I spent most of my spring months writing and compiling my second manuscript, which ended up utilizing every ounce of my creative energy and spare time. But here I am! And today, as a follow up to my post about my favorite films, I’m going to be talking about my favorite books. I get a lot of questions from people– both in real life and on the internet– about my favorite books and movies, and having these posts seems like a super helpful way to pass along recommendations. So here we go!
Concept: book one in a five book series, this follows the adventures of a young girl who gets whisked away to Fairyland. Think Alice’s Adventures in Wonderland, if the MC was more like Arya Stark.
Why I love it: I’ve talked about this book several times on this blog, so it should come as no surprise that I’m bringing it up yet again. My favorite books are ones that make prose feel poetic, and Catherynne M. Valente is a true master of her craft. This book perfectly marries whimsy and poignancy, and each character is crafted with such loving care. For the sake of transparency, I will say that, while all the books are lovely, I find the first book to be the strongest in the series.
Concept: two young magicians are locked in an extended competition, with an enchanting circus as their playing field.
Why I love it: Erin Morgenstern’s writing style is so much like my own, but with a talent for capturing the big picture that I could never hope to accomplish. Her world-building is phenomenal, and she has perfected the art of ambiance and atmosphere. I have heard people complain about her descriptions not being descriptive enough, but I have always found the book to play up the best parts of my imagination. Morgenstern highlights sensory details, such as the way a certain food smells, or how a particular fabric moves, or the specific type of light illuminating a space. She leans on very specific and tangible moments, and lets the reader use that knowledge to fill in the rest of the world. I’m also a big fan of non-linear storylines, and this was one of the first ones I ever read back when I was in high school.
Concept: a non-linear love story told in two parts– the first half from the POV of the man, the second half from the POV of the woman.
Why I love it: I don’t have the words for how much I love this book. I love the way Lauren Groff writes about Florida. I love her little asides to the reader. I love the way she slowly reveals the humanity of her characters. I love the success with which she encapsulates 50 years of time in a single novel. I love the beauty of her prose. I love all the emotions that the book captures, especially because it doesn’t shy away from the anger and bitterness that is such an important part of the full spectrum of emotion.
Concept: a retrospective look at the deaths of young sisters, told in a dossier-styled narrative by neighborhood boys who are now grown.
Why I love it: similarly to The Raven Cycle, this is a book that could have easily relied on the MPDG trope to carry the story along. The main characters in this book are a group of attractive and elusive sisters who seem to hold the entire male population in their thrall. However, Jeffrey Eugenides miraculously manages to bring dimension and humanity to each of the sisters in turn, and crafts a haunting and breath-taking tale. Bonus points for how brilliant his prose is.
Concept: a retelling of the Trojan war through the eyes of Achilles’s lover.
Why I love it: Madeline Miller is the light of my life and if you haven’t picked up either this book or her new novel, Circe, you are missing tf out. Her writing has a lyrical quality to it and manages to pull on your heartstrings in the deepest of ways. She re-frames familiar myths to bring humanity to gods, and utilizes romance as a thread in a tapestry rather than making it the entire focal point.
Concept: book two in a four book series, this focuses on the character of Ronan Lynch and his mysterious powers.
Why I love it: my obsessionadoration for The Raven Cycle is no secret. Neither is the fact that Ronan Lynch is a pure angel baby who must be protected at all costs. And neither is the fact that Maggie Stiefvater weaves magic with her words. I never would have thought book two of a series would end up being my favorite, but after reading this series four times through, Dream Thieves remains impeccable in my eyes.
Concept: book six in the renowned seven book series, The Chronicles of Narnia by C.S. Lewis. This is essentially the origin story for Narnia, and follows the discovery/creation of the realm readers had already come to know and love.
Why I love it: Narnia was always near and dear to my heart growing up, but as an adult, Magician’s Nephew is the only book in the series that still connects with me. The book explores the world in a new way and takes a walk back in time, introducing readers to younger versions of characters we already know.
Runner Ups: Red Rising, Harry Potter and the Half-Blood Prince, and Cress
I’d be lying if I said series, both in books and in film, don’t exhaust me sometimes. The thought of an endless litany can wear me out to even consider, especially if it’s for a series that hasn’t yet been completed. It happens to me with TV shows that are still being aired (Agents of S.H.I.E.L.D.), with book series that go on long hiatuses between novels (Song of Ice and Fire), and movie sagas that seem as if they will stretch on indefinitely and infinitely (Star Wars). There is something so daunting to me about jumping into a series that is not and may never be truly completed. I have a special place in my heart for series that follow their natural course instead of spinning their wheels ceaselessly. It’s why I loved Parks and Recreation all the way through, unlike The Office which had that weird two season slump that seemed as if it would never end. All that is to say that I have a lot of respect for authors who let stories run their natural course. So without further ado, here are some of my favorite book series!
I’ve mentioned before how much I adore prose that reads like poetry. For years, I struggled to write creatively outside of free form poetry, and I think I carried that affinity for rhythmic flows with me through my adult years. Books like The Virgin Suicides and Song of Achilles have very special places in my heart (and on my bookshelf) because of the lyrical nature of their narrative.
Catherynne M. Valente is the author of my favorite book series, known as the Fairyland Series, and she does lyrical prose better than anyone. The first book of her five-novel arc is titled The Girl Who Circumnavigated Fairyland in a Ship of Her Own Making and when I read it for the first time, I cried like a baby. It has heavy Alice in Wonderland themes, but with more logical rules and a more Arya Stark style heroine. Two of the leads, September and Saturday, are on my favorite female and male character lists, respectively, which speaks to the quality and consistency of Valente’s characterization. I’ve recommended this series more than once on this blog, and I’ll recommend it again here. It’s the most beautiful book series I have ever read, and it connects with me in new ways every time I return to it.
The Raven Cycle
I should probably stop writing about this series on what is starting to feel like a weekly basis— I think it’s starting to make me look a little one-dimensional. But honestly, it’s just that good. I love these characters like they’re my own children and I may or may not have a massive fan-cast post sitting in my drafts at this very moment.
