a game of thrones book review new york times

• ADMIN AREA MY BOOKSHELF MY DASHBOARD MY PROFILE SIGN OUT SIGN IN

A GAME OF THRONES

From the a song of ice and fire series , vol. 1.

by George R.R. Martin ‧ RELEASE DATE: Aug. 12, 1996

After a long silence ( Portraits of his Children , stories, 1987), the author of the cult novel  The Armageddon Rag (1983) returns with the first of a fantasy series entitled, insipidly enough, A Song of Ice and Fire. In the Seven Kingdoms, where the unpredictable seasons may last decades, three powerful families allied themselves in order to smash the ruling Targaryens and depose their Mad King, Aerys II. Robert Baratheon claimed the throne and took to wife Tywin Lannister's daughter, Cersei; Ned Stark returned north to gloomy Winterfell with its massive, ancient Wall farther to the north that keeps wildings and unspeakable creatures from invading. Some years later, Robert, now drunk and grossly fat, asks Ned to come south and help him govern; reluctantly, since he mistrusts the treacherous Lannisters, Ned complies. Honorable Ned soon finds himself caught up in a whirl of plots, espionage, whispers, and double-dealing and learns to his horror that the royal heir, Joffrey, isn't Robert's son at all but, rather, the product of an incestuous union between the Queen and her brother Jaime—who murdered the Mad King and earned the infamous nickname Kingslayer. Ned attempts to bargain with Cersei and steels himself to tell Robert—but too late. Swiftly the Lannisters murder the King, consign Ned to a dungeon, and prepare to seize the throne, opposed only by the remaining Starks and Baratheons. On the mainland, meanwhile, the brutal and stupid Viserys Targaryen sells his sister Dany to a barbarian horse-warrior in return for a promise of armies to help him reconquer the Seven Kingdoms. A vast, rich saga, with splendid characters and an intricate plot flawlessly articulated against a backdrop of real depth and texture. Still, after 672 dense pages, were you expecting a satisfying resolution? You won't get it: Be prepared for a lengthy series with an indefinitely deferred conclusion.

Pub Date: Aug. 12, 1996

ISBN: 0-553-10354-7

Page Count: 672

Publisher: Spectra/Bantam

Review Posted Online: May 19, 2010

Kirkus Reviews Issue: July 1, 1996

FANTASY | EPIC FANTASY

Share your opinion of this book

More In The Series

BOOK REVIEW

by George R.R. Martin

More by George R.R. Martin

edited by George R.R. Martin

edited by George R.R. Martin with Melinda M. Snodgrass

More About This Book

PERSPECTIVES

SEEN & HEARD

THE HOUSE IN THE CERULEAN SEA

by TJ Klune ‧ RELEASE DATE: March 17, 2020

A breezy and fun contemporary fantasy.

A tightly wound caseworker is pushed out of his comfort zone when he’s sent to observe a remote orphanage for magical children.

Linus Baker loves rules, which makes him perfectly suited for his job as a midlevel bureaucrat working for the Department in Charge of Magical Youth, where he investigates orphanages for children who can do things like make objects float, who have tails or feathers, and even those who are young witches. Linus clings to the notion that his job is about saving children from cruel or dangerous homes, but really he’s a cog in a government machine that treats magical children as second-class citizens. When Extremely Upper Management sends for Linus, he learns that his next assignment is a mission to an island orphanage for especially dangerous kids. He is to stay on the island for a month and write reports for Extremely Upper Management, which warns him to be especially meticulous in his observations. When he reaches the island, he meets extraordinary kids like Talia the gnome, Theodore the wyvern, and Chauncey, an amorphous blob whose parentage is unknown. The proprietor of the orphanage is a strange but charming man named Arthur, who makes it clear to Linus that he will do anything in his power to give his charges a loving home on the island. As Linus spends more time with Arthur and the kids, he starts to question a world that would shun them for being different, and he even develops romantic feelings for Arthur. Lambda Literary Award–winning author Klune ( The Art of Breathing , 2019, etc.) has a knack for creating endearing characters, and readers will grow to love Arthur and the orphans alongside Linus. Linus himself is a lovable protagonist despite his prickliness, and Klune aptly handles his evolving feelings and morals. The prose is a touch wooden in places, but fans of quirky fantasy will eat it up.

Pub Date: March 17, 2020

ISBN: 978-1-250-21728-8

Page Count: 352

Publisher: Tor

Review Posted Online: Nov. 10, 2019

Kirkus Reviews Issue: Dec. 1, 2019

GENERAL SCIENCE FICTION & FANTASY | FANTASY

More by TJ Klune

by TJ Klune

Awards & Accolades

Our Verdict

New York Times Bestseller

THE PRIORY OF THE ORANGE TREE

by Samantha Shannon ‧ RELEASE DATE: Feb. 26, 2019

A celebration of fantasy that melds modern ideology with classic tropes. More of these dragons, please.

After 1,000 years of peace, whispers that “the Nameless One will return” ignite the spark that sets the world order aflame.

