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Ships and Swans and Singing

Katie

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Grief and its processing have been front and center in the last two chapters of The Fellowship of the Ring. Frodo and Company stumbled into Lothlórien after the fire and trauma of Moria and moved from a denial of Gandalf’s death to an unsteady acceptance. Galadriel embraced the tragedy of her situation – and her people’s situation – rather than battle brittlely against it and lose herself. “Farewell to Lórien” deals with the aftermath of these decisions, as Galadriel and the Fellowship take and deep breath and plunge into the next stage of their journeys.

The Grey and Leafless Worldships

As could be expected with Tolkien, there is a heaviness in leaving Lothlórien. The whole chapter is layered with a sense of sadness and loss. It’s made explicit in the landscape, as the company travels down to the Anduin and notice that the trees on the other side were “bleak and bare.” As they sail away, they see Lórien “slipping backward, like a bright ship master with enchanted trees, sailing on to forgotten shores, while they say helpless upon the margin of the grey and leafless world.” There’s even the additional layers of missed opportunities: Sam learns that he could have learned the secret of Elven rope-making if he had spoken up about it just a bit sooner. Though Lothlórien helped them heal, there’s a sense that having it and leaving it only made everything worse.

“Tell me, Legolas, why did I come on this Quest? Little did I know where the chief peril lay! Truly Elrond spoke, saying that we could not foresee what we might meet upon our road. Torment in the dark was the danger that I feared, and it did not hold me back. But I would not have come, had I known the danger of light and joy.”

It’s a potent question for anyone: is it better to have or experience something beautiful with the sure knowledge it will be lost, or never experience it at all? It’s an especially deep cut for poor Gimli, though, who seems to have found a new version of himself during his time in Lórien. He was surprised by the unexpected and lost it nearly as soon as he gained it. Despite its value, Lothlórien has provided the Fellowship with an additional layer of sadness as it launches off into the next stages of its quest.

The key to the success of “Farewell to Lórien,” however, lies in the fact that it’s not entirely backwards-looking. Despite all the sadness and nostalgia of leave taking, this chapter is focused on launching characters into the next phase of their stories, with all the tension or uncertainty that demands.

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Galadriel

Besides her two songs, “Farewell to Lórien” seems to be much more about the Fellowship than about Galadriel. This makes sense – the story is about to move on without her. But her appearance is so rife with interesting, unspoken tidbits and this chapter does a beautiful job of putting a period (or perhaps an ellipsis) at the end of her story.

Galadriel has had a difficult couple of days, but never doubt this: the lady knows how to make an entrance.

Sailing proudly down the stream towards them they saw a swan of great size. The water rippled on either side of the white breast beneath its curving neck. Its beak shone like burnished gold, and its eyes glinted like jet set in yellow stones; its huge white wings were half lifted. A music came down the river as it drew nearer; and suddenly they perceived that it was a ship, wrought and carved with elven-skill in the likeness of a bird… In the midst of the vessel sat Celeborn, and behind him stood Galadriel, tall and white; a circlet of golden flowers was in her hair, and in her hand she held a harp, and she sang.

 Obviously, this is a bitchin’ way to make an entrance even without any context. But there is a lot of context.

Swans and Ships and Singing

First, a quick back story of Galadriel. Her mother (Eärwen) was a Teleri elf and her father (Finarfin) was a Noldor elf. Back, way back, in Tolkien’s legendarium, the Noldor were the earlier group of elves to arrive in Aman, the immortal land of the Valar. They were known for their cleverness and prowess in creation and their most infamous member, Feänor, created the Silmarils. The Teleri dawdled a bit before coming over to Aman. They were “from the beginning lovers of water, and the fairest singers of the Elves, were after enamored of the seas, and their songs were filled with the sound of waves upon the Shore.” When they came to Aman they settled in a city on the shore called Alqualondë. There they kept their ships, “made in the likeness of swans, with beaks of gold and eyes of gold and jet.” 

ships

This is Tolkien, so all things start like this…

These swan ships – based on the description in The Silmarillion, identical to Galadriel’s swan ship– were not long-lived. Not long after all the Elves were settled in Aman, Feänor – asshole extraordinaire – led a rebellion of the Noldor against the Valar after the theft of his Silmarils. Realizing it was difficult to escape an island without ships, Feänor politely asked demanded that the Teleri join him and hand over the ships. When they refused, Feänor and his Noldor followers killed the Teleri who tried to stop him.

This was received… poorly, and ultimately led to most of the dark depths of unhappiness that make up The Silmarillion.

It is also something that troubled Galadriel. We get very little information about her throughout The Silmarillion, with one exception. Soon after the Noldor’s arrival in Beleriand, Galadriel is speaking to her friend Melian. Melian is clearly aware that the Noldor are being cagey about something and pushes Galadriel to open up. Eventually Galadriel spills the secrets of the Silmarils, the death of Feänor’s father, and the rejection of the Valar. She refuses, however, to speaking of the killing of the Teleri at Alqualondë.  “For that woe is past,” said Galadriel. “and I would take what joy is here left, untroubled by memory.”

Galadriel has dealt with a double tragedy (with some guilt thrown in for good measure). She lost a part of herself and her former life when she chose to make the trek across the ice to Beleriand and to start a new life, “untroubled by memory.” She succeeded, by all measures, for a very long time. But Lothlórien is fading too, and being untroubled by memory is no longer a real option. We talked last time about how Galadriel’s rejection of the Ring is the rejection of a very Noldor-esque temptation: she’s breaking the pattern set by her father’s side of the family. And then, the very next time we see, Galadriel seems to be embracing memory and all that it entails.

ships

…and then end like this

She appears on the water, in a ship identical to that of her mother and her mother’s ancestors. She is singing, about Eldamar, her ancient home. After a very Noldor-esque temptation, Galadriel seems to have embraced a very Teleri-esque appearance. It’s beautiful on one hand, a sign of acceptance and engagement with the past rather than rejection. But the difficulty of that kind of emotional step is not glossed over: Galadriel sadness is tinged with fear throughout this chapter and she’s clearly concerned that now that she has turned to look back upon her past, it will not accept her.

