Search the world's most comprehensive index of full-text books. In Empire of Grass, the second installment of The Last King of Osten Ard (itself a sequel to the Memory, Sorrow and Thorn “trilogy” that inspired writers from George R.R. Martin to Patrick Rothfuss), Tad Williams manages to kick the syndrome through the cure. Empire of Grass is out now! Tad´s brand-new Osten Ard novel, Empire of Grass, is out now in the US and the UK. It is the direct sequel to The Witchwood Crown (2017), Tad´s previous novel in the new THE LAST KING OF OSTEN ARD trilogy. Continue reading →.

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Detail of Michael Whelan’s cover painting for Empire of Grass

When Tad Williams first announced plans for a new trilogy returning to Osten Ard—the setting of his landmark Memory, Sorrow, and Thorn trilogy—after over two decades away, I was nearly euphoric with excitement. Memory, Sorrow, and Thorn is one of modern fantasy’s finest epics, and its influence has rippled through the genre since its release in the late ’80s—chiefly, legend holds it was what convinced George R.R. Martin to sit down and write A Game of Thrones, thus launching a major resurgence of fantasy in mainstream culture.

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The Witchwood Crown (Last King of Osten Ard Series #1)

Paperback$18.00

Memory, Sorrow, and Thorn has maintained a truly impressive legacy, and the release of its sequel trilogy,The Last King of Osten Ard, has given fans and newcomers alike an opportunity to discover (or reacquaint themselves with) the beauty of Williams’ world. The Witchwood Crown, the first volume of The Last King of Osten Ard, was greeted no small amount of excitement by readers. But I admit I also felt some trepidation. How many times—especially in our recent, revival-obsessed pop culture—have fans been burned by creators returning to a beloved setting or series and failing to recapture what made the original so amazing? Williams is a master writer and storyteller, but 25 years is a long time to spend away from the texture, tone, and feel of a beloved series. Needless to say, I shouldn’t have doubted Williams.

The Witchwood Crown was just as sprawling and thematically interesting as its predecessor—not just another adventure in a familiar world, but a new experience enriched by what came before, building upon Williams’ work in a way that elevated the classic trilogy to new heights.

In my review of The Witchwood Crown for Barnes & Noble I said:

Williams’ prose, characterization, and worldbuilding are top-notch, as always… the return to Osten Ard is so seamless, it is difficult to believe that 30 years have passed since the story began. Like Memory, Sorrow and Thorn, The Last King of Osten Ard is shaping up to be an exploration of what happens to people—on a personal, societal, and political level—in the aftermath of war. Williams’ injects [the novel] with the same aged and thoughtful writing that gave the original trilogy its trademark air of melancholy, creating a lovely sense of reverberation for those of us who’ve grown up—and grown old—in this world.

Empire of Grass (Last King of Osten Ard Series #2)

Hardcover$30.00

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When opening Empire of Grass, I was visited by familiar emotions. The Witchwood Crown was so satisfying. Could Empire of Grass continue to impress, or would it begin to retread familiar ground?

Happily for readers, the result is much the same the second time around: Empire of Grass not only meets expectations, but surpasses them in almost all ways. Few authors manage to write a series with as much depth and relevance as Memory, Sorrow, and Thorn once in a career. Williams is two-thirds of the way through doing it twice. [Editor’s note: Fans of Williams’ Otherland, feel free to pipe up in the comments.]

Memory, Sorrow, and Thorn was about the build-up to war, and how that affects people on a personal and societal level. The Last King of Osten Ard is set during the supposedly peaceful years after the war’s end, and via Williams’ trademark ability to weave dozens of themes into a dazzling, multi-layered tapestry, it reveals how a power vacuum and the difficultly of enacting change is anything but sure and safe.

The Dragonbone Chair

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In The Witchwood Crown, we begin to see the unravelling of Simon and Miriamele’s peaceful rule. Though they are benevolent leaders, the lands under their control are not at peace, but chafing at the possibility of greater freedom and independence. Little progress seems to have occurred in the decades since the climax of the original trilogy, and some might wonder at the monarch’s complacency. The Last King of Osten Ard is a portentous title, and Empire of Grass further reveals how Simon and Miriamele’s rule over Osten Ard is perhaps not the start of a new dynasty, but the end of an old story—a transition to a brave new world. Events set up in The Witchwood Crown begin to take more recognizable shape here, and the threat to Osten Ard appears just as dire as it was at the height of Memory, Sorrow, and Thorn.

I’ve long associated Williams’ Osten Ard stories with a feeling of melancholy; something about the slow atrophy of the Sithi and the Norns, and humanity’s fight against time, strikes me as profoundly sad. So often, epic fantasy focuses on the press toward something brighter—the resurgence of a golden past, when things were better and technology or magic were in ascendency. Osten Ard is different. Since the arrival of men and their iron weapons, Williams’ world has been in slow decline. It’s impossible to read Empire of Grass and not notice the way Simon and Miriamele’s peace, so hard-won, is giving way to renewed chaos.

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Like our willingness to turn a blind eye toward climate change, rumors of Queen Utuk’ku’s return to Osten Ard, and the impending invasion of human lands by her army of Norns, are met with apathy, scorn, and doubt by many who would prefer to turn their energies and attentions to personal conflicts. In that way lies only defeat—not a return to a glorious past, but a continuation of the death and destruction that has plagued the land since the first meeting between the Gardenborn and the iron-bearing humans from the west. Empire of Grass is an examination of colonialism’s long, bloody reach, and of how even the greatest empires eventually eat themselves.

It’s remarkable that Williams can add so much volume to a world already as rich and deeply explored as this one—layers upon layers of worldbuilding enriches the reader experience immeasurably, while also seeding questions about the truth of the previous trilogy’s “happy ending.”

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