No, the Nameless One is not a new nickname for Voldemort. Here, evil takes the shape of fire-breathing dragons—beasts that feed off chaos and imbalance—set on destroying humankind. The leader of these creatures, the Nameless One, has been trapped in the Abyss for ages after having been severely wounded by the sword Ascalon wielded by Galian Berethnet. These events brought about the current order: Virtudom, the kingdom set up by Berethnet, is a pious society that considers all dragons evil. In the East, dragons are worshiped as gods—but not the fire-breathing type. These dragons channel the power of water and are said to be born of stars. They forge a connection with humans by taking riders. In the South, an entirely different way of thinking exists. There, a society of female mages called the Priory worships the Mother. They don’t believe that the Berethnet line, continued by generations of queens, is the sacred key to keeping the Nameless One at bay. This means he could return—and soon. “Do you not see? It is a cycle.” The one thing uniting all corners of the world is fear. Representatives of each belief system—Queen Sabran the Ninth of Virtudom, hopeful dragon rider Tané of the East, and Ead Duryan, mage of the Priory from the South—are linked by the common goal of keeping the Nameless One trapped at any cost. This world of female warriors and leaders feels natural, and while there is a “chosen one” aspect to the tale, it’s far from the main point. Shannon’s depth of imagination and worldbuilding are impressive, as this 800-pager is filled not only with legend, but also with satisfying twists that turn legend on its head. Shannon isn’t new to this game of complex storytelling. Her Bone Season novels ( The Song Rising , 2017, etc.) navigate a multilayered society of clairvoyants. Here, Shannon chooses a more traditional view of magic, where light fights against dark, earth against sky, and fire against water. Through these classic pairings, an entirely fresh and addicting tale is born. Shannon may favor detailed explication over keeping a steady pace, but the epic converging of plotlines at the end is enough to forgive.

Pub Date: Feb. 26, 2019

ISBN: 978-1-63557-029-8

Page Count: 848

Publisher: Bloomsbury

Review Posted Online: Dec. 22, 2018

Kirkus Reviews Issue: Jan. 15, 2019

GENERAL SCIENCE FICTION & FANTASY | FANTASY | EPIC FANTASY

More by Samantha Shannon

by Samantha Shannon

• Discover Books Fiction Thriller & Suspense Mystery & Detective Romance Science Fiction & Fantasy Nonfiction Biography & Memoir Teens & Young Adult Children's
• News & Features Bestsellers Book Lists Profiles Perspectives Awards Seen & Heard Book to Screen Kirkus TV videos In the News
• Kirkus Prize Winners & Finalists About the Kirkus Prize Kirkus Prize Judges
• Magazine Current Issue All Issues Manage My Subscription Subscribe
• Writers’ Center Hire a Professional Book Editor Get Your Book Reviewed Advertise Your Book Launch a Pro Connect Author Page Learn About The Book Industry
• More Kirkus Diversity Collections Kirkus Pro Connect My Account/Login
• About Kirkus History Our Team Contest FAQ Press Center Info For Publishers
• Privacy Policy
• Terms & Conditions
• Reprints, Permission & Excerpting Policy

© Copyright 2024 Kirkus Media LLC. All Rights Reserved.

Popular in this Genre

Hey there, book lover.

We’re glad you found a book that interests you!

Please select an existing bookshelf

Create a new bookshelf.

We can’t wait for you to join Kirkus!

Please sign up to continue.

It’s free and takes less than 10 seconds!

Already have an account? Log in.

Trouble signing in? Retrieve credentials.

Almost there!

• Industry Professional

Welcome Back!

Sign in using your Kirkus account

Contact us: 1-800-316-9361 or email [email protected].

Don’t fret. We’ll find you.

Magazine Subscribers ( How to Find Your Reader Number )

If You’ve Purchased Author Services

Don’t have an account yet? Sign Up.

The 'A Song of Ice and Fire' Domain

• Official Podcast AND GRRM on Book to Screen Adaptation
• Huge Game of Thrones Prop and Costume Auction
• Adam Savage Visits House of the Dragons
• Condal Confirms Four Seasons for House of the Dragon
• House of the Dragon Costume Designer on Podcast
• Westeros.org on Episode 7: The Red Sowing
• Westeros.org on Episode 6: Smallfolk (with a side of Dragon Discussion)
• New 2025 Calendar Images Released
• Westeros on Episode 5: Regent
• Ruby Ford Lithographs Still Available
• A Song of Ice and Fire
• Brotherhood without Banners
• George R.R. Martin
• House of the Dragon
• Game of Thrones
• Other Books and Projects
• Licensed Products
• Site Updates
• A Knight of the Seven Kingdoms
• Bantam Dell
• Subterranean Press
• HBO’s Game of Thrones
• Making Game of Thrones
• Dark Sword Miniatures
• Shire Post Mint
• Valyrian Steel
• Cyanide Studio (AGoT: Genesis)
• Cyanide Studio (AGoT: The Game)
• Disruptor Beam
• Fantasy Flight Games
• Green Ronin
• Telltale Games
• La Garde de Nuit
• Radio Westeros
• Le Cronache del Ghiaccio e del Fuoco - Wiki
• History of Westeros Podcast
• Tulen ja jään laulu
• La Barriera

The New York Times seems to show that fans have been ringing in the New Year with a healthy dose of A Game of Thrones . Their January 2nd list of mass market paperbacks shows George R.R. Martin’s novel—first published in that format in 1996—has entered the list at 25, while their following list places it up a spot to 24.

This resurgence of the series can be put down to the burgeoning awareness thanks to Game of Thrones , the HBO series, and fits the anecdotal evidence we’ve seen via Twitter, with every day seemingly bringing more people reading and tweeting about the series. We expect that Bantam’s planned reissue of the first novel with a cover featuring imagery from the series will likely land even higher as we get closer to the April premiere of the much-anticipated fantasy TV series.

• Would Ned still have been as antagonistic towards Jaime if he hadn't been sitting on the Throne after killing Aerys?
• Martin and Tolkien
• Craster's Father
• Crack of the Pot Theories of Baby Swapping and Bastard Births
• Stupid question: could Shadrich be a faceless man?
• Bubonicon 80 Minutes with GRRM
• Oxford House
• Pizza Pod Party Podcast Interview
• New Mexico Press Women Keynote Report
• Conversation on AI and Creative Economy
• Of Setting Suns and Tears in Rain
• A Troubling Birth
• Fights and Favours
• A Night of Swords, Song, and Farce
• The Sealord Arrives

New to the world of Westeros? Read our spoiler-free review of A Game of Thrones .

