Brisingr (Inheritance, Book 3) (The Inheritance Cycle)

Brisingr (Inheritance, Book 3) (The Inheritance Cycle)
by Christopher Paolini

Brisingr (Inheritance, Book 3) (The Inheritance Cycle)
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Book Summary Information

Author: Christopher Paolini
Brand: Alfred A. Knopf
Edition: Hardcover
Audio: English (Unknown); English (Original Language); English (Published)
Published: 2008-09-20
ISBN: 0375826726
Number of pages: 763
Publisher: Alfred A. Knopf

Book Reviews of Brisingr (Inheritance, Book 3) (The Inheritance Cycle)

Book Review: "...events have been dark and bloody of late."
Summary: 2 Stars

I'm not your typical Eragon basher. I find the professional Eragon detractors tiringly obsessive, and every time someone clogs up a message board with another hey-this-is kinda-like-Star Wars post he's SURE is pure unprecedented genius insight, I'm certain an angel loses his wings.

Unfortunately, the series is growing into the complaints. Paolini does have talent, but his sales figures and incredible life story have seemingly allowed his manuscripts to go unchecked, and his writing flaws are getting worse, not better.


Three major problems with "Brisingr":

1) It's way too violent. It opens on a group of fanatics who slice off their own limbs to prove their faith, whose rituals we observe in loving detail. (The head priest has lopped himself down to just a torso.) We soon continue to a torture victim whose eyes have been pecked - eaten - out of his face. "Gore" is Paolini's favorite word, particularly when it is "smeared" on something, and we get endless graphic depictions of Roran's hammer smashing an enemy soldier's skull/throat/arm/spine, its owner rejoicing in the carnage. I don't expect war to be bowlderized, but the book revels in charnel for its own sake and is too bloody for readers under thirteen.

2) Eragon has become a bit of a sociopath. A reunion with one of his childhood bullies - who's just been through horrific torture - becomes a control-and-humiliate fantasy that's disturbing. When the typically closed Arya touchingly recounts her love's recent death and how it stole all joy from her world, Eragon's heart is unmoved; he feels only irritation and jealousy, fuming that he will "not be discouraged in his suit". (Has he been reading "The Game"?) The book's ruminations on the morality of killing reach only the uninspired conclusion that it's unavoidable in war, and we're thus meant to take a certain satisfaction when Eragon joyfully dispatches even those ordinary men forced into service by Galbatorix. I guess the debate was meant only to free us from our nagging moral reservations.

As in "Eldest", Eragon's praised to high heaven by every single soul, given credit for every achievement. At points, the book seems to have other characters only so that they can sing of their inferiority to its shining star.

3) As nearly every other commenter has noted, it's too bloated, with deadly pacing. Galbatorix's nightmarish Ra'zac servants are dealt with early, leaving Eragon to dither with rebel leader Nasuada and go off on a few preparatory errands for about 600 pages. (A 200-page detour into dwarf politics is particularly deadening.) We keep waiting for the meat to arrive, for some crisis or confrontation, and (save for a quick and inconsequential early battle with Murtagh) it never comes. There is no real climax, save for the easily-accomplished sacking of one city and a death we all long saw coming, albeit not in such meaningless circumstances.

The lack of individual voices in the story makes things drag all the more; every character has an identical manner of speaking, all bloviation and overexplanation in high-fantasy Olde Englishe. Paolini too often substitutes scads of meaningless proper names for the little moments that make bring a fantasy world to life.

A few of those moments slip through, though, like the dotty old man who roosts in the majestic ruins of a half-toppled, tree-like tower, harvesting peas. Or when Arya, on a whim, braids a miniature ship from wild grasses and breathes into it magic that will allow it fly for perpetuity; Eragon wonders what stories people will tell of it in the years to come. I laugh at the self-important magicians' society Du Vrangr Gata, whose study of the ancient language is not as complete as they think and whose name therefore translates into the Alagaesian equivalent of Engrish. I like the atypically crusty elven smith, intolerant of how "too polite, too refined, too precious" her Tolkien-influenced race has become, or the touches of culture (family totems, bedtime stories) Paolini has given his orc race. For those who like dragons, Saphira's a sparkling specimen.

And there are *dwarf ninjas*. That's gotta count for something, with someone.

My point is that the books need less Gary Stu carnage and more gems like these. Show us why this world is worth fighting (and fighting and fighting) for.