In the past year or two, I’ve found myself with a growing appreciation for really solid characterization. One of my first posts on this blog was about my pet peeves in female characters, and it was entirely too easy to come up with specific examples for all of those annoyances. I have such a soft spot for flawed characters that a reader can still identify with– no Mary Sues or manic pixie dream girls or excessive wish fulfillment roles. The Raven Cycle has some of the best characterization I’ve ever come across, especially considering the sheer number of characters that are important throughout the course of the four books. Every single one of them is dynamic and unique, with their own set of flaws and weaknesses and desires. It’s nearly impossible not to connect with them, because their humanity emanates from every page of the books. Maggie Stiefvater, like Valente, is an incredibly talented author who possesses a huge capability for writing goosebump-inducing prose. Her work has a lyrical nature that is so deeply embedded with nostalgia and longing.
Six of Crows
So this was a recent read for me, and not something I was expecting to enjoy, much less devour. This duology takes place in Leigh Bardugo’s Grishaverse, which was a trilogy I was sorely disappointed by. To my slight frustration, Six of Crows and Crooked Kingdom take place after the Grisha trilogy and are set in the same world, so they are far more enjoyable for readers who are already familiar with the Grishaverse. There are many references to places, people, politics, and Grisha knowledge that would largely be lost on readers who hadn’t previously read the Grisha trilogy.
With that being said, Six of Crows excels in all the ways that the Grisha trilogy fell short for me. The characterization is spot on, the interactions are natural, the representation doesn’t feel like an afterthought, and the action is plausible and immersive. Bardugo’s writing feels like it came a long way between Ruin and Rising and Six of Crows, even though they were only a year apart. I read the e-book version of Six of Crows, and picked up the sequel, Crooked Kingdom, the instant I was finished with the first one. It’s rare for me to enjoy an e-book so much that I buy a hard copy, but I purchased the hardcover versions of both books immediately after completing them.
I really only had two qualms with the duology: the ages of the main characters, and the immersion of the settings. The first is a simple shortcoming, but it’s one that many other readers struggled with as well. The MCs are just too young to be believably engaging in the activities that they do (I wont say much on the topic for the sake of avoiding spoilers). My second complaint, however, is more of a personal preference. I’ve always been deeply impressed by Bardugo’s world-building– she crafts incredible political tensions, governmental structures, layered intrigue, and wholly viable geographics. But for some reason, I struggle to really visualize and immerse myself in her individual settings. From the Ice Court to the Crow Club, I always find her descriptions a bit lacking for my personal taste. I noticed the same thing in the Grisha trilogy, and can’t help but find myself a little disappointed by her visuals (or lack thereof).
Six of Crows/Crooked Kingdom was also my first experience with a duology. The fascinating thing about duologies as opposed to trilogies is that the middle of the full story arc falls in between the two books, as opposed to the second book of a trilogy. For people who love a good cliffhanger, this is a wonderful treat, and Six of Crows pulls it off splendidly. The turn at the end of the first book propels the entire story forward in a huge way (again, vagueness in the interest of spoilers). Jodi over at Publishing Crawl has a great post on how to successfully manage this format, for anyone who might be interested.
All in all, Six of Crows has been my favorite read of 2018 thus far. It’s like Oceans Eleven meets Rogue One, and I highly recommend it to anyone who loves a good heist story. Bonus: I’m a huge sucker for good fan art, and this duology has an abundance of it ♥
The Lord of the Rings
Oh Tolkien. How do I love thee, let me count the ways. Much to my embarrassment, I still haven’t gotten around to picking up The Silmarillion, which I know would give me even more reasons to adore Middle Earth. I’ve mentioned in the past that I first read The Lord of the Rings trilogy when I was ten or eleven… and that I really struggled with it. I wasn’t allowed to watch the movies unless I read the books, so I did my best to slog through the seemingly endless litany of names and places. Subsequently, for much of my high school and college years, I thought I just wasn’t a fan of Tolkien’s writing style. But then, I picked the series back up last summer for a re-read. And I fell in love with Middle Earth all over again.
What a master of his craft Tolkien was. I think it’s safe to say he was one of the single largest influences on the fantasy genre, and that his work impacted the literary sphere in an incalculable way. Tolkien created an entire language during the process of breathing life into Middle Earth, a feat that baffles me to this day. While his prose can be dense and his world is whitewashed, it’s impossible to not appreciate the scope of his creativity and ingenuity. Merry and Pippin will forever be some of my favorite literary characters, and I honestly hope I come back as a hobbit in my next life.
A Song of Ice and Fire
Similar to The Lord of the Rings, A Song of Ice and Fire is nothing short of a massive undertaking. World building is seldom seen to the extent that Martin utilized for this series. Between his family houses, generational history, and plotted maps, he has crafted a vastly impressive world over the past 15 years. I’ve discussed before that I feel as if the books and the show are best as companions to each other rather than standalones, and I’ve also discussed in detail my issues with some aspects of the series. While I’m not sure if this book series is necessarily one of my true favorites, I’m including it here for one reason: continuity.
For four books, Martin blew me away with his skill at connecting storylines and bringing loose ends together. I can’t even wrap my head around how much work it must take to maintain a chronological stream of narrative told by a litany of different characters. I often wonder if he has an entire wall full of names and strings and time lines, or maybe a life size chess board with different characters on different squares. While I didn’t really enjoy the latest book, A Dance with Dragons, it was still thrilling to see how the big picture is starting to form. Pieces are falling into place in slow motion, and it’s incredible to think of the amount of foresight Martin must have had from the very beginning to be able to mesh so many stories together now.