• Privacy Policy

The New York Times

Artsbeat | george r.r. martin on ‘game of thrones’ and sexual violence, george r.r. martin on ‘game of thrones’ and sexual violence.

The fantasy series “Game of Thrones” has set off a wide-ranging debate about rape , and whether this popular franchise — which includes  best-selling novels, a hit HBO television adaptation, a line of comic books and more — trivializes sexual violence with its frequent and often graphic depictions.

George R. R. Martin , whose “Song of Ice and Fire” novels are the foundation of the “Game of Thrones” series, answered email questions from The New York Times about why his books contain scenes of sexual brutality, and responded to some of the criticism that these moments have elicited. These are his responses in their entirety.

Why have you included incidents of rape or sexual violence in your “Song of Ice and Fire” novels? What larger themes are you trying to bring out with these scenes?

An artist has an obligation to tell the truth. My novels are epic fantasy, but they are inspired by and grounded in history. Rape and sexual violence have been a part of every war ever fought, from the ancient Sumerians to our present day. To omit them from a narrative centered on war and power would have been fundamentally false and dishonest, and would have undermined one of the themes of the books: that the true horrors of human history derive not from orcs and Dark Lords, but from ourselves. We are the monsters. (And the heroes too). Each of us has within himself the capacity for great good, and great evil.

Some critics of the books have said that even if such scenes are meant to illustrate that the world of Westeros is often a dark and depraved place, there is an overreliance on these moments over the course of the novels, and at a certain point they are no longer shocking and become titillating. How do you respond to this criticism?

I have to take issue with the notion that Westeros is a “dark and depraved place.” It’s not the Disneyland Middle Ages, no, and that was quite deliberate … but it is no darker nor more depraved than our own world. History is written in blood. The atrocities in “A Song of Ice and Fire,” sexual and otherwise, pale in comparison to what can be found in any good history book.

As for the criticism that some of the scenes of sexual violence are titillating, to me that says more about these critics than about my books. Maybe they found certain scenes titillating. Most of my readers, I suspect, read them as intended.

I will say that my philosophy as a writer, since the very start of my career, has been one of “show, don’t tell.” Whatever might be happening in my books, I try to put the reader into the middle of it, rather than summarizing the action. That requires vivid sensory detail. I don’t want distance, I want to put you there. When the scene in question is a sex scene, some readers find that intensely uncomfortable… and that’s ten times as true for scenes of sexual violence.

But that is as it should be. Certain scenes are meant to be uncomfortable, disturbing, hard to read.

As your novels have been adapted for TV, comic books and other visual media, do you think these scenes of sexual violence that you described in oblique and indirect ways are becoming more explicit and more shocking? Is that a potential problem?

The graphic novels and television programs are in the hands of others, who make their own artistic choices as to what sort of approach will work best in their respective mediums.

What's Next

A Game of Thrones

By george r. r. martin.

From an intricately well-streamlined story to realistically-depicted characters, great detail in settings, excellent description of events, and well-crafted dialogues, ‘A Game of Thrones’ is undoubtedly one of the best stories in the fantasy genre.

Article written by Joshua Ehiosun

C2 certified writer.

As of April 2019, A Song of Ice and Fire has sold 90 million copies worldwide. It exists in more than 45 languages. George R. R. Martin’s epic tale of family, war, history, dragons , and blood has become an inspiration to upcoming writers and an undeniable source of entertainment to readers.

‘ A Game of Thrones ’  became popular because of its story. Its intense attention to detail in an extensive universe made it easy to follow the characters on their journey of identity, honor, and sacrifice. 

George R. R. Martin introduces the reader to an abstract concept, the White Walkers. The introduction of the monsters in the prologue creates a feeling of intensity and looming danger. The story begins, and Martin puts the reader on a pedestal where they watch as the primary characters try to overcome their problems.

The first character to face a problem is Ned Stark. As the lord of Winterfell , he receives a letter that puts him in a dilemma. He learns the king, Robert Baratheon , is coming to visit and learns of the death of his dear friend, Jon Arryn, the Hand of the King . Ned’s dilemma grows as Robert asks him to become the new Hand of the King . Though he realizes the gravity of the position offered to him, he agrees to become the Hand of the King, a decision that changes his life forever.

The story’s introduction of more than one conflict into Ned’s life hooks readers as they want to know what happens next. When Ned follows Robert to King’s Landing , he discovers that the world of politics does not respect honor. However, he decides not to adapt; this leads to his death.

When Ned dies, the reader enters an uncomfortable position where they realize that Martin’s universe has no pity for its heroes and does not follow the logic of moral values.

The story of ‘ A Game of Thrones ‘ puts other primary characters in dilemmas they do not wriggle out of easily. Jon Snow joined the Night’s Watch to become a warrior with an identity. However, he realizes that his oath has put him in a position where he can not help any of his family. The dilemma forces him to abandon everyone he once loved.

Daenerys, on the other hand, was a young girl of 13 thrown into the world of pain, tears, and suffering. At the young age of 13, her brother gifts her like a piece of jewelry, and even though she rises above the first hurdle, her life comes crashing down as everything she loves, her husband, her unborn child, and the people she feels attached to leave her. She becomes a shadow of happiness and realizes that the world does not revolve around kindness. 

Sansa, a lovely and elegant girl, believed that the world is a place where knights fought dragons and defeated the bad guys. However, she realizes that the world is cruel and dark and it does not care for lords, knights, and even kings. Tyrion, the dwarf son of Tywin Lannister , gets placed in a dilemma that puts his head on the line. However, the story shows how he craftily wriggles out of the dangerous situation. It also intentionally shatters the dream of its characters and forces them to admit to reality.

