by Matt Larkin
Except he had brought an intact Chintamani to Hiyoya and surrendered it.
“We have deliberately not confirmed that,” Latmikaik replied.
On that, Matsya agreed with the queen. Telling the populace that Nyai Loro had created a new kind of taniwha with the intellect of mo‘o and power heretofore unknown in the seas would only serve to generate a panic. It did not mean, however, they could ignore the problem. “But you were part of the ritual that created them?”
Daucina nodded.
“So?” the queen prompted. “Given that we have a Chintamani ourselves now, the real question then becomes … can you recreate the process?”
A sly smile spread over Daucina’s face.
Author’s Note
While theoretically the multitude of rich Polynesian stories would allow this series to go on quite a long time, I try to structure these things in trilogies such that each arc offers some closure. In this case, that meant closing out the stories of the three god-queens. Which proved an interesting challenge considering the scope of everything going on in these books.
The early part of this book focuses on Kaupeepee’s kidnapping of Hina, which King Kalakaua called the Hawaiian Iliad. The siege of Haupu sat largely in the background of Flames of Mana, but comes much more to the fore here, in part because this final volume allowed me to dive deeper into the character of Poli‘ahu, whom I made the driving force behind Kaupeepee.
In a recent conversation with my editor, I said Poli‘ahu had proved the most difficult of the three queens to write. Structurally, I wanted to explore the backstory of one queen per book, and someone had to come last. With that someone being Poli‘ahu, the reader understands less of her character until this final book. Beyond this, while Poli‘ahu has arguably the best reason for her actions, as a sorceress she has surrendered her humanity.
So while Namaka and Pele, over the course of the series, slowly find some semblance of humanity away from the arrogance of their upbringing, Poli‘ahu’s story becomes one more of descent, forever losing more of herself. Nevertheless, my intention was that none of the queens should come off as completely right or completely wrong, and thus I wouldn’t classify any of them as heroes or villains.
Mythology in general, and Polynesian in particular, was never intended to fit into modern Western conceptions of good-vs-evil tales. Rather, it focuses on the mana of the tales themselves, and the larger-than-life figures who exist a little outside the normal order of things.
Traditionally, Poli‘ahu serves as an opposing force to Pele on the Big Island of Hawai‘i, ensuring volcanic eruptions don’t threaten the area too far north. Obviously, Heirs of Mana becomes a kind of origin myth for this status quo.
This volume also offers some more direct tie-ins to chronologically later eras in my Eschaton Cycle. Astute readers may have recognized Poli‘ahu’s singing stone as the Singasteinn featured millennia later in The Apples of Idunn. Unfolding the origin of certain types of dragons, as well as wereseals (the finfolk of Runeblade Saga) also proved quite satisfying.
Above all else, this series was meant as a love letter to the beautiful traditions of the Pacific Islands. So, I hope it has entertained and sparked a bit of interest in these wonderful tales.
Special thanks to the artists for my beautiful cover, to my editor Regina, to my wife and daughter, and to my Arch Skalds: Al, Dale, Rachel, Bill, Jackie, Graham, and Dawn for feedback.
Thank you for reading,
Matt Larkin
HEIRS OF MANA OMNIBUS
Books 1-3
MATT LARKIN
This is a work of fiction. Names, characters, organizations, places, events and incidents either are the product of the author’s imagination or are used fictitiously.
Copyright © 2019 Matt Larkin.
All rights reserved, including the right to reproduce this book, or portions thereof, in any form.
Edited by Regina Dowling
Cover Art by Felix Ortiz
Cover Design by Shawn T. King
Published by Incandescent Phoenix Books
mattlarkinbooks.com