'In Percheron an old Zar dies and Boaz, the 15-year-old son of Herezah, his Absolute Favourite, takes power. Ambitious and scheming, Herezah arranges for her son's rivals to be disposed of with the help of the loathsome Grand Master Salmeo, and oversees the assembly of a new harem. One of its number is Ana, who enters a world where she wants for nothing ... except her freedom. Ana's only friends are Lazar, the secretive and eligible Spur of Percheron, and a seemingly insane dwarf called Pez. Her attempt at escape after witnessing a disturbing eunuch ritual and undergoing her own brutal Test of Virtue sets in motion forces beyond anyone's control... Even more mysterious is the rising of Iridor heralding a new cycle in the war of faith led by the evil Maliz that will enmesh them all in a deadly battle between gods.'
Source: Publisher's website www.voyageronline.com.au (Sighted 15/4/10)
'Odalisque Ana is resigned to life in Percheron's famed harem and has little more than a blood-soaked veil to remind her that Spur Lazar, the man she loves, is dead. She is closely watched by the scheming Grand Master Eunuch, Salmeo, and the cunning and cruel Valide Herezah. The Valide, unhappy at Ana's influence over the young Zar, contrives a shrewd plan to bring about the beautiful young woman's demise. But greater forces are at work. The demon Maliz has taken the guise of Percheron's Grand Vizier in order to stalk Iridor, the traditional accomplice of the Goddess. And a war is brewing. A long-time enemy, Galinsea, intends to exact a vicious blood price for the death of its crown prince, Lucien, at the hands of the Percherese. However, the only person in the Stone Palace who can undertake the dangerous journey to Galinsea and negotiate for peace is about to die.'
Source: Back cover (HarperCollins 2006)
'In Percheron, Zar Boaz is preparing for the imminent arrival of the Galinsean fleet and it seems inevitable that the realm will be plunged into war. His only hope is to use Lazar as a bargaining chip but it is likely that the Galinseans are past diplomacy. Despite the necessity for him to be in the city for the negotiations, the Spur is determined to travel back to the desert to rescue the abducted Zaradine Ana and bring her home.
'However, finding Ana will not be a simple task. She is being held by the despotic Arafanz and his fanatical followers and as it slowly becomes clear what the presumed madman plans for Percheron, Ana does not know if she is to survive ... and if she is, to what end?
'In the meantime a much larger doom hovers over Percheron that no-one but Pez and his nemesis, the charismatic Grand Vizier Tariq understand. The chaos between the neighbouring realms could become irrelevant when the final confrontation for the region's faith is played out.' (Publisher's blurb)
'Representing rape as wrong, and not avoiding the violence of it, has been the focus of many feminists' work for the past forty years. Various rape theorists have provided deconstructive analyses of how legal and media genres, as well as romance novels and feature films, shape how rape is understood and what it can mean. Fantasy literature is one more culturally powerful genre in which rape is narrated, but this genre has been largely neglected by theorists, and there is certainly room for more analysis of how rape is represented in fantasy fiction, given that the genre is widely read and popular-and, like other popular genres, has some power to reinforce and naturalise, or to challenge, rape culture. Moreover, as fantasy literature is often associated with frivolous escapism, it may be in a position to insidiously reinscribe patriarchal assumptions about sexual violence. If fantasy literature is not taken seriously, if its sexist affirmations of rape culture are dismissed as symptoms of a retrograde genre, then the processes by which it perpetuates rape culture go unchallenged. While most scholarly works about fantasy literature, feminist and otherwise, have surveyed a large number of texts, if we are to take fantasy literature seriously, a closer textual analysis is required. Paying close attention to the way language and narrative structures used by fantasy literature interact with rape narratives in non-feminist fantasy texts, helps elucidate some of the ways narrative can operate to depoliticise representations of sexual violence.'
Source: Publisher's blurb.
'Representing rape as wrong, and not avoiding the violence of it, has been the focus of many feminists' work for the past forty years. Various rape theorists have provided deconstructive analyses of how legal and media genres, as well as romance novels and feature films, shape how rape is understood and what it can mean. Fantasy literature is one more culturally powerful genre in which rape is narrated, but this genre has been largely neglected by theorists, and there is certainly room for more analysis of how rape is represented in fantasy fiction, given that the genre is widely read and popular-and, like other popular genres, has some power to reinforce and naturalise, or to challenge, rape culture. Moreover, as fantasy literature is often associated with frivolous escapism, it may be in a position to insidiously reinscribe patriarchal assumptions about sexual violence. If fantasy literature is not taken seriously, if its sexist affirmations of rape culture are dismissed as symptoms of a retrograde genre, then the processes by which it perpetuates rape culture go unchallenged. While most scholarly works about fantasy literature, feminist and otherwise, have surveyed a large number of texts, if we are to take fantasy literature seriously, a closer textual analysis is required. Paying close attention to the way language and narrative structures used by fantasy literature interact with rape narratives in non-feminist fantasy texts, helps elucidate some of the ways narrative can operate to depoliticise representations of sexual violence.'
Source: Publisher's blurb.