Saturday, January 31, 2015

OUROBOROS



He came out of the green mist of the wilds beyond the topside Ironworks, roses trailing along behind him trying to push through the ragged cracks in the broken pavement. No one told him that he had no power beyond the edges of his mother's Vale. No one told this prince, this child of summer and lordling of spring, that his magic would curl away and shrivel and die surrounded by the death-saturated smog where winter always ruled.
Because no one told him, he did not believe it. And belief was a powerful magic in its own right. One that could never be stripped from him.
She watched him from the shadows cast by the jutting iron spires, pretending to ratchet the gears and tighten the mechanisms that filled her free time. The iron glinted cold in the sick sunlight that managed to break through the heavy clouds overhead. Clouds nearly black as the fresh, rich earth still clinging to his bare feet. She was only a darker shadow amidst the tenebrous iron ghosts.
Erebus, they called her when they thought she could not hear. Darkness. Nyx, Queen of Night and Stygian Iron, Mistress of Rot and Maggots. So they named her in the world beneath the Ironworks, the steel and granite labyrinth below. Hers was a name even specters feared to murmur when dark fell on the world.
But here above, in the steam-silvered kingdom of noon-forged metal, she was just another woman. One who could bend the iron bones of the earth to her will, who could sing steel into argent lace as delicate as a spider's web…but still just another woman among the humans who found their love or their livelihoods in the Ironworks. Death was her dominion, but so was the earth and all its riches. And here she could revel in them without though to the carcasses waiting underground to be judged by Hades, Queen of the Dead.
Here she could watch the one thing she wanted most and could never have without fear the summer witch would see her. It had been centuries upon centuries since she'd ventured above in search of any sort of comfort or warmth without the warding guise of winter chill and humanity and metal. Every time she tried to set foot in this world without hiding, summer turned her back again with a scorching slap across her death-cold cheek and that blasting, withering blight against her own wintry power.
No, the sun roared with a burning silence that deafened. You will not take what history tried to surrender to you. You will not steal what is mine.
Hers. Demeter, Queen of Summer, terrible as fire and beautiful as dawn light after the longest night of the year.
But he didn't belong to her, anymore than he belonged to Hades, or to anyone. He, the one she watched, was all his own. He walked in his own strength.
Legends said she'd taken him away long ago. That their love had set the seasons to turning, sent the Lady of Summer scurrying back to her Vale in fear of the combined might of the Queen of the Underworld and her consort.
But those were only legends. It had been centuries, and she could only dare to dream in rare moments when he slipped from that witch's clutching grasp of smothering, choking mother love to wander close to the Ironworks.
Humans had once believed the earth turned and seasons came and went because of love. Now they thought it was science. Well, she was liable to believe it was because Demeter was playing a game with her. Taunting her with what she could never have.
After all, mothers never believed anyone could be good enough for their sons.
Despite the boiling heat of the Ironworks' forges, the ground crackled with otherworldly frost that rarely melted. Steam drifted through the air like fog but the wintry air leached away the heat. Yet where he walked, his steps melted ice and breathed warmth back into the air. Hades watched him, all powerful movement and dancing grace, all dark eyes filled with sadness and soft smile edged with pain.
He came, touching the walls of twisted, rusting iron and glittering steel. Through gaps in the portcullis that shielded the Queen of the Dead, eyes like rich warm earth met eyes empty and black. He pressed his palm to the cold steel. She lifted a hand to lay her palm to his, iron bars separating them by a mere breath.
She could rend iron, burst steel asunder. She could shatter the foundations of the earth if she chose. But there were rules to play by. She had followed these rules for centuries upon centuries upon centuries. And the rules laid down by her brothers forbade the breaking of the world. Even for him.
"She'll see you," she whispered. Where her breath touched, a blanket of hoarfrost crept across the metal. "You shouldn't have come."
"It's still early spring." His voice rustled soft as a zephyr in the grass. "She is weak now. For now, you are the stronger." He paused, teeth worrying at his lip. She had kissed those lips a thousand times in a thousand dreams but never in the waking world. His voice came soft as a lover's caress when he whispered, "I had to see you."
