Item: We Are the Crisis (Convergence Saga #2)
Rating: 4
Author: Marlene Harris

Review: We Are the Crisis by Cadwell Turnbull

We Are the Crisis (Convergence Saga #2) by Cadwell Turnbull
Narrator: Dion Graham
Format: audiobook, eARC
Source: supplied by publisher via NetGalley
Formats available: hardcover, large print, ebook, audiobook
Genres: fantasy, horror, science fiction, urban fantasy
Series: Convergence Saga #2
Pages: 338
Length: 9 hours and 7 minutes
Published by Blackstone Publishing on November 7, 2023
Purchasing Info: Author's Website, Publisher's Website, Amazon, Barnes & Noble, Kobo, Bookshop.org, Better World Books
Goodreads

In We Are the Crisis—the second book in the Convergence Saga from award-winning author Cadwell Turnbull—humans and monsters come into conflict in a magical and dangerous world as civil rights collide with preternatural forces.
In this highly anticipated sequel, set a few years after No Gods, No Monsters, humanity continues to grapple with the revelation that supernatural beings exist. A werewolf pack investigates the strange disappearances of former members and ends up unraveling a greater conspiracy, while back on St. Thomas, a hurricane approaches and a political debate over monster’s rights ignites tensions in the local community.
Meanwhile, New Era—a pro-monster activist group—works to build a network between monsters and humans, but their mission is threatened by hate crimes perpetrated by a human-supremacist group known as the Black Hand. And beneath it all two ancient orders escalate their conflict, revealing dangerous secrets about the gods and the very origins of magic in the universe.
Told backward and forward in time as events escalate and unravel, We Are the Crisis is a brilliant contemporary fantasy that takes readers on an immersive and thrilling journey.

My Review:

This book is a monster. The kind with tentacles that slither into the sort of places where even fools’ hindbrains stop them from rushing in and angels rightfully fear to tread.

There are also monsters in this book, because that’s the premise behind the entire Convergence Saga, which began with No Gods, No Monsters. Which is both a play on the old anarchist slogan, “No Gods, No Masters.” as well as part and parcel of the whole mind screw of the series so far.

Because there are certainly people acting monstrously on both sides of the human/monster divide.

That divide was made apparent in that first book, as the ‘things that go bump in the night’ walked out of the shadows and confronted a line of cops who got scared and/or trigger happy and killed them all. Even though that particular set of monsters, werewolves one and all, did nothing overtly threatening. They merely threatened the human belief that garden-variety humans were at the top of the food chain.

Which they were suddenly and obviously not.

We Are the Crisis continues the exploration of a universe where at least some of the creatures who have always walked among us have come out of the monster closet and in a bid to live their lives openly among us. (Also, it is very much a continuation that expects the reader to have already been introduced to the multiple threads of this story in No Gods, No Monsters. In other words, start there, not here.)

Some humans are afraid, and some of those who are afraid are acting out of their fear in the most monstrous way possible. But isn’t that exactly what humans do?

But it’s not just about this world, and that’s where the story picks up its tentacles and shakes them at the reader along with shaking the reader’s view of what is going on and where it’s going on at and who is pulling the strings and the levers.

Because this is a story of the multiverse, one where the monsters are emerging on multiple worlds, generally with catastrophic results, at least for themselves. Those worlds are converging – and so are those catastrophic results.

And that crisis? It’s spreading, from one to another, like a multiverse-wide case of the plague. One that everyone is going to catch – unless someone, some monster, finds a better way. Even though they’ll more than likely die trying.

Escape Rating B+: The story so far, with the separation of its many and various threads and its detachment from its characters, reads like a kind of fever dream. Or at least it feels that way when read by its marvelous narrator Dion Graham.

I’ve listened to both books in the Convergence Saga, and Graham’s voice always hypnotizes me. He gives a terrific performance the perfectly matches the laid-back nature of the storytelling, ashe voices the character who stands outside the story and observes all the crises as they occur – and relates those crises and how they got there to us.