“O Lórien! Too long I have dwelt upon this Hither Shore
And in a fading crown have twined the golden Elanor.
But if ships I now should sing, what ship would come to me,
What ship would bear me ever back across so wide a Sea?” 

“Who now shall refill the cup for me? For now the Kindler, Varda, the Queen of the Stars, from Mount Everwhite has uplifted her hands like clouds, and all paths are drowned in deep shadow; and out of a grey country darkness lies on the foaming waves between us.”

It’s fascinating to me that in Tolkien’s world a victory over temptation is not a solitary and certain victory. It’s not the conclusion of a story but the beginning of a new one, a reorientation towards a new a different potential. That’s frightening. In these chapters Galadriel chooses to begin the process of coming to terms with herself and her past, a fraught endeavor that will likely leave her more vulnerable than she has been in a long time. It was the “good” choice, but it has its costs. Frodo can already see it:

“She seemed no longer perilous or terrible, nor filled with hidden power. Already she seemed to him, as by men of later days Elves still at times are seen: present and yet remote, a living vision of that which has already been left far behind by the flowing streams of time.”

 ships

“On Which Side Will You Journey?”

Galadriel isn’t along in this reorientation. As she heads out on her nebulous journey, the Fellowship is about to restart their own, very explicit one.

Much like MovieFrodo, Galadriel knows what comes next. She’s just afraid of doing it. The Fellowship, though? They have very little clear idea of what they’re doing.

From the start the Fellowship has been very cagey and avoidant about their final mission. Aside from Frodo and Gandalf, no one really had to think about it. Aragorn and Boromir were always planning to turn aside to Minas Tirith. Merry and Pippin don’t really have a solid concept of what exactly Mordor is or entails. Sam has been near-sighted enough in his focus on Frodo that the broader implications of the mission were never relevant.

This luxury gets brutally upended with the death of Gandalf. No one wants to go to Moria – especially while sitting under the mallorn trees in Lórien.

It was plain that most of them desired to go first to Minas Tirith, and to escape at least for a while from the terror of the Enemy. They would have been willing to follow a leader over the River and into the shadow of Mordor; but Frodo spoke no word, and Aragorn was still divided in his mind.

It’s a very relatable moment for all characters (and a nice example of how to make your characters fearful of their fate without being whiny). But walking into Mordor is something that has to get done eventually. It’s the ultimate purpose of their fellowship. This is a tough moment for everyone, but it’s tough in a special way for Aragorn.

farewell05

His own play, while Gandalf remained with them, had been to go with Boromir, and with his sword help deliver Gondor. For he believed that the message of the dreams had been a summons, and that the hour had come at last when the heir of Elendil should come forth and strive with Sauron for the mastery. But in Moria the burden of Gandalf had been laid on him; and he knew that he could not now forsake the Ring, if Frodo refused in the end to go with Boromir. And yet what help could he or any of the Company give to Frodo, save to walk blindly with him into the darkness?

Gandalf’s death has ricocheted him into an odd position. For quite a while now, Aragorn has had a fairly certain sense of his destiny. He is supposed to return to Gondor – heir of Elendil and all that – and save it. It’s not an easy task, but an apparently clear one. He even got dream summons and pretty stones to confirm it! But to fulfill that destiny would now mean abandoning Frodo to his fate. It’s a Catch-22: should Aragorn fail in one leadership position in order to fulfill another? Is it worth staying with Frodo out of loyalty and offering little help, when he could abandon him but do greater good elsewhere? It’s a hard question, and harder not to feel for Aragorn when he experiences a wave of relief in knowing they can all hop in boats and put off the decision for another chapter.

Also difficult: Frodo’s position. His thoughts are almost entirely silent, with the exception of his doubt about Borormir’s motives. Frodo’s task has been a lonely one from the start, but I’d imagine it’s reaching brutal levels here. No one (save Sam) really wants to go with him, but most people feel obligated to do so. This tension and imminent uncertainty makes the departure from Lórien all the more difficult. It also pulls tight the narrative tension as we head into the penultimate chapter.

 

Final Comments

  • I had remembered this as the “gift giving chapter,” which is less true than I’d first thought. It’s still a nice scene though, and we get some nice Mordor and Shelob foreshadowing when Frodo receives the Phial of Galadriel. It’s also a nice reminder that Galadriel is resolutely her own character and not just a Wise Helper Figure. Though she’s gifting them with things that they’ll use later on, she’s not spelling out exactly what all of them must do. She doesn’t know for sure, and she has her own things she has to worry about.
  • shipsSpeaking of gifts: Sam got the best gift, right? Sam definitely got the best gift. “For you little gardener and lover of trees,” she said to Sam, “I have only a small gift.” She put into his hand a little box of plain grey wood, unadorned save for a single silver run upon the lid. “Here is set G for Galadriel,” she said; “but also it may stand for garden in your tongue. In this box there is earth from my orchard, and such blessing as Galadriel has still to bestow is upon it. It will not keep you on your road, nor defend you against any peril; but if you keep it and see your home again at last, then perhaps it may reward you. Though you should find all barren and laid waste, there will be few gardens in Middle-earth that will bloom like your garden, if you sprinkle this earth there. Then you may remember Galadriel, and catch a glimpse far-off of Lórien, that you have seen only in our winter. For our spring and our summer are gone by, and they will never be seen on earth again save in memory.”
  • Best gift-giving scene¸ though, goes to Gimli. As Priscilla pointed out last chapter, Galadriel’s gift of three strands of her hair to Gimli is a giant middle-finger to Feänor. He was refused a strand of Galadriel’s hair because he asked her like a big creep. This makes her line to Gimli – “For none have ever made me a request so bold and yet so courteous” – just the best. Morty also made a good observation about this scene last week. Galadriel declares to Gimli that “your hands shall flow with gold, and yet over you gold shall have no dominion,” a good depiction of his character going forth.
  • I liked Legolas’s response to Gimli’s grief about Lothlórien. His point that Gimli chose to leave, in order to help his friends, will mean that his memory of the place will remain unvarnished. Staying, even if an immediate relief, would eventually have stained the place with guilt. This struck me as wiser than we’ve seen Legolas so far. I wonder if this is because he’s now better friends with Gimli.
  • While reading through the Silmarillion I was forcibly reminded that Tolkien named one of the hills of Aman Tuna! You’re better than that, Tolkien. Please, pull yourself together.
  • Do we ever find out what happens to the Dimrill Dale? Haldir reports that it is “full of vapor and clouds of smoke… there are noises in the deeps of the Earth.” That sounds… not great.
  • Prose Prize: The last description of Galadriel. “She shone like a window of glass upon a far hill in the westering sun, or as a remote lake seen from a mountain: a crystal fallen in the lap of the land…now she sang in the ancient tongue of the Elves beyond the Sea and he did not understand the words: fair was the music, but it did not comfort him.”
  • Next Chapter: Boats! Orcs! Argonath! Decisions!

