An Exciting Historical Science Fiction Mystery - an Editorial Review of "Yonder and Far: The Tarot Terror"

Book Blurb:

Violence. Politics. Magic. What could possibly go wrong?

Yonder and Far are back with new mysteries, adventures and misadventures in 1800 Boston.

Banished to Earth, our two heroes from the land of the Fae are still trying to get home. As they navigate the baffling human society, their quest is full of intrigue and danger. So, of course they bring their fortune-teller friend, Mary, into it.

Along with Far’s armed band of Irishmen, the trio faces a new enemy – backed by an old one. Not knowing who they can trust, they match muskets, swords and wits with their new nemesis. But they are out-gunned, out-maneuvered and just plain out-everything-ed. And only Mary’s Tarot cards can help them survive this time.

Book Buy Link: https://geni.us/7QajQ8

Author Bio:

Matthew C. ("Matt") Lucas was born and raised in Tampa, Florida and lives there now with his wife, their two sons, and a dog from Texas. He’s a state appellate judge, a halfway decent bagpiper, and a thoroughly average bowler. He’s also the author of the fantasy novels, Sword of the Godless (Montag Press) and The Mountain (Montag Press), historical fantasy novel, Yonder & Far: The Lost Lock (Ellysian Press), a novella, Look With Your Eyes (Ellysian), and numerous short stories that have appeared in various speculative fiction magazines and anthologies.

Editorial Review:

It was late April on the Common, and a grim, gray haze blotted out the sky above Boston Town’s finest park. Beneath its shroud lay a landscape of elms and oaks, and gravel paths, duck ponds and blossoming heath. The grounds of Boston Common were fairly flat, except in the north where Beacon Hill jutted above the pockets of forest. That long, undulating hump looked somber and weary, as if burdened by the weight of the winter it had recently borne. A cool wind stirred from the south. A pile of leaves tumbled about after it, twirled round in a cone, and settled back to the earth.

There was a scent hiding in the breeze’s wake, something faint and distant, a hint, a hope from afar, that the pear and cherry trees scattered throughout the park were at last on the cusp of yielding fruit. That the shoots of a green spring would blossom fully into a bountiful summer. That the promise of Easter would again be redeemed here in Boston Town, in the Year of Her Lord, 1800.

John Yonder sniffed at the air, raised an eyebrow, wriggled his ample bottom into the cushion of his camp chair, and returned to his writing. The sound of his quill pen scratching across a page of parchment brought a smile to his plump lips.

Lucas's voice compels attention from the outset of the book. The opening pages root the reader in the metaphysical framework that guides the narrative as well as the physical reality of 1800 Boston by establishing tone, intellect, and tension in equal measure. The hook, which indicates that the novel's joys are found in its ideas as much as its action, is confident rather than sensational.

The second book in the Yonder & Far series, The Tarot Terror by Matthew C. Lucas, is a bold, intricately detailed synthesis of political satire, historical fantasy, and character-driven adventure. With power, wit, and a stunning sense of narrative control, the novel unfolds its world against the turbulent backdrop of Boston in 1800. Here, politics, magic, and violence do come together, but never in a random way. Lucas skillfully combines these components to create a narrative that is both emotionally and intellectually grounded.

The Tarot Terror declares right away that it is a book that believes in its readers. It doesn't dilute its language for accessibility or spoon-feed explanation. Rather, it transports the reader to a universe in which Tarot cards have real narrative weight, muskets coexist with metaphysical laws known as "Custom," and Fae exiles negotiate early American politics. The end product is a novel whose themes are both startlingly current and classical at the same time.

Fundamentally, The Tarot Terror centers on Yonder and Far, two exiled creatures from the Fae realm who are still stuck in the human world and attempting to return home. However, this is not a static continuance of their situation. The narrative progresses in a significant way.

Election-year tensions, armed militias, ideological paranoia, and social upheaval have turned Boston into an active force that is no longer just a setting. Lucas raises the stakes on all fronts by introducing a new adversary supported by an old menace into this unstable setting.

Yonder shook his head angrily, and without so much as a nod or a wave to his partner, he set out across the expanse of grass to find the bird Far had shot down. His stockings were soon damp from the overgrown grass. The wind picked up, messing his silver hair, but Yonder paid no attention to any of that. He marched as quickly as he could, buttons jingling, coat tails fluttering, shoes squelching through the weeds and mud puddles. No doubt he looked ridiculous, traipsing across one of the Common’s lawns in his drawing room attire, but he did not care about that, either. He did not even deign to acknowledge the Fellows’ jeers that echoed behind him.

After a time, he slowed his pace and hunched over to scan the ground more closely, for it was around here where he figured the bird had likely fallen. A film of sweat beaded across his brow. He was tired and out of breath, but it did not take him long to find what he was searching for.

The plot is particularly interesting because of how effortlessly the political and personal are intertwined. Mary's function as a Tarot reader, Yonder's fixation with comprehending and recording "Custom," and Far's association with an armed group of Irishmen all feel necessary rather than decorative. The Tarot cards are incorporated into the story as instruments of danger, survival, and foresight rather from being gimmicks or magical window decoration. The sense of inevitability created by each narrative thread feeding into the next keeps the plot going purposefully.

