Tag Archives: Historical Fantasy

Why You Need to Read: “The Girl in the Tower”

Winternight Trilogy, #2: The Girl in the Tower

By: Katherine Arden

Published: December 5, 2017

Genre: Fantasy/Historical Fiction/Folklore/Magic Realism/Coming-of-Age

            Highborn women, who must live and die in towers, were much given to visiting. Now and again, they stayed overnight for company, when their husbands were away, (1: The Death of the Snow-Maiden).

            Folklore maintains traditions and cultures that are passed down from generation to generation. Since many of the stories, traditions and foods are shared through practice and oral tradition instead of being written down, many variants of folklore exist. The most popular example of multiple variants is the story, “Cinderella.” Every era and culture has their “version” of “Cinderella,” which contains the same elements (i.e. stepmother and magic) alongside the region’s culture. Then, there is the concept of expanding on these tales. Disney has done this with Maleficent and others, and Katherine Arden has done this with Vasilisa the Beautiful in her Winternight Trilogy. She provides more backstory of Vasya in The Girl in the Tower, the sequel to The Bear and the Nightingale. 

            The story reintroduces readers to Olga, Vasya’s older sister who left Lesnaya Zemlya for Moscow for marriage, who is now the Princess of Serpukhov. 10 years have passed since she and her older brother, Aleksandr Peresvet—or Sasha, left their family, and both of them have settled to life in the capital. Olga has two children—Marya and Daniil—and is expecting her third; Sasha is a monk and an adviser to Dmitrii Ivanovich, the Grand Prince of Moscow. Brother Sasha has returned from a journey back home, with a traveler from Lesnaya Zemlya. Yes, Konstantin Nikonovich has managed to attach himself to the rest of Vasya’s family. Meanwhile, Sasha and the Grand Prince meet with a boyar—Kasyan Lutovich of Gosudar—over his concerns regarding bandits. As Sasha and Kasyan travel out of Moscow to investigate, their party runs into Vasya and her stallion, Solovey. Vasya has been forced into exile from her home, and refuses to marry or to join a convent, so she rides in search of freedom and a new identity. When she is reunited with the rest of her family, she goes by the alias, Vasilii Petrovich, the youngest brother of Brother Sasha and Princess Olga. While Vasya gets to experience the freedom she’s always wanted, she must heed the warnings of her family of disguising herself as a male in the Russian court, as well as staying hidden from her enemies both old and new. Vasya undergoes the most development as a character as she continues to grow into the person she want to be. Meanwhile, readers learn of the complexity of Sasha and Olga as they try to protect their sister while conforming to their roles and society’s expectations. 

            The plot involves the aftermath of the events in The Bear and the Nightingale. Vasya is no longer welcomed at Lesnaya Zemlya, and after “rejecting” Morozko again, she travels the Russian wilderness on Solovey—the stallion given to her by Morozko and communicating with the chyerti, until she meets up with Sasha and the party tracking down a group of bandits. For her role, Vasya is hailed a “hero,” but must call herself a male so she is not labeled a “witch” again. Prince Dmitrii is pleased with Vasilii’s bravery and with knowing of “his” relation to Sasha, Vasilii is invited to court against Sasha’s wishes. Once in Moscow, Vasya must learn court etiquette, how to humble those who envy her, and keep her “Gifts” to herself. If any or all her secrets are revealed, then the consequences will be dire. There are two subplots in this novel. The first is the mystery surrounding Kasyan Lutovich. Why did he travel to Moscow when his village was attacked by bandits? And, what does he have against the Grand Prince, Brother Sasha, and Vasilii? The second subplot involves the old magic that struggles to survive in Moscow. In fact, there might be another who can help the denizens remember the old ways, but Vasya might have to earn their trust before assisting them.

