THE BOOK BEHIND THE SECOND SEASON OF GAME OF THRONES, AN ORIGINAL SERIES NOW ON HBO.
A SONG OF ICE AND FIRE: BOOK TWO
In this thrilling sequel to A Game of Thrones, George R. R. Martin has created a work of unsurpassed vision, power, and imagination. A Clash of Kings transports us to a world of revelry and revenge, wizardry and warfare unlike any we have ever experienced.
A comet the color of blood and flame cuts across the sky. And from the ancient citadel of Dragonstone to the forbidding shores of Winterfell, chaos reigns. Six factions struggle for control of a divided land and the Iron Throne of the Seven Kingdoms, preparing to stake their claims through tempest, turmoil, and war. It is a tale in which brother plots against brother and the dead rise to walk in the night. Here a princess masquerades as an orphan boy; a knight of the mind prepares a poison for a treacherous sorceress; and wild men descend from the Mountains of the Moon to ravage the countryside. Against a backdrop of incest and fratricide, alchemy and murder, victory may go to the men and women possessed of the coldest steel . . . and the coldest hearts. For when kings clash, the whole land trembles.
George R.R. Martin writes sword-and-sorcery which concentrates on the swords. A Clash of Kings is the second volume of A Song of Ice and Fire, the sequence which began with A Game of Thrones and will take another four volumes to complete. The Seven Kingdoms are divided by revolt and blood feud; beyond their Northern borders, the men of the Night Watch fight the coming of a great cold and the walking corpses that travel with it; on the other side of the ocean, the last of the Kingdom's deposed ruling house mourns her horseclan husband and rears the dragonlets she hatched from his funeral pyre. This is character-driven fantasy--we see most events through the eyes of the sons and daughters of the Stark family, the once and future Kings of the North, whose father's judicial murder started the war. Martin avoids the cosy Californian cheeriness of many epic fantasies in favour of a sense of the squalor and grandeur of high medieval life; there is passion here, and misery and charm--and a profound sense of moral ambiguity as we learn to like the Richard III figure in this epic as much as the more virtuous Starks. --Roz Kaveney