Art Credits: The featured image and film still are from Peter Jackson’s 2001 The Fellowship of the Ring and are courtesy of New Line Cinema.  In order, the other images come from Peter Xavier Price, Ted Nasmith (both images of the Teleri ships), Elleth, and Aelin Laer

Katie spends her days reading about medieval history and her evenings wondering if it’s too late to drop out of graduate school and become an astronaut.

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Books

Creator Corner: Interview with Fantasy Author K Arsenault Rivera

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I’ve said so before, and I’ll say it again: talking with artists and content creators about their work is one of my favorite things. That’s why I do this interview series in the first place. Plus, there are so many artists from marginalized communities writing for their own communities that get overlooked in our major-franchise-oriented media landscape. Books especially seem to fall by the wayside. Since I grew up reading fantasy, getting to talk with an author of queer high fantasy is a treat. K Arsenault Rivera’s The Tiger’s Daughter captured my attention from the start, with its unique epistolary format, non-Western medieval setting, and pair of women-loving-women protagonists. Wives who are gods that fight demons? Yes please!

Needless to say, getting to interview K was a pleasure I couldn’t pass up. So join me as she talks her inspiration, writing queer fantasy, representation, and fan-made metal albums inspired by her book series.

Gretchen: Let’s start at the beginning. How long have you been writing? Did you always know you wanted to be a writer?

K Arsenault Rivera: Well, I’ve basically been writing since I was in elementary school. Writing was a big part of how I learned English. When I came to the US from Puerto Rico, I was very young and spoke mostly Spanish at the time, so learning how to speak English was of course a gigantic hurdle. My mother would read to me very often when I was a kid, from picture books and stuff like that, to try and make sure that I was more fluent in the language. But it wasn’t really until I started writing my own stories that everything began to sink in.

I mean, it was a lot of fun doing so. All those assignment in class that were things like making up your own nursery rhyme—those were great for me. The very first story I wrote was about a spider named Joaquin who was trying to escape the rain that I wrote when I was maybe five, and even then I knew that was what I wanted to do. Of course as time goes on, you stop writing about cute spiders and you start writing Devil May Cry fanfiction and passing it out to your classmates. They think it’s mildly amusing, and you think, “Hey, maybe I really can do this whole writing thing.” That’s basically it for me.

G: This is a two parter, but they’re related: First, who are your top three influences as a writer? Second, are there any stories or authors that inspire you when the creative juices aren’t flowing?

KAR: So I think that when it comes to authors and things that influence you, it’s easier for me to speak about what influences a particular work. Especially because a lot of the research I did for Tiger was so specialized. A lot of this was stuff I really didn’t know about beforehand. When it comes to Tiger’s Daughter, certainly, my biggest influences there would be poets. Ono no Komachi and Izumi Shikibu being two of the major ones. But also I’ve always been a huge fan of Greek myth, and I would be remiss if I didn’t give a shoutout to my boy Homer—also a big influence in the big, romantic, mythic tone of Tiger.

But if I’m talking about things that influenced me when I was younger, Tamora Pierce is one. I’ve always really loved Malinda Lo’s novels, too; Huntress and Ash had me shook when I was a kid. Oh god, they were so good.

In terms of things that I read in order to get my juices flowing, I do read an awful lot of Han court poetry. A lot of tanka and a lot of haiku, mostly tanka though. I’ve got two books right here on my desk and one is a collected compendium of Izumi Shikibu’s poetry that I read usually before I start writing every day. It’s good to remind yourself of the tone you’re trying to hit.

G: With so many people watching movies and TV shows, do you think reading books still has a strong place in queer storytelling?

KAR: Absolutely I do. The main reason for this is kind of a simple and practical one. When I was a kid and I wanted to consume queer media, it was easiest to do so in book form because if my mother saw me holding it I could like about what it was about. The same is not necessarily true for movies, games, and stuff like that. I’ve definitely had the experience where I was playing Mass Effect and you go to kiss the cute blue alien and you’re playing a girl and you’re terrified that your parents are going to walk in and you’ll have to explain some things. But that’s not really the case with a book. With a book, there’s no real way of knowing immediately what it’s about. You can discuss a bit more freely the details that you want your parents to know.