So here’s my deal with the Harry Potter universe: at this point, I think it’s become far too dragged out. The original seven-book series was pure undiluted magic. Bringing the schoolbooks to life was brilliant. Pottermore and Harry Potter World were strokes of genius. But it’s started to feel like overkill. I was one of the very few who enjoyed reading The Cursed Child, but even I can agree that it felt a bit like a money grab. And now, a whole new movie series revolving around the tiny Fantastic Beasts textbook feels rather gratuitous, especially with the addition of Ilvermorny and a whole new set of houses. (But to be fair, Newt Scamander is my precious angel baby who I love more than life.)
However, Harry Potter was (and remains) a spectacular feat and one of the most immersive examples of world building I have ever come across. The amount of creativity and ingenuity it takes to pull an entire world from the ether is flooring. Spells, potions, transfiguration, magical laws and occupations, transportation, wand lore, and creatures were materialized at our fingertips. Growing up in a hyper-conservative religious household, Harry Potter was strictly forbidden due to the magical themes. I didn’t have the opportunity to read the books until the summer before I left for college, and since then I have re-read the series every year. I think it speaks to the skill with which they were written that they are just as enjoyable to read at age 24 as they are at age 11. J.K. Rowling has one of the most creative and inspired minds of our time, and it’s nothing short of an honor to have such magical books in our lives.
So what do you think? Have you read and enjoyed any of these series? What are some series I should try next? Leave a comment below and let me know!
I’ve mentioned once or twice how much I love Maggie Stiefvater’s The Raven Cycle. But what I haven’t mentioned is that very few books in my lifetime have made me fangirl as hard as this series does. I just completed my third reading of the series in January, and somehow loved it even more this time around than the previous two turns. There are a few pieces of knowledge that have made the books even more enjoyable for me, so I wanted to compile them here on the off chance any other readers would benefit from them.
As a beginner reader of the tarot, seeing the references in the books was extremely enjoyable. I wanted to collect all of the references to specific cards from all four books and outline their meanings and significance, because I feel that it sheds a lot of light on the characters themselves, especially Adam. I did leave out a couple of instances where Adam pulls a card to assist him with Cabeswater, but aside from that, every card used in the books should be here! Most of the interpretations were pulled from The Biddy Tarot for her simple wording and thoroughness.
Three of Swords || Interpretation: Painful separation, sorrow heartbreak, grief, rejection. The heart is symbolic of emotion and beauty, while the piercing swords reflect the ability of logic and power to harm the physical body and the emotions of a person. The sky is heavily clouded and rain pours down violently, representing a grim moment in time.|| Appearance: triple reading for Whelk — “Calla was the first to speak. She flipped the three of swords around for the man to look at. On her card, the three swords stabbed into a dark, bleeding heart the color of her lips. “You’ve lost someone close to you.” (Book 1, page 122) || Appearance: Calla/Persephone’s reading for Greenmantle — “The card was the three of swords. It depicted a bloody heart stabbed with the aforementioned three swords. Gore dripped down the blades. Maura called it “the heartbreak card.” Blue needed no psychic perception to feel the threat oozing from it.” (Book 3, page 75)
Five of Pentacles || Interpretation: Isolation, insecurity, worry, financial loss, poverty. The Five of Pentacles, like the fives in the other suits, portrays a situation of adversity. Both appear to be living in poverty and with little or no possessions. || Appearance: triple reading for Whelk — “Maura touched the edge of the five of pentacles. “Money’s a concern,” she noted. On her card, a man with a crutch limped through snow under a stained-glass window while a woman held a shawl beneath her chin.” (Book 1, page 123)
Knight of Pentacles || Interpretation: Efficiency, routine, conservatism, methodical. The Knight of Pentacles, like the Knights of the other suits, represents work, effort, and the responsibility that follows upon the dreams of the Page. His eyes reflect careful thought and consideration. The Knight is engaged in the often toilsome, routine efforts required to realize the dreams of his heart. He is building the foundations to support his dreams and his goals. || Appearance: triple reading for Whelk — “Persephone touched the first card she had drawn. The knight of pentacles. An armored man with cold eyes surveyed a field from the back of a horse, a coin in his hand. […] Persephone finally spoke. In her small, precise voice, she told the man, “You’re looking for something.” […] Calla’s card, beside Persephone’s, was also the knight of pentacles. It was unusual for two decks to agree exactly. Even stranger was to see that Maura’s card was also the knight of pentacles. Three cold-eyed knights surveyed the land before them.” (Book 1, page 124)
The Tower || Interpretation: Disaster, upheaval, sudden change, revelation. The Tower signifies darkness and destruction on a physical scale, as opposed to a spiritual scale. The Tower itself represents ambitions built on false premises. The lightning bolt breaks down existing forms in order to make room for new ones. It represents a sudden, momentary glimpse of truth, a flash of inspiration that breaks down structures of ignorance and false reasoning.|| Appearance: triple reading for Whelk — “Her attention moved from the Tower, which meant his life was about to change dramatically” (Book 1, page 124) || Appearance: Persephone’s reading for Adam — “The Tower. The Hanged Man. Nine of swords. Persephone pursed her lips. Adam’s eyes drifted from the first card, where men fell from a burning tower (Book 2, page 357) || Appearance: whole-life reading by whole group — “All of the women had turned over five different versions of the Tower. Calla’s version of the Tower perhaps best depicted the card’s meaning: A castle labelled STABILITY was in the process of being struck by lightning, burning down, and being attacked by what looked like garter snakes. A woman in a window was experiencing the full effects of the lightning bolt. At the top of the tower, a man had been thrown from the ramparts – or possibly he had jumped. In any case, he was on fire as well, and a snake flew after him. “So we’re all going to die unless we do something,” Calla said.” (Book 4, page 10)
