This is probably going to be in the top 5 best books I read in 2024. I read this as a library book, but I intend to buy the hardback next time I visit a store.
I have the feeling my enjoyment won’t be a very common opinion. This book has layers. I personally didn’t really understand the book until I realized this is a commentary on the Buddhist tradition. People who don’t have my background might have trouble enjoying this. And to be honest, I don’t fully understand this book. I don’t know about castes, as an example, so some of this book went over my head.
Before we begin, do you have a book which needs editing? Do you want to read more reviews? Here is a link: The Rest of My In Depth Reviews
WHAT IS THE TARGET AUDIENCE? WHAT GENRES? WHAT MAJOR TROPES?
- Magical Realism
- South Asian
- Buddhism
- 15+ years old
- A wee bit horny at moments
- LGBT
MY EMOTIONAL RESPONSE/ FUN FACTOR
This book is steeped in Southern Asian culture, a culture I’m not a part of. I’m writing this review in good faith, but I’m well aware I’m approaching this from a place of ignorance. So as you read this, please give the benefit of the doubt to my analysis if I make any mistakes.
This novel is a cultural critique of how a Buddhist society can use Buddhism as a cudgel to legitimize control and oppress minorities.
At the same time this book has a surreal bent. The main antagonist, ‘The Perfect and Kind,’ has reality warping power. Here’s a spoiler: at one point, the protagonist is about to assassinate ‘The Perfect and Kind.’ To survive the assassination attempt, ‘The Perfect and Kind’ rewrites the events of the prior three days to prevent the assassination from ever happening. This is just the tip of the spear in terms of how weird this book is.
I really enjoyed this book, and was never bored. Now that said, the book only kicks into high-gear about halfway through. Before the halfway point, it is a traditional rebellion against authority story; after the halfway point, it becomes a surreal rebellion.
If you like traditional Western fight-scene focused fantasy novels, this book will not provide that. This book is more focused on how governments use violence against their people; violence is the tool of the enemy in this book, not the heroes.
BIASES STATED
To put this review/study in proper context, you must know my starting point.
Just being honest with ya’ll, when I heard this was nominated for a Hugo I assumed it would be a bad book; I read last year’s Hugo slate and they left me underwhelmed. (Yeah, I know how shallow that sounds. But I bounced of HARD from last year’s slate and especially last year’s drama.)
I was pleasantly surprised upon reading ‘The Saint of Bright Doors.’ It’s actually good!
SIMILAR BOOKS/OTHER BOOKS IN THE SERIES
- ‘The City and the City’ by China Mieville
- ‘Ombria in Shadow’ by Patricia McKillip
- ‘The Books of Babel’ by Josia Bancrof
- Amber by Zelazny
- ‘The Lathe of Heaven’ by Ursula K. LeGuin
CONCEPT AND EXECUTION
In the process of writing this review, I skimmed the web to read other people’s reviews. I was left puzzled, because almost every review I found seemed to miss the forest for the trees. None of them discussed the white elephant in the room.
In the Buddhist tradition, when the Buddha began his spiritual journey he abandoned his wife and child. For the Buddha to find personal enlightenment, he had to renounce all worldly attachments, including family. His son was such a fetter.
‘The Saint of Bright Doors’ is about a man named Fetter, the abandoned son of a living god called ‘The Perfect and Kind.’ Fetter now wants to kill his father ‘The Perfect and Kind’ in revenge for being abandoned as a child.
This book is about the complicated relationship people can have with Buddhism. In the West, we like to think of Buddhism as a nonviolent religion; in truth, Buddhists are as capable of violence as anyone else. This book features castes, needlessly bureaucratic government, religious abuse, and a police state… with ‘The Perfect and Kind’ (aka the Buddha) being able to meddle with and control all of it. The author is from Sri Lanka, where Buddhist monks play an active role in politics; I’m just guessing that in some way frustration with the status quo in Sri Lanka informed the writing of this novel.
On top of it all is a heaping-helping of magical realism.