But even more than that, I feel like while media like tv and movies are very important in terms of visual representation, there are still certain things that are very difficult to do in movies. We get more leeway with the types of representation that we can promote in books and literature. For instance, poly relationships come up way more in literature than they do in movies or games or anything like that. That’s something that we’ve been talking about in genre circles for years now. There are lots of different poly relationships that come up in fantasy and genre fiction. That’s not really discussed in any other forms of media. So yeah, there’s definitely still a place for books.

G: I was just trying to come up with poly relationships recently in visual media, especially queer and poly, and the only one I could think of off the top of my head was in Black Sails

KAR: Right, it’s not discussed, or if it is, it’s a one-off joke. You see that a lot in sitcoms; Broad City had a throuple show up but they were the butt of the joke for being ‘weird.’ But if you ask any allocishet white dude what his favorite fantasy series is, he’s probably going to get to Wheel of Time eventually. As normative as Wheel of Time is, it does feature a polyamorous relationship at the core of these twelve, thirteen books, and that’s not really something you would normally get in a visual medium. I feel like genre fiction gets a reputation for being more conservative but we are experimenting more than visual media is.

G: On a related note, what do you think fantasy as a genre or genre fiction more broadly can do uniquely well when it comes to the creation of queer protagonists and telling of queer stories?

KAR:  I think that a lot of it lies in the control we have over the worlds we build. The job of fiction and the job of genre fiction especially is to hold up a mirror to things that we experience. The job of all fiction is to build empathy in one direction or another; all art is propaganda, it just depends on what sort of propaganda it is.

In terms of genre fiction, there are times when we don’t think that something would be possible in our day-to-day lives. However, we’re able to create worlds in fantasy settings and scifi settings where being queer isn’t necessarily a problem. Where we can see these big, huge heroes and having people like that having people with these larger-than-life abilities is very important in terms of inspiration.

There’s a reason that Orwell—who is best known for dystopias like Animal Farm and 1984 —even though he firsthand witnessed the rise of fascism and went to go fight in the Spanish civil war, he chose genre fiction in order to combat those things. There’s a reason for that and it’s because sometimes it’s easier to construct these enemies and know why they need to be defeated when you have more control over the world. It’s also easier to be more in control of the message that you’re trying to send, as I said, all art is propaganda.

It’s important to have these queer heroes triumph in ways that they haven’t necessarily in history so far so that we can enable another generation down the line to triumph in those ways. Nobody is every going to think that they’re impervious to arrows until they read a cool story about somebody who is. Nobody is going to think that they can slay a giant until they read a story about this kind of nerdy dude who did with just a sling. Once that idea is in your head, it’s a lot easier to reach for it in your own life.

G: Tell me about your books, The Tiger’s Daughter and Phoenix Empress; what inspired you to write this story? Why did you choose the epistolary format?

KAR: The simple answer for this is that I read an awful lot of Victorian fiction between the ages of fifteen to twenty-two. Even when I dropped out of college, I was reading a lot of Victorian literature, and boy, did they love epistolary format! So a lot of the stuff I was reading was epistolary and it became this kind of natural thing for me to have in my head. The reason that I chose epistolary for Tiger’s Daughter in particular is that Shefali is a very quiet character. She doesn’t actually say more than four words to anyone who isn’t directly related to her or her wife at a time. I try to keep track of that; it’s like a rule I have when I’m writing: how can I get Shefali to say what she needs to say in four words or less.

In order to get to know her and simultaneously to get to know Shizuka, who is kind of…difficult, it’s easiest if we’re in Shefali’s head and if she’s talking to Shizuka. If we have this idea of a gift that she’s giving her, this attention that she’s lavishing on her wife who she misses so dearly—I needed that level of intimacy for Tiger because this trilogy is about gods. It’s about the people who become gods and what they give up. Because of that, it’s very important to have a personal stake in these matters. I needed a lot of buy-in into their relationship. Plus, there’s a bit of a girlfriend experience thing, to, and that’s not something that you really see in queer fiction. You don’t have these big gay love stories. How dreamy is it to be reading one that’s 500 pages long and the subject is you. You get to, at some level, transfer yourself onto that. I thought that was very dreamy, very romantic sigh inducing. It was just what I wanted to read so I wrote it.

G: That’s one of those pieces of advice you hear a lot when you want to be a writer: write what you want to read because someone is going to want to read it to.

KAR: I definitely agree that if you write something you want to read, there’s at least five other people who want to read it. You need to keep in mind those five people when you’re writing. Not everything you write is going to appeal to everyone, but if you can appeal to those five people who need what you’re doing, you’re golden.

G: I asked you this at the panel where we met, but I loved your answer so much I want to ask it again for our readers: what is your favorite thing about your two protagonists?

KAR: Shefali, as I mentioned, is very quiet. She doesn’t really talk much to anybody, she’s very withdrawn. But, she’s probably the most reliable character in the series. She’s very sturdy, very loyal, very dedicated, and doesn’t really let anything get in her way once she decides that she’s going to do something. It just get’s done. But she’s not very loud or very brash about it like Shizuka is. She’s just…solid and fair and it’s so comforting to be able to write someone like that. I feel like it kind of imbues me with those qualities slightly as I’m writing her.

Which brings me to my second point about Shizuka: Shizuka is a wreck. She’s so…oh god, she’s trying her best. She’s got this brash exterior where she’s always bragging about everything and talking about how great she is and secretly, she’s afraid of everything. I have really severe anxiety. It keeps me home sometimes or keeps me from doing things that I want to do. Shizuka has determined that she’s got to make decisions quickly before the fear sets in. That’s her main thing. I very much admire that about her. I admire her dedication to doing things in spite of how afraid she is, and the way that she endures everything just because she knows it’s the right thing to do. The way that Shizuka deals with her fears is very inspirational to me. I sort of feel bad for making her afraid of so many things.

G: Given your personal experiences as a queer woman of color, talk to me about the importance of representation of marginalized communities. How did that shape the stories you tell?

