Something that’s interesting about how Steven Brust’s Dzur tends to be received is that, while people tend not to have a lot to say about the book (the top-rated reviews on Goodreads are mostly only two to three paragraphs long), they do all mention the food. The tenth book in Brust’s fantasy series following the adventures of wisecracking assassin Vlad Taltos, Dzur has a fairly complicated and not all that memorable plot to do with Vlad’s ex-wife Cawti and the criminal gang (the Jhereg, in Brust’s nomenclature) attempting to move in on her turf, whom Vlad must placate, persuade and otherwise buy off so they’ll leave her alone. It’s framed, though, by a seven-course meal at Valabar’s, Vlad’s favourite restaurant: each chapter is preceded by a description of one of the courses, or of the wine Vlad and his dining companions are drinking, or of the petits-fours they’re served.
This series has always been interested in food: Vlad is never far from a good meal, or a glass of fine wine; and he’s a handy cook, too. There’s something very practical about this trait of his: while he enjoys good food, and recognises bad, he’s not a food snob – he’s just as happy eating sausages and flatbread from a street stall as he is at Valabar’s. He reads like someone who enjoys food because he’s known what it likes to be really hungry; his interest in food, in other words, is about survival.
And so Brust’s decision to pair the meal at Valabar’s with this complex, political plot about Jhereg infighting and organised crime is saying something very interesting about the world in which Vlad moves. The extortion and bribery that Vlad and his associates engage in – activities that Cawti eschews, which is partly why the Jhereg are threatening her position – are, like the simple elemental pleasures of eating, a matter of survival.
This ties in, I think, to the series’ examination of class: Vlad, as a human in a world of elf-like Dragaerans, is a member of a barely-tolerated underclass; as such, unlike the Dragaeran Cawti, he doesn’t have the luxury of choosing a less illegal approach to life, certainly if he wants to stay alive.
It’s these revelations about the way that Dragaeran society works, and the various ways its class structures are enforced, that makes these novels interesting: I’m not particularly grabbed by Brust’s twisty, concept-heavy plots, which often rely on the reader remembering conversations and details from a hundred pages ago that weren’t at the time flagged as being of particular import or interest. Vlad’s ambiguous social position, as a member of a disenfranchised minority who’s nevertheless achieved a measure of influence in Dragaeran society, makes him a fascinating protagonist, as does his failure to adhere to standard expectations for a lead character in a fantasy novel, even an amoral one. Ultimately, though, while I find the Vlad Taltos books conceptually energising, and I appreciate what Brust’s trying to do in them, the actual reading experience never quite seems to deliver; I’m not sure that Vlad’s living up to his full potential.