His narration carried me through points and places where even when it was clear what was happening in the moment the way it all fit together was totally obscured, which is exactly the way the story was being told – amidst not one but multiple fogs of a war yet to come.

(Full confession, I would cheerfully listen to Dion Graham read the most boring book in existence and I’d still be utterly enthralled. However, at least so far, the Convergence Saga has been anything BUT boring. Confusing at points, but never, EVER dull.)

Part of what makes this story so compelling is its blend of commentary about the real present with the historic paranormal with the outright fantastic. The treatment of the monsters and the meteoric rise of a well-funded organization to put them down has entirely too many parallels to both history and the present for that to be coincidental, and it makes the treatment of the so-called monsters just that much more chilling because it is just that much more real.

At the same time, there’s a dawning revelation that is easy to overlook – particularly in audio because the references to it flash by so quickly – that although the same kind of thing is happening to all these people – it’s not happening in the same universe. That the woman who met – and disliked – the real Aleister Crowley isn’t part of the same history as the woman who was mentored by a vampire which isn’t the same universe as the man who detaches from his world to view all the others.

So that crisis, which at first feels like it’s happening very fast and all over, diffuses across multiple worlds and then draws itself back in again. Just in time for what looks to be a resounding cataclysm that will hopefully be resolved in the third book in this projected trilogy.

Readers, including this one, will certainly be on tenterhooks waiting for that final book, because this story – and this crisis – is far from over.

Review: The Wager: A Tale of Shipwreck, Mutiny and Murder by David Grann

The Wager: A Tale of Shipwreck, Mutiny and Murder by David Grann
Narrator: Dion Graham
Format: eARC
Source: supplied by publisher via Edelweiss, supplied by publisher via Libro.fm
Formats available: hardcover, paperback, large print, ebook, audiobook
Genres: history, nonfiction, true crime
Pages: 352
Length: 8 hours and 28 minutes
Published by Doubleday Books, Random House Audio on May 11, 2023
Purchasing Info: Author's Website, Publisher's Website, Amazon, Barnes & Noble, Kobo, Bookshop.org, Better World Books
Goodreads

From the international bestselling author of KILLERS OF THE FLOWER MOON and THE LOST CITY OF Z, a mesmerising story of shipwreck, mutiny and murder, culminating in a court martial that reveals a shocking truth. On 28th January 1742, a ramshackle vessel of patched-together wood and cloth washed up on the coast of Brazil. Inside were thirty emaciated men, barely alive, and they had an extraordinary tale to tell. They were survivors of His Majesty’s ship The Wager, a British vessel that had left England in 1740 on a secret mission during an imperial war with Spain. While chasing a Spanish treasure-filled galleon, The Wager was wrecked on a desolate island off the coast of Patagonia. The crew, marooned for months and facing starvation, built the flimsy craft and sailed for more than a hundred days, traversing 2,500 miles of storm-wracked seas. They were greeted as heroes. Then, six months later, another, even more decrepit, craft landed on the coast of Chile. This boat contained just three castaways and they had a very different story to tell. The thirty sailors who landed in Brazil were not heroes – they were mutineers. The first group responded with counter-charges of their own, of a tyrannical and murderous captain and his henchmen. While stranded on the island the crew had fallen into anarchy, with warring factions fighting for dominion over the barren wilderness. As accusations of treachery and murder flew, the Admiralty convened a court martial to determine who was telling the truth. The stakes were life-and-death—for whomever the court found guilty could hang.

My Review:

Fiction has to be plausible, while nonfiction just has to be true. The story of HMS Wager – or more properly the story of her doomed voyage, disastrous wreck and the against all odds recovery of even a fraction of her crew – is so far over the top that we might not accept it as fiction – except possibly as sheer horror. That this voyage, and all of the extremes the crew passed through and even survived in the tiniest part, really happened carries the reader forward with them even when the conditions are so harrowing that many will want to turn their eyes away.