At one point, the protagonist is imprisoned for a crime, and he’s sent to a prison which (I think) is loosely based on a bureaucratic vision of a Buddhist hellish afterlife. What follows is a surreal, Kafka-esque sequence of bureaucratic madness. The protagonist doesn’t even know why he’s imprisoned… indeed, no one imprisoned knows why they’re in Hell/prison. It’s never explained why Fetter was sent to Hell, and that’s the point. In Buddhism, everything is empty of meaning, even death; spiritually, this imprisonment is pointless. It also represents a government system run amok, repressing people merely to save face without making anyone actually safer.
The sequence in hell/prison reminded me of Josiah Bancrof’s ‘Books of Babel,’ where characters enter the tower of Babel on vacation, and in order to climb the tower you have to join the culture of the locals in the tower and act as the locals act to progress. No one in the tower of Babel understands how or why the tower exists, just as no one in this book understands why the hell/prison in ‘The Saint of Bright Doors’ is as baffling in the way it is.
Even after Fetter escapes prison, he’s not truly escaped; the vicissitudes of samsara follows him back to Luriat, for Luriat’s police state is just another layer of imprisonment. He realizes that even though he escaped the physical prison, he’ll never escape the spiritual prison, for the entire world is a prison. FYI, ‘vicissitudes of samsara’ means an unpleasant change in circumstances, caused by the inescapability of suffering in life. Fetter tries to escape suffering by escaping prison, and it doesn’t work. Suffering follows him out.
It was with this realization that this book came into it’s own. When he realized he’d always be entrapped in a prison of his father’s creation, it became more necessary than ever to fight and rebel against his father.
Some of the reviews I read for this book claim that this book is listless, where Fetter goes from one random adventure to another without a solid link between them. This time in prison is one such ‘listless’ adventure. I think they’re wrong about it being ‘listless.’
- The ‘listless’ adventures which annoyed those reviewers are spiritual echoes of his father’s evil. Many of the devils in the world are a direct result of his father manipulating reality; likewise, the government is controlled by his father. Ergo, all the minor adventures caused by devils and Bright Doors and the bureaucratic government are his father’s fault.
- Fetter spends the first half of the book running away from his destiny of killing his father, only to have many small problems come his way. And yet Fetter never puts 2+2 together and realizes that the minor problems he faces are due to his father.
- I think the ‘listlessness’ is a deliberate character choice by the author, demonstrating Fetter’s willingness to tolerate the intolerable status quo because he is so intent on not fulfilling his destiny.
- This is good characterization and good subtext by the author. I appreciate that the author did not hold the hand of the reader and spell it out, and instead trusted the reader to figure it out on their own.
CHARACTERS, CHARACTERIZATION AND DIALOG
‘The Perfect and Kind’ is this book’s antagonist, but I wouldn’t call him evil. The author is very careful to point out that ‘The Perfect and Kind’ rejects all forms of duality; thus, evil simply doesn’t apply to him because ‘good and evil’ are a duality. If we reject duality, we must simply assume his actions are performed because of simple human ambition.
‘The Perfect and Kind’ becomes the antagonist because the government of the city use his religion as a rallying cry to justify pogroms, mass-imprisonment, and censoring dissent. Even the clergy of ‘The Perfect and Kind’ religion take part in the chaos. ‘The Perfect and Kind’ bears responsibility because he doesn’t do enough to prevent the worst of the excesses.
Fetter’s Mother is a secondary antagonist. The Mother-of-Glory is the jilted lover left behind by ‘The Perfect and Kind’ when he became a renunciate monk; she swore revenge and raised Fetter from a young age to be an assassin and kill his father. She is justified in her rage: ‘The Perfect and Kind’ learned her culture’s traditional magics, and learned them better than anyone who had come before. He used those magics to become a god, dumped her, and then rewrote reality so no one would ever know that’s how he ascended.