"Persis." She shaped his name like a prayer, like a song. His eyes drank her in, hungry as a starving ghost. "Persis."
"How much longer do we have to wait, Hades?" Anguish turned the words sharp and brittle; desperation whetted their edges. "I can't bear this. She watches me almost constantly. She sends away my friends if they so much as mention anything beyond the Vale." Persis pressed his forehead against the cold steel. His voice came ragged and rough when he confessed, "Hades, I can't live like this."
"There are rules—"
"Damn the rules," he cried, grasping the icy bars. "Hades, you have lived by Zeus's rules for thousands of years, and for what? They cast you into darkness and call it Fate. They shun you, belittle you up there in their precious palaces on Olympus, and call it jesting. You are always fair, never cruel, never vengeful, and you refuse to ever bend or break their precious rules. For what?"
A tear spilled down her cheek. Straining, Persis pushed two fingers through a gap in the bars and brushed it away. Where the teardrop fell, a small green shoot burst through a crack in the pavement and uncurled a tiny, soft leaf. Even that small touch gave life to that which came from death.
"She won't let me use my powers, Hades," Persis whispered. He shuddered. "She keeps throwing out these little bits of magic and I can feel her power crushing me. She keeps pushing at me with her power. Trying to stifle me, to stop me from growing up. She won't let me breathe. I can't breathe in there anymore. It's been centuries since I could leave the Vale without having to sneak like some thief…"
Hades knew what it was, not to be able to catch your breath, crushed beneath the weight of expectation and demand. Of course she did. She was Hades. She was Queen of the Dead. She knew well the weight of what others would have of you before they were done and life was ended. It was the last thing she'd wanted for someone like Persis.
Honor had bound her since she and her brothers and sisters had cast the Titans down into Tartarus. Honor had compelled her to yearn for, but never seek out, the one she wanted most as centuries passed—Bronze Age and Iron Age, ages of legends and superstition, Dark Ages and Industrial Ages and on and on towards the ending of all things. Obedience to the laws she and her brothers had agreed on so long ago. Faithfulness to her oaths.
But had she not sworn him an oath once too? That though they could never be together, she would be his always, and he hers? An oath more precious than any other.
Obedience to Zeus, and for what?
She met his gaze, those dark eyes glistening with unshed tears and hope and hurt. He strained until the tips of his fingers touched her cheek. His callused touch was rough velvet, and so warm it burned her.
"Hades…"
"Give me six months, Persis." She couldn't work faster than that and still obey duty to the Land of the Dead. But if she were to have the strength to do something, she would need to see to the working first. "Six months to do what I must. And then I promise you…it will all be over. Everything will be well."
After a small eternity, he nodded. He would trust her. He had always trusted her. And now she would prove worthy of that trust.
A splash of gold caught her eye. She turned her head the smallest fraction and bared her teeth at a little sunflower just opening its petals some dozen paces away. She nodded to the pestilent weed. Persis didn't look; he didn't need to. He didn't even bother to sigh. Simply pulled away from the portcullis dividing him from her and drifted away, back toward the Vale. The flowers bursting from the earth in his wake began to droop after only a few seconds. The despair of a trapped wild thing withered them before they'd even fully bloomed. Hades watched him go, clutching the steel slats so hard they threatened to break through her skin and taste immortal blood.
In what perverse world, she wondered, did sunflowers represent the threat of imprisonment? And for who?
This world, cruel as it was, and only for the son of Demeter.
Well. It was still day, though the sun shone weak. Spring still carried a bite of winter's chill; night would be here soon, but not yet. For now, Hades thought, hefting a hammer, she had work to do. She was no Hephaestus, but the precious things of the earth were hers to command. And she knew exactly what she would need if she was to rescue Persis.
Because he was right: the rules be damned.
#
Sweat sizzled, dripping down Hades' face. She'd never worked so hard in all her long life as she did then at the forges, while spring's chill surrendered to summer's brutality. Her forge there in the hidden heart of the Ironworks, where winter and death still held sway every day of the year and the furnaces burned like funeral pyres—this forge tried to be willful. Tried to rage to be unleashed, to shape black steel and corpse-bronze and Stygian iron as it would. But she was Hades, Queen of the Underworld. Queen of the Earth. And the funerary fires that blasted through the Ironworks furnaces would obey her.