            The narrative in The Girl in the Tower is entwicklungsroman, or “novel of character development.” Even though Vasya is an adolescent, she still has some growing up to do before she can have her bildungsroman experience. That is not to say she isn’t learning in this story. Vasya learns more about the various chyerti she encounters and what they want from her. At the same time, Vasya continues to struggle with her identity in a changing Russia as forces—both human and magical—threaten to upset the order of things. There are multiple points-of-view within the narrative which provides the readers with the knowledge of everything that is going on. The narration follows a sequence that is told in present time, with the exception of Part II, which provides a flashback of events. The streams-of-consciousness of Vasya, Sasha, Olga and Konstantin allows for the narrative to be followed, although only the reader(s) know which characters are the reliable narrators. 

            The style Katherine Arden uses in this novel provides a deeper look into Russian folklore and culture, mixed with familiar fairy tale tropes. Readers reacquaint themselves with a fierce heroine, innocent princesses, a dashing prince, and magical beings while absorbing Russian folklore and history. While the themes of religion, sex and gender, political structure, and societal expectations are repeated, the themes of identity and family are explored further in The Girl in the Tower; and, a few clues surrounding Vasya’s family heritage are revealed. The mood in this novel is loyalty. Should one be more loyal towards their family over royalty? Should one choose religion over family? The tone of the novel is choice. Who deserves loyalty and why? The choice one makes about their life and themselves while knowing the consequences of those choices are mentioned over and over throughout the book. Making choices and how those choices affect others is explored in this story as well. Once again, the Author’s Note, Glossary, and A Note on Russian Names are a helpful in following and in comprehending the terminology in this novel. 

            The appeal for The Girl in the Tower matches the first book. Both readers and critics agree that this sequel is a strong follow up to The Bear and the Nightingale. Fans of Naomi Novik and S.A. Chakraborty will enjoy this series the most. And, it is a great addition to both the fantasy and the folklore canons. Vasya’s story concludes in The Winter of the Witch. It is safe to say that both readers and fans will NOT be disappointed with how the trilogy will end. 

            The Girl in the Tower is a strong sequel that does not slow down the pace of the trilogy. Fans of fairy tales and folklore will appreciate the homage the author gives them; and, readers will enjoy how the “old beliefs” played their part in the world-building of the narrative, and in the culture of a nation. Katherine Arden does NOT disappoint her readers. 

My Rating: MUST READ IT NOW (5 out of 5)!!!

Why You Need to Read: “The Bear and the Nightingale”

Winternight Trilogy, #1: The Bear and the Nightingale

By: Katherine Arden

Published: January 10, 2017

Genre: Fantasy/Historical Fiction/Folklore/Magic Realism/Coming-of-Age

            Vasya’s head hurt with thinking. If the domovoi wasn’t real, then what about the others? The vodyanoy in the river, the twig-man in the trees? The rusalka, the polevik, the dvorovoi? Had she imagined them all? Was she mad? (11: Domovoi).

            Have you ever wondered how or what got you into reading a book or a book series? Oftentimes, we read books due to their popularity or recommendations from other readers. Then, there are times when our curiosity drives us to read a book. For example, the first edition of the U.S. print has a woman standing in front of a cabin in the woods on a snowy night. Add the book’s description and the fact that the ebook was on sale, and you have the short version of how I got into reading The Bear and the Nightingale, the first book in the Winternight Trilogy, and the debut novel by Katherine Arden. 