The intentional gradual introduction of dilemmas into the characters’ lives makes the story realistic in a way that makes the reader reflect on the rules of morality, honor, and love. The reader gets forced to change their perception regarding fantasy as the story makes them admit the reality of the consequences of actions and choices made by characters.

‘A Game of Thrones’  uses an extensive list of characters to propel its story forward. The use of limited prescience according to the characters’ perceptions makes the story transcend as the characters grow. It puts its characters in dilemmas that make them choose between morality and survival; this adds an overwhelming sense of realism to the consequences of the actions taken by the characters.

For primary characters like Ned, Bran, Sansa, Arya, Jon, Daenerys, Tyrion, and Catelyn, the presence of conflict forces them to change their perception of the world. Ned was an honorable man who believed in family and friendship. However, he learns that honor sends a man to an untimely grave when he does not adapt to a society of corruption. 

Bran’s accident forces him to realize he will never be a knight , no matter how hard he tries. He faces reality and has to start thinking about how the loss of his legs will affect his future. Sansa, a naïve girl who believes in elegance, comes to grips with reality after watching her father lose his head. Jon, a bastard son, realizes that his insatiable desire to get his identity cut him off from his family.

Jon learns that because he decided to join the Night’s Watch, he can no longer help his brother in the war against the Lannisters. Daenerys had to admit that the world never cared for her. After losing everything in the blink of an eye, she faces the harsh truth that life throws darts of reality and forces one to reevaluate themselves. 

Another crucial aspect of characterization in the story is the value of minor characters.  ‘A Game of Thrones’  features over 50 valuable minor characters. The intricate design of each minor character adds depth to the overall story as the characters help propel the story while assisting the primary characters through motivation and antagonization. Minor characters like Mirri Maz Duur , Syrio Forel , Bronn , and Sandor Clegane impact the primary characters’ lives as their actions change their perception of life.

‘A Game of Thrones’  uses excellently crafted dialogues to push its plot forward and give its reader a better understanding of Martin’s fantasy world. The use of dialogue to describe characters, explain concepts of morality, and narrate the history and how it affected the present world of Westeros makes it a pillar of the story. With each dialogue, Martin emulates the voice and being of the characters when they converse with others by showing their faults, aspirations, and thoughts on morality, fairness, and justice. 

Martin’s unique vocabulary makes the dialogue resonate with an anciently historical tone; this makes the novel addictive as the readers get dragged into the conversations between characters and choose if each interaction has real-world value. When Tyrion meets Jon Snow, he gives him a piece of advice that stems from his experience with life. Tyrion tells Jon that a dwarf has little value in the world. He makes Jon realize that reality treats everyone differently and is never fair.

Writing Style and Conclusion

‘A Game of Thrones’  employs a limited third-person perspective to lure the reader into its world. George R. R. Martin’s use of limited prescience adds the element of uncertainty to the story as the reader gets put through a roller-coaster of events that goes against the heroes and favors the antagonists. Though it sometimes helps the protagonists, they get forced to experience the overwhelming burden of failure, regret, and pain.

In its conclusion,  ‘A Game of Thrones’  ends on a cliffhanger. The story’s conclusion makes it one of the best novel endings ever because it makes the protagonists reevaluate their stance on morality and sets a tone of anticipation for the next story.

Is A Game of Thrones a good story?

‘A Game of Thrones’  is an incredible story. The characters are realistic, and the dialogues are intricately influential on the plot. The presence of consequences with caliber makes it an intriguing read as it puts one on a rollercoaster of emotions and action.

Is A Game of Thrones better than Foundation ?

While  ‘A Game of Thrones’  tells a story of knights, kings, and dragons,   ‘Foundation’   tells a story of a race to save humanity from collapse. The former uses many characters to propel its story, while the latter uses fewer characters.

What are the similarities between GOT and the novel?

Game of Thrones  is closely similar to the novel. Its plot line follows the story as many events, like Ned Stark getting beheaded and Daenerys getting three dragons occur in the show.

A Game of Thrones Review: Winter is Coming

Book Title: A Game of Thrones

Book Description: 'A Game of Thrones' by George R. R. Martin is a complex tale of power, corruption, and dragons.

Book Author: George R. R. Martin

Book Edition: First Edition

Book Format: Hardcover

Publisher - Organization: Bantam Books

Date published: August 1, 1996

Illustrator: Jeffrey Jones

ISBN: 978-0-553-10357-8

Number Of Pages: 694

• Lasting Effect on Reader

‘ A Game of Thrones ‘ tells the story of many people on the continents of Essos and Westeros. It follows their lives’ journey as they discover the secrets of a world filled with corruption, power, and dragons.

• The characters are well developed
• The story is interesting
• The ending is remarkable
• The dialogues are intricately soothing
• The novel is lengthy
• It may be hard to keep track of the characters as they are many

Game of Thrones Quiz

Summon your wit and wisdom—our ' Game of Thrones ' Trivia Quiz awaits you! Do you possess the knowledge to claim the title of Master of the Seven Kingdoms? Take the challenge now!

1) Who is Jon Snow's mother?

2) What is the sigil of House Stark?

3) Which character is known as the 'Kingslayer'?

4) Where does Daenerys hatch her dragon eggs?

5) What is the name of Arya Stark's sword?

6) What title does Tyrion Lannister hold at the beginning of the series?

7) Who is the Lord Commander of the Night's Watch at the start of the series?

8) What gift does Jon Snow give Arya Stark before leaving for the Wall?

9) Who is the first character to die by the hands of a White Walker in the series?

10) What is the official motto of House Lannister?

11) Who originally owned the Valyrian steel sword known as "Ice"?

12) What is the capital of Westeros?

13) Which character says the line, "When you play the game of thrones, you win or you die"?

