mildmay along with their companions in a serious of further adventures, puzzles and magic, and more encounters with the evil Malkar. As before our two heroes, Felix and Mildmay, are troubled by questions of trust, loyalty, intrigue and ambitious self interest. There is also much greater reliance on magic and delving into wizardry than previously, and some rather complex theorising on the significance of labyrinths.Most interesting is the developing relationship between Felix and Mildmay. Felix knowingly true to himself is unable to conduct himself with anything other than arrogance and pride, while Mildmay devotedly and obediently remains loyal to his older brother. Even when Mildmay becomes aware of Felix’s sexual desires for him he does not loose respect for Felix, and while Felix promises not to rape him, his ambitions in other directions do not prevent him from taking advantage of Mildmay in order to achieve his goal. Despite their faults, the two brothers remain very appealing. Felix for all his pride induced inhibitions, truly loves Mildmay and recognises his brother’s abilities and devotion even if unable to express these feelings verbally. Mildmay becomes even more endearing with his selfless dedication to Felix and others and his unassuming manner; he constantly regards himself as dumb and stupid, while his actions, insight and abilities clearly prove otherwise. The positive conclusion, apart form whatever else is achieved, leads to the conclusion that both Felix and Mildmay have learned a great deal about their relationship, and may even find ways to move forward. We may yet learn as there is a third book in the series, The Mirador, to be published during 2007, which I, along with many others I am sure, eagerly await.
What do You think about The Virtu (2006)?
This is the sequel to Melusine. Renegade wizard Felix Harrowgate has regained his sanity but is hated, feared and scoffed at across two continents because of his dark past, madness and most recent betrayal, in which he inadvertantly broke the Virtu, the magical core of the Mirador. With his half-brother Mildmay in tow, Felix treks back to the Mirador, where he intends to fix the Virtu. Now that Felix is sane again, the reader can get a much better grip on his personality. I find him to be a very dynamic and exciting character, especially in contrast to Mildmay, who mostly just sounds like Eeyore. (I like the brother equally, but I am getting tired of the setup of: Felix does something thoughtlessly cruel or mercilessly expedient. Mildmay is thus forced into physical or mental pain. All the characters pity Mildmay. Mildmay says, "no no, I deserve it and besides, I love Felix so." Repeat ad nauseum.) As in Melusine, the plot progresses in fits and starts; there are long periods where nothing happens followed by GHOULS ATTACK or PRISON BREAK! Some parts I slogged through, while others I couldn't read fast enough. I look forward to the next book.
—Wealhtheow
A year ago, Felix's magic was used to destroy Mélusine's magical focus the Virtu, and left him mad. Now Felix has been cured, but has no memory of the past year; Mildmay has been left crippled, and the Virtu still stands in ruins--except that Felix intends to repair it. The Virtu is a direct sequel to Mélusine, benefiting from that book's preexisting worldbuilding--still a densely original setting, now less heavyhanded and overwhelming--and building a better-balanced and utterly successful story. Mélusine was Mildmay's book, but The Virtu belongs to Felix, an equally flawed, strongly defined, and powerfully voiced character. This series has a deceptive aura of fanfiction brought on by an intense, psychological focus on complex non-normative relationships--it's id-level writing, tending towards indulgence but too finely wrought, and I love it. The plot can be uneven, coincidence-heavy and occasionally rushed, but these two first books can be read as a complete and satisfying duology--and the character and relationship arcs are consistently superb. It's rewarding to see an author and series improve so distinctly: every strength of Mélusine persists, and The Virtu capitalizes on them to move forward with finer craft and balance. It can't stand alone, but I now recommend the series without caveat and look forward to seeing where it goes from here.
—Juushika
Sarah Monette, The Virtu (Ace, 2006)Monette returns to the rich, detailed world she created in her first novel, Mélusine, for a sequel. And while it's a bit slow out of the gate, a fine sequel it is indeed. Monette expands on some of the stuff that seemed, in the first book, as if it had been for worldbuilding and color more than anything, giving this a more cohesive feel with its predecessor than many sequels. I like that in a book. Quite a lot, actually.We open not long after the conclusion of Mélusine, with Felix and Mildmay still overseas and still not liking each other too much. Felix's research has led him to the possibility that he may, in fact, be able to undo the shattering of the Virtu, the central event of the first book, and one in which he was an unwitting participant; Mildmay is just plain homesick. In any case, the two of them decide to head back to the City of Wonders, as perilous a journey as that may be. But Felix's recently-shed madness is always sitting in the back of his head, waiting to be roused, and his fear of deep water means that crossing the ocean this time is going to be even worse than it was before. And then, of course, there's the fact that pretty much every wizard in Mélusine would be more than happy never to see Felix again...That tells you almost nothing, but I can't get into a lot of it without hitting spoilerville. (I implore you not to read the jacket synopsis before reading the actual book, as it reveals what I'd consider a major spoiler.) Monette's world holds up for another novel, and is just as detailed and fantastical, in the classical sense of the term, as it was the first time. She also employs techniques that usually drive me up the wall (such as character A not saying something that, were it said to character B, would avoid a lot of mess) in subtle enough ways that they actually work here. As for the characters themselves, my only real problem is that a bit more of a refresher on some of the characters from the earlier novel would have been welcome (though I know all too well how easy it is to go overboard with that sort of thing, viz. Terry Goodkind's last seven Sword of Truth novels). Can't fault Monette for her character-writing abilities, however. For two guys who probably moonlight in romance novels, Felix and Mildmay are engaging characters, and Monette gets the balance of similar and different between the half-brothers dead on. The minor characters are for the most part three-dimensional as well, though a few of them do seem to exist just to advance plot points (Shannon, in particular, has struck me this way in both novels). As for the plot, well, Monette keeps her foot on the gas the same way she did with the last book, and “exciting” is the least enthusiastic word I can come up with for what all goes on on this book. It is a touch episodic, though all road novels have that feel to them by definition, but that's a minor thing at best. This is fun, fun stuff, and if you haven't picked up Mélusine yet, I urge you to do so pronto, and then continue on to this one. *** ½
—Robert Beveridge