But man’s inhumanity to man – even without the type of disastrous conditions the crew of the Wager endured – is an oft told tale and not just of the sea. What carries this over the top is its denouement. Not just that some survived to be rescued, but that of those survivors, only ten men out of the original company of nearly three hundred lived to tell the tale. And they all seemed to tell entirely different tales, each attempting to justify their actions after the ship wrecked off the coast of present-day Chile.

The Wreck of the Wager, the frontispiece from John Byron’s account

The crew of the Wager mutinied after the terrible wreck. The Captain wanted to go forward with their original mission, in spite of having lost, at that point, 2/3rds of his crew, his ship, and quite possibly both his authority and a piece of his mind. One natural leader, the gunner John Bulkley, had a plan for navigating the Straits of Magellan in one of the smaller boats remaining to the castaways. Bulkley had drive, the trust of more of the men, a plan and a clear direction for safety, while Captain Cheap only had waning authority and wrecked trust.

Bulkley and his contingent sailed east. Cheap and his loyalists sailed west. Both returned home, with vastly differing accounts of the terrible events that took place on what the castaways had dubbed ‘Wager Island’. The court martial should have been epic – and it should have decided the truth – or at least a truth – for posterity.

But the jury on precisely what happened on Wager Island, whether the mutiny was justified or was even, technically, a mutiny at all isn’t even out because it never went in. The Admiralty chose not to pursue any of the possible charges against anyone who returned, outside of assigning blame for the wrecking of the Wager herself. Not because there were no charges to answer, but because those answers would have shot cannonballs through the British Navy’s reputation and its justifications for its so-called ‘civilizing’ conquests that do not hold up to the light of day now.

And clearly didn’t then, either, even if the Admiralty refused to acknowledge it.

Reality Rating A: The Wager is a terrible story told terribly, terribly well, made even better by the excellence of the voice narration by Dion Graham. His voice carried me through a story that, while compelling, was so very dark – all the more so for being a true story – that I would have turned aside without him.

There are three parts to The Wager’s epic narrative. It begins with the runup to the expedition that HMS Wager was intended to be a small part of. It reads as doomed from the beginning, an endless delay of money and bureaucracy, intending to be a salvo in a made-up war (the War of Jenkins’ Ear). The mission as a whole ended in a kind of pyrrhic victory, but by then the Wager had long since wrecked.

The heart – and heartbreak – of the story is in the conditions on Wager Island. Conditions that quickly break down into a chaos of failed discipline and desperation that recalls The Lord of the Flies. Not that conditions aboard HMS Wager weren’t desperate before the wreck, but the privation they had already experienced made the starvation, madness and despair while castaways just that much more difficult to bear.

As I listened to Dion Graham’s marvelous voice, the story kept building and building its recital of how truly awful the situation was, to the point where it reminded me of the privations described in Emma Donoghue’s Haven – without nearly as much reference to religion or G-d. By the time they left the island, there was no G-d to be found – no matter how much Bulkley searched for one.

What fascinated me was the rescue – or rescues as it turned out – and just how much the story morphed and changed when exposed to the light of ‘grub street’ journalism. There is very little ‘truth’ to be found by the time the conflicting accounts of the survivors and the even more sensational exaggerations of the press came into play. This is a story that leaves more questions than answers. Humans do not make reliable eyewitnesses – particularly in cases where each has a stake in saving their own skins – or necks.

The Wager isn’t the kind of adventure on the high seas that many of her crew read before they undertook the voyage. It’s an ultimately riveting, desperately tragic, terribly contentious account of a walk – or rather a sail – through the darkest places of men’s hearts and souls. A tale from which it is impossible to turn one’s eyes away, no matter how much one might be tempted to step aside. Which is only fitting, as the crew of HMS Wager could not either.

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