14) Which house is known for its allegiance to the Starks and has the motto "The North Remembers"?

15) What is the primary religion of the Seven Kingdoms of Westeros?

Your score is

Restart quiz

Join Book Analysis for Free!

Exclusive to Members

Save Your Favorites

Free newsletter, comment with literary experts.

About Joshua Ehiosun

Joshua is an undying lover of literary works. With a keen sense of humor and passion for coining vague ideas into state-of-the-art worded content, he ensures he puts everything he's got into making his work stand out. With his expertise in writing, Joshua works to scrutinize pieces of literature.

About the Book

The Game of Thrones section of Book Analysis analyzes and explores the Game of Thrones series. The content on Book Analysis was created by Game of Thrones fans, with the aim of providing a thorough in-depth analysis and commentary to complement and provide an additional perspective to the incredible world George R.R. Martin created in his books.

Discover the secrets to learning and enjoying literature.

Join Book Analysis

A Game of Thrones by George R.R. Martin book review

I reviewed A Game of Thrones back in 2021 quite early on after I started this blog – since then I’ve done a reread and decided I want to give it another crack. I wrote my review based on memories of about two years after I’d read the book. This updated review is based on a reread I finished literally days ago.

Please note that this article contains affiliate links. This means if you choose to purchase any of the products linked below, I will receive a small commission at no extra cost to you. These links do not affect my opinion of the products.

A Game of Thrones is the first book in the epic A Song of Ice and Fire series by George R.R. Martin – if you’ve not heard of it then I imagine you’ve been living under a rock. The book series has been turned into arguably the biggest television series ever made – pioneering the way of not only fantasy TV series but large-budget fantasy TV series.

A Game of Thrones introduces us to the land of Westeros and its families, cultures and political goings-on. It introduces us to the Lannisters, the Starks and the Targaryens and other families throughout Westeros.

Plot – 4.5/5

You can’t really describe what happens in A Game of Thrones as it’s so long that many things happen. Essentially everything starts off quite calm, controlled and peaceful, however, a large secret comes to light and things start to spiral out of control. Old friends become enemies and the peace is eventually broken, causing the land of Westeros to become as unbalanced as it has been for decades.

On top of this, there are whisperings of dark creatures and beings not seen for hundreds of years being seen by travellers, suggesting other things are at unrest beyond “the wall” too. it’s all very interesting and exciting to read. It’s a storyline with lots of twists and turns where Martin isn’t afraid to kill of the characters you like or keep those you dislike alive.

George R.R. Martin does an incredible job of throwing us around to different characters involved in different plot points but making us feel at the same time that they’re all connected. Despite being a book that focuses on different points of view, you feel like you’re following one continent move at the same time.

Characters – 5/5

When I first read A Game of Thrones , I had no perspective as to what makes well-written characters or not. George R.R. Martin has carved some truly fantastic characters in this book. He could have taken the easy fantasy option of having “a chosen one” and the main villain but instead, he’s developed families, genuine relationships, flawed heroes and detestable characters. There’ll be characters in this book who you can’t help but have respect for and others for who you spend your time hoping to meet an unfortunate end.

Tyrion is probably my favourite character – as he is many. He’s smart, witty, and sometimes rude but has a very strict moral compass. Tyrion is a dwarf and his life has seen his lack of height make him feel that he must make up for it with a sharp mind. There’s an argument here that because he’s the smartest, this makes him make some of the best and wisest decisions.

What I love about many of the characters is that nearly all of their actions are steeped in reason. Joffrey for example makes cruel and awful decisions because he is young, naive and has no idea how to rule. He believes ruling by force is the best way as it seems the easiest way to get people to obey you. However, I can see in the future how this might fail him.

There are copious amounts of other characters I’m looking forward to seeing the rise and fall of too. Yes, I’ve watched a couple of series of the TV series, but I’m still excited to read about them all as I imagine the books portray them differently. In fact, I know this to be even more true in the latter books.

Summary – 5/5

A Game of Thrones is the best opening book to a fantasy series you’ll find. It has become a sensation for a reason – the TV series is brilliant, yes. But the first book is probably better. You get such a great feeling of grandeur but also a really personal feeling from some of the characters. One moment you’re learning of great wars, deep histories and long legacies and the next you’re sitting by a campfire as Tyrion Lannister tells Jon Snow why he reads so many books. It’s an epic in every sense of the word and is, without a doubt, an absolute must for any fantasy fan and even those who don’t think fantasy is their bag.

One thought on “ A Game of Thrones by George R.R. Martin book review ”

I found the first 3 books in a “little neighborhood library” on the sidewalk yesterday, so I figured “why not” and grabbed them. So far I have read the prologue from the first book, in which there are 3 characters: Gared (in his 50s, 40 years of which serving in the Night’s Watch), Will (caught poaching and drafted 4 years prior to the Night’s Watch), and Ser Waymar Royce, 18 years old lordling heir and commander of this latest ranging in pursuit of some wildlings who are leading them further and further north. Will had just returned from tracking the wildlings 2 miles from their present location, seen they were all dead, and returned to the group. Gared figured they had died from the cold (he himself lost both ears and some fingers and toes from some previous exposure), but Royce asks Will about the Wall; Will says it had been “weeping” meaning it wasn’t possibly cold enough to kill the wildlings. So Royce demands they go to see, remarks that Gared had been “unmanned” by fear of the dark for his insistence on building a fire, and Gared barely holds himself back from murdering Royce then and there. Then Royce and Will go to see the dead wildlings, only now there are none left, just one weapon (a valuable war ax) and Royce instructs Will to climb up a tree to see what he can. Meanwhile some ghostly foe comes and approaches Royce with some kind of magic sword. Will sees more ghosts coming but fears to shout a warning since he is sure to die. Royce and the ghost have a duel, Royce gets hit by the ghostly sword and it cuts him through his mail armor, he charges and hits the ghost sword with all his might, but his own steel sword shatters into a zillion pieces. All the ghosts advance and chop him up and then they all disappear somewhere. Will eventually climbs down and recovers Royce’s broken hilt for evidence, but before he can leave Royce rises up and is towering over him, and strangles him dead, too.