            The story begins before the protagonist, Vasya, is born. Marina Ivanovna is the wife of Pyotr Vladimirovich, a great lord or a boyar, and they live in the North (of Russia) at the edge of the forest in a town called Lesnaya Zemlya. Marina is the daughter of the last Grand Prince of Moscow, and her mother was rumored to be a swan-maiden who captured the prince’s attention. Yet, due to the fear of the Church, Marina married off to a boyar away from Moscow, where she bore her husband many children. When her youngest, Vasilisa was born, she died, but Marina always knew that Vasya would have the same “Gift” her mother had. Vasya, the youngest of five children, is raised by her father, her nurse—Dunya—and, her siblings: Alyosha, Olga, Sasha and Kolya. Vasya grows into a willful child to the distress of her family. When Vasya is about 5 or 6 years-old, her father travels to Moscow in search of a new wife and he brings his sons with him. By the time the family returns, Anna Ivanovna is with them. Later on, Sasha and Olga will leave Lesnaya Zemlya for Moscow in order to fulfill their duties. Meanwhile, both Vasya and Anna are able to see beings, or chyerti, who occupy the house, the lake, the forest, etc. Anna believes them to be demons, while Vasya talks to them, follows their instructions, and learns from them. At the same time, Father Konstantin Nikonovich—a young and beautiful priest whose talent for painting icons has led to him having a huge following of worshippers—has been sent to Lesnaya Zemlya to replace the priest there that died. As young as she is, Vasya’s antagonists are adults: her stepmother and the new priest, adults who envy and admire Vasya. All of the characters are people who watch Vasya grow from child to adolescent in Russia during a time when Christianity was becoming the dominant religion and when women—especially high-born ones—were expected to follow strict societal guidelines. Vasya, unknowingly, fights these societal expectations and maneuvers her way through them as she approaches adolescence (which, was considered to be adulthood at that time). This puts her at odds with her stepmother and the priest, while becoming allies with the chyerti, fae folk from Russian folklore. 

            The plot in this book sees the upbringing of Vasya and her life in the Russian countryside. Given the circumstances of her existence and her birth, Vasya always had the attention of her family, even if it were for the wrong reasons. Vasya’s father, nurse and siblings see Vasya as a reminder of her mother and her grandmother (based on rumors and gossip). Both Anna and Father Konstantin see Vasya as an individual who goes against the “Rites of the Church,” and seek to “save her soul.” Vasya is an independent girl who communicates with the chyerti (of the old religion) and becomes their ally. Vasya learns the old magic away from the capital, which allows her to carry on without scrutiny. Yet, it seems only Dunya knows how special Vasya is to the chyerti. There are three subplots in this novel. The first is the animosity Anna and Father Konstantin have towards Vasya. Vasya is the willful and carefree daughter of a boyar who listens to the old magic of the chyerti, while her stepmother and the priest try and fail to bring her to heel. The second subplot involves the struggle Russia is dealing with involving pagan versus Christianity amongst the rulers. War is coming, but it is difficult to say who Russia’s adversaries will be. The third subplot follows Vasya’s “Gifts” and what that means for her. Everyone else—her family, the chyerti, her nurse, the priest—seem to know how important Vasya is to the world and their survival, except for Vasya. And, there are powerful beings who are interested in her as well. 

            The narrative in The Bear and the Nightingale is one of an erziehungsroman, or a novel of upbringing. This is different from an entwicklungsroman (“a novel of—a child’s—character development”) or a bildungsroman (“a coming of age” story) in that the narration follows the protagonist from childhood and focuses on their early life and upbringing. Thus, the sequence of the novel is set in the time of Vasya’s birth to childhood to early adolescence while learning of her family and her upbringing. There are multiple points-of-view and that’s because of the 3rd-person omniscient P.O.V., which allows the reader(s) to know what all of the characters—including the protagonist—are thinking and what their motivations are throughout the story. In addition, the streams-of-consciousness of the characters match the present time sequence of the story. So, not only are all the narrators/characters reliable narrators, but also are understandable because readers are aware of their emotions and their motivations. All of these elements of the narrative make it easy to follow. 

            The style Katherine Arden uses for her debut novel blends folklore and history to present a historical fantasy with elements of Russian folklore. The Bear and the Nightingale is the first book in a trilogy based on the story of Vasilisa the Beautiful. At the same time, the historical context allows for the story to be “more believable,” so that terminology and the word choice used throughout the narrative embellishes the story and presents the reality within the fiction and demonstrates the culture of Russia’s past. The mood in this novel is dominance. Who has control of whom? Who is the dominant one in a household, in a region, in a kingdom? Is there a dominant religion? The tone in the novel is rebellion. Vasya is not the only character who rebels against societal expectations set upon her. Then again, the other characters and the reader(s) witness what happens to those who allow others to make choices for them. Please note: the glossary will help with understanding the context of the words and the terms used throughout the novel. 

