It’s time to start packing what we need for winter. We don’t call it fall here, but the leaves are starting to turn yellow and fall from the trees. It’s not winter yet, but it will be soon, and it’s going to be a harder and colder winter than the ones that have come before. You can feel the chill in the air, and the fear that is going around. Fear is catching.
Category: Musings Page 1 of 3
Warning: Here be spoilers.
In Chapter 2, Nancy meets Kade, sorts out her wardrobe problem, and navigates her first dinner in this new place. We also meet Jack and Jill, who provide a little more information about the worlds on the Compass.
“I’m Kade, by the way. Fairyland.”
This isn’t the first time we’ve been shown how people here link their identities to the worlds they’ve been — it’s the first thing Eleanor asks Nancy, after all. Here, though, it is hammered in that for these characters, the worlds they went to are their core. We learn a fair bit about Kade just from hearing him talk and seeing where he lives — he likes books, he like them properly organised, and he works with fabric. That’s not how he introduces himself, though. He introduces himself with the story of how he was snatched into another world, fought in a war, and was tossed back when they found he was different. His core is Prism.
We see this to a lesser extent with some of the other characters in this chapter. When Nancy calls Sumi ‘abrupt,’ Eleanor explains it by talking about Sumi’s world and how Sumi survived it. We don’t know much about Jack and Jill’s world for the moment, but we see that they miss it, and it is hinted that some of their odd character quirks, such as an iron rich diet, are linked to their past experiences.
“They want the world to be exactly the way it was before their children went away on these life-changing adventures, and when the world doesn’t oblige, they try to force it into the boxes they build for us.”
Each of the characters in this book has been forced into a box on some level, just by living in this world. The world outside the school denies their adventures, calls them impossible, and tries to fit them in a box marked ‘Realistic Experiences.’ Only, as we saw above, their impossible experiences form the core of their identity.
This isn’t the only way these characters are forced into boxes, though. Kade’s gender identity means that other people, including other students, have tried to put in a box that doesn’t fit, marked ‘girl.’ Nancy remembers past experiences navigating social situations, showing how the people we associate with can put us into boxes we don’t necessarily fit in.
Interestingly enough, the world-building seems to run counter to this theme. Here, we get an explanation of some of the terms that have been thrown around: Nonsense, Logic, Wickedness and Virtue are all points on the compass, categories by which we can categorise the different worlds these students have travelled to. However, we are told that there are trends. Most Nonsense worlds are Virtuous, implying Logic worlds are Wicked. This desire to categorise, to fit things under neat labels and make decisions based on how we label things is something everyone does, even those who have felt the pain of being wrongly labelled.
Mystery and Plot
We don’t get much here that relates to the mystery. More references to students murdering each other, jokes that will turn out to be in bad taste in hindsight.
This in itself is interesting. People keep saying that slow starts are no longer favoured by readers, but here we are, two chapters in and no real plot. What we do have is character drama and conflict. If the world and the characters are interesting enough, then the reader is drawn in regardless of the amount of action on the page.
Warning: Here be spoilers.
In Chapter 1, our heroine Nancy arrives at Eleanor West’s Home for Wayward Children. Recently returned to this world from the Halls of the Dead, Nancy is greeted by the eccentric Eleanor, and then placed in a room with rhyme-loving, hope-dashing Sumi. When she finds out her parents have switched the contents of her suitcase, Sumi steals her luggage. Nancy follows.
Character and Point of View
“The habit of narration, of crafting something miraculous out of the commonplace, was hard to break. Narration came naturally after a time spent in the company of talking scarecrows or disappearing cats; it was, in its own way, a method of keeping oneself grounded, connected to the thin thread of continuity that ran through all lives, no matter how strange they might become. Narrate the impossible things, turn them into a story, and they could be controlled.”
This opening paragraph is a great set-up to the whole story, both in terms of character and theme. Let’s focus on character for now. By the end of the passage we find out this is still Eleanor’s point of view. This thought is hers, and the description that follows is her narration of her own story. So we not only get a lovely description of the setting, this description is tied to character.
The advantage of having Eleanor open the chapter is that we get to have a good look at Nancy, our protagonist, without Nancy having to describe herself. It’s also a sign to the reader that we aren’t going to be deep in Nancy’s head all the time, so we won’t be jerked out of the story when the point of view shifts. Note we don’t get a description of Eleanor’s clothes until Nancy sees them. This makes sense because Nancy would note them, while Eleanor would not.