The heat blasted through her, hot enough to make her icy blood boil. She'd cut herself on pieces of metal, on jagged rock, on the edges of hammer and anvil; the drops had left ice crystals clinging to iron struts and cracked asphalt. Exhaustion beat at her, strong enough to wear down even a goddess. Even death.
But she thought of Persis, trapped in Demeter's Vale. Thought of the legends that whispered cruelly of forlorn hope. Myths that told of a Lord Hades—and where had the idea of Lord Hades ever come from?—and how he'd saved the trapped maiden Persephone from the clutching obsessive love of her mother.
Persis was no maiden, Hades no lord, but she would save him nonetheless.
Summer's brutal rage battered the earth, parching fields and drinking up rivers. The sun wheeled overhead and every day at dawn, Hades was at work at her forge. Boiling water flooded through steaming copper pipes to quench the heat in every rod and band she shaped in her fire. The screech of steam whistling overhead never managed to drown out the echoing silence where Persis' steps should have sounded. But it was high summer, the witch mother's time, and so Persis could not come to her, even for a simple look heavy and sweet with yearning.
Yet autumn was coming. And when the equinox came, and summer's power began to wane all the faster…Hades would see Persis again.
As her blood dripped into the fire, as the flames of her forge blazed white hot, she didn't care that her blood boiled and the cinders scorched her skin and her muscles screamed. She thought only of Persis, of shattering the bonds of his prison. Shattering the very foundations of the earth if needs be.
Her shoulders burned with fatigue. She'd pounded metal long into the night. She hadn't slept in days. Her hands were blistered, the flesh cracked and raw and red because this was no mere mortal flame, but Tartaran fire—fueled by the blood of Hephaestus mingling with the cold, burning ichor of distant stars—and even a goddess was not immune to it. Soot smeared her scorched back; her face was dark with coal dust and char. Blood blisters purpled under her fingernails. Whenever she blinked, grit stung her eyes. Her chest burned from breathing in the smoke.
When she pulled the pieces from the fire, they shimmered like air wavering above a furnace. Iridescent sheen like rainbows, like light, like diamonds and breath, against the tenebrous void she loved so well. A gleam like oil in the winter sun.
Hades pulled the last piece from the fire, set it in the black water that bubbled up from cracks in the stone at her command. She listened to the steam hiss, watched steel rods and bronze wheels coming together with snaps like breaking bones, groaning and cracking like the breaking of glaciers.
When it was done, when her work stood before her shining dark and terrible, she smiled. Let this strike fear into Demeter's heart. Let this be a declaration to Zeus.
She was done being the obedient little sister. For herself, she would have accepted it, as she had these many centuries, but not now. Not when it held the power to hurt the one she loved.
No one would keep her from fulfilling her oath to Persis.
#
Persis dashed the sweat from his face, struggling to push his way through the thickening barriers surrounding the Vale. Summer rains had turned the earth to thick mud that sucked at his feet and ankles, dragging him back from the edge. Rough vines sticky with sap yanked on his arms.
Enough of this. He wouldn't be a prisoner in his own home. He wanted to see Hades. He needed to see her. The last time had been that day when she'd promised him…Six months, she'd said, the day before the spring equinox. Six months. Well, it had been six months and a day, and Persis wasn't waiting any longer. If Hades hadn't come, it was because she couldn't come. Because summer's power was still too strong here in the Vale. Because Demeter's power was too strong without its opposite to give it balance.
Everything needed balance. Persis had known this since he was a boy racing after his mother, before the earth had begun to quicken at his step. Before fresh, green life had begun to creep up out of the soil when he drew near. Everything needed balance—autumn to spring, summer to winter, death to life. It was all a cycle, like a serpent devouring its own tail. Even Demeter knew that, in some ways.
When it came to the seasons, Demeter thought herself Hades' opposite, her equal. But she wasn't. Summer wasn't new life. Summer was life in the living. It was a mother with her child, crops ripening in the field, the honey-sweet moons after a wedding. Autumn was the journey toward death, but it wasn't life, either. It was transitory. A time of harvest, summer clinging to the world while winter rose up in all its deathly and chill beauty. Summer and autumn were the transition from that first breath of life to the final gasp before death, from spring to winter. Nothing more.