            The appeal for The Bear and the Nightingale have been positive. It’s hard to believe that this is the author’s debut novel. Katherine Arden was even nominated for the John W. Campbell Award—now called, the Astounding Award for Best New Writer—which is announced during the Hugo Awards. The popularity of this book will have readers thinking of authors such as Madeline Miller and Marion Zimmer Bradley for retelling stories of myths, legends and fairy tales. This book does have lasting appeal and it is a great addition to the speculative fiction canon. Fans of Spinning Silver, Gods of Jade and Shadow, The Sisters of the Winter Wood, The Poppy War, Empire of Sand, and The City of Brass will enjoy this book the most. The rest of the trilogy—The Girl in the Tower and The Winter of the Witch—are worth reading as well. 

            The Bear and the Nightingale is a brilliant debut novel that introduces many readers to Russian folklore through the historical world-building and the rounded characters. The story is the beginning of Vasya’s life and her adventures, and all of the elements of fairy tales of older variants (i.e. “the price of deals”) are found within this book as well. This book will make readers crave winter and snow, and will know the beauty and the magic found in one’s backyard. The old magic has not been forgotten. 

My Rating: MUST READ IT NOW (5 out of 5)!!! 

Why You Need to Read: “The Deep”

The Deep

By: Rivers Solomon; with Daveed Diggs, William Hutson, Jonathan Snipes

Published: November 5, 2019

Genre: Fantasy/Science Fiction/Folklore/Historical Fantasy

            “Our mothers were pregnant two-legs thrown overboard while crossing the ocean on slave ships. We were born breathing water as we did in the womb. We built our home on the sea floor, unaware of the two-legged surface dwellers,” she said. In general, Yetu didn’t tell the Remembrance. She made her people experience it as it happened in the minds of various wajinru who lived it, (Chapter 3). 

            Whether or not the majority of the world wants to admit it, 2019 marks 400 years since the beginning of the African Slave Trade. The first ships holding captive Africans made its voyage to the Americas in order to exploit the resources in those continents. For over 200 years, Africans—men, women and children—were abducted from their homes and families and shipped overseas and sold into slavery. The voyage overseas to the Americas were treacherous due to the conditions abroad the ships and the travel itself. The captives were not only abused, starved and raped, but also were subjected to overcrowded conditions with little to no air circulation. Thus, illness was common throughout these voyages and the ships suffered from the weight of all the people on board. One of the ways the crew resolved the issue of illness and capacity was to throw these terrified people overboard. Even those who weren’t sick (or pregnant) were tied up and thrown into the ocean; and, they were often chained together so none of them could attempt to escape and swim away. Although the imperialist nations continue to gloss over this inhumane era of our history, there is enough testimony and evidence to verify everything about the African Slave Trade as valid. 

            The Deep by Rivers Solomon incorporates this history alongside folklore and culture to tell a story of how and why it is essential to recall history no matter how traumatic it is and to share it with others. At the same time, the idea of maintaining history, culture and identity, and the consequences of those losses are echoed throughout the narrative. In African culture, a community’s historian and storyteller is given the title: griot. The griot is responsible for maintaining all of the stories and the events of that one community. And, it is seen as one of the highest honored positions an individual can train for and be assigned within their community. The practice of there being only one historian and/or griot per group of people is a cautionary tale that will remind readers of The Giver by Lois Lowry.  

