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"Grabs hold and won't let go. It's brilliant."

-- Robert Jordan

"Such a splendid tale and such a fantistorical! I read my eyes out."

-- Anne McCaffrey

"Martin makes a triumphant return to high fantasy... trophy case is already stuffed with major prizes he's probably going to have to add another shelf, at least."

-- Publishers Weekly (starred review)

"We have been invited to a grand feast and pageant: George R.R. Martin has unveiled for us an intensely realized, romantic but realistic world...if the next two volumes are as good as this one, it will be a wonderful feast indeed."

-- Chicago Sun-Times

The crow is the traditional scavenger bird of the medieval battlefield, and this fourth volume of Martin's monumental Song of Ice and Fire is appropriately named. King Robert is dead. His widow, Ceris, occupies the Iron Throne, surrounded but not supported by her relatives. Outlaw leader Robb Stark is also dead, and what he has left behind aren't kindred noblemen and -women but warlords and bandit chiefs, all squabbling over the pieces of the Seven Kingdoms that they anticipate grasping. Martin confesses that he could not find room to continue all the characters of the preceding series entries--A Game of Thrones (1996), A Clash of Kings (1999), and A Storm of Swords (2000)--and that those neglected here will be seen next year in A Dance with Dragons. Martin's command of English and of characterization and setting remains equal to the task of the fantasy megasaga, which is good because Martin's Song is starting to rival the page count of Robert Jordan's 12-volume Wheel of Time. Good news for readers of robust appetite. Roland Green

Martin’s manuscript for Feast of Crows was so long that his publisher relegated half the chapters to a fifth book due out in 2006, A Dance with Dragons. With only half the storylines and characters present from A Storm of Swords (2000), Feast of Crows should seem thin—but it’s so rich with characters, plot twists, and settings that a few critics thought the novel one of the best in the fantasy genre. Martin renders his characters—would-be queens, outlaws, priests, squires, ladies, and fools—with unusual depth and moral complexity, while placing their personal dramas within the epic sweep of lands lost and won. Though the book stands alone, readers will reap greater rewards by starting with the first of the series, A Game of Thrones.

Long-awaited doesn't begin to describe this fourth installment in bestseller Martin's staggeringly epic Song of Ice and Fire. Speculation has run rampant since the previous entry, A Storm of Swords, appeared in 2000, and Feast teases at the important questions but offers few solid answers. As the book begins, Brienne of Tarth is looking for Lady Catelyn's daughters, Queen Cersei is losing her mind and Arya Stark is training with the Faceless Men of Braavos; all three wind up in cliffhangers that would do justice to any soap opera. Meanwhile, other familiar faces—notably Jon Snow, Tyrion Lannister and Daenerys Targaryen—are glaringly absent though promised to return in book five. Martin's Web site explains that Feast and the forthcoming A Dance of Dragons were written as one book and split after they grew too big for one volume, and it shows. This is not Act I Scene 4 but Act II Scene 1, laying groundwork more than advancing the plot, and it sorely misses its other half. The slim pickings here are tasty, but in no way satisfying. (Nov.)

In the fourth volume of Martin's "A Song of Ice and Fire" saga, the evil king is finally dead-and trouble is starting to brew. & 8221;



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