But spring…that was Persis' domain. Spring was new life. The quickening womb, the seed bursting with fresh green, a newborn babe, the first blush of love. He'd learned that from the Queen of the Dead. Demeter wasn't her opposite or her equal.
Persis was.
But his mother wanted to stifle that. She wanted to remain the mother with her child, but he wasn't a child anymore. She had to let him grow, even just a little. He'd lived centuries. He'd learned to call forth his power. If Demeter had her way, he would never have known he even had any power. It was chance that he'd cut himself on his hunting knife one day and his blood had watered the earth, calling up tender green shoots trembling in the gentle breeze. Chance that Hades had seen what he'd done, what he could do, and realized it had nothing to do with Demeter's magic and everything to do with Persis himself.
Hades. Demeter had set wards around the Vale to stop Persis from leaving without her knowledge, and she didn't even know about all the times he'd snuck out to be with Hades. If the Lady of Summer ever learned what her son shared with the Queen of the Underworld…
Give me six months, Persis. Six months to do what I must. And then I promise you…it will all be over. Everything will be well.
If Demeter ever found out, Persis would be no match for her. Not at her full strength, in the grips of her rage. Would Hades?
He pushed with his power, and the scent of fresh-tilled earth and gentle rains flooded his nostrils. He caught at his magic, the sheer power of spring flooding the world with growing things. There was more strength in the ability to sleep through the gripping deathly cold of winter and wake again than most people believed, especially Demeter. More to pushing away the seduction of that chill embrace than simply popping daisies out of the ground. The earth shuddered a little as Persis flexed his power against Demeter's shield. Soil poured into the watery mud, thickening it until it no longer sucked at him like a giant, hungry mouth. The scratching vines jolted back from him when his power leapt into them, sizzling through them like a wildfire. But though his mother's traps retreated from him, the warding around the edge of the Vale didn't give an inch.
"Persis!"
He whirled, nearly fell to the ground as panic bubbled hot in his blood.
Demeter stormed up the pathway leading back toward their villa. Her gown flared, the same golden-red as ripe wheat in a bloody sunset. Her stride devoured the distance between them. He'd never seen such rage in her eyes as he did now, when they darkened to the tempestuous gray of summer monsoons.
She wasn't supposed to be here. She couldn't know what he was doing or she would stop him. She would wrap him up like a fragile porcelain doll and tuck him away on a shelf in the dark, stifled, and he would never be allowed to wander the Vale again, never be allowed to escape the lovely trap of it. Never be allowed to relish his power again…
Never see Hades again.
"Mother—"
"What are you doing?" Beneath Demeter's words a mother's fury shrilled like a cyclone. Zeus was king of storms, Persis thought, but his mother was mistress of summer and autumn, commander of rains to nourish fields or drown them. He could see it in her now. Feel it as the ground shook with every slap of her sandals upon the path. "Where are you going? You know it's too dangerous to step beyond the Vale!"
"Mother…" He trailed away. What were words? How often could you spill them into the air, offer them up like gifts, before they lost all meaning? How many times could he try to explain that she couldn't keep him prisoner anymore? "I…"
The earth still shuddered and Persis saw, as if in a dream, the first tendrils of diamond frost creeping across the summery vale. Frost spilled over the stones, crackled across the grass and the vines. Ice swept along the little streams and rivers.
Autumn had come to the Vale. And fast on its heels…
Now Persis glimpsed the fear behind the fury in his mother's eyes. She had known even before he had what was coming. Who was coming.
Six months had been her promise. Give her six months' time. And when six months and half a day had passed, here she was.
Demeter reached for him, but Persis twitched away and darted back, putting as much distance as possible between them. There was nothing to fear from winter. Nothing to fear as the earth where he'd been standing split. Dark earth geysered up from the fissure. Persis raised an arm to shield his face but he would not cower. Not from her.
When he looked again, the Queen of the Underworld stood before him.
