TEO'S DURUMI, second queer-Korean-culture space opera in The Alliance duology

TEO'S DURUMI (The Alliance #2)
ELAINE U. CHO
Zando | Hillman Grad (non-affiliate Bookshop.org link)
$14.99 ebook, available now

Rating: 4* of five

The Publisher Says: The dazzling sequel to Ocean’s Godori dives back into Elaine U. Cho’s cinematic space opera series, taking Ocean and her crew deep into the cloisters of the Moon and the conflicts of the heart.

Teo Anand, former ne’er-do-well second son of the Anand Tech empire and current solar fugitive, has just crash-landed on the Moon after escaping the latest attempt on his life. But if anyone can help exonerate him, it’s his best friend, bold Korean space pilot Ocean Yoon.

Falsely accused of murdering his family, Teo is running out of both time and options. But loyalties are uncertain in their group of steadfast comrades and tentative new allies, and it’s difficult to know who to trust in the tangled web that awaits them in Artemis, a city on the Moon rich in Korean history and haunted by ghosts from Teo’s and Ocean’s pasts. Further complicating matters are Haven—the pensive medic whose beliefs challenge Ocean’s—and the dashing Phoenix—a space raider who’s come blazing into Teo’s life in more ways than one.

All the while Corvus, the real culprit behind the slaying of the Anands, is sowing a path of destruction that threatens to swallow the solar whole. The crew will wrestle with clashing ideals, flying bullets, and undeniable feelings, as they race toward a stunning final stand.

Teo’s Durumi brings Cho’s space opera duology to an exhilarating close, one that contends with questions of identity and acceptance; grief and redemption; and loyalty and sacrifice, as Teo, Ocean, and the people they love will decide once and for all how to forge their paths into the future.

I RECEIVED A DRC FROM THE PUBLISHER VIA NETGALLEY. THANK YOU.

My Review: The ending of Ocean’s Godori, both exciting and amusing, gets one's attention for sure and certain. I enjoyed it enough that I immediately upon receiving this DRC opened it and dove in.

Some of y'all are chuckling....

Literally minutes after the end of the previous book, we're into a new narrative regime. Teo's troubles are now preoccupying Ocean and Teo (and Haven, remember them?) with their awesome scoobygroup of really good people. Permaybehaps it's because I never had a family that included me that I've spent my life making family where I was and the stories I gravitate toward are those of made/found family.

Here's a very good example to follow...people who give their all to a goal they share, negotiate within the framework of making "it" work for all...and pulling for things in their orbit to end up better than they start. It doesn't hurt that their Big Bad, Corvus (really authors let the crow/raven clan alone now!), practically twirls mustachios like a silent-film caricature. Really, my one big eyerolly quibble in the books is Corvus' supervillainy being So Very Overplayed. (Well, that and the KDrama yearning between Ocean and Haven being protracted beyond slow-burn, though that does finally end.) I'm sure some of y'all will find the first third of the book being mostly sitting and talking, plotting and planning, kind of...overlong...but stick with it, or better yet read the books back-to-back with no interruption. That is my best suggestion to avoid any hint of a sense of sag in the story.

Phoenix (who, curiously, comes from a background like Corvus' but is somehow not a lunatic murderous sleaze, and I'm left to wonder why) and Teo are very effectively counterpointing our swoony-yearny-KDrama pair. I'm pleased that they have more than what Joseph Campbell called (in that memorable Bill Moyers series) "the zeal of the organs for each other," but equally pleased they're not shilly-shallying around. Lest I leave someone with the wrong impression, this story is not steamy. It's passionate, just not graphic, more the "fire flickered and died" way.

Multiple PoV storylines are often fraught with pacing issues and there's no exception here; I was expecting it so came into the read prepared. As a result the issues I outlined above emerge from this central one. Polyphonic novels do best when everyone in them heads for different places, where in this novel we are going to crash into the same place as is evident from the get-go. S why not use an omniscient narrator, or close third-person narration? I didn't *get* this choice.

Considered on a craft level, I'm at three stars; considered on an emotional satisfaction level, four-plus; considered on a delivery of what was promised from page on of book one level, four.

Elaine U. Cho can write well and frequently does. I hope she has many more opportunities to do it.