lin·gua·phile

rustingroses replied to your post: Sometimes I think it’s a good thing that my…

I would be all over that. I would go join you and rec contemporary YA novels and then squee with you in a heartbeat. No lie.

Ugh and it’s not like I don’t do it anyway. I mean, I rec’d Deep Wizardry to a fellow grad student because she said she was writing a novel where a girl has conversations with whales! And my advisor herself somehow tangentially connected Clarissa to Garth Nix’s Sabriel! (Which she has read! Which is in fact one of her favorite YA fantasy novels!)

I keep really wanting to write up a lengthy blog post about how fandom and academia are basically doing the same things but one of them has bled all of the emotion and collective interaction out of their cultural critique and the other has not…

Tangentially related, apparently there was some woman in the eighteenth century who essentially wrote lengthy AU fanfiction about Clarissa in order to get rid of its totally depressing ending, and my professor did say this was fair game for paper topics, so maybe I will write about that 18th-c fanfic and Denis Diderot’s fangirling and turn it into an argument for an alternative genealogy of emotional interaction with fiction that is its own form of criticism.

Oh man. Usually I don’t write these book review thingies if I haven’t actually physically read the book, but I’m thinking so much about Sabriel that even though I only listened to the audiobook (narrated by the perfectly creepy Tim Curry, who made me want to buy the audiobooks for the rest of the trilogy even though neither Lirael nor Abhorsen lives up, in my mind, to their originator) I need to write about it.

For a moment I’m going to go on a writerly squee about Nix’s style. Oh my god. I don’t know how he writes the way he does. I’ve described it as “lean” before but that doesn’t quite seem to do it justice. It’s not just the leanness, the tightness of his prose, but the way that although he seems to be writing in a style very no-nonsense and straightforward, every so often he’ll pop out at you with a metaphor you’ve never heard before but that seems so natural that you don’t question it. And then you stop and look back and think, wait a minute, I thought this was no-nonsense prose — and it still is. He makes metaphors no-nonsense. And he makes it seem like it takes no effort at all.

I’m also really impressed, again, with how he deals with slipping between two different points of view pretty much at whim. He controls the flow of information and knowledge between characters by deciding which of them is or isn’t conscious of certain things happening in the other characters’ viewpoints. Then there’s dramatic tension because the all-seeing reader knows that some characters know more than others. I think the classic scene of this is when Touchstone first wakes up after being the figurehead and has that fabulous conversation with Mogget that Sabriel is emphatically not there for.

Worldbuilding. Shee-it. This world comes to you fully formed out of Zeus’s (I suppose Nix’s) brain — or at least the writing would make you believe so. And the magic! I have never in all my reading seen anything like this. I don’t think I’ve ever seen necromancy attempted as a subject in children’s fiction and I don’t think I’ve ever read of the idea of a “positive” necromancer, because whatever else she is, the novel is very clear that Sabriel carries a necromancer’s bells. There is always the possibility, from Jessynth’s rabbit to her father, that she could attempt to revive one who is dead and should not return to life. Nix doesn’t play it up throughout the entire novel but it’s so cracklingly there beneath the surface that you always feel it even when you don’t see it.

I don’t care that Peggy speaks a little disparagingly of the idea of “making friends with signs” because that’s what draws me to written works, and Sabriel is no exception. I love everything about the way Nix writes Sabriel. She’s confident in her abilities (just listen to the way she lists out her rank in each of her subjects at Wyverly at the beginning of the novel!) but still uncertain in some things, and not afraid to be vulnerable. She cries, and she’s not always ashamed of it. She makes mistakes but she stands up to their consequences. She is competent — even in the face of great turmoil and danger she’s able to keep a clear head and do what needs to be done. She might be young, but she understands what it is to have a cause greater than herself, and though she resents it, even hates it at times, she processes and controls that resentment bordering on hatred in order to put it to productive use in the form of willpower, determination, drive. She’s like we all are at eighteen, and usually even later: still fighting with the world to understand her place in it, and arguing for a better one with such force and persuasion and right on her side that she eventually gets it.