Skeletal, black iron horses snorted and stamped the earth with razored hooves; their eyes glowed with winter fire as blue as the flames of corpse candles. They were harnessed to a chariot bristling with spikes. The wheel caps bore the image of a snarling, three-headed beast. And standing so at ease she looked nearly bored, clad in chitinous black armor that seemed to drink up every drop of light, stood Hades. She held the chariot reins loose in one hand; the other hand, she braced against her hip. Her hair cascaded out from beneath a grisly helm, the metal carved like a fanged, open-mouthed skull, to flow around her body like a dark cloak.
She didn’t even glance at Demeter. She had eyes only for Persis. Without a word, she held out her hand to him.
Somehow he found his tongue. "You did all of this in six months?"
The chariot that is fiercer and crueler than the one he'd seen her race centuries ago when their kind still played such games? The horses of black iron bones and Tartarus fire, forged in the blazing heart of the Ironworks where she'd hid from Demeter for decade upon decade? The armor, all shadow and spines and bite, to recast her image once again as the terrible warrior goddess that had long ago slain Titan and Earth-born alike when they rose up to wage war on Olympus?
A smile flitted across her face, there and gone like a star snuffed out. She doffed her helmet, setting it on a chariot post, and canted her head. "You'd be surprised what I can accomplish when I put my mind to it." Only then did she spare a single look for a speechless Demeter before focusing on Persis again. "Come with me, and I swear she'll never cage you again."
Demeter sputtered. "Cage him? I've never caged him! I've been protecting him from you, you foul-tongued—"
"And who will protect me from you, Mother?" Persis wondered how these words had sat so long in his heart, but never found the strength to fly from his lips. Wondered how he'd lived with the weight of them for so long. "I've done everything—begged, bargained, explained. But you wouldn't heed. You made the Vale a cage. For centuries you tried to protect me from the world, but you can protect nothing forever. If you try to keep a sapling in a pot, it will have no room to grow and it will die."
"You're not a sapling!" Demeter cried. "You're my son—"
"You are the Lady of Summer, queen of the harvest, mother goddess of all things that grow," Hades said. Her voice came soft as a sigh, but it was heavy with the weight of years upon years, and cold. "You are mistress of the transition from birth unto death. You know the cycle. This you have always known. It is your mastery, and you have maintained that cycle in all your doings but this one. How can you willfully ignore what you are doing to him?"
"Silence, you child-stealing bitch!"
Persis flinched, though his mother's rage had been flung at Hades with a sharpness like knives. Centuries upon centuries he had tried. When did you stop trying? When did you at last give up justifying and simply do what needed to be done?
Hades still stretched out her hand to him.
In the myths humans told, Persis knew that Lord Hades had snatched up Persephone from a field of narcissus amidst a grove of cypress trees and carried her to the Underworld with only her scream and the bugling of his chariot horses to mark their passing. And Demeter had flooded and scorched the world by turns in order to bring her daughter back.
But this wasn’t a myth, and there was no Persephone and no Lord of the Underworld. There would be no screams. There was only Persis and Hades. And while Demeter was strong, she was no equal to the Queen of Winter or her chosen consort. Hades would never let her do what the legends foretold she would. All she could do was grieve as her son took that outstretched hand and pulled himself into the chariot in silence.
He met Hades' eyes, and for one of those rare times they held warmth, but also sorrow. Hades turned to a stricken Demeter.
"Let us go without raising a hand to us," she said softly, "and he will return to you in the spring in six months' time—if he chooses. I will not stop him."
Demeter spat at her. "Lying whore. Queen of Rot and Maggots, I will never let you steal my son from me."
"It seems to me you have very little choice in the matter. And the only who does has made his decision."
Persis closed his eyes. Gripped the lip of the chariot with one hand so tightly his knuckles turned white as bones. His other hand he settled at Hades' waist. She covered the hand that rested on the chariot with her own. Her touch was cool, but not cold. Queen of Death and Winter she might be, but she loved him.
He turned his head and for the first time pressed his lips to her temple. The softness of her skin and the silken brush of midnight hair shocked him, cool against his face and sweet with the scent of narcissus.
"I'm sorry, Mother," he whispered.
He couldn't look at Demeter as a long, low cry welled up in her throat. He could only clutch tight to Hades as the ground split anew and chariot leapt down and down into the dark earth and billows of heat and silver steam. Demeter's wail of anguish followed them long after the earth had closed above their heads.