Page of Cups || Interpretation: A messenger, creative beginnings, synchronicity. The Page of Cups, like the Pages in all the suits, represents some sort of beginning or renewal. The Page of Cups indicates the surprising and unexpected nature of inspiration that comes to us from the realm of the unconscious and the spirit. || Appearance: triple reading for Whelk where we find out this card represents Blue — “the last card in the reading, the page of cups. Blue glanced at her frowning mother. It wasn’t that the page of cups was a negative card; in fact, it was the card Maura always said she thought represented Blue when she was doing a reading for herself. You’re the page of cups, Maura had told her once. Look at all that potential she holds in that cup. Look, she even looks like you. And there was not just one page of cups in this reading. Like the knight of pentacles, it was tripled. Three young people holding a cup of full of potential, all wearing Blue’s face.” (Book 1, page 124) || Appearance: twice in the one-off for Gansey — “As she flipped it over, she let out a little helpless laugh. The page of cups looked back at Blue with her own face. It felt like someone
was laughing at her, but she had no one to blame for the selection of the card but herself. When Maura saw it, her voice went still and remote. “Not that one. Make him choose another.” Blue replaced the card and shuffled the deck with less drama than before. When she offered the cards to him, Gansey turned his face away like he was pulling a raffle winner. His fingers grazed the edges of the cards, contemplative. He selected one, then flipped it over to show the room. It was the page of cups.” (Book 1, page 150)|| Appearance: single card for Blue by Maura — Maura gave Blue’s hand an affectionate shake and flipped over a card at random. “Ah, there you are.” It was the page of cups, the card Maura always said reminded her of Blue. In this deck, the art was of a fresh-faced young person holding a jewel-studded goblet. The suite of cups represented relationships — love and friendship — and the page stood for new and budding possibilities. (Book 2, page 10)|| Appearance: hinted at in whole-life reading by whole group — “Does this mean she’s going to leave?” Orla asked, tapping on another card and referring to a different she. “Probably,” Maura sighed. (Book 4, page 13)
Two of Swords || Interpretation: Indecision, choices, truce, stalemate, blocked emotions. The blindfold shows that the woman in this card is confused about her situation and that she can see neither the problem nor the solution clearly. The swords she holds are perfectly balanced, showing a balanced and stable mind, and that both sides of the situation need to be addressed. The crossed swords are also symbolic of the need for a truce and the Suit of Swords indicates that the problem at hand needs to be resolved using logic and intellect. The waxing moon to the right of the woman shows a new beginning arising out of the solutions found for this problem.|| Appearance: one-off for Adam — “Selecting a card, Adam presented it to Maura. “Two of swords,” she said. “You’re avoiding a hard choice. Acting by not acting. You’re ambitious, but you feel like someone’s asking something of you you’re not willing to give. Asking you to compromise your principles. Someone close to you, I think. Your father?” “Brother, I think,” Persephone said. “Do you want to ask a question?” Maura asked. Adam considered. “What’s the right choice?” Maura and Persephone conferred. Maura replied, “There isn’t a right one. Just one you can live with. There might be a third option that will suit you better, but right now, you’re not seeing it because you’re so involved with the other two. I’d guess from what I’m seeing that any other path would have to do with you going outside those other two options and making your own option.” (Book 1, page 145)
Death || Interpretation: Endings, beginnings, change, transformation, transition. The armour he is wearing indicates that he is invincible and unconquerable. Indeed, no-one has yet triumphed over death. The horse that Death rides is white, the colour of purity. Death is therefore the ultimate purifier. All things are reborn fresh, new and pure. || Appearance: one-off for Gansey — “Flippantly, Gansey snagged another card, clearly finished with this exercise. With flourish, he turned the card over and slapped it on the table. Blue swallowed. Maura said, “That’s your card.” On the card on the table was a black knight astride a white horse. The knight’s helmet was lifted so that it was obvious that his face was a bare skull dominated by eyeless sockets. The sun set beyond him, and below his horse’s hooves lay a corpse. […] “I thought that psychics didn’t predict death,” Adam said quietly. “I read that the Death card was only symbolic.” (Book 1, page 151) || Appearance: Adam’s reading for fixing Cabeswater — “He slapped down three cards on the concrete floor. Death, the Empress, the Devil. […] Three sleepers, yes, yes, he knew that.” (Book 3, page 126)
Ten of Swords || Interpretation: Defeat, crisis, betrayal, endings, loss. Despite the ominous images, there are positive aspects to this card. The sea before which the body lies is still and calm and the sun is rising in the distance beyond the mountains, indicating that the darkness will soon be dispelled. Thus, each new beginning must come from an end, and with every defeat are sown the seeds of future victory.|| Appearance: not within a reading but for Mr. Gray’s situation — He leaned to pick up one she had missed. “This fellow looks unhappy,” he observed. The art depicted a man stuck with ten swords. The victim lay on his face, as most people did after being stuck with ten swords. […] “Good news for him is that the tens represent the end of a cycle. This card represents the absolute worst it’ll get.” (Book 2, page 110) || “The Gray Man’s hand hung down and Maura stroked it. “This is the ten of swords,” he guessed. Maura kissed the back of his hand. “You’re going to have to be brave.” The Gray Man said, “I’m always brave.” She said, “Braver than that.” (Book 2, page 334)
King of Swords || Interpretation: Clear thinking, intellectual power, authority, truth. On his left Saturn finger is a ring, symbolic of power and taking his responsibilities seriously. The King wears a blue tunic, symbolic of a desire for spiritual understanding, and a purple cape, symbolic of compassion combined with intellect. The sky is relatively clear with a few clouds, representing general mental clarity. The trees in the background appear motionless and reflect the stern judgement of the King. || Appearance: Persephone’s interpretation for Mr. Gray — Persephone’s quiet voice cut through Maura’s and Calla’s increasingly loud competition. “The king of swords.” Everyone turned to look at Persephone […] The Gray Man’s hand hovered obediently over the deck. “Top or bottom?” Persephone blinked. “Sixteen cards from the top, I believe.” […] The Gray Man carefully counted the cards, double-checked his count, and then turned over the sixteenth card for the others to see. The king of swords, master of his own emotions, master of his own intellect, master of reason, gazed out at them, expression inscrutable. “That’s Mr. Gray’s card,” Persephone said. The Gray Man turned the card one way and another, as if it would reveal its secrets to him. “I don’t know much about tarot. Is it a terrible card?” “No card is a terrible card,” Maura said. […] “And the interpretation can be very different at each reading. But. . . the king of swords is a powerful card. He’s strong, but impartial— cold. He is very, very good about making decisions based upon facts instead of emotion. No, it’s not a terrible card.” (Book 2, page 112)