Fetter himself is emotionally repressed. After escaping his mother’s death cult, he’s joined a support group for Almost-Chosen Ones, trying to gain his own agency away from his towering destiny. He and his friends lead a rebellion against the status quo, trying to topple the oppressive government.
I liked how Fetter felt a pull towards both parents: I don’t know if the author intended to write a Daoist character, but I saw his parents as opposite poles. His mother is very Yang: she’s frequently quoted as saying ‘change only comes through directed violence.’ His father is very Yin: ‘The Perfect and Kind’ prefers to solve problems by indirect means, such as discussion or manipulation. (My goodness, their marriage must have been a mess.)
Fetter was only able to defeat BOTH parents after he learned BOTH of their strengths: he used his mother’s rage to lead the revolt, while he used his father’s emotional stability to not be washed away in the madness of the cycles of violence which eternally rip Luriat apart. That is a solid character arc.
And yet, the story seems to hold Fetter at an emotional arm’s length. I personally feel like the story did a decent job of exploring Fetter’s emotionality, but I wanted the book to explore his emotions a bit more. His love story in particular felt underdeveloped.
PLOT, STAKES AND TENSION
The first half of the book was devoted to a growing rebellion against the repressive government of Luriat, while Fetter is desperately rejecting his destiny of killing his father. In the second half, ‘The Perfect and Kind’ moves to Luriat and takes over it’s repressive government. Now Fetter must kill his father to save Luriat and fulfill his destiny, whether he likes it or not.
The first half of the book feels ‘normal’ (aka, not slipstream), while the addition of ‘The Perfect and Kind’ in the second half of the book makes the book feel ‘weird,’ as the very fabric of narrative reality begins to break down. This ‘weirdness’ gives the book an uneven texture while reading. This uneven texture isn’t necessarily a bad thing! Indeed, I wish the author leaned it the uneven texture more. More on this later, when I discuss setting.
The book had minimal tension. At one point important named characters begin to die, and I was left unmoved. I think the author wanted to evoke sadness in the reader when important named characters began to die, but I was so emotionally detached from the characters in this book that I didn’t feel sadness.
(You know how I said ‘I wanted the book to explore his emotions a bit more’ above? The book didn’t do enough to sell me on those emotions, and the tension suffered because of it. At least for me.)
Additionally, the whole slipstream-y-ness of this book added a further layer of detachment to the book. This book was so ‘anything goes’ when it comes to ’cause and effect’ that I was left questioning whether or not dead characters were actually dead, or if they would come back. This narrative played by it’s own rules, for both good and ill.
And it’s fine if this book doesn’t have cutthroat tension. Not all books have to have world-ending stakes.
One thing I liked was how the death of ‘The Perfect and Kind’ does NOT solve the city’s problems. Yes, ‘The Perfect and Kind’ was meddling with events in an effort to consolidate his power, however human nature was always the problem. Luriat had problems before he arrived, and will still have problems after his death, because Luriat is a city of humans.
The author successfully used foreshadowing to set up and pay off several prophesies. I like pointing out when an author successfully uses foreshadowing, because so many don’t.
AUTHORIAL VOICE (TONE, PROSE AND THEME)
I liked the authorial voice of this book. It is very pretty. Here’s a link to the goodreads quotation page for a taste of some of it.
As for theme, this book exists in a Buddhist context, but strikes me as being counter-cultural to the Buddhist message. I dunno, I’m Western so I don’t feel expert enough to speak as an authority on how this book should be interpreted. But the Buddha is the bad guy in this.
If I’m reading this book right, I think this book re-enacts the life of the Shakyamuni Buddha, but told from his son’s perspective. But it also adds a queer lens: not only is Fetter gay, but ‘The Perfect and Kind’ and the Mother-of-Glory both have same sex lovers. It also adds a modern lens, with computers and bureaucratic governments and social media. It also adds a decolonialist lens; ‘The Perfect and Kind’ conquered Luriat and the hinterlands. This conquest upset the local Mother, whose entire culture was subsumed and forgotten.
