Maria Turtschaninoff

Told in alternating points of view, Kabira, Garai, and the other First Sisters share a history of years of sexual violence, oppression, and exploitation at the hands of the vizier Iskan, whose dark powers originate from his control of the sacred spring at his palace at Ohaddin, before the women are able to escape and establish the female haven of Red Abbey on the island of Menos.

The Red Abbey Chronicles

Naondel

Naondel (The Red Abbey Chronicles)

Moray Lyle McIntosh

In Naondel Maria Turtschaninoff returns to the world of Maresi and we learn of the circumstances around the founding of the Red Abbey and its first six members. Kariba is his first wife, who in youth and naivete falls for Iskan, son of the Vizier, and reveals to him the secret power of Anji, her family's sacred spring, a power which he soon seizes for himself. Over many years Iksan uses this power to strengthen his position and manipulate all those around him in terrible ways. Alongside the development of his political power is the creation of a brutal harem as he surrounds himself with wives and concubines and Kariba is joined by wives, slaves, servants and women stolen from her from their homes and lands. Over the course of many years these women learn to take comfort and strength in one another and to plan their escape. As a prequel the end is already known, after all without these women the Red Abbey would not exist to provide the haven in which Maresi lives and writes her tale but that doesn't make Naondel any less absorbing.

At first I felt that Naondel was weaker than the first novel. The simplicity of the first story is lost in the number of characters and narrative voices and the many decades and lands covered is quite the opposite of the brief, self-contained tale told by Maresi alone. In addition I had reservations over the frequency of the abuse suffered by the women. Naondel is brutal. These women are injured, humiliated and degraded at all times and rape is a recurrent event. Though each example is brief and never graphic it is difficult to read, and at first I wished that the focus on this most violent of oppressions lacked subtlety and failed to account for the many ways that women can be subjugated. I'm delighted to say that by the end I had entirely changed my mind. From pregnancy, to movement, to activity Iskan exercises full and cruel control over "his" women. The whole tale is built around the physicality of women and the ways in which they are reduced to mere bodies, objects to be used, abused, bought and controlled. 

The counterpoint is the women themselves. They are strong and individual but they are also real. They make mistakes and they make compromises with their situation in order to survive. One of Turtschianioff's achievements is a fantastically diverse cast of female characters. She has created several wonderful cultures that add even greater depth to the world introduced in Maresi but they also represent a vital intersectional feminist message. These women are divided by age, race, class and gender identity and in order to protect themselves sometimes they are guilty of selfishness and cruelty towards one another. Their eventual sisterhood is not easy or inevitable but something that grows out of necessity and needs to be consciously constructed and worked at. It's an important message for young (and old) women that sometimes women themselves are amongst their own worst enemies, that by internalising the prejudices and structures imposed by others we can sometimes be led into oppressing each other. This is represented in the antagonistic relationship of the narrators. Kibira rigidly clings to her position as First Wife, enforcing the hierarchy within Iskan's harem and the women are often scornful of the appearance, habits and backgrounds of their companions.

The development of these characters and their situation is a hugely powerful story about reclaiming the female body from those who want to oppress it and having the freedom to do with it what we will. It also challenges gender roles, each character representing a different view of womanhood. Turtschaninoff manages all of this without ever overwhelming her story or her characters, Her writing is easily strong enough to carry the weight of her message, effortlessly moving from vivid descriptions of different lands and customs to breathless action. The plot is develops slowly but its momentum is inexorable and the narrative combines its many voices with confidence and skill. The writing is captivating and it really is a challenge to put it down, I couldn't, I read the whole thing in a single sitting. Most importantly her women are never idealised or reduced to mere cyphers for the things they represent and their diversity never feels like lip service to an ideal.

Naondel is a thoroughly gripping story that manages to combine a complex, inclusive and uncompromising feminist message with a beautifully realised fantasy world. A feminist clarion call in fantasy form. 

NB My single remaining concern is that the prominence of sexual assault may mean that younger readers who enjoyed Maresi may not be ready for Naondel immediately. However, rape is never used for dramatic expedient and, like in Maresi, is balanced by the championing of female sexuality and the outright refusal to attach any shame our disapproval when this is a choice actively taken by the character.

Naondel The Red Abbey Chronicles

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