You can find my review for the Companion novel to A Thousand Nights, titled Spindle, here.
A Thousand Nights by E.K. Johnston was released in October of 2015, yet only came to my attention recently, after the outstanding success of its companion novel, Spindle, which was released in December of 2016, little over a year later. Where Spindle is a tale of daring and adventure, A Thousand Nights is a tale of loyalty and courage.
“If you listen long enough to the whispers, you will hear the truth. Until then, I will tell you this: the world is made safe by a woman.” – E.K. Johnston (A Thousand Nights, p.325.
Lo-Melkhiin killed three hundred girls before he came to her village, looking for a wife. When she sees the dust cloud on the horizon, she knows he has arrived. She knows he will want the loveliest girl: her sister. She vows she will not let her be next. And so she is taken in her sister’s place, and she believes death will soon follow. Lo-Melkhiin’s court is a dangerous palace filled with pretty things: intricate statues with wretched eyes, exquisite threads to weave the most beautiful garments. She sees everything as if for the last time.But the first sun rises and sets, and she is not dead. Night after night, Lo-Melkhiin comes to her and listens to the stories she tells, and day after day she is awoken by the sunrise. Exploring the palace, she begins to unlock years of fear that have tormented and silenced a kingdom. Lo-Melkhiin was not always a cruel ruler. Something went wrong. Far away, in their village, her sister is mourning. Through her pain, she calls upon the desert winds, conjuring a subtle unseen magic, and something besides death stirs the air. Back at the palace, the words she speaks to Lo-Melkhiin every night are given a strange life of their own. Little things, at first: a dress from home, a vision of her sister. With each tale she spins, her power grows. Soon she dreams of bigger, more terrible magic: power enough to save a king, if she can put an end to the rule of a monster.
NOTE: The main character has no name – Johnston acknowledges that she did this intentionally (in her acknowledgements at the end of the book), so she will be referred to as the Storyteller Queen throughout this review, as she is referred to by this title in Spindle.
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