The Hanged Man || Interpretation: Suspension, restriction, letting go, sacrifice. This is the card of ultimate surrender, of being suspended in time and of martyrdom and sacrifice to the greater good. This is the archetype to meditate on to help break old patterns of behaviour and bad habits that restrict you. || Appearance: Persephone’s reading for Adam — “The Tower. The Hanged Man. Nine of swords. Persephone pursed her lips. Adam’s eyes drifted from the first card […] to the second, where a man hung upside down from a tree. (Book 2, page 357)
Nine of Swords || Interpretation: Depression, nightmares, intense anxiety, despair. She appears to have just woken up from a bad nightmare, and is obviously upset, fearful and anxious following her dream. Nine swords hang on the wall behind her and the base of the bed is decorated with a carving of a duel in which one person is being defeated by another.|| Appearance: Persephone’s reading for Adam — “The Tower. The Hanged Man. Nine of swords. […] That third card, that utter despair. He couldn’t take his gaze from it. Adam said, “It looks like he’s woken from a nightmare.” (Book 2, page 357)
The Magician || Interpretation: Power, skill, concentration, action, resourcefulness. The Magician is the bridge between the world of the spirit and the world of humanity. His magical table holds all four suits of the Tarot, each of which represents one of the four primordial elements of the alchemists – earth, air, fire and water. These symbolise the appropriate use of mind, heart, body and soul in the process of manifestation. || Appearance: Adam’s draw for himself — “I’m pulling another card.” […] Adam cut the deck, laid his hand on each stack. He took the card that felt warmer. Flipping it, he placed the card beside the nine of swords. A robed figure stood before a coin, a goblet, a sword, a wand — all of the symbols of all the tarot suits. An infinity symbol floated above his head; one arm was lifted in a posture of power. Yes, thought Adam. Understanding prickled and then evaded him. He read the words at the bottom of the card. The Magician.” (Book 2, page 357)
Three of Wands || Interpretation: Preparation, foresight, enterprise, expansion. From this height, he can see all that lies ahead and is aware of the impending challenges and opportunities. The three Wands surrounding him are firmly planted in the ground, reflecting his commitment to his future plans.|| Appearance: Adam/Persephone reading for fixing Cabeswater — “Persephone helped him see what the cards were trying to say. Three of wands: build a bridge across the stream with these three stones.” (Book 2, page 396)
Seven of Swords || Interpretation: Betrayal, deception, getting away with something, stealth. The Seven of Swords shows a man sneaking away from a military camp with a bundle of five swords in his arms. Two other swords remain planted in the ground just behind him. His expression exhibits a sense of over-confidence and mocking, as though he felt absolutely sure of his success of getting away with the theft. However, in the distance a small group of soldiers can be seen to the left of the thief, and one of them holds a sword upraised.|| Appearance: Adam/Persephone reading for fixing Cabeswater — “Persephone helped him see what the cards were trying to say. […] Seven of swords: Just dig out the biggest of the stones and put it in the tri-colored car.” (Book 2, page 396)
The Devil || Interpretation: Bondage, addiction, sexuality, materialism. The goat symbolizes the scapegoat, the person or thing upon which people project the inferior side of themselves in order to feel better about themselves. Thus the Devil is the scapegoat we blame for our troubles in life. The Devil has an almost hypnotic stare, bringing those who come near him within his power. At the foot of the Devil stands a man and a woman, both naked and chained to the podium on which the Devil sits. They appear to be held here, against their will, but only closer observation, the chains around their necks are loose and could be easily removed. This symbolises that bondage to the Devil is ultimately a voluntary matter which consciousness can release. The man and woman wear tiny horns like those of the Satyr – they are becoming more and more like the devil the longer they stay here. The dark and doorless cave implies that the Devil dwells in the most inaccessible realm of the unconscious and only crisis can break through the walls.|| Appearance: Adam/Persephone reading for fixing Cabeswater — “Persephone turned over a card. The Devil. All of a sudden, Adam was quite certain of why they were hurrying.” (Book 2, page 398)|| Appearance: Adam’s reading for fixing Cabeswater — “He slapped down three cards on the concrete floor. Death, the Empress, the Devil. […] Three sleepers, yes, yes, he knew that.” (Book 3, page 126) || Appearance: Adam’s scrying for Cabeswater, noticed by Ronan — “Ronan turned his head sideways to read the cards. Something with flames, something with a sword. The Devil.” (Book 4, page 141)
The Empress || Interpretation: Fertility, femininity, beauty, nature, abundance. The Empress is the archetypal Earth Mother. The Empress is surrounded by a beautiful, lush forest with a stream running through it, demonstrating the Empress’s deep emotional connection with Mother Earth and life. She draws her sense of peace from the trees and the water and is rejuvenated by the energy of nature. || Appearance: Adam’s reading for fixing Cabeswater — “He slapped down three cards on the concrete floor. Death, the Empress, the Devil. […] Three sleepers, yes, yes, he knew that.” (Book 3, page 126)
Knight of Wands || Interpretation: Energy, passion, lust, action, adventure, impulsiveness. The Knight of Wands is seen riding upon his horse, which rears up in the intensity of the Knight’s quest for success. The Knight’s face bears the determination of one bound to succeed. || Appearance: Adam’s scrying for Cabeswater, noticed by Blue — “He placed a random card on the warm hood. His unfocused eyes skipped over the image — a black-smudged knight on horseback carrying a vine-wrapped staff — and began to remake it into something wordless and dreamy. Sight was replaced with sensation. A vertiginous feeling of travel, climbing, rightness. He covered the image with his hand until he got his eyes back, and then he put the card away. “Knight of wands?” Blue asked him.” (Book 3, page 305)
Queen of Swords || Interpretation: Quick thinker, organised, perceptive, independent. The Queen of Swords sits high on her throne with a stern look on her face indicating that no-one can fool her. In her right hand, she comfortably holds a sword pointed to the sky, and her left hand extends as if she has something to offer to others. Behind her is a spring sky, different from the winter settings on most other Swords cards, and this has an emergence and growth quality to it. The sky is clear, representing her clarity of mind as she considers matters of the intellect.|| Appearance: whole-life reading by whole group — “”Does this mean she’s still alive?” Maura asked, tapping on a card in one of the branches – the Queen of Swords. “Probably,” Calla grunted.” (Book 4, page 13) || Note: I’ve seen people write in their reviews that they thought this was referring to Persephone and were consequentially disappointed when she didn’t return. However, because the card is the Queen of Swords, it is undoubtedly a reference to either Piper or Neeve.