Nix also gains my long-lasting respect for the way in which he portrays the relationship between Sabriel and Touchstone, because Sabriel’s competence and no-nonsense attitude comes across as much here as anywhere else. I love how lightly the dynamics between them are sketched, but how vividly, so that although they have known each other for something like two weeks by the time they think they’re in love with each other (and we haven’t even seen one of those weeks, the one they spend at sea making their way to Belisaere) I have no troubles believing it. Touchstone’s initial self-abasement is frustrating, but I love Sabriel for kicking him out of it and not being too gentle about it. If someone were calling me “milady” all the time, they’d get it from me, too! And of course Touchstone is competent, as well, once we get past his demons (which, of course, he finally does, aided and assisted by Sabriel as much as she is aided and assisted by him). That kiss in the reservoir is no blushing, giggling first kiss. It sparks. And yet there is still a beautiful hesitancy between them, even when they’re both pretty sure they’re made for each other, as if a single word misplaced could turn things sour, so they’ve decided not to bother with words. [Sidenote to Diane Duane: Why can something like this not happen (eventually) between Kit and Nita? I know you’re a good enough writer to make it work!]

Um. I think I’m gonna stop my Sabriel-and-Touchstone squee here, because I have class in 45 minutes and so much more to say (and I’m still in my pajamas). But it could go on for pages, because I love them for being real.

I think the last thing is just to say that books like this (and like Diane Duane’s Young Wizards books, and like Harry Potter) make me wonder how adults can persist in believing that children’s literature is something that one should grow out of? My favorite book of all time is still one I read for the first time when I was thirteen. Only two of my favorite authors are shelved in the “grown-up” section of the bookstore (and my favorite character in all of Julie’s work is Aryl, because she’s in her late teens/early twenties and I relate to her struggles). Maybe it’s because I’m still relatively young, but I feel so much more kinship with stories from my childhood or even about people still trying to find their way in the world than I do with any other kind of tale. I find comfort and encouragement in the fact that in these worlds, although there is always a price — always something lost — no one ever says that you can’t fashion your own ending.

We learn so much from the books we read. We learn what to expect of the world by seeing the shapes that these other (fictional) worlds assume. Skilled authors use fiction as a way of teaching enduring lessons about the hardest aspects of life: love, pain, sorrow, suffering, loss. All of these (love included) boil down to the looming specter of Death, and what happens after, and how much we all, even if we can’t articulate the reason, just don’t want to go. But good authors use fantasy as a mode of assurance that acclimates us to the inevitable. However we fear it, we will die. Everyone dies. But not everyone lives. Authors like Nix and Duane and Rowling show death in their children’s fiction and get a lot of blame for it from parents worried that their kids are being exposed to too much too soon, but by the time a child is old enough to read, I think she’s old enough to already know, somewhere in the dark of her mind, what death means. And that’s why she needs books like Sabriel and Deep Wizardry and The Wizard’s Dilemma and the last four Harry Potter books. We know death along with knowing life, but we don’t know what to make of it, because everyone to some extent fears it (as the unknown) and so no one wants to talk about it. Books like these can use the aspect of fantasy to couch a very honest reality in terms that are more palatable than the ones that our reality uses, and furthermore to suggest something other, something else, something beyond, in nebulous terms religiously vague but comforting to all those lost young souls who need to know, in life as well as in fiction, what comes after the last page — what happens next.

Yes, Sabriel is really just a coming-of-age/coming-to-terms-with-death story (in fact, the two of those might be one and the same). It’s been told a million times if it’s been told once. And yet the fact that I’ve read many of the millions doesn’t make me tired of reading the ones of them that are this good, that strike a chord this true within me. Sometimes, it’s not so much about what you say as how you say it, and I don’t know many who’ve said it better than Nix.

Dear Yuletide Writer,

First, thank you for agreeing to write me a story! Whoever you are, the fact that you agreed to do this already means you’re awesome, and I can’t wait to read whatever you’re willing to write for me. I’m going to talk a lot about specifics in the letter that follows, but the only thing that really matters is that we both appreciate the same obscure fandom. We’re friends already!

In general, I like fic that follows the canon pretty closely, or that works to develop ideas underrepresented/underdeveloped within the canon. I like it when fics mirror closely the narrative voice of the original text, but I also like reading fic in somewhat experimental forms, provided thought has been put into the reason for narrative experiment. I don’t like OCs who serve no purpose, but I love it when the right well-written OC manages to bring about a deeper understanding or level of involvement between two or more canon characters.

I love romance, but I love sexual tension almost as much as (if not occasionally more than) the fulfillment, and I think that stories can be perfectly romantic if they contain no sex whatsoever (especially when we’re talking about younger protagonists). I’m a big fan of small gestures that carry large meanings, and of tension that changes by the end of the story if it’s not actually resolved, not to mention a few awkward moments along the way! When it comes to sex, if the moments before the bedroom scene sizzle enough, I don’t mind at all if the camera pans away from the act itself. However, I’m not averse to well-written sex, provided it’s not overly explicit. I won’t say I’m easily squicked, but I’m not okay with rape, abuse, violence, etc., nor with character-bashing.

