Throne may be a familiar tale, but Ahmed presents it in an unfamiliar way and with uncanny skill. Doctor Makhslood is a dynamic and endearing character, noble of heart and world weary under the burden of his calling. The Doctor is the engine that drives the narrative, and Ahmed brings him to life through a wonderful mix of dialogue and inner monologue. Yet, most important element of his character development is his interaction with the supporting cast.
Through the supporting cast, the Doctor is truly brought to life. Each of the characters complement the Doctor in some way. Raseed’s youth and naivety is a source of constant irritation to the experienced Doctor. Zamia’s nomadic roots contrasts sharply with Adoulla’s educated and urbane existence. Lastly, Dawood and Litaz’s marriage and companionship reveals a missing element of Doctor Makhslood otherwise full life; it reminds him of what he has sacrificed. Yet for all of their differences, the characters are bound by a desire to do God’s work. Out of this arrangement springs the novel’s wonderful dialogue.
The novel’s antagonists are also presented in a nuanced and complementary manner. Orshado is the primary villain, and he typifies his role beautifully. Orshado is a vile man in both mien and manner. Accentuating his aura of evil is the fact that he does not speak, instead leaving this to his supernatural minion Mouw Awa. Orshado is evil’s evil-- alien in motivation to the masses of humanity. Providing contrast to the simplicity of Orshado are the dueling characters of the Khalif and the Falcon Prince. The Khalif is amoral and selfish; his people suffer under his self-indulgent tyranny. Opposing him is the Falcon Prince. He is a man of the people who is filled with righteous fury-- willing to kill, murder and steal in the name of the greater good.
Ahmed’s world-building in Thone is equally fantastic. To simply call it Arabian would be dismissive and overly reductive. Ahmed has brought to bear a studied knowledge of peoples and cultures stretching from Cordoba to Mumbai. Drawing together these threads of inspiration, Ahmed has woven a tapestry whose milieu is both familiar and unique. The setting also integrates into the dialogue with atypical phraseology such as the useage of Auntie and Uncle. All in all, the world-building is well done and refreshing.
Lastly, you cannot ignore Ahmed’s skillful writing. Throne is impeccably crafted. You can feel the obsessive focus on the characters and the plot. There are few extraneous words and even fewer extraneous passages. The pacing is very uptempo and is never derailed by obnoxious info dumps or side stories. The novel isn’t simply all action either; Ahmed deftly layers questions of duty, honor, sacrifice, and faith within the narrative. Gluing everything together is the wonderful dialogue. Each character speaks with a unique voice-- which is a feat given the diverse cast.
There were a few things I disliked about Throne. My biggest complaint lies with the under-utilization of Zamia. I wish Ahmed would have given her more attention, especially after the attack by Mouw Awa. Instead, too much of her interaction seem to happen off scene. Whereas Raseed had his errand for the crimson quicksilver and his accompaniment of Litaz to Yaseer to add nuance to his character. Without a comparable narrative sequence, I feel that Zamia’s character remains underdeveloped. I am hoping this is fixed in the second novel in The Crescent Moon Kingdoms.
Throne of the Crescent Moon is a brilliant debut novel and a great novel by any standard. Above all, Throne is incredibly well written. Saladin Ahmed presents a familiar tale but makes it his own with an unfamiliar setting and protagonist. In addition, Ahmed elevates the traditional sword and sorcery format by weaving in social observations, moral quandaries and emotional costs to the story’s characters. Throne of the Crescent Moon is a great novel, and I highly recommend it.
"Instead of a blissful marriage, he had monstrosities on his mind and a pile of “should haves” pressing down upon his soul."
"No doubt the dervish was twisting himself in knots trying to square the circle of his pious oaths with a young man’s natural reactions, and only half aware he was doing so."
“'Patience, little moon, is a warrior’s virtue,' he would say. 'Your strength alone is not enough. You must have knowledge, too, little rose. And judgment. And, as I say, little emerald, patience.'”
"Matters of state were about hypocrisy as much as anything else."
"Then Doctor Adoulla Makhslood got down on his knees, touched his forehead to the ground, and wept before the woman he would wed."
Image Source: Penguin
Review Copy: Self Purchased