            The protagonist is Yetu. She is 35 years-old and she has been her wajinru’s “historian,” or griot, since she was 14. Yetu was chosen to be her people’s historian by the previous one. The historian maintains the entire history of the wajinru (“chorus of the deep”) from when the first babe of the captured Africans were born and survived in the depths of the ocean. Due to the trauma of the first wajinru, one of them is chosen to maintain all of the memories of all of the wajinru so that everyone else can strive and live without those memories weighing them down. Every year, an event known as “The Remembrance” occurs, which involves the historian releasing the memories of the wajinru’s past so they can remember their origins, briefly. Throughout the rest of the year, the historian maintains those memories. Yetu was very young when she was chosen to be the current historian, and she’s found the role to be nothing but a burden. From the perspective of the other wajinru—including Yetu’s mother, Amaba—Yetu neglects some of her responsibilities as historian such as preparing for the Remembrance. What they don’t know is that Yetu holds the memories of ALL of the wajinru—past and present—in her mind, and she remembers EVERYTHING. Most wajinru, including Amaba, forget most things after a short time period. Yetu cannot do that and she often loses herself to the fragments of the memories. After 20 years, Yetu forgets to eat and to sleep, and she’s lost herself to the memories more often than she can remember. Lacking a support system from her people, Yetu performs the Remembrance. However, before she is to reclaim the memories for another year, Yetu flees from the other wajinru and the memories. 

            Once Yetu cannot swim anymore, she finds herself near a small seaside town. There Yetu meets humans who help her survive as she recovers from her flight. She is able to communicate with them because some of the memories of the wajinru are still within her. Yetu befriends Oori, a human who is the sole survivor of a disaster that destroyed her home and killed her entire community. The two females bond over being outcasts and being the historian responsible for ensuring that the history and the legacy of their people do not fade into obscurity, and both women are dealing with their burden differently. Yetu’s mind contains the memories of her tribe, until recently; and, Oori is the last of her people and she doesn’t know what she can do to ensure that her people’s legacy doesn’t become extinct. It is this revelation that makes Yetu aware of how essential her role to her people is and why knowing one’s history, culture and origins is important for survival. From there, Yetu is able to make a compromise between her role and its burden. Then, Yetu recreates the role of historian for posterity. 

            Throughout the narrative, readers experience Yetu’s immaturity and trauma as a historian. It is from Yetu’s point-of-view and stream-of-consciousness that readers experience Yetu’s moments of post-traumatic stress disorder—flashbacks, insomnia, anxiety, self-destructive behavior, withdrawal, etc.,—remind readers that moments of the past are experiences of the good, the bad, and the ugly. Yetu is able to accept her role and admit her mistake, and while some readers might wonder whether or not she has grown more as an individual, they need to be reminded that no one recovers from P.T.S.D. overnight. The use of flashbacks enhance the narrative more towards African history and Yetu’s stream-of-consciousness determines the pace of the story and make Yetu out to be a reliable narrator. 

            The style Rivers Solomon uses for The Deep illustrates the balance between the burden and the importance of one’s history and the dangers of limiting that knowledge to one individual. The mood in this novella is the loneliness and the isolation one can feel even if they are surrounded by family and members of their community. The tone in this story is the responsibility of who maintains the history and the culture of one group and why it should be shared and not limited to one individual. Knowing the past is as important as living in the present for the future.

            The Deep will appeal to all fans of science fiction, fantasy and alternative history. Historians will appreciate the incorporation of facts and how events of the past continue to haunt the present. Folklorists will appreciate how storytellers are regarded and admired for their desire and their ability to pass down culture and information for longevity. The hype surrounding this book was huge and that is partly because the audiobook is narrated by Daveed Diggs. The Deep can be reread and included in the speculative fiction canon.  

            The Deep is a heartbreaking story about history, memory and enduring hardship and responsibility. If one has not read any book by the author, then they can and should start with this novella. This story goes to show how some song lyrics, history and desire can come together to tell a believable tale. The Deep will have you believing in mermaids all over again! 

My Rating: MUST READ NOW (5 out of 5)!!!