Shadowalker

$19.95 inc. GST

by: Catch Tilly

220 pages
129mm x 198mm
ISBN: 9780648164289
Publish date: 28.10.2017

SKU: 9780648164289 Category:

Description

“There’s a dragon watching me when I wake up.”

As the Death Lord’s daughter, seventeen-year old Uriel is comfortable walking the lavender-scented tunnels of death. She’s not pleased to be dragged back to the living realm of Meldin. It’s a world of laser-edged swords and shape-changing dragons, where the Lord of the World has sworn to kill her father.

About the author

Catch Tilly spends every moment she can in her imagination. When forced into ‘real life’ she works as an actor, scriptwriter, carer for her autistic daughter and sparring partner for her husband, who is a professional swordsman. To join Catch on the world of Meldin visit www.catchtilly.com.au

Reviews

  1. Rosanne Hawke, author of Daughter of Nomads

    Set on a light-filled world peopled with dragons, shape shifters and a girl who can walk through death, Shadowalker is a fast-paced fantasy, laced with humour, that shows how fear of the stranger can result in catastrophe.

  2. Valerie Volk – author of Passion Play – the Oberammergau Tales, Bystanders: echoes from stories past, In Due Season: Poems of Love and Loss, Even Grimmer Tales, A Promise Of Peaches & Of Llamas and Piranhas (verified owner)

    “There’s a dragon watching me when I wake up.”

    From the opening words of Catch Tilly’s Shadowalker we know we are inhabiting a different world – one that requires the suspension of belief that reading fantasy literature always entails.

    When author Catch Tilly tells us that “she spends every moment she can in her imagination,” it becomes clear that she revels in the other worlds that she is able to create so tellingly. So compellingly, in fact, that even readers who do not customarily enjoy this genre find themselves irresistibly drawn into the realm of Meldin, a world populated by dragons, shape shifters, fairy castles and laser-edged swords, scrying cards that can foretell the future, a Death Lord – and Uriel, the central character.

    The ‘Shadowalker’ of the title is Uriel Taleri who, at seventeen, has died and been brought back, her mind erased and re-programmed, to find herself caught up in a complex maze of vendettas and warring families, of relations that she has not known, and of a father, the Death Lord, who occupies an ambiguous place within the power struggles that surround her. Uriel’s own confusions and uncertainties are experienced also by the reader, and at times I found myself re-reading earlier parts of the book to try to negotiate this complicated world.

    Tilly creates Meldin with language and terminology particular to the setting, and the nine page glossary at the end of the book became an indispensible resource as I followed Uriel’s own journey to understanding. It would have been useful to have had further assistance in sorting out the characters and their relationships; some sort of a chart, or family trees that encompassed the ruling Houses of this world and the network of relationships and alliances, would be a helpful inclusion in future editions of the work.

    That there will be future editions, or sequels, is important because, although Shadowalker ends with a point of resolution of conflict, it is clear this is only a stop along the way in a much bigger battle, and the book’s closing line opens the door to Book 2.
    ‘No, Shadowalker,’ I say to my reflection in a prison door. ‘It’s not over.’

    Among the real pleasures in this book are the vivid descriptions that bring to life the other-world of Meldin. Uriel’s cousin, the part-dragon, part young girl Elouise Taleri, eating her ice-cream, is almost visible:

    I watch this mythical creature – the unnatural union of hunting-cat and lizard: all silver black scales and deadly menace – scoop out another mouthful of berry-red cream with an elongated tongue that is slowly turning pink.

    The place descriptions are themselves almost gorgeous in their detail:

    ‘The walls are covered in a porcelain-like substance unique to Quislayn, dyed a delicate gold. The curtains are sandsilk, a translucent green against the windows, the only fabric in the room to show embroidery, though the five vases are painted and two of the four table have sand-grain detail mosaics …’

    It’s an intriguing world that the author has created and the rapidly moving plot keeps the reader (even the non-fantasy reader!) involved and interested.

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