KAR: It’s something that I think you have to be hyper aware of as a queer creator, especially in my case being a queer creator of color. I was born in Puerto Rico, both of my parents are Latinx, my mother is also Black. There’s a lot of intersection that goes on there and there are a lot of things I was aware of growing up that maybe other kids were not so aware of. To that extent, when it comes to Tiger, the Qhorin aren’t just a different ethnic group, they’re also markedly darker than Hokkarans. There’s also the Xianese to the south, the Doanese, and the Jeon—they’re all different groups, and all of that interacts very differently within the work.

I think that a lot of the time there’s a tendency to use a checklist with diversity. Like, “Here’s this one character with three different marginalizations, but we’re not really going to touch upon that at all in the work.” In some cases that can be, though I’m not saying it always is, but it can be a bit lazy. We really need to examine how those intersections would affect the people that have them. As a queer woman, I’m not just a queer woman, I’m also a queer woman of color. I have to deal with coming out to my extended family when machismo is such a huge thing in Latinx culture. I have to contend with traditional portrayals of Latinx masculinity and hyper masculinity and how those interact with, well I don’t want to say white ideas, but I guess ‘traditional’ ideas of masculinity.

And in writing something like The Tiger’s Daughter, I have to understand East Asian ideas of what masculinity and femininity are. This wide array of different gender identities and different approaches to gender and sexuality and romance that are portrayed across cultures. Something that was very important to me when I was writing Tiger’s Daughter is that Shefali, who is my main character, and her brother are both bi-racial like I am. And they both take more after their mother than they do after their father. There are a few scenes where Shefali is minding her own business and people are like, “Oh, you should get out of the sun, you’ll get so dark.” It’s things like that. It’s not just a queer story, it’s also a story about people of color, and it would be egregiously wrong of me not to address all of those concerns.

In terms of marginalization and representation, I just think that it’s important that we’re not just writing queer stories. That we’re writing queer stories about women, or writing queer stories about trans and gender non-conforming people. That we’re writing queer stories about people of color and that we’re addressing the concerns that these people might have growing up in their lives. These are things that I had to be aware of when I was a young queer person considering whether or not to come out. We need to see more of that in fiction because as I said, it makes us stronger.

G: Right, and you mentioned anxiety; mental illness, disability, and neurodiversity are other aspects of that as well. All of it intersects with each other. 

KAR: It definitely does.

G: As a younger author (and a queer woman!), I’m sure you’re aware of fanfic and fanart. Do you have a lot of fan engagement with your book? Any favorites?

KAR: First of all, I do not read fanfiction, I haven’t actually looked for any either, in terms of my books specifically. However, I have gotten some fanart that is quite lovely, and I always do appreciate when people tag me in fanart. A lot of people seem to enjoy drawing Shizuka, and I think it’s because she’s extra as fuck, and I’m here for it.

That is, of course, a wonderful part about being an author, that people will occasionally draw characters from your book and you’ll get to see your children in a visual way. That’s so nice.

A totally sick, rad thing that is happening in my life is that there is, in fact, a 42 minute long metal album that is actually just one song, and it is also called “The Tiger’s Daughter.” It is based on my book The Tiger’s Daughter and it is so cool! It is the coolest thing that has ever happened to me. My fifteen-year-old self is just about shitting herself. It’s great. I love it so much. I have only heard the snippet because only a snippet has been posted so far—it’s by Lascaille’s Shroud. It’s awesome. Sometimes I listen to it when I need to get hyped up to write.

G: That’s awesome, and so unique too!

KAR: It really is!

G: I don’t know a lot of authors who could say they have a metal album based on their story.

KAR: Yeah, I mean, Nightwish has a song that they wrote that takes it’s name from the Kingkiller Chronicles, but that’s all I can think of. The funny thing is, I remember distinctly about two days before I heard about “The Tiger’s Daughter” metal album that I was listening to that Nightwish song about the Edema Ruh. I remember thinking nobody was ever going to write a metal song about my book…

Welp, that’s where you’re wrong, bucko.

G: That’s perfect! So, what’s coming up next for you? Any other projects you’re working on that you can tell us about?

KAR: I do have the sequel to The Tiger’s Daughter and The Phoenix Empress coming out soon, called The Warrior Moon. I’m putting the finishing touches on that now. We also have a short story coming out in the same universe called “Sixteen Swords.” That’s probably going to be early next year in terms of release. It’s about the mothers of the two protagonists in The Tiger’s Daughter and this mission that they go on in the demon realm. I like to describe it as Seven Samurai meets Blair Witch.

G: Oh my gooood. That sounds amazing!

KAR: Right? I’m really happy with it. It’s actually probably one of the things I’m proudest of writing; I think I did some pretty good work. Beyond that, not much that I can talk about now.

G: That’s fair. But that right there sounds so exciting! I loved the mothers of the protagonists when I read the first book; the story that you gave them is so compelling and I want more of it. I will consume everything that you make about that. 

KAR: My editor had an offhand comment along the lines of, “I would really like to see what happened to these women when they were over the wall.” And I was like, “Oh, ha ha, my hand slipped and I wrote 45,000 words. Ha ha ha!” She was very gracious about it, and we are figuring out how to bring that to people because it is a pretty great story.

G: Anything else you want to share with us before we go?

KAR: Nothing immediately comes to mind except, you know, comments about the political hellscape that we are in but that’s not quite relevant.

G: But in that vein, reading a lovely story about divine wives who fight demons is a really great way to spend some time and think about what could happen if they existed in our world.

KAR: Oh god, if they lived in our world they would just be sick of everything.

G: They would be so done.

KAR: Oh, so done. So completely done, but I feel like Shefali would have a couple of very straightforward solutions to everything and would be able to talk Shizuka through actually implementing them. Eventually they’d work it out and they’d be fine. As long as Shizuka didn’t start drinking again…

G: Absolutely. So, that’s all I have. Thank you so much for talking; this was lovely!

