The Gypsy Morph starts with a lone man named Willis trapped in a large nuclear missile silo complex with nothing to do but eat canned food, reminisce about how his companions have died, and think about launching nuclear missiles. Willis is a ticking time bomb. He is Chekov’s gun. I’m not spoiling anything by saying that he launches the missiles and destroys the world at the end of the book.
This is the last book in Terry Brooks’ Genesis of Shannara trilogy, which means that it wraps up plot lines established in the first two books, Armageddon’s Children and The Elves of Cintra. The story is still set in a post-apocalyptic version of our world, and it is still more of a fantasy adventure than a realist tale. This book reads much like the other two; if you’ve gotten this far, you don’t need me to tell you what the tone is like.
And if you’ve read the first two books, you already know what’s going to happen in this one. The magical boy named Hawk, the messiah figure introduced in Armageddon’s Children, has to lead a large group of human and mutant refugees to a place of safety before Willis launches his nukes. The Elf named Kirisin has to use a magic rock called the Loden Elfstone to transport the Elven capital city Arborlon – called “Arbor-lon” because the Elves like trees – to said place of safety.
That they will succeed is never in question. The Genesis of Shannara trilogy is just part of an ongoing saga, and the next few books have already been commissioned by Brooks’ publisher, Del Rey. And this saga is all prequel to his Shannara series, wherein Arborlon has survived and thrives.
With much of the plot predetermined, there are only two questions left. The first is how many characters will die along the journey to safe haven.
The second question is whether Terry Brooks is a good enough writer to make the story interesting.
He is. The Gypsy Morph is fun and engaging. It is a quick read, and a pleasurable one.
Brooks makes The Gypsy Morph fun by putting his characters through no end of strife. The protagonists are all hunted by demons, who have by this third book amassed an army of zombie-like once-men and evil mutants. They attack the main characters and the refugees, and this is violent and exciting. There are even a few large-scale battles, and Brooks excels at describing these.
Brooks makes his story relatively intelligent by adding heavy subtext of Judeo-Christian mytholgoy. Hawk was established as a messiah figure in the previous books, partly because he experienced a kind of death and resurrection. Now he embodies Moses as he leads his followers on an exodus away from the Pacific northwest urban centers. He performs miracles to stave off their demon pursuers, and then he leads them on a long, arduous journey through a desert.
The sequence involving the long, arduous journey is itself arduous to read. It comes at the end, and the book plods towards its inevitable finish. That Brooks seemed bored with writing the end of this trilogy is the series’s greatest flaw.
Perhaps Brooks, a traditional fantasy writer, felt out of his comfort zone while writing this post-apocalyptic story, and wanted to get done with toward the end. The next set of books in this prequel saga should be more standard fantasy fare, and he will be in his element there.