Summary: Shard is a gryfon in danger. He and other young males of the Silver Isles are old enough to fly, hunt, and fight–old enough to be threats to their ruler, the red gryfon king. In the midst of the dangerous initiation hunt, Shard takes the unexpected advice of a strange she-wolf who seeks him out, and hints that Shard’s past isn’t all that it seems. To learn his past, Shard must abandon the future he wants and make allies of those the gryfons call enemies. When the gryfon king declares open war on the wolves, it throws Shard’s past and uncertain future into the turmoil between. Now with battle lines drawn, Shard must decide whether to fight beside his king… or against him.
Review: I judge YA novels a bit differently than I judge adult novels. That isn’t to say that I expect less of them; often I find that I end up expecting more, because so many YA novels recycle the same old story elements and tropes that I’m quite bored of by now, so my standards for a good YA novel have gotten pretty exacting over the years. But when it comes to writing style, for instance, there are different expectations for a YA novel than for anything else.
When I first started reading Song of the Summer King, I’d forgotten that it was a YA novel, and so at first the writing style came across as a bit stilted, a bit more juvenile than I’d hoped. It made for an awkward beginning, not because it was badly written, but because my expectations were skewed. I mentioned this primarily because that awkwardness was part of my overall experience, even if I came to realise my error pretty quickly.
But once I remembered that oh, right, different set of expectations at play here, I settled more firmly into the story and started to really enjoy what was playing out on the pages.
Shard is a gryfon in a conquered pride. He can’t remember his father, can’t remember a time before the conquerors came, and he is loyal to the current king, a red gryfon named Sverin. On Shard’s first hunt, he encounters a wolf named Catori, and despite wolves being enemies to gryfons, he listens to her advice and emerges victorious. Shard gains the attention of Sverin, and his place within the gryfon pride seems to be on the rise, but so too is his unease about that place, his past, and the future to come.
It’s rarer to find YA fantasies than it is to find YA urban fantasy or YA dystopias, so I tend to keep my eyes open for this sort of book. Maybe there’s the assumption that secondary-world fantasy just won’t appeal to teens, I don’t know; it sure would have appealed to most of the SFF-loving friends I know when they/we were teens. Extra points for me in this case, because I found four-legged creatures fascinating, so give me an entire book where all the characters are gryfons or wolves? Yes please!
I thought it was interesting the way the author pulled elements from Norse mythology to construct parts of the story. I’m no expert on that particular branch of mythology, but I know enough to recognise a few names and a couple of references to particular myths. That aspect of the story made me even more curious as to how it was all going to play out, especially in future novels. (This is the start to a series I definitely want to see through to the end; unlike a lot of YA I’ve been reading lately, I don’t feel burned out on the subgenre after reading Song of the Summer King, and that’s an increasingly rare occurrence for me!)
It’s a small world that Owen paints in Song of the Summer King, taking place on only a small handful of islands. There are hints at a wider world beyond, but so far Shard’s world is small, limited, a suitable backdrop for a character who learns that he has much to learn. Shard is inexperienced but not innocent; he can fight, he pushes his boundaries, he doesn’t meet the world with wide-eyed wonder but with confusion and aggression and the attempt to figure out how all these new things fit into his worldview. He’s actually an interesting character, a good one for the reader to ride along with, because he’s neither a blank slate nor somebody who just accepts the yoke of destiny that the universe places upon him. He doubts, he refuses, he makes mistakes. And by the end, his character growth is reflected in the world around him; the next part of the story seems like it will involve places much further away than the Silver Isles, and Shard will once again have to grow.
Some of the characters, however, I found a bit two-dimensional. Particularly the antagonists, which amounted to anyone who disliked Shard, really. Halvden didn’t like him because Shard was Vanir, born of the pride that was conquered by the Aesir. Hallr didn’t like Shard for much the same reason. Sverin seemed every inch the cold calculating king, and while Shard himself sought to prove his loyalty, Sverin turning on him was no surprise. It was an inevitable confrontation. Unlike the others, though, Sverin at least had the benefit of being a bit more ambiguous in his approach to Shard, until he let his hatred of the Vanir overtake him. But for the most part, if a character disliked Shard? It was obvious, and you weren’t meant to like them, and they weren’t meant to have any reason that didn’t boil down to general prejudice. That seemed to be the whole of Hallr and Halvden’s characters, really.
For my part, I thought Song of the Summer King was an enjoyable novel, fast-paced and fun and filled with adventure and discovery from an uncommon character. None of the characters here are human, or even humanoid; you’re dealing with a book filled with gryfons and wolves and birds, and exploring what lies between them and unthinking savage animals. Owen has hooked me on Shard’s quest, and I want to spend more time being entertained by the far-reaching adventures of these gryfons. This is a novel to pay attention to if you’re a fan of YA fantasy, and I expect there are quite a few people out there who will enjoy it just as much as I did.