KAR: Yeah, thank you for having me!

About K Arsenault Rivera

K and her family moved to New York City from Puerto Rico when she was three. They landed in the middle of a blizzard, and K’s been complaining about the snow ever since.

At a compact four foot nine, K is a concentrated dose of geekery. She’s happy to ramble about everything from Gothic Literature to Revolutionary Girl Utena, with detours into Magic the Gathering and Star Wars. Her two best friend groups are her coven and her tabletop gaming group.

She is almost too queer to function.

She lives in Brooklyn with her hipster photographer partner, their robot queen roommate, and a two foot tall statue of Wonder Woman.

The Tiger’s Daughter and The Phoenix Empress are available for purchase online or in any major brick-and-mortar bookstore. Make sure you check out K Arsenault Rivera on Twitter or her website to stay up to date on her, her work, and forthcoming stories in the Ascendant universe.


Images courtesy of K Arsenault Rivera and Tor Books

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Analysis

Conclusion to Stumbling Beginnings in Summer Knight

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It had to happen sometime. I talked last book about how much Butcher had improved on his shaky start. Published in 2002, Summer Knight brings the shaky opening to a conclusion. It also opens up a new phase of storytelling for the series as a whole. In case you couldn’t tell, I really like this book. It brings so much to the series, and features one of the more iconic moments of the series for Murphy. Let’s get into it.

Spoilers for Summer Knight and all previous books in the series.

So, What Happened?

Summer Knight opens with Harry and Billy investigating a rain of toads. Harry grumps around and alienates all his friends because of his grief over Susan. Afterwards, he goes to a meeting Billy orchestrated, which turns out to be with Mab, Queen of the Winter Fae. She bought his debt from the Leanansidhe, and wants him to clear her name for a murder. Harry refuses and goes to the White Council meeting. We meet several other wizards, and a vampire offers peace between the White Council and Red Court if they turn over Harry. At the conclusion of the meeting, the wizards agree not to sacrifice Harry if he makes Mab cooperate with the Wizards.

Harry discovers that the murdered man, Ronald Reuel, was the Summer Knight, the human intermediary for the Summer Court. The power he wielded disappeared, destroying the balance. Which, eventually, leads to war between the Courts. Elaine, shows up as the Summer Emissary. Harry attends Reuels funeral, and runs into several teenage, changeling acquaintances of the knight who are concerned over the disappearance of Lily. He visits the Winter Lady, then contacts Murphy. They fight several monsters in a Wal-Mart. He goes to the Summer Lady after finding Elaine beaten by his car.

Harry visits the Summer and Winter Mothers in the Nevernever. The Winter Mother gives him an Unraveling. Aurora, the Summer Lady steals it from him and reveals she orchestrated everything to remake the seasons in her own image. She trapped the power inside Lily. Harry objects to this. Harry, the Alphas, and two of the teenage changelings go to the Stone Table. They interrupt the fight between seasons, steal back the Unraveling, and kill Aurora, saving Lily, the one holding the mantle. In the conclusion, Lily becomes the new Summer Lady.

Best Moment – The Wal-Mart Fight, Organization to Conclusion

There are so many good things about this scene. There’s finally communication, Murphy’s first moment of awesome, and plot hooks perfectly combined with character catharsis. Over the course of this unlikely placed scene, Butcher manages to bring several elements of the early series to a conclusion.

The first, of course, is that Harry finally tells Murphy everything about the supernatural. She even gets in one last one-liner about being kept out, a start to their banter for the rest of the series. “‘I know I’ve kept things from you.’ … ‘Yeah’, she said, ‘I know. It’s annoying as hell.’”(299). He tells her everything. About the Red Court, the White Council, the Fae, and Chicago Supernatural Politics. Now, we won’t have the cheap conflict from Storm Front where they work at cross-purposes again.

Immediately afterwards, we have the fight with the chlorofiend, the Tigress, and the mind fog. At the conclusion of that fight, we also have Murphy’s first major impact since the Loup-Garou. “Murphy tore through them with the chain saw, … then drove the blade directly between the chlorofiend’s glowing green eyes.” (345). Chainsaw with cold iron, vs Fae Creature. Murphy wins.

The way that the plot interacts shows improvement from the previous book. There, Butcher attempted to tie together the antagonists with the chain spells. Here, we see the ghoul, the summoned monster, and the mind fog from two different people. The Tigress also capitalizes on Murphy’s trauma from the previous book. But everything makes sense, and the conclusion of the fight ties together various plot threads, since Ace sent the Tigress, Aurora the fog and fiend, and Murphy starts to recover from Kravos’s attack.

Most Improved – Harry’s Attitude

While some of the previous books focused more on the change to other people, here we have Harry change. He has a character arc that comes to a satisfying conclusion by the end. Harry starts the book depressed over Susan, and he alienates everyone. Billy points it out. “I don’t need to be a wizard to see when someone’s in a downward spiral. You’re hurting. You need help.” (25). Given that Billy previously espoused the theme of the series, his reintroduction here is significant. Eventually, Harry accepts the help Billy offers, both in scheduling meetings, and with the fight at the end. After the fight, Harry even goes over to hang out with the Alphas, and plays a barbarian in a Dungeons & Dragons spin-off game. He quotes William Shakespeare jokingly, and says, “Meep, Meep” to a deranged Faerie Queen. (489).

It is not only the Alphas that help change Harry’s mood. His reunion with Eileen, his teenage flame, who he thought he killed alongside Justin also helps. Finding out he didn’t kill her brings him closure. But through the book, when she nominally serves as an opponent, the Summer Emissary to his Winter, her presence reassures him. Even when she ‘betrays’ him to Aurora, and binds him, she still helps him. “I’d been right. It was the same binding she’d used when we were kids.” (433). Her meddling enables him to escape Aurora’s death trap, by using their childhood bond.