I have a few issues with this first scene, which are: why is Royce ignoring his more experienced companion’s better advice, and why are his companions daft enough to let Royce out-reason them about the cold, and how can Will climb up a tree and none of the ghosts can see him up there, and how can Royce shatter a steel broadsword at all, he must have superhuman strength to possibly do that, and why does he come back to life and strangle Will out?

I’m reading this story and already I’m appalled at how sloppily it is written and how uninteresting it is. I think I’m like Gared, I have half a mind to throw these books out and find something better.

Leave a Reply Cancel reply

Your email address will not be published. Required fields are marked *

Save my name, e-mail, and website in this browser for the next time I comment.

A Game of Thrones by George R. R. Martin – A Book Review

In the realm of contemporary literary tales, the opus entitled “A Game of Thrones,” composed by the deft quill of George R.R. Martin, emerges as a vivid and complex narrative masterpiece, casting its shadow upon the hallowed landscapes of the fantasy genre. With meticulous craftsmanship, Martin weaves a tale both resonant and arresting, which beckons the inquisitive intellects of our era to venture forth into the intricate interplay of politics, power, and human nature, while also beckoning comparisons with other esteemed works within the fantastical canon. While I did enjoy the TV adaptation, the novel was always going to be more exciting for someone who still enjoys the power of pen, more than anything else. George Martin’s pen, on a lighter note, created the throne of swords… the famous iron throne!

Trivia: A Game of Thrones is the first novel in the book series A Song of Ice and Fire. If you are interested in knowing more about the book series, you can read this detailed and comprehensive article on the ReadByCritics website – A Song of Ice and Fire Book Series Summary .

Within this tale of swords and schemes, Martin’s acumen for character development stands as an emblem of his narrative prowess. A panoply of multifaceted personas graces the pages, their ambitions and idiosyncrasies rendered with consummate precision, rendering them both relatable and enigmatic. The Starks, Lannisters, and Targaryens, among others, grace the narrative tableau with their presence, each casting a unique hue upon the thematic fabric.

Comparisons drawn against other august tomes of fantasy reveal the transformative nature of “A Game of Thrones.” Echoes of Tolkien’s mythopoeia resound, yet the chiaroscuro of Martin’s moral terrain casts a stark contrast. While Tolkien’s world delineated the paradigm of absolute good versus incorrigible evil, Martin’s creation is predicated upon a more morally ambiguous plane. Characters exemplify virtues and vices in equal measure, no single soul being impervious to shades of grey. Such intricacies have not only augmented the plausibility of character portrayals but have also kindled an evolution in the genre’s portrayal of human nature.

The incandescent revelation lies in the way Martin transfigures the fantasy genre itself. Priorly perceived as the preserve of magical creatures and abstract destinies, the fantasy genre underwent a transmutation through “A Game of Thrones.” Here, the fantastical becomes a tapestry upon which the quiddities of realpolitik are embroidered. Rather than being relegated to mere escapism, the genre becomes an allegorical conduit through which modern socio-political dynamics are deftly echoed. In this manner, the novel bears witness to an epochal redefinition of the fantasy genre, establishing a new paradigm wherein profound examinations of power, morality, and mortality are pursued.

Yet, even within the cadences of its enchanting narrative, no creation remains impervious to critique. The novel’s vast expanse, replete with multifarious characters and intricate plots, has, at times, led readers to veer amidst the labyrinthine complexities, occasionally risking detachment from the overarching tapestry. Moreover, the leisurely pacing that affords depth to character introspections can, in moments of urgency, engender a sense of deceleration within the narrative current. We can say a lot about the lacks in the Eden of an exemplar story, let me summarise all the important shortcomings of the novel in brief.

Foremost among these observations is the sprawling profusion of characters and their interwoven narratives. While the canvas’s grandeur is undeniable, it occasionally veers into a labyrinthine convolution, engendering moments of reader perplexity. In weaving an extensive cast of characters, each embellished with intricate histories and motivations, Martin compels the reader to navigate through a dense underbrush of narratives. This abundance, though a testament to the author’s intricate world-building, may at times lead to an inadvertent diversion from the core narrative current. Furthermore, the deliberate pacing, often lauded for its nuanced exploration of characters’ internal landscapes, can, in moments of narrative urgency, appear ponderous. As the wheels of political intrigue turn with sombre gravity, the reader might yearn for a swifter narrative momentum, occasionally encountering stretches wherein the cloak of languor overshadows the galloping spirit of the plot.

Within this epic canvas, another facet of discourse resides in its depiction of women. Critics posit that some female characters, while imbued with multifaceted dimensions, are at times subjected to plot devices that exacerbate their suffering or appear designed solely to elicit sympathy. These instances have sparked discussion about gender representation within the narrative and the broader ramifications of their portrayal.

Lastly, some discerning voices have raised concerns over the overt and graphic depictions of violence, both physical and sexual, within the novel. While the dark and unflinching portrayal of human brutality serves to amplify the realism of the setting, there are instances where it treads a fine line between verisimilitude and gratuitousness, giving rise to apprehensions regarding the narrative’s ethical compass.

