This is the third of Norton’s “Witch World” novels, at least according to one publication scheme, and it has an entirely different flavor than its predecessors.

Across the ocean from Estcarp lie the dales of High Halleck. The dalesmen have just concluded a war against the Hounds of Alizon, Estcarp’s neighbors and enemies; they have done so with the help of fell warriors called the Were-Riders, and now it is time for repayment. Thirteen virgins of the Dales must willingly go with the Were-Riders as brides, never to return to High Halleck.

The story is told from the viewpoint of one of the chosen thirteen, a young lady named Gillan. Gillan is an orphan of the war; and it soon becomes clear that her parents were of Estcarp, for she has strange powers (powers she wisely keeps hidden), and can see the Were-Riders as they are, rather than as they seem. This leads her into great danger.

The difference in tone between this book and its predecessors is vast. The narration is first-person rather than third, with the result that our immersion in Norton’s world is enhanced. The tale is told purely as a fantasy, rather than as an uncomfortable mixture of fantasy and science fiction. Most important, Gillan’s voice is much richer than the flat, transparent third-person prose of the Simon Tregarth books.

I don’t know where these three books lie in Norton’s overall output, but it appears that between the second and third something clicked.

This is the second of the Norton’s “Witch World” books, and it has
precisely the same strengths and flaws as its predecessor, being
essentially the second half of one complete story: the battle of the
people of Estcarp against men of Kolder. Like Simon Tregarth, our hero,
the men of Kolder are from another world; and like Tregarth, their
home world is one of science, indeed, one where science is greatly
advanced over that of Earth. Tregarth’s knowledge of science gives him
an edge, and with the help of his wife, Jaelithe, and the mind powers
they share, the Kolder-men are eventually destroyed.

It’s not a bad tale–certainly it kept me turning pages–but it feels
rather dated. The “super-science” of the Kolder-men hasn’t worn well,
and their very name, “Kolder”, i.e., “colder”, is a little too obvious.
The result is a tale that seems plenty deep and satisfying as one reads
it, but appears much less substantial on later reflection. It’s a tale
well-told, but there’s something lacking. Or is there? I’m really not
sure. All I can say is, there’s something of substance there while I’m
reading it, but it fades away with the dawn.