If I’m reading this book right, this book engages with Buddhism as a historical entity and local custom, as opposed to it’s theology. It doesn’t engage with the Eightfold Path or the Four Noble Truths, but instead looks at how the clerics and monks of the religion can lead pogroms and persecutions. The book isn’t wrong to be so jaded; right now Sri Lanka is going through some stuff, and Buddhist monks are playing a political role on both sides. It must be disheartening to see your religion tearing itself apart like that. That said, I’m pretty sure this book is heretical, because the ‘Buddhist’ characters herein are all villainous.
This books is a very interstitial. Fetter is the biracial child in a city where you get categorized according to race. He’s stuck in-between loyalty to his warring parents and their warring philosophical worldviews. Queerness is innately interstitial. And the theme of doors opening to nowhere is innately interstitial.
SETTING, WORLDBUILDING AND ORIGINALITY
The city of Luriat is a character in and of itself. It is located on a magical confluence, where reality never seems to quite stay pinned down. There exist Bright Doors in Luriat; doors which open into almost-was worlds which once existed but are now forgotten. A harsh and nonsensical bureaucracy has taken control of the city of Luriat, to clamp-down on the wild magics and diseases which wash through the place regularly… though in actual practice, the bureaucracy is used by factions to punish their enemies without cause. I’d compare it to ‘The City and the City’ by China Mieville.
The culture of people in Luriat changes on a whim, and the protagonist can never be quite certain it changed because of the constant reality warping or because he simply missed out on the newest social media wave.
- You know the feeling of logging onto twitter for the first time in a month, and finding references to a weird Highly Online Drama you have no context of?
- Luriat is like that. Because so much reality-altering magic is flying around, Fetter can’t be sure the oddness of the city is because of the magic, or because of some Drama which Fetter missed because he’s been busy doing other things.
I liked how the author used the surreal, dreamlike feel of Luriat as a metaphor to discuss the rapid-fire nature of cultural developments on places like Twitter. The setting is intentionally confusing, and it’s wonderful. Luriat is a vibrant megalopolis, which refuses to be pinned down.
NOW THAT SAID, it could have been better. This book constantly cites castes and races are at the heart of the various conflicts in the story: what races were these, what castes are these? How do they relate to one another? The book points out multiple factions of Kings and Queens. Who are they? Gimme answers.
Now imagine if the narrative described these castes and factions in the first half of the novel. When reality starts changing, the reader would feel those changes all the more intensely. What if caste A represses caste B in the first timeline, only for caste B to repress caste A in the second timeline? Because the book never explored the details of the conflicts in question, when they changed it wasn’t impactful.
If you’ve played Bioshock Infinite, there is a sequence when timelines begin to merge, when a Theocratic Conservative government loses power to a Worker’s Rebellion a la the Haitian Revolution. I wanted a dramatic moment like that to happen in ‘Saint of Bright Doors,’ when it seems like the whole world changes in the blink of the eye. I feel like the book could have done more with the whole retroactive reality warping thing.
And finally, I have to complement how the author used the topic of architecture to discuss Luriat’s history. By discussing different construction styles, this gave Luriat a feeling of timeless depth. A lot of fantasy books I read feel a bit skin-deep, with only a little bit of history; Luriat feels like it’s been around for A WHILE. I liked that.
AUDIOBOOK NOTES
I listened to the audiobook. The audiobook narrator was VERY GOOD… however, this book is confusing. I had to back up and re-listen to segments more than once to make sure I understood was was going on. I suggest you read a paper or ebook version of this book; it might help with the clarity. Also, the prose is beautiful enough that reading it with your eyes might help you savor it more.
LESSONS LEARNED
As an author, I want to improve my own writing/editing skills. To that end, I like to learn lessons from every story I read. Here’s what I learned from this story:
- Play around with narrative cause-and-effect. In the West, it’s common convention that the events in a book must make sense in logical order. This book was compelling in part because it was willing to detach logical cause from effect.
John Mendez- Book Reviews and More 