At the conclusion of the book, she gives him advice regarding Susan that builds to the catharsis detailed above. “Stop thinking about how bad you feel—because if she cares about you at all, it would tear her up to see you like I saw you a few days ago.” (510). That help sends him in a new direction.

Best Worldbuilding – The Fae Courts

While the information on the White Council is delightful, the Fae Court proves more valuable to the main plot. And we learn a lot about the Courts here. Lea makes an appearance, where she ‘helps’ Harry by distracting him and a Fae from fighting and guiding him to the Stone Table. She mentions again how she believes her actions last book only helped him as well. It gives insight to the alien nature of Fae morals.

We also can draw conclusions about the structure of the Courts given all the information on how they organize themselves. Through the book, we learn about the Winter and Summer Courts, each with three Queens. The Mothers, the retired queens. The Queens, the current ruler. And the Ladies, the heir for the future. Their Knights that do their will in the mortal world, and the Emissaries chosen on special occasions.

Also informative is the phrase, “If Winter came here, Summer had to come too, didn’t it?” (219). It implies certain checks and balances on each other’s behavior. That only highlights how serious a problem it is that the Summer Knight is dead, and the mantle gone. Lea’s information about the Stone Table reinforces that. Beyond being a reference to Narnia, it also guarantees great power to whoever holds the table, and whoever sheds blood on it. So, the peaceful transfer of the table from Summer to Winter and back with the seasons preserves their equality. Aurora’s plan only serves to show how important it is to keep that balance, less there be another Ice Age, or worse.

In showing us all this, Butcher expands his universe so much further, and sets the ‘table’ for future stories. Ones that will lead to the eventual conclusion of the series, yet to come.

Worst Worldbuilding – The Conclusion of Meryl’s Story

Given all that we know now about the Fae, it comes as no surprise that the worst worldbuilding also comes from that section of the story. Butcher’s take on Changelings is innovative, being half-human, half-Fae rather than the traditional version. The problems arise from how the narrative treats her, and the results of her half-Fae heritage.

The problem with Meryl is that Meryl dies at the end of the story. She is the first person explicitly allied with Harry to die. The only previous person that was not an antagonist that died was MacFinn, and he attempted to murder them all because of an uncontrollable curse. Meryl dying in and of itself is not the entire problem. Butcher directs the series in a darker direction, so deaths will come eventually. The issue that I have with the conclusion of Meryl’s story is that Butcher could have done so many things with her. As a Changeling aligned with Winter, dearest friend of the new Summer Lady and Knight, the possibility of an inter-Fae alliance or Court would develop.

She even said, “[Winter] Calls,’ Meryl said. ‘ But I’m not answering.’” (459). The Changelings provide a glimpse of the Fae outside of the manipulation, outside of Court politics. Meryl could have been symbolic of that. But no. Meryl Chooses to save Lily. She Chooses and she dies and all that hope with her. It’s a story brought too soon to a conclusion, one that broke off threads that could have continued.

Moment of Regression – Ye Old Wandering Eyes

I will admit, this is a sticking point for me. I talked about my dislike of Harry’s voyeurism in Storm Front. I brought it up again in Fool Moon. Thankfully, it didn’t appear too often in the following books, but here we see this again with a vengeance. And it doesn’t even make sense in character this time.

After a Susan-vampire nightmare, Harry thinks.

“But I had been used to a certain amount of friendly tension relieving with Susan. Her absence had killed that for me, completely—except for rare moments during the damned dreams when my hormones came raging back up to the front of my thoughts again as though making up for lost time.” (176).

So, theoretically at least Harry’s libido takes a break. I understand that part of this nightmare and Harry’s symptoms comes from the dangerous way he’s punishing himself for Susan’s condition. But, still. Even before this dream we have moments where he stares at Mab’s ass. He knows she’s the Winter Queen, and he still ogles her when she leaves. At Maeve’s court, Butcher spends a good deal of time describing Jenny Greenteeth, a Fae seductress. He could have emphasized the alien way she moves, the details that make her decidedly not human, and dropped a one-liner about her being naked at the end. It would have been in character for Harry’s blasé kind of humor. Instead, Butcher flips that script, focusing on the nakedness, with the inhumanity coming as an aside.

Call it my own personal soapbox, if you will, but that doesn’t sit well with me, especially when the last book did so much better with Harry’s gaze. (Not perfect, of course, but better. It doesn’t have to be perfect, it just needs to keep improving.)

In Conclusion

Overall, Summer Knight showcases the best of Butcher’s work so far. While the choices were somewhat limited compared to last book, the plot hangs together much better. That cohesive plot lent its voice to each category, and the worst moments were nitpicks and could-have-beens.

The way that Butcher brought this story arc, and Harry’s character arc to a conclusion proved satisfying. His mastery of plot improved, with the motivations of the antagonists and the number being reasonable, instead of overwhelming. The knowledge about the Fae, about the Council, and about Elaine all help set up this next phase of the series. I’m looking forward to the next book.

Am I being too nit-picky in the ‘bad’ categories, or is it just proof of concept that the problems can be reduced to nitpicks? Was the White Council more fascinating than the Fae, or was Harry’s arc disjointed? Let me know if I’m being too harsh on the series, if you had a different idea for a category, or if you have any comments about the arc of the series as a whole. I look forward to hearing from you.


 

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Books

Creator Corner: Interview with YA Author Linsey Miller

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Every now and again an opportunity falls into your lap to have a conversation with someone you never dreamed you’d get to. When Dan asked me if I might want to interview Linsey Miller, author of Mask of Shadows and its sequel Ruin of Stars, I fangirl screamed politely accepted the invitation to make contact. As a fan of queer YA, masked assassins, and page-turning action, I couldn’t pass up the possibility of talking with her. She said yes, and here we are.