As we move on, we get to know these characters better, mostly through dialogue. Everyone has their different way of talking. Everything out of Sumi’s mouth is almost poetry, and I imagine all to be in that sing-song voice some children are wont to use. Eleanor at least makes sense, but she certainly rambles as well, and clearly confuses Nancy. Nancy talks the least. Because we’re in her head, we see that there is a lot that she is thinking that she doesn’t say.
Let’s revisit that opening quote, especially the last line: “Narrate the impossible things, turn them into a story, and they could be controlled.” That’s all well and good, but who controls the story? This turns out to be an important question, as the story you tell about yourself usually doesn’t match the story other people tell about you.
In this chapter, we see a few instances where the stories other people tell about Nancy, the assumptions they make about her, don’t fully match up to who she is, the story she tells about herself. The first, rather small example, is Eleanor being uncertain of her choice of room. She assumes that since Nancy went to an underworld, it must be a Nonsense world, but then notices the precise way Nancy handles her luggage and wonders if she might be wrong about that. Often when we meet people, we make up stories based on what we know, and those often turn out to be incorrect. This is also the case when Sumi assumes Nancy dyes her hair. In this case, Sumi touches a nerve. Nancy’s hair and the story behind it is important to her, and she gets angry about the idea that it could be any other way.
We see the real dangers of other people’s stories when Nancy discovers her parents have repacked her suitcase. Nancy’s parents have a wildly different story of their daughter – for them, she was kidnapped and returned as somebody they didn’t know. They view her changes as negative, whereas Nancy views it as finally becoming herself. As they are her parents, they have some power to enforce their story by switching her clothes out for ones they think are more suitable for her. This is hammered home by their note. They think she is, as Sumi notes, somebody else’s rainbow. Nancy’s parents think they have the right to decide who Nancy is, and they are going to do what is in their power to help enforce that. Will it work? Is that right? We’ll find out going forward.
Mystery and Plot
I want to use this section to talk about the murder mystery elements, and on the surface, there aren’t any of those in this chapter. I will just note that I don’t think it is an accident that Nancy comes from the Halls of the Dead. This is a way to highlight that death is going to be a large part of the story without shoving it in our faces. Likewise, Eleanor’s ‘joke’ that roommates might murder one another becomes foreshadowing in hindsight. It’s also a sign that many of these people don’t get along, thus hinting at the social dynamics that will cause some conflict in the coming pages.
Like any good first chapter, this one is mostly set up. It asks the big questions, introduces the major characters and their voices, and builds the world. Next time we will meet some of the other students here, and whether their stories are their own.
This is new series in which I analyse Seanan McGuire’s novella Every Heart A Doorway, chapter by chapter. Every Heart a Doorway is a story about a boarding school for children who have come back from the fantastical journeys to other worlds. Whether it be the Halls of the Dead, a world of insects, or the setting for every gothic horror ever, each child had found a world where they felt at home, and now have to deal with the fact they aren’t there anymore. (Also, they have to deal with the fact that they’ve had experiences most people wouldn’t believe.) Also, there’s a murder mystery.
So I haven’t posted anything lately. This is partly because I was caught up in NaNoWriMo (I won, but only by not sticking to a single project, which is still a win in my book) but also because I’ve been distracted by a number of other things. But I’m back! And I have plans.
Endings are very important. You can enjoy a story all the way up to the end, but sometimes the actual ending will be so bad it retroactively makes you hate the rest of the story.
Many say that the worst ending is “And then I woke up and it was all a dream.”
Wolf Road, by Beth Lewis, is a post-apocalyptic Western. It centres on Elka, a girl who was lost in a forest far from home and ended up being raised by a man who turned out to be a serial murderer. Once she finds this out, she decides to run away and seek out her parents, but she is pursued by the murderer who raised her and the sheriff who wants to catch them both.
Mulan is the first Disney live-action remake I’ve actually been tempted to see. I haven’t gone near any of the others, partly because they feel more like a money-grab rather than a genuine desire to bring something new to these stories, and partly because I don’t actually have a lot of nostalgia for Disney animations. I’m sure I watched them at some point (but not all of them) but they weren’t important to my childhood.
I can now say that I’ve seen water in a salt lake. It’s an unusual sight, especially as you can’t really venture onto a dry salt lake because there are a whole bunch of grasses, or reeds. Large unwelcoming vegetation. But a few weeks ago, I decided to go for a walk on a fine day that had followed several rainy days, and to my surprise, found the path flooded.