In the cradle of literary discourse, critique serves as a mirror, reflecting not only the luminous facets but also the shadowed corners of creative endeavour. While “A Game of Thrones” is undeniably an exemplar of narrative ambition, its canvas is not immune to the inevitable creases that arise when the quill of creation traverses the realms of human complexity. Thus, in the shimmering canvas of “A Game of Thrones,” where heroes and villains dance a mosaic of intrigue, discerning readers, while enraptured by its allure, may still recognise the muffled footfalls of critique echoing amidst the chambers of fantasy’s symphony.

In summation, “A Game of Thrones” stands as a pivotal testament to the transformative potency of literary ingenuity within the fantasy genre. Martin’s saga, imbued with labyrinthine plots, morally nuanced characters, and a verisimilar political intrigue, proclaims its status as a work of unparalleled magnitude. Within the folds of its pages, the very essence of fantasy is transmuted, transcending the periphery of escapism to emerge as a potent mirror, reflecting the complexities of our human condition. As the saga continues, may we find ourselves enthralled and enlightened, our literary horizons forever broadened by this herald of new epochs in the realm of imaginative storytelling.

Anyone who wishes to be transported to a world of intrigue and schemes, political conspiracies and philosophical deliberations of the wise dwarf, Lord Tyrion Lannister, should (or rather MUST) get a copy of A Game of Thrones by George R.R. Martin and read the novel. If the first one strikes the right chord, there are many more to read in the series A Song of Ice and Fire. If you want to read the novel, get a copy by clicking on the link to Amazon India below:

Click here to get a copy now – Amazon India

Review by Manish for ThoughtfulCritic

• Thoughtful Critic's Rating

Too long… too detailed… too much… and yet too entertaining to just ignore. You can navigate through the boredom because there is the wise Lord Tyrion Lannister to keep you indulged in the constant process of learning we know by the name of life. Enjoy! Learn.

RELATED POSTS

One Night @ Call Center by Chetan Bhagat, a book review

The Color Purple by Alice Walker Book Review

Gun Island by Amitav Ghosh – Book Review

Leave a reply cancel reply.

Your email address will not be published. Required fields are marked *

Save my name, email, and website in this browser for the next time I comment.

Book Review: A Game of Thrones

“A Game of Thrones” by George R.R. Martin tells the tale of various clashing households and their quest to conquer control over the seven kingdoms. Set in a distant, but vaguely familiar medieval-Europe, the story bears parallels to England’s “War of the Roses,” while also introducing its share of unique fantasy elements. As the reader progresses through the book, they follow the politics of the Iron Throne- a metaphor representing the complete and utter control a King possesses in a feudal government system. Furthermore, the reader tracks 8 character perspectives, which are alternated through passing chapters.

As the King rides north to Winterfell to meet with his trusted vassal, and friend, Eddard "Ned" Stark, he strikes up an agreement to anoint Eddard as the hand of the king. Reluctant, Ned follows the King back to the South, but as the plot continues to unfold, Eddard learns of a secret unbeknownst to the King and some of his most trusted advisers. With the death of the King and the ruin of Eddard’s house, war rages in Westeros- as several characters attempt to strike their claims on the Iron Throne.

I initially picked this book up after finishing J.R.R Tolkien’s, “Lord of the Rings” series and have been pleasantly surprised with it. Many fantasy readers have speculated that the literary masterpiece of Tolkien’s novels could not be out done, but I am now inclined to disagree. I thought the book was well-crafted and engaging as an intermediate to advanced reader. However, I would file the complaint that the book moves a bit slow for my taste. Some may lose interest in its plot, especially considering the sheer volume of the book series. The old-language also adds to this effect, as it may cause some readers to struggle following along.

Overall, I would say that this book is certainly worth a try for someone who enjoys medieval-fantasy novels. Admittedly, it will take a while to read and is certainly no small undertaking, but by sticking with it, I found myself enjoying every page more than the last!

Dear <i>New York Times</i>: <em>A Game of Thrones</em> Is Not Just for Boys

For months now, I've been counting the days to April 17th, the release date of HBO's Game of Thrones . As a longtime fan of the books I have high hopes for the TV series as delicious entertainment, which is the chief characteristic of George R. R. Martin's books at their best. I don't expect it to offer social commentary like The Wire or philosophical depth like Six Feet Under (my favorite shows), because that is not what the books contain. What I hope is that like the books, the show will feature compelling characters, suspenseful plotting and colorful set pieces bringing Martin's vividly imagined world to life.

I was surprised to read Ginia Bellafante's piece in the New York Times , as it manages to do so many wrong things at once. The piece is rife with inaccuracies that could have been avoided by a cursory skimming of the book (or even back cover copy), is openly, even proudly contemptuous of the entire fantasy genre, and -- perhaps worst of all -- is patronizing to women readers.

It's clear that Bellafante was probably the wrong audience for this particular show, but she did not do her due diligence as a critic. If she had, she would have refrained from making remarks such as:

Given the bizarre climate of the landmass at the center of the bloody disputes -- and the series rejects no opportunity to showcase a beheading or to offer a slashed throat close-up -- you have to wonder what all the fuss is about. We are not talking about Palm Beach.

The series was inspired by the Wars of the Roses in medieval England, which is not a secret (and was mentioned in Laura Miller's recent profile of Martin in the New Yorker ), so no, it isn't Palm Beach. People vied for the throne in England even though there was nasty weather. Go figure, but that's history.

The fictitious land of the Seven Kingdoms is not, as per Bellafante, "a universe of dwarfs." The one dwarf, Tyrion Lannister, is genetically disposed to be one -- he is not of a race of dwarfs. This really ought to have been clear, since -- as often happens in our world -- Tyrion's entire family is of average height.

But perhaps the oddest and most noteworthy inaccuracy is the following:

Game of Thrones is a costume-drama sexual hopscotch... The true perversion, though, is the sense you get that all of this illicitness has been tossed in as a little something for the ladies, out of a justifiable fear, perhaps, that no woman alive would watch otherwise.