Pacing is done well throughout the novel. The quieter periods of planning, reflection, or philosophical discussion are never overshadowed by the powerful action scenes. The reader is always left with the impression that something more significant is happening beneath the surface as the plot develops methodically.

Technically speaking, The Tarot Terror is remarkably well-executed. The chapter arrangement is thoughtful, the formatting is consistent, and the text is clear. Even when characters engage in lengthy exchanges of humor or ideological jousting, dialogue is clearly ascribed and flows organically. There is a deliberate balance between conversation and narration that is never scant or cluttered.

The way the book handles historical language is one area where its editorial skill is most noticeable. Lucas uses period-appropriate language without compromising readability or clarity. The novel avoids both anachronism and overindulgence, despite the difficulty of striking this balance. Instead of being alienating, the outcome is immersive.

One of the best things about the book is its characterization. Yonder and Far are not typical fantasy heroes; rather, they are imperfect, opinionated, and frequently annoying people whose divergent temperaments provide a lot of the drama and humor in the book. Far's martial inclinations and dissatisfaction with human institutions stand in stark contrast to Yonder's academic haughtiness and obsession with intellectual mastery. Because of their common past and implicit agreements, their relationship feels lived in.

But Mary might be the most interesting character in the book. She represents the main conflict between knowledge and belief in the book as a Tarot reader caught up in forces she only half comprehends. She is not only a passive conduit for fate, nor are her cards perfect. Rather, she is a character negotiating fear, agency, and responsibility, and her growth throughout the narrative gives the greater struggle more emotional weight.

Even supporting characters, such as Far's militia members, political operatives, and ideological rivals, are meticulously depicted. Nobody feels like a stand-in. Each retains its uniqueness while fulfilling a narrative function.

The seamless integration of references to previous events provides context without going into too much detail. Lucas's skillful handling of exposition allows new readers to rapidly become accustomed, while returning readers will enjoy the deeper layering of well-known notions like Custom.

The world's internal logic doesn't change over time. Political objectives continue to make sense, magical rules are followed, and character choices feel based on previously defined characteristics. This consistency increases the reader's suspension of disbelief as the stakes rise and strengthens their faith in the narrative.

The Tarot Terror's resolution and suspense are carefully balanced at the end. The conclusion does not pretend that all issues have been resolved, even though the main conflict reaches a significant turning point. Rather, it leaves narrative doors open for subsequent installments while providing closure as necessary.

The echo faded. Nasenbeigh came back to his senses. Far’s gaze was fixed northward on the wooded copse behind Nasenbeigh. His men were back to the opposite end of the field, oblivious to the signal their captain had just made. But everyone heard the noise that followed it. For as if in answer, there was a tremendous crackle, so loud it caused Nasenbeigh to spin around in alarm.

All along the northern edge of the field, where Nasenbeigh had spent a day clearing out vines and scrub, seven blue lights suddenly burst within the trunks of oak trees. Each one flashed as bright as a lightning bolt; each one was shaped as a perfect rectangle. Why, those look like doorways.

This is a gratifying conclusion because it is earned rather than because it is neat. Thematic problems are sharpened rather than softened, character arcs reach natural stops, and the effects of past decisions are properly appreciated. The emotional payoff is evident, regardless of whether the reader experiences relief, anxiety, or exhilaration in the last pages.

This method appropriately establishes expectations. Those that read over the first few pages do so out of curiosity rather than coercion.

The Tarot Terror's combination of concepts and genres is what really sets it apart. Political allegory and historical fantasy are not new, but Lucas's execution seems novel. It is a bold and unexpectedly successful move to integrate Fae mythology into early American electoral politics. The Tarot reinforces the book's themes of fate, interpretation, and ambiguity rather than acting as a novel.

The book also has a strong subtext of satire. Without becoming cynical, Lucas parodies institutional haughtiness, ideological fanaticism, and the human propensity to confuse authority with insight. The humor is intentional, dry, and frequently subtle.

Lucas's writing is clear and expressive, able to move fluidly between philosophical contemplation, incisive dialogue, and poetic description. His use of rhythm and restraint in his writing allows scenes to breathe without losing their energy. The reader is strongly grounded in time and space by the vivid yet restrained descriptions of the location.

The author's ability to communicate difficult concepts without compromising narrative momentum is perhaps most amazing. Instead than using exposition dumps, ideas like Custom, gateways, and metaphysical law are presented naturally through dialogue and character action. The whole reading experience is improved by this assurance in the reader's intelligence.

Instead of depending on a single climactic spike, The Tarot Terror's story arc is skillfully built, increasing through layers of tension. Every act builds on the one before it, intensifying the conflict and broadening the narrative. Political concerns develop from personal ones, which eventually lead to existential dangers.

By the time the book reaches its last act, the reader knows not just what is in danger but also why it matters to the people and the society they live in.

The Tarot Terror (Yonder & Far) is a clever, engrossing, and painstakingly written book that rewards focused readers. By mastering tone, structure, and thematic coherence, Matthew C. Lucas creates a narrative that is both enjoyable and intellectually stimulating. Fans of character-driven storytelling, political intrigue, and historical fantasy will find much to admire in this work, and returning readers of the series will value the complexity and assurance with which the world keeps developing.

This book knows exactly what it's doing, and it does it effectively.

5 stars from the Historical Fiction Company and the "Highly Recommended" award of excellence

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