And we need some actual change to come out of all these pages. Roran's love soothes his anxiety over his battlefield casualities by opining that he'd be evil only if he actually enjoyed killing. Later - whaddaya know - Roran DOES come to love killing, quite enthusiastically, but the book forgets to look at him any differently. Eragon makes a few crucial mistakes in dwarfland due to arrogance and petulance, but he is still lavishly praised from here to Valinor. Nasuada endures a (naturally) bloody duel for leadership of the rebel faction, yet she is viewed no differently by her people afterward. Murtagh's horrific tragedy, the king who hosts the rebel Varden yet resents being pushed to the sidelines in his own country, the new hot elf guardsman who's really a lion-type furry and whose musk gets all the females...er, in heat - nothing comes of any of it. (The waste of Murtagh, who now apparently exists only to be ruthlessly dispatched, is particularly criminal.) C'mon, Rowling introduced and destroyed seven whole Horcruxes in the same space! Pick a story and develop it!

Also, are we gonna SEE Galbatorix before this series ends? There is an evil EMPEROR in this evil empire, correct?

Enough sarcasm, though. Again, it's senseless to waste your life hating these books as some do, all anti-Shur'tugal; better simply to move on to other stories. Myself, I just wish someone would guide Paolini - edit him down, focus him - so the rest of us got more out of his talent.

Summary of Brisingr (Inheritance, Book 3) (The Inheritance Cycle)

OATHS SWORN . . . loyalties tested . . . forces collide.

Following the colossal battle against the Empire?s warriors on the Burning Plains, Eragon and his dragon, Saphira, have narrowly escaped with their lives. Still there is more at hand for the Rider and his dragon, as Eragon finds himself bound by a tangle of promises he may not be able to keep.

First is Eragon?s oath to his cousin Roran: to help rescue Roran?s beloved, Katrina, from King Galbatorix?s clutches. But Eragon owes his loyalty to others, too. The Varden are in desperate need of his talents and strength?as are the elves and dwarves. When unrest claims the rebels and danger strikes from every corner, Eragon must make choices? choices that take him across the Empire and beyond, choices that may lead to unimagined sacrifice.

Eragon is the greatest hope to rid the land of tyranny. Can this once-simple farm boy unite the rebel forces and defeat the king?
Tad Williams and Christopher Paolini: Author One-on-One

Tad Williams is the New York Times bestselling author of several epic fantasy series. He lives in California.

Tad Williams Read on for Williams and Christopher Paolini's discussion about why they write fantasy, their upcoming projects, and more.

Tad: Hi, Christopher. Nice to talk to you, albeit virtually. It was great hanging out with you and your family this summer. Pretty much all of us fell in love with your part of the world, too.

Be warned: this isn't my best time of the day, so if I start calling you "Herman" and asking what it was about whaling that interested you, please forgive.

The first thing I'd like to ask you as a starter question is: why fantasy? I mean, there's the obvious answer (which is also true for me) that it was something I loved to read growing up, but I guess I'm curious what is it that still resonates for you. Why do these kind of stories, these kinds of characters, these kinds of worlds, still speak to you?

In a similar vein, do you have another kind of fiction, another genre, that you'd really like to try? If so, why? Any genres you think you'll never write but wish you could?

Christopher: Hi Tad. Great talking to you as well. We all had a wonderful time when you guys visited. Definitely one Of the highlights of the year.

I'm still waking up as well -- takes a few cups of tea and a few strips of bacon before the little gray cells start firing properly -- so if I sound a bit muddled, that's why. Still, we can make a stab at coherency, eh?

Christopher Paolini Hmm. Why do I write fantasy? As you said, it's because I enjoy reading it, but I enjoy reading it because . . . well, for a number of reasons, I suppose. First of all, fantasy allows for all sorts of dangerous situations, and those can provide a lot of excitement in a story. And excitement is always fun. Also, epic fantasy usually deals with themes and situations that everyone can relate to, such as the challenge of growing up, or how one is supposed to deal with moral quandaries. Fantasy is the oldest form of literature; the very first stories that humans told while crouched around campfires were stories about gods and monsters and tragic mistakes and heroic feats. Even now, those topics still resonate with us on a primal level, which is one reason I think fantasy will remain popular with readers as long as humans are still human. And I love the sense of awe and wonder one can often find in fantastical literature. . . . Fantasy can allow you to see and hear and experience things that have never existed and never *could* exist. To me, that is the closest we come to real magic in this world.

That said, there are a number of other genres I'd like to try my hand at: mystery, thriller, horror, science-fiction, romance, etc. I love stories of all kinds -- although mythic ones certainly hold the greatest appeal to me -- and I'm very much looking forward to experimenting once I finish the Inheritance cycle. Any genres I think I'll never write but wish I could? . . . Probably long-form epic poetry or a witty comedy of manners. Poetry is fun, but my grasp on it is rather shaky, and a comedy of manners (while I enjoy them) is so different from my usual life, I'm not sure I could pull it off properly.

And now a question for you: You have just finished your third (large) series. What is it about big epic stories that so fascinates you? Why not write small, intimate books about a fishmonger whose greatest love is his toothpick sculpture of the Brooklyn Bridge?

Read the full conversation

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