Throughout my third reading, I also noticed that there are several instances of intentionally untranslated Latin throughout the four books. I jotted down the translations in the margins of my hard copies and figured that I would share my findings for anyone else who might be interested in doing the same! Please note that I do not speak any Latin whatsoever, so these translations were pulled off Google. As such, I cannot attest to the correctness of the grammar.
Book 1, page 115: “You know what they say about men with large bags,” Ronan replied. “Ostendes tuum et ostendam meus?” = I’ll show you mine if you show me yours
Book 2, page 121: “In indiget homo battery,” muttered Ronan. = a man needs a battery -or- a similar battery is needed
Book 2, page 128: “Occidet eum!” begged Orphan Girl, clinging to Ronan’s leg. […] The girl sobbed out, “Ronan, imploro te!” || Occidet eum = kill || Ronan, imploro te = Ronan, kill him
Book 2, page 230: “Adam was in the dream, too; he traced the tangled pattern of the ink with his finger. He said, “Scio quid hoc est.” As he traced it farther and farther down on the bare skin of Ronan’s back, Ronan himself disappeared entirely, and the tattoo got smaller and smaller. It was a Celtic knot the size of a wafer, and then Adam, who had become Kavinsky, said, “Scio quid estis vos.” He put the tattoo in his mouth and swallowed it.” || Scio quid hoc est = I know what that is || Scio quid estis vos = I know what you are
Book 4, page 35: “Periculosum,” she warned. “Suscitat.” = peril awakens
Book 4, page 74: “Operae pretium est,” Orphan Girl said. = it is worthwhile
Book 4, page 221: “Miseria fortes viros, Ronan,” Adam said. = Fire tests gold; adversity tests strong men
Book 4, page 284: Adam studied the tattoo that covered Ronan’s back: all the sharp edges that hooked wondrously and fearfully into each other. “Unguibus et rostro,” Adam said. = claws and beaks –or- with beak and talon, or tooth and nail.*
Book 4, page 394: Forsan et haec olim meminisse juvabit,” Ronan said into Adam’s hearing ear = and perhaps one day it will please us to remember these things
*So this line shows up twice in the fourth book, and many readers view it as a phrase of endearment between Ronan and Adam. The two translations are similar in wording, but one carries infinitely more weight. “Claws and beaks” could simply be a way for the boys to refer to themselves, an endearing line that has meaning to them within the scope of their interactions. However, “with beak and talon, or tooth and nail” is far more loaded. We’re all familiar with the phrase “fighting tooth and nail” and when this line shows up for the second time at the end of the book, Ronan is indisputably fighting with all he has. This interpretation implies that Ronan (and Adam) will always fight for what they have and what they love.
I’m sure most of us are familiar with manic pixie dream girls by now, but just in case, here’s a quick overview: Coined by critic Nathan Rabin in reference to Kristen Dunst’s character in Elizabethtown, the Manic Pixie Dream Girl “exists solely in the fevered imaginations of sensitive writer-directors to teach broodingly soulful young men to embrace life and its infinite mysteries and adventures.” She is unavoidably quirky, overtly charming (often because of her quirkiness, sometimes through her aloofness), and is, 99 times out of 100, the love interest of the male protagonist.
“A type of female character depicted as vivacious and appealingly quirky, whose main purpose within the narrative is to inspire a greater appreciation for life in a male protagonist.”
If you’re struggling to think of an example, you can pretty much insert Zooey Deschanel’s on-screen essence in just about anything she’s ever been in. The problem that this trope creates is twofold: it typecasts certain actors, and more importantly, it reduces female roles down to one-dimensional objects of infatuation.
“When you get sent scripts and you see you’re always playing someone’s girlfriend when you want to be the central role, it’s so depressing.”
-Zooey Deschanel in regards to being tired of being cast as a MPDG
The holy trifecta of MPDGs in film is Claire in Elizabethtown, Summer in 500 Days of Summer, and Sam in Garden State. However, the presence of the manic pixie dream girl has thoroughly infiltrated the lit world. In fact, they’ve been around for much longer than the term has been. From Sam in Perks of Being a Wallflower to Camilla in The Secret History, these manically dreamy girls pop up like daises (coincidentally, that’s a pretty popular name for the MPDG) in novels both old and new. Usually, the MPDG takes a backseat to our main (male) character. In The Secret History, this means she talks significantly less than any of the other (male) characters. In Looking for Alaska, this means she crashes her car and dies– which propels the main (male) character into his self-realization phase. Her personality is filtered through the rose-colored glasses of our male protag, and she usually ends up vanishing sometime before the third act so our brave boy can ~discover himself~. If you haven’t ever come across an MPDG in literature, you can pick up virtually any novel by Haruki Murakami or John Green to find one.
Here’s the thing about manic pixie dream girls: they really can seem quite delightful. They’re undeniably enjoyable to read, at least when they’re first introduced, because it takes a certain amount of whimsy and creativity to write them. They have unique names and quirky personality traits and most of the time they have dyed hair and green eyes. They’re vibrant and electric and people gravitate towards them. So why are they problematic? As I mentioned earlier, the big issue is that it reduces a unique female character to nothing more than a trope, which is problematic all on its own. But one of the reasons this is so frustrating is because it’s such an easy fix.
