A small but not slight book, Marie Brennan’s DRIFTWOOD has a great deal to say about memory, loss, and survivorship, and it does so on a stage that is as vast as any in epic fantasy
For STRANGE HORIZONS, Jonathan Crowe praises Marie Brennan’s DRIFTWOOD.
In a genre where length is too often a self-evident virtue, Marie Brennan’s DRIFTWOOD is an unexpectedly small book, comprising seven stories, one original to the book, plus connecting material. But this is by no means a slight book. In around two hundred pages of fairly large type it has a great deal to say about memory, loss, and survivorship, and it does so on a stage that is as vast as any in epic fantasy.
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In the end, DRIFTWOOD isn’t just a clinic on how a small collection of short stories can punch above its weight, or proof that fantasy settings don’t require thousand-page books to elucidate them. DRIFTWOOD has a point to make; and like all arguments, it’s best made with speed, clarity, and force. Brevity is a virtue in more ways than one.
ALMOST, ALMOST agrees.
Each chapter is its own full story, but they seamlessly weave together into a bigger, thought-provoking narrative. I enjoyed this a lot.
The Turkish OKURUN KÖŞESI enjoys the book.
For me, DRIFTWOOD was a very good narrative, interesting fiction book . The feature that impressed me the most was his creative side. Driftwood is such a place that while A Street is hot, B Street right next to it is cold. It can bring the cultures of different worlds together at one point, and so is their magic. A place with changing boundaries can be described as a fluid like water.
Translation from Turkish courtesy of Google
Moreover, this division was reflected in DRIFTWOOD’s narrative. It consists of several parts and there is a reason for that. DRIFTWOOD is actually a few stories , as writer Brennan says on his site, and the book’s merger under one roof was at the suggestion of the publisher.