Where to begin. I will be surprised if HBO bothered to invent sex scenes for this show, because the books already have lots and lots of sex. If the showrunners have executed a faithful adaptation from page to screen, "illicitness" will run rampant.

But more remarkably, Bellafante is here positing that only men are interested in fantasy.

And she elaborates on this theme:

While I do not doubt that there are women in the world who read books like Mr. Martin's, I can honestly say that I have never met a single woman who has stood up in indignation at her book club and refused to read the latest from Lorrie Moore unless everyone agreed to The Hobbit first. Game of Thrones is boy fiction patronizingly turned out to reach the population's other half.

The characterization of fantasy as "boy fiction" is offensive to the genre and offensive to women. That we for the most part will only read what Oprah has picked, and especially if a woman wrote it, is a stereotype that is not only demeaning to women -- it is also untrue. Like Bellafante, I can offer personal anecdotes to back up my assertion, some of which involve stunning young women dressing up as Martin's characters at Worldcon . Sometimes in very tight spandex. But that would be beside the point.

When we categorize books as "boy fiction" and "girl fiction" it's just another way to promote gender stereotyping. It is predicated on the assumption that people will only read books that reflect their personal experiences, so therefore women will only deign to read about dating, shopping, and kitchen intrigues. This is patronizing to women and undermines one of the core purposes of literature, which is to take us on voyages beyond the scope of our personal experience so that we expand in our understanding and capacity for empathy. And I think most women get this; I think most women are willing to read novels with male protagonists in worlds apart from their own. To imply otherwise is an offense to the gender.

There is room for a discussion of Martin's books, and the genre as a whole, from a feminist perspective. But that is very different from dismissing the genre outright as "boy fiction" -- a dismissal that exhibits as much maturity as a children's clubhouse bearing the sign "No Girls Allowed." Now in 2011, can we grow beyond that, please?

A good fantasy novel is always about human beings. By and large, the people who love the works of George R. R. Martin do so because the characters are intriguing and the plots engrossing. A fantasy novel that falls short of these requirements does not succeed -- and that is true of every genre. And while Martin offers readers a rollicking good time above all else, other fantasy writers such as J.R.R. Tolkien, Guy Gavriel Kay and Ursula K. LeGuin use fantasy as a tool to explore themes, in books that are as profound as the most revered works of literary fiction. Both the purely entertaining and literary forms of fantasy have an appeal that is not specific to either gender.

I'll be watching the show with my husband when it comes out next week. We may enjoy it for different reasons, but ultimately there is one goal we will both share: to have fun.

Support Free Journalism

Consider supporting HuffPost starting at $2 to help us provide free, quality journalism that puts people first.

Can't afford to contribute? Support HuffPost by creating a free account and log in while you read.

Thank you for your past contribution to HuffPost. We are sincerely grateful for readers like you who help us ensure that we can keep our journalism free for everyone.

The stakes are high this year, and our 2024 coverage could use continued support. Would you consider becoming a regular HuffPost contributor?

The stakes are high this year, and our 2024 coverage could use continued support. We hope you'll consider contributing to HuffPost once more.

Already contributed? Log in to hide these messages.

From Our Partner

More in books.

Advertisement

More from the Review

Subscribe to our Newsletter

Best of The New York Review, plus books, events, and other items of interest

September 19, 2024

Current Issue

Why We Need ‘Game of Thrones’

The epic fantasy series is more than just escape. It is a way of imagining our way to the future.

By Annalee Newitz

Ms. Newitz is a science journalist and novelist.

“Game of Thrones” returns on Sunday, and with it, the inevitable onslaught of “winter is finally here” memes and a sudden obsession with dragons, knights and internecine feudal politics. But the show isn't just warmed-over fantasy tropes. Its conflicts have become part of our public discourse, and Westeros, its fictional kingdom, has become an allegory for America.

This isn’t the first time a medieval fantasy has served this purpose. “Lord of the Rings” grew out of J.R.R. Tolkien’s traumatic experiences as a soldier in World War I. It achieved widespread popularity in the United States during the 1960s and ’70s, when hippies joked about electing the wise wizard Gandalf as president and wore “Frodo Lives!” buttons, an emblem of their solidarity with the idyllic, communal life of the Shire.

After the Sept. 11 attacks, the massive multiplayer game “World of Warcraft” dominated the global gaming market. Its story of war between the orc-led Horde and human-led Alliance was set in an immersive, intricately detailed medieval fantasy world. J.K. Rowling’s Harry Potter novels, in which the young heroes battle an evil wizard who perverts democracy, climbed the best-seller lists during the same period. Magic rules all of these realms, reducing complex social and political conflicts to battles over spells and ensorcellment.

Whenever there’s trouble in the land, it seems, our narrative appetites lead us backward in time, offering escape in tales of a world before modern statehood and techno-capitalism.

But escapism isn’t just a flight from reality. Ursula Le Guin, the celebrated fantasy author, once asked, “If a soldier is imprisoned by the enemy, don’t we consider it his duty to escape?” She was writing about Tolkien, arguing that escapism in all its forms is a survival strategy, a way to think ourselves out of traps. In Ms. Le Guin’s Earthsea novels, wizards craft magic out of words, trying to prevent a creeping global sickness by, in essence, telling the right story. If we think of fantasy as a way to escape from a dark fate, “Game of Thrones” is a skeleton key.

In that case, what is the prison? And why does the path always seem to lead through the Middle Ages?

We are having trouble retrieving the article content.

Please enable JavaScript in your browser settings.

Thank you for your patience while we verify access. If you are in Reader mode please exit and  log into  your Times account, or  subscribe  for all of The Times.

Thank you for your patience while we verify access.

Already a subscriber?  Log in .

Want all of The Times?  Subscribe .