Maggie Stiefvater is the author of The Raven Cycle, a four-book series following the adventure of four prep school boys and their one female friend, Blue. Sounds like trouble already, doesn’t it? Yeah, that’s what I thought too. Except it’s not. Stiefvater is, beyond a shadow of a doubt, an incredibly talented writer. She makes paragraphs feel like listening to your favorite song on the radio while you’re cruising at night with the windows down. She weaves stories that drip in nostalgia and make your heart ache with the beauty of it all. And the vehicle that carries all of that emotion is her characterization. Every single character is resplendently unique and unavoidably important. Every single one has a part to play within their own character arc as well as in the grand scheme of things. But if it weren’t for that, all of them could easily feel like manic pixie dream girls (and boys). Blue only eats yogurt and wears crochet leggings in the summer. Gansey chews mint leaves and bought a warehouse to convert into a living space. Ronan is a high schooler with elaborate tattoos and a secret love for farming. Adam has freckles and a shy voice and can fix just about anything wrong with a car. There’s a family of psychics living under one roof, a handsome hitman with a penchant for 70’s culture, a Bulgarian who makes Molotov cocktails and loves street racing, and a 7 foot tall giant who lives in a house full of cats. Each character is quirky in one way or another, and could easily be one-dimensional without flaws or struggles or arcs. But Stiefvater makes sure that isn’t the case. She makes sure they all function both as cohesive groups and as individual characters. They work within their romantic storylines and outside of them as well. They are brave and scared and lonely and hopeful. They have secrets and share their lives with each other and throw temper tantrums from time to time. They are whole characters with whole personalities and it’s impossible not to adore them. (artist credit here)
(If you haven’t read anything by Maggie Stiefvater yet, you’re missing out. She’s a master of magic and beautiful prose and slow burn relationships.)
My creative writing professor in college told us that all characters should be like the yin-yang symbol: the darkest characters should still have a spot of light, and the brightest characters should still have a spot of dark. No one wants to read about a glossed-over girl who doesn’t have anything wrong with her, just like no one wants to read about the dark villain with the mustache and black hat. To relate to a character, the reader must be able to see them as human. Not as just an object to be obtained, not as a quirky caricature, not as a disposable plot point. And so therein lies my issue with manic pixie dream girls: they are quirky objects, hard to obtain but easy to dispose of.
While the MPDG trope is a device that is in desperate need of some work, I’d be remiss to not share a secret about it. Sometimes, if I’m having a bad day, I think about how John Green would write me as a manic pixie dream girl. It’s reassuring to know that my collection of vintage china and my color-coded bookshelf would be whimsical, that my compulsion for neatness and my ripped cuticles would be marks of my quirkiness. That my gray-green eyes framed by glasses and my literary tattoos would be attractive. So if nothing else, the trope sometimes helps me to reframe myself and remember that there are always parts of ourselves that are delightful.
After finishing Maggie Stiefvater’s Raven Cycle for the second time, I was thinking about how much I appreciate the tenderness with which she writes her male characters. Because I already created a post about my favorite female characters, I thought I would go ahead and whip up a list of my favorite male characters. Enjoy!
Dobby: My pure angel baby. Far and away my favorite character in the HP books, Dobby is a wholesome soul who does his best to be himself in a world that was not made for him. His penchant for socks and his adoration for Harry are just two of the characteristics that make him so lovable. (Artist credit here) || “‘Socks are Dobby’s favorite, favorite clothes, sir!’ he said, ripping off his odd ones and pulling on Uncle Vernon’s. ‘I has seven now, sir. . . . But sir …’ he said, his eyes widening, having pulled both socks up to their highest extent, so that they reached to the bottom of his shorts, ‘they has made a mistake in the shop, Harry Potter, they is giving you two the same!'” -J.K. Rowling, Harry Potter and The Goblet of Fire
Saturday: Companion to September from Valente’s Fairyland series, Saturday is a blue marid from the ocean who can grant wishes– under certain circumstances. He’s a soft spoken creature with a tender heart and a knowledge of time and space that rivals any astrophysicist. I’ll keep recommending the series until the day I die, so you might as well pick up the first one now. || “She leaned in, and kissed her Marid gently, sweetly. She tried to kiss him the way she’d always thought kisses would be. His lips tasted like the sea.” -Catherynne M. Valente, The Girl Who Fell Beneath Fairyland and Led the Revels There
Ronan Lynch: Bad boy extraordinaire, Ronan Lynch is a force to be reckoned with. He’s a heart attack, a car crash, an oil spill. He’s a magician beyond your wildest imagination, a farmer with a secret and a soft spot, and he must be protected at all costs. (Artist credit here) || “Ronan’s smile was sharp and hooked as one of the creature’s claws. ‘A sword is never a killer; it is a tool in the killer’s hand’.” -Maggie Stiefvater, The Dream Thieves
Merry & Pippin: Quite possibly one of literature’s most dynamic duos, these two hobbits are nigh on inseparable, hence my including them as one unit (even though I prefer Pippin). Merry is the smarts and Pippin is the… comedic relief? They are witty to a fault and set in their cushy hobbit ways, but they don’t hesitate to stick up for their friends and do what is right. ||“‘That’s what I meant,’ said Pippin. ‘We hobbits ought to stick together, and we will. I shall go, unless they chain me up. There must be someone with intelligence in the party.'” -J.R.R. Tolkien, The Fellowship of the Ring
Merry & Pippin
Dream: Moody, broody, and omnipotent, Morpheus is a wise and petty demigod of sorts. Ruler of the dream world, he has moments of shallow vindictiveness and moments of heartbreaking compassion. His ten volume arc was published over the course of 14 years and garnered endless acclaim– for a good reason. Neil Gaiman is an unparalled writer, and the life he breathes into Dream is passed on to us. || “But he did not understand the price. Mortals never do. They only see the prize, their heart’s desire, their dream… But the price of getting what you want, is getting what once you wanted.” -Neil Gaiman, Sandman #19
