Star of the Guardians is a space opera series by Margaret Weis, released in the early 1990s. I read the original trilogy of books as a teenager basically upon their release. I was also aware that there was a fourth book in the series (apparently, there are now three spinoff books, too), but was never able to find it here in Argentina and by the time I discovered Amazon, the book was out of print and I couldn’t get them to ship used books here. By the time global internet commerce became a thing, and I could find the book easily, I had pretty much forgotten I wanted it.
That was the state of play until, browsing the SF section of one of my favorite used book stores (BABS Casi Nuevo in Buenos Aires), I stumbled upon it and bought it. The book was tossed into my TBR pile, and there it lay until I got around to reading it a couple of weeks ago.
I remember enjoying the first three volumes in this series, and, to be honest, the storyline was pretty much closed right where those ended – the lost heir’s quest had been resolved to everyone’s satisfaction and the bad guys had been dealt with. However, there was one major loose end that Weis felt she needed to address, and wrote this book.
So fast forward to 2018, and a lot of things have happened. I’m no longer an impressionable teenager, so some of the actions, and the way the plot weaves science fiction and religious fantasy together jars me more than it did then. Also, there’s a whole lot of head-hopping, which, though I don’t really hate it, is strange twenty-odd years later.
In addition to that, space opera has really evolved since then. Alastair Reynolds and a few others have moved the goalposts so far down the field that they couldn’t even be seen in the late eighties when these books were being conceived. This is not Weis’ fault.
But some things are. The beginning of this fourth volume drags on and on. The book hits its stride in the last 150 pages, which means that any reader less dogged (and emotionally invested) than myself would have abandoned long before hitting pay dirt. Worse, the excess length is mainly used to beat us over the head with character motivation–of course that needs to be in there, but some of it is quite repetitive, which seems counterproductive.
The reason for this appears to be that Weis needs to place the characters she’d developed over a well-paced trilogy in a new mental space, and that forces her to break them out of molds. Unfortunately, all the development she did in three books didn’t lend itself to easy undoing in a single volume… and it got a bit dense.
Luckily, Weis’ penchant for writing action in which characters we care about do amazing things is unaffected and once the pieces are in place for the final act, the book flows briskly to a satisfying conclusion. It leaves a good aftertaste and rewards the effort to get there.
So it’s not a bad book but, looking back, I probably wouldn’t have read it if I’d known exactly how it was going to go down. Too much work and there are other good books out there. Likewise, Weis probably would have been better served (artistically, although perhaps not financially – I don’t know details about that one way or the other) to leave the series where it stood and move on to other projects. It was in a good place at the end of the original three books.
I don’t know Weis personally, so I can’t ask her about it, but I suspect she might want to take this one back. I know that if the choice were mine, I’d let the original trilogy stand for itself.
Gustavo Bondoni is an Argentine author whose own galaxy-spanning space opera is entitled Siege. You can check it out here.