That sound you can hear right now is of reinforced bookshelf supports being delivered to hundreds of thousands of SFF fans across the globe. Bookshelves creak, strained by a weight they were never designed to hold. Yes, a new Stormlight Archive novel from Brandon Sanderson has arrived.
At 1,330 pages in hardcover and just a tad under half a million words by itself, Wind and Truth is the longest book in the series to date. It's also the most interesting. Whilst this is only the fifth of ten books in the series (and the seventeenth of potentially forty in the much wider Cosmere setting), it's the end of the first major story arc and has to "park" the various storylines for a planned ten-year timeskip before the sixth Stormlight book picks things back up. That book probably won't appear until the 2030s, with Sanderson committed to writing a new Mistborn trilogy and two sequels to Elantris before resuming this series.
In this sense Wind and Truth is Stormlight's equivalent to George R.R. Martin's A Storm of Swords, which also had to "park" a massive array of character and plot arcs in the Song of Ice and Fire series in preparation for a five-year timeskip which, in that case, never happened (and arguably caused problems that series is partially still confronting two and a half decades later, but that's a debate for elsewhere). It is a climax book that has to deliver massive payoffs and tee up the second half of the series but can't actually end the series.
In some senses it delivers: Wind and Truth is a massive countdown to a continent-shaking confrontation between Dalinar, the highly redoubtable, reformed war criminal turned leader of the resurrected Knights Radiant, and Odium, the principle force of evil on not just this planet, but the entire Cosmere setting. But, in arguably Sanderson's most satisfying plot twist to date, the previous incarnation of Odium was killed at the end of the prior novel, Rhythm of War, and replaced by what had appeared to have been a minor, sympathetic semi-antagonist up to that point, one with detailed knowledge of Dalinar and his allies. This creates a situation in which our heroes are fighting an enemy they literally know exists, and knows them better than they do themselves.
This results in Odium launching a complex, multi-pronged scheme to defeat and conquer as many of Dalinar's allies as possible, as fast as possible, and their increasingly desperate attempts to fend him off and survive until the deadline, with the slight problem that Dalinar still has no idea on how to actually win that confrontation when it arrives.
This structure gives us a ticking clock element, and four primary storylines that continue through the novel: Dalinar entering the Cognitive Realm to learn the deep backstory to the setting and figure out how Odium was defeated, or at least checkmated, in the past (with Shallan unwittingly tagging along); Kaladin and Szeth visiting Szeth's homeland of Shinovar to find out what's going on there; Adolin leading a desperate battle in western Roshar to fend off Odium's forces; and Sigzil and the rest of Kaladin's old Bridge Four unit leading a similar desperate battle in eastern Roshar. Characters like Lift, Wit/Hoid, Renarin and Rlain, Venli, Jasnah and Navani also have notable subplots.
This makes for a busy novel that - somewhat - justifies its yak-stunning length. This is an improvement over Oathbringer, which probably could have been reduced in length by half without losing anything too major, and Rhythm of War (aka Die Hard with a Sprengeance) which was not far off the same. Wind and Truth has a lot going on and Sanderson juggles it mostly quite well. That's not to say the novel doesn't occasionally feel indulgent: strategy meetings where characters debate the plot rather than getting on with the plot recall some of the sludgier moments of The Wheel of Time, and the elaborate Cognitive Realm TED Talks on Ancient Rosharan History start indulging in redundancy when we get to revisit the entire storyline a second time later in the novel, from a different POV.
The plots themselves also vary in quality. Kaladin and Szeth's trip around Shinovar feels like a different, almost completely self-contained novel, one that takes place in two time periods as we see both Szeth's flashback storyline and his present-day storyline, which are very similar and take place in many of the same locations (again causing a feeling of redundancy). The divorcing of their storyline from the rest of the novel makes it feel a bit disconnected, at least until the end makes its relevance clear. This storyline also drags, especially as Kaladin has been learning the art of therapy and gets to try out his various new learned techniques on Szath's numerous neuroses with all the enthusiasm (and ill-advised lack of forethought) of someone who's watched a few too many YouTube videos on mental health and not read enough deep studies or done enough actual studying. Prioritising mental health is a good thing, and that message in one of the biggest-selling modern fantasy series is laudable, but the emphasis placed on it sometimes feels incongruous, if not pace-killing.
Adolin's storyline is probably the most traditional hoo-rah epic fantasy one here, with lots of military planning, cool action sequences, epic battles and desperate fights for survival against overwhelming odds. This sequence is great (you can almost see an anime adaptation in your head as it goes on), but is potentially a bit overwrought by the time the battle has been going on for eight or nine days and eight or nine hundred pages.
Dalinar's storyline is the most important in the book, but also the vaguest. Much of his story has him viewing narrated histories about Roshar's deep past that you can almost imagine Ken Burns narrating, which is both catnip to lore...cats, but potentially boring to everyone else, so Sanderson interjects a lot of action by having Dalinar stalked by the mysterious Ghostbloods and having Shallan acting behind the scenes to stop them. A lot of this stuff is pretty good, but again you start to ponder if this could have been structured differently (especially when Dalinar gets to experience everything he's just seen again, but from a different point of view).
The final major storyline is the best-paced, with Sigzil and his team returning to visit the Shattered Plains (the evocative setting for the first book in the series, The Way of Kings) and getting embroiled in a humdinger of a complicated battle, which is further thrown for a loop by the arrival of a third side.
We flip between these storylines quite regularly, allowing all to be serviced on a frequent basis, although this can result in plot-whiplash as the reader is thrown from city to city to illusionary dream dimension to intense battle to tragic deaths to cutesy romantic exchanges and strained humour without much regard for tonal consistency.
The book is a lot even by the standards of the series so far, which can both breathlessly enjoyable but also frustrating, especially for those who find some storylines deeply engrossing and others much less so.
This is also the book which does feel like it breaks Sanderson's (already shaky) long-ago promise that readers would not have to have an in-depth knowledge of the entire Cosmere universe to enjoy any given series or even novel within it. We even spend brief parts of the book visiting Scadrial to set up the forthcoming Mistborn: Ghostbloods trilogy, and allusions to other books come thick and fast. At one point the book stops to give us a potted plot summary of Warbreaker (where the sword Nightblood first appeared), whilst one part of the ending exists to set up the events of the previously-published The Sunlit Man. This may be good from the point of view of the wider Cosmere setting, with Sanderson incorporating more elements into Stormlight that were originally planned for other books and series (thus reducing the total number of books he still has to write in the setting, which was starting to look a bit over-ambitious), but those Stormlight fans who weren't keen on Mistborn or his other works may be less happy about those wider setting elements colliding with Roshar here.
Of course, for those who love the interconnected elements of Sanderson's wider universe, this book will be outrageously enjoyable, satisfying, and prime Wiki-fodder.
Summarising a book of this breadth and heft is tricky, especially when you want to avoid "1990s flight sim expansion pack review syndrome" ("if you liked the last thing in the series, you'll like this too, I guess"). If you've read the previous books in the series, you're going to read this, and you'll have a good time; Sanderson sceptics will find little here to convince them otherwise. Wind & Truth (****) is better than the last two Stormlight books, but not as strong as The Way of Kings. Sanderson's weaknesses - a prosaic prose style, occasionally jarring use of modern language mixed in with more formal syntax, haphazard characterisation - are still present and correct, but his strengths are here as well: impressive worldbuilding, fascinating magic, explosive action sequences and satisfying moments of plot revelation and payoff. This novel also has an impressive amount of incident going on, paced surprisingly well for the book's staggering length. The book is available worldwide now.
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