Part of Series
In this long-awaited new novel in The Halfblood Chronicles, fantasy greats Norton and Lackey tell the enthralling story of the reclusive elvenlord Kyrtian, who emerges as a hero in a world torn by politics and war. When his cousin, Aelmarkin, tries to prove that Kyrtian is unfit to run his estate, the plan backfires, and soon Kyrtian, who doesn't share the venal, greedy nature of his cousin, finds himself with more power than he ever wanted. Like his father before him, Kyrtian has always treated the humans on his estate like servants, instead of enslaving them as other elvenlords do. His father's legacy also leads Kyrtian to learn ancient military skills long since lost to elvenkind through the carelessness of the elvenlords. Kyrtian's rediscovered knowledge piques the interest of the current elvenlords, and soon Kyrtian finds himself appointed the new commander of the army, to the relief of his ruling peers. For the sons of the most powerful elvenlords, the Young Lords, have rebelled against their fathers and are waging war. But by taking advantage of both the privileges of his new command and the help of some unexpected new friends, Kyrtian finally gains the resources to embark on his own, personal quest—resuming his father's search for the Great Portal, the magical doorway through which the original elvenlords entered this world. As war rages between some sons and fathers, Kyrtian searches desperately for his own lost father, hoping to uncover not only the mystery of his disappearance, but also the secret behind the origin of elvenkind.
Author
Mercedes entered this world on June 24, 1950, in Chicago, had a normal childhood and graduated from Purdue University in 1972. During the late 70's she worked as an artist's model and then went into the computer programming field, ending up with American Airlines in Tulsa, Oklahoma. In addition to her fantasy writing, she has written lyrics for and recorded nearly fifty songs for Firebird Arts & Music, a small recording company specializing in science fiction folk music. "I'm a storyteller; that's what I see as 'my job'. My stories come out of my characters; how those characters would react to the given situation. Maybe that's why I get letters from readers as young as thirteen and as old as sixty-odd. One of the reasons I write song lyrics is because I see songs as a kind of 'story pill' — they reduce a story to the barest essentials or encapsulate a particular crucial moment in time. I frequently will write a lyric when I am attempting to get to the heart of a crucial scene; I find that when I have done so, the scene has become absolutely clear in my mind, and I can write exactly what I wanted to say. Another reason is because of the kind of novels I am writing: that is, fantasy, set in an other-world semi-medieval atmosphere. Music is very important to medieval peoples; bards are the chief newsbringers. When I write the 'folk music' of these peoples, I am enriching my whole world, whether I actually use the song in the text or not. "I began writing out of boredom; I continue out of addiction. I can't 'not' write, and as a result I have no social life! I began writing fantasy because I love it, but I try to construct my fantasy worlds with all the care of a 'high-tech' science fiction writer. I apply the principle of TANSTAAFL ['There ain't no such thing as free lunch', credited to Robert Heinlein) to magic, for instance; in my worlds, magic is paid for, and the cost to the magician is frequently a high one. I try to keep my world as solid and real as possible; people deal with stubborn pumps, bugs in the porridge, and love-lives that refuse to become untangled, right along with invading armies and evil magicians. And I try to make all of my characters, even the 'evil magicians,' something more than flat stereotypes. Even evil magicians get up in the night and look for cookies, sometimes. "I suppose that in everything I write I try to expound the creed I gave my character Diana Tregarde in Burning Water: "There's no such thing as 'one, true way'; the only answers worth having are the ones you find for yourself; leave the world better than you found it. Love, freedom, and the chance to do some good—they're the things worth living and dying for, and if you aren't willing to die for the things worth living for, you might as well turn in your membership in the human race." Also writes as Misty Lackey Author's website