So come join me as Linsey talks writing, representation, and what’s coming up next for her.

Gretchen: Let’s start at the beginning, what got you into writing? Are you one of those life-long storytellers or did something specific inspire you to want to become a published author? Or both?

Linsey Miller: I wrote a lot as a child. I was lucky—my parents liked reading and we had a library that wasn’t too far away. However, I didn’t really grow up thinking it was a thing that a person could do (even though my kid brain knew people did write books, the idea that I could didn’t really click). Years later, I ended up completely blowing my medical school applications and one of the interviewers said, “Sounds like you want to write books.” I started researching, reading, and writing more after that.

So thank you doctor who saw through my terrible application.

G: What makes books a compelling format for telling stories for YA audiences? Is there something you think books can do that say, a visual medium like film or television can’t?

LM: I think a lot of what makes them compelling will vary greatly from reader to reader (and they might never be as compelling as a film to some), but I know for me it was how immersive they were. With books, you have to directly interact with the prose in a way you can’t sometimes with visual mediums—the cadence and pacing of the reading, while it can be set by the narrative, is partly dependent on the reader. It’s easier to put yourself into the narrative and see yourself as a part of the story and world when you’re reading. I don’t think there’s something books can do that visual mediums can’t so much as that the interaction between reader and book is different than viewer and medium.

G: Speaking of your writing, what inspired you to write Mask of Shadows? What was it about the story itself or the characters that really drew you?

LM: There were a lot of small things. I like assassins, and I wanted to explore how difficult moral choices affect people, especially as a kid when you’re realizing that morality is not as solidly set as you thought. But at the same time, I really want to write a fantasy novel that let people be the rogue with a heart of gold and grapple with how difficult some parts of life are without sacrificing one for the other.

And then, there was this driving urge to explore a fantasy world that felt like it was a few years past when a book would normally be set so that I could see how the grown up heroes of a plot might cope with what happened and how that affects the young adults around them. Growing up after something huge happened and with the people who were directly involved was something I wanted to write about.

Also, I love Sal. Writing their story was a dream come true.

G: Your primary protagonist in the duology, Sal, is genderfluid; what led you in that direction and why do you think it’s important to have gender non-conforming characters in media for young adults?

LM: Before writing the book, there was a lot of talking about how Sal approached gender, navigated the world, and how the plot would and wouldn’t approach gender. I wouldn’t say anything led me in that direction specifically.

However, especially now that I know more, I think it’s important to have non-binary and gender non-conforming characters in media for young adults who are written by non-binary and gender non-conforming authors. People need to see themselves in media—especially young adults who are still figuring themselves and the world out—and they deserve to see themselves represented in all the nuanced ways that exists by people who know what it’s like.

So I go back and forth now on if it was my place to have written Sal, but I don’t want that to detract from how vitally important it is that kids see themselves in literature AND in the population creating that literature.

G: You also include a queer romance in the story and have multiple characters of color; why was it important to you to include so many layers of diverse representation?

LM: It was really important to me that the world was actually a world. I decided early on that if I wrote young adult that I had to take how and what I wrote very seriously, so the goal was to make sure that the world didn’t erase people or leave room to default characters to what is generally expected. I didn’t want the main characters to be token people. That felt unfair to them and to readers.

G: Tell me more about your characters: What is your favorite thing (or things) about Sal? Is there anything that makes them especially challenging and/or exciting to write?

LM: I love that Sal knows who they are. They’re confident and a little bit on the arrogant side, and they start Mask of Shadows knowing what they want. They do change over the course of the book, but I liked writing a character who knew themselves and didn’t feel guilty about it. Sal was just Sal. They enjoyed being Sal! That was exciting to write.

G: If you could write a book or short story highlighting one of your secondary characters, which one or ones would you choose and why?  

LM:  Ruby or Maud. Writing something for Ruby would give the added benefit of including a bunch of other characters, and I would love to explore the siege of the school ten years prior to Mask of Shadows. Nearly every character in the book would have been involved, and many would have been Sal’s age when it occurred.

As for Maud, she’s simply the best.

G: If you could give one piece of advice to other aspiring writers who want to write original fiction that you don’t think others are saying, what would it be?

LM: The advice to “write” is out there, but what happens emotionally during isn’t always talked about. Writing is a largely internal process—you spend a lot of time alone thinking about things that you can’t talk about. That loneliness can be draining, so make sure you take care of yourself if you can. Find out what helps you, find your people, and take care. A book is all well and good, but you’re important too.

G: What’s coming up next for you? Any other projects you’re working on that you can tell us or hint to us about?

LM: Yes! I have two new fantasy books coming out in 2020 and 2021. By Grace & Blood is a standalone young adult fantasy about two young women who must work together to stop a war waged by the powerful and greedy in a French-inspired fantasy world. I should have more information about it soon.

G: Anything else you want to share with us before we go?

LM: Save your work in multiples places as you go.

Don’t be me.

Whether you write by processor or by hand, make sure your work is copied and safe in at least 2 or 3 places.

G: That’s excellent advice. Thanks for chatting with me!

LM: You’re welcome!

About Linsey Miller

Originally from Arkansas, Linsey has previously worked as a crime lab intern, lab assistant, and pharmacy technician. She is currently an MFA candidate at Wichita State University and represented by Rachel Brooks of Bookends Literary. Her debut novel Mask of Shadows was the first in a young adult fantasy duology, which was completed with Ruin of Stars this year. Her next novel, a standalone French-inspired fantasy titled By Grace and Blood, will come out in 2020 with another standalone fantasy to follow in 2021. She can be found writing about science and magic anywhere there is coffee.

If you’d like to follow Linsey Miller to stay updated on current and future protects, check out her website and follow her on Twitter and Instagram.


Images Courtesy of Linsey Miller and Sourcebooks Fire

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