As much as I love romance, I also love plot. Said plot does not have to turn on major revelations in the cosmos, and can be something as small as a character working toward a personal realization or revelation, but I do like it when it’s there. Conflict is a must, but I’m usually more interested in interpersonal conflict (two people sorting out issues they have with each other) than in galactic, world-is-ending conflict. The latter is perfectly okay as a backdrop to the former — end-of-the-world situations can produce really great character conflicts — but it’s certainly not necessary. I’m not a big fan of main character death (although there are times when it’s necessary) and in general I like “happy endings,” but I want to feel like they’ve been earned.

A random list of other, unconnected things that I love: watching characters negotiate the beginnings of relationships, John Milton (and in particular Paradise Lost), Jane Eyre, Pride and Prejudice, any and all variations on “Beauty and the Beast,” trips to the moon, politics and politicking (anytime someone says one thing and means another, it’s a great opportunity for fiction), the limits of magic, quests, worldbuilding, literary allusions (I am the stereotypical geeky English major, except with even more geek), soul-deep friendships, snark and banter, legitimate obstacles to romantic fulfillment (none of these silly little reasons why they can’t be together, give me something meaty!), genuine awkwardness, the importance of names and naming, the intersection(s) of science, magic, and religion…I’m sure I could think of more, but for now this is probably a good list to start with. If you want more details, browse my livejournal and this tumblr (I’m a pretty obsessive tagger, so you’ll probably find things quickly), and feel free to check out the fanfic I’ve posted online.

I know some my prompts are specific. I have a hard time not being specific. But I by no means expect you to listen to me, certainly not entirely. The best stories are written by people excited about what they’re writing. If an idea doesn’t totally fit my request but is something you’re excited about, by all means take it and run with it. Be creative! This is as much your story as it is mine.

That said, onto the fandoms and prompts!

Diane Duane - Young Wizards series: Carl Romeo/Tom Swale

In Deep Wizardry, Carl tells Nita there’s only one price greater than a lifeprice. What is that price? Why does Carl know about it? And what does it have to do with his partnership with Tom? Tom/Carl slash and/or when Tom met Carl and/or college-years Tom and Carl friendship and bonding much appreciated but not required.

Basically, if you’re not comfortable with writing slash, don’t, but I would love you forever if you did, even if it’s just implied. I also love seeing interpretations of what Tom and Carl were up to before they became everyone’s favorite advisories, including how they became partners in wizardry (or even how they came into their wizardry to begin with).

Garth Nix - The Abhorsen series: Sabriel/Touchstone

Sabriel/Touchstone het, immediately after the first book ends. Teenagers in love attempting to restore the Old Kingdom agree (for some specific reason) to “take it slowly” — which is much harder than it looks. (Please, revel in the grammatical ambiguity of this sentence. I promise you, it is intentional.) Drama and comedy equally appreciated. Really, I just want some time to enjoy Sabriel and Touchstone being slightly awkward but also adorable around each other, because it makes me go awwwwwww and that’s a good thing. I wouldn’t mind some politicking about the rebuilding of the Old Kingdom, either.

Jim Butcher - The Dresden Files: Harry Dresden/Karrin Murphy/Michael Carpenter/Thomas Raith

Bookverse! Some case Harry picks up through the Paranet gets out of his hands and he has to call for some assistance. Drama and comedy appreciated in equal measure, Harry/Murphy banter and sexual tension a plus. Characters (not necessarily just Harry and Murphy) trapped in a confined space is also a plus. Really, anything with snark and banter between two or more of the listed characters is beautiful. Other characters I love include Molly, Charity, Mouse, Mister, and Bob, but feel free to pull in whoever you like to make it work.

Diane Duane - Young Wizards series: Christopher Rodriguez aka Kit/Dairine Callahan/Juanita Callahan aka Nita/Roshaun ke Nelaid

Budding romantic tensions (Kit/Nita and/or Dairine/Roshaun) + stuck in an alternate universe or historical time period (or genre?). Let the fun ensue!

This prompt was inspired by araine’s post about a Young Wizards/Pride and Prejudice crossover, which got me thinking about how great it would be to throw our favorites into new and different worlds (literally) and see how they managed. But please, throw our favorites wherever you like and see how they handle it—especially because in Young Wizards, it’s not always AU to have characters who wind up in alternate universes… Futurefic is okay, but I’d prefer to see them college-aged or younger.

Thank you, Yuletide Santa!

Cheers,

Reading Redhead