Ghüs: He’s a humanoid seal. Who rides a walrus. And wears yellow raincoats. Nuff said.|| “Ghüs has been a lot of things in his day… but sweet is not one of those things.” -Brian K. Vaughan, Saga Vol. 5
Peter Quill: With the exception of DC’s Bombshells series, the comics I read the most of is Guardians of the Galaxy. And Peter Quill, aka Star Lord, is a gem in the galactic group. A little more tenderhearted than the movies portray him, Peter Quill is just a man trying to save the galaxy and his friendships. || “I don’t mind dying like the valiant intergalactic hero that I am… but the least you could do is pay attention!” -Peter Quill, Earth-616
Leo Fitz: Scottish scientist and S.H.I.E.L.D. agent, Leopold Fitz is equal parts brilliant and dorky. He has a soft heart and looks for the best in people, as well as using his genius to create inventions to help others. He’s also half of a beautiful slow burn relationship, which I historically have a huge weakness for.|| “There’s nothing wrong with the data in my head.” -Leo Fitz, Agents of Shield, #2.11
Han Solo: Problematic fav. Han is definitely the outlier on this list– he’s cynical, arrogant, unreliable, and honestly, a bit of a f*ckboi. But he’s also the most realistic character in Star Wars and he ends up coming through in more way than one. Not to mention, he’s a hell of a pilot. #hanshotfirst || “You like me because I’m a scoundrel. There aren’t enough scoundrels in your life.” -Han Solo, Star Wars Episode V: The Empire Strikes Back
Lito Rodriquez: A closeted Mexican actor in the Sense8 cluster, Lito is beautiful and emotional and brave and tender. He spends the vast majority of two seasons learning how to do what is right instead of what is easy, which is both relatable and hugely encouraging. || “In the end, we’ll all be judged by the courage of our hearts.” -Lito Rodriguez, Sense8, #1.8
Peppermint Butler: A master of the dark arts, Pep But is devious in his spare time but unequivocally loyal no matter what. Long-time advisor and caretaker to Princess Bubblegum, he is the only member of her kingdom who sticks with her when she is exiled. He brings her tea, helps her prank usurpers, and assists with saving Marceline the Vampire Queen. || “Say ‘hi’ to Death for me if you see him, he lives in a castle made of light.” -Peppermint Butler, Adventure Time, #2.17
It’s been increasingly refreshing to come across more gentle boys with good hearts over the years. Toxic masculinity is a deeply damaging and pervasive part of our culture, and the more we present boys with alternatives to the stoic and degrading men that grace our pages and screens, the better off the world will be.
Runner-ups included Gandalf from The Lord of the Rings, Jake the Dog & Finn the Human from Adventure Time, the MCU’s version of Loki Laufeyson, Onion from Steven Universe, and The Gray Man from The Raven Cycle.
Because yesterday was the first day of winter, I wanted to take a minute to do a super quick recap of my top five fall favorites! I watched more films than I read books this autumn, largely because I was trying to get my film count over 1,000 before 2018 (spoiler alert: I didn’t), so this list is definitely inclined towards the visual medium.
I watched this movie with absolutely zero idea what it was about, aside from that fact that Kate Winslet was in it and someone would be reading. I think this is the way everyone should watch it, so I’m going to say as little as possible. It’s a 2008 film with a heart-breaking narrative on humanity and it absolutely gutted me. The acting is phenomenal and the script is equally so. I believe it’s off Netflix in January, so if you get a quiet December evening to watch it and you’re okay with crying, I highly recommend it.
I try to watch at least one female-directed film a month, and November’s selection was impeccable. This French film from 2016 follows two young girls from the ghettos of Paris. It is gritty, raw, and heart-wrenching. It’s brilliantly written and the acting chops on the two WOC leads took my breath away. Don’t let the IMDb blurb fool you: this is not a boy-meets-girl story. It’s a breathtaking and unparalleled coming of age tale full of beauty and sadness and truth. It’s worth every single minute and then some. Bonus: it’s also on Netflix!
Another Netflix find, this 2017 Netflix original stars Rooney Mara, Robert Redford, Mary Steenburgen, and Jason Segal (not really sure how he ended up in that all-star lineup but okay). This is one is a bit of a thinker, and I think it’s better to go into it knowing that. It deals with concepts of death and the afterlife, and Rooney Mara is, as always, a wonder to behold. I’m not including this because I loved it or even because I thought it was really well done. Rather, I’m including it because I’m still thinking about it and I think that’s a mark of a worthwhile movie.
The Last Jedi
I was considering writing an entire review for this, and still might write one after a second viewing. But I’m going to stick with this for now: it’s better than all the prequels put together, at least twice as good as Rogue One, and significantly better than Force Awakens in some regards. I adored it, and while I’m sure most Star Wars fans have already seen it or are planning to, I really do recommend it. Rian Johnson did an exceptional job from start to finish, and I think he excelled at tipping his hat to nostalgic tenants while still keeping things fresh and original.
The Raven Cycle
I’m almost 3/4 of the way through my re-read of Maggie Stiefvater’s Raven Boys series and I’m loving it even more than I did the first time I blazed through them. I have a more in depth evaluation coming up on manic pixie dream girls and what it is that makes these books stick out to me, so I won’t get too verbose today. However, Stiefvater is a true master of her craft who weaves such vivid images and emotional relationships that it is nearly impossible not to become attached to the characters and the world. Fantasy is my favorite genre, but I’m pretty picky about it, and this is a series that has one foot in our world and one foot in another. It’s beautifully woven together and features POC, a queer relationship, survivors of abuse, and a kickass young feminist.
So there you have it! These were my top five favorites from this fall. Did you read or watch anything this autumn that stood out to you? If so, let me know in the comments!