THE END

Friday, January 30, 2015

Splintered - AG Howard (4 Stars)




This stunning debut captures the grotesque madness of a mystical under-land, as well as a girl’s pangs of first love and independence. Alyssa Gardner hears the whispers of bugs and flowers—precisely the affliction that landed her mother in a mental hospital years before. This family curse stretches back to her ancestor Alice Liddell, the real-life inspiration for Lewis Carroll’s Alice's Adventures in Wonderland. Alyssa might be crazy, but she manages to keep it together. For now.

When her mother’s mental health takes a turn for the worse, Alyssa learns that what she thought was fiction is based in terrifying reality. The real Wonderland is a place far darker and more twisted than Lewis Carroll ever let on. There, Alyssa must pass a series of tests, including draining an ocean of Alice’s tears, waking the slumbering tea party, and subduing a vicious bandersnatch, to fix Alice’s mistakes and save her family.

She must also decide whom to trust: Jeb, her gorgeous best friend and secret crush, or the sexy but suspicious Morpheus, her guide through Wonderland, who may have dark motives of his own.

Now, LA reads a lot of different things and sometimes refers to herself in the third person because she's crazy. But I don’t just read different things. I also write different things, and one of the things I love to both read and write about is Alice in Wonderland. It takes a lot to write a really good Wonderland story. Tim Burton did it with his film from 2010, and AG Howard has done it now with her fantabulous foray into the absolutely brilliant and bizarre Splintered.

Just so we're clear, this review contains SPOILERSPOILERSPOILERSPOILERSSPOILERSSPOILERS
SPOILERSSPOILERSSPOILERSPOILERSSPOILERSSPOILERS
SPOILERSSPOILERSSPOILERSPOILERSSPOILERSSPOILERS
SPOILERSSPOILERSSPOILERSPOILERSSPOILERSSPOILERS
SPOILERSSPOILERSSPOILERSPOILERSSPOILERSSPOILERSSPOILERSSPOILERS!

There. That should do it.

Now, this woman is the queen of creepy, a sorceress of the surreal, a witch of wordsmithing, a magician of madness, a wizard of Wonderland really cool. She took a book that actually isn't that great on its own (c'mon, Alice in Wonderland spawns abso-fantastic sequels and adaptations, but the source material's pretty satirical and very classic-lit, which I like in some instances, but not this one) and she managed to make something freaky and bizarre and utterly amazing out of it! I love Splintered, and I am going to tell you why!

Follow me down the rabbit hole, everybody, if you please…

First of all, there's Alyssa Gardner. I cried like a little baby was a bit put-out at first when I saw the MC' name was Alyssa because that's the name of my main character in my Alice in Wonderland urban fantasy faerie quartet, The Twilight Chessboard, but within the first five pages of Splintered I got over it real quick because boy, does AG Howard know how to start the creep off with a bang! I discovered right away that her Alyssa and mine are two completely different people. And besides, how many variations of "Alice" are there in the world, exactly? Not too many…

Alyssa Gardner is the girl I totally would've been friends with in high school — if she would've been willing to be friends with me. She's smart, she's spunky, and she can do some pretty wicked things on a skateboard. On top of that, she makes some of the most beautiful mosaics I've ever seen with my mind's eye (we'll touch on that later…). But on top of Alyssa's personality, she's the punky Alice I've always wanted to see. Tim Burton chose a certain wardrobe style for his Alice in the 2010 film, to give her more of a punkette feel, but AG Howard took Alice and punk, threw them both in one of those drink-mixer thingies (I don't know what they're called, I don't drink, but bartenders use them), and shook that thing up like a tornado. When she dumped it out, we got Alice 2.0 — and she is ready to kick some Wonderland butt.

Her backstory is incredible, too. Turns out she's a descendant of Alice Liddell, the girl who inspired Lewis Carroll's bizarre-o children's books. And apparently all the women in her family are bat-crap crazy insane. They hear flowers and bugs talking when they hit puberty. Alyssa's mom, Alison, is currently locked up in a nuthouse almost the entire book, eating junk out of teacups. Alyssa can hear them talking, too, but she keeps that a secret because she does not want to end up in a straitjacket. Who would?

Quick side note regarding Alyssa's mosaics and the fact that she can hear bugs talking: she makes her art out of insects (obviously dead ones). At first, that totally creeped me out and made me think this girl might be a bit of a psycho kind of squicked me out a bit, but once she described all the cool things she made, I was like, "Oh, never mind. I'm on board the we're all mad here, death to buggies, let's kill some more! pesticide bandwagon! These are pretty!" And her justification for using insects in her art is pretty understandable ("I've been collecting bugs since I was ten; it's the only way to stop their whispers…Once they get chatty, they're fair game.") and is explained on page one, so I'm okay with it.

Alyssa has two guys in her life who basically equate to two Wonderland characters: Jeb the Heroic but Kind of a Pansy Skater Boy (we'll get to that later) and Morpheus the Hot but Kinda Jerky Magical British Guy — aka, the Silver Knight and the Mad Hatter.

Jeb has been Alyssa's friend since they were kids and she is hopelessly, madly in love with him and wants to have his babies has a biiig crush on him. Unfortunately, Jeb the Complete and Total Pansy Moron Skater Boy doesn't seem to realize Alyssa has a thing for him (though that is not why he's a moron) and is currently dating the girl whose goal in life is to make Alyssa's life suck (that is why he's a moron).

The reason he's the Heroic  but Kind of a Pansy Skater Boy is because he nearly sacrifices his life to save Alyssa. The only reason his life doesn't get sacrificed is because he gets rescued, but he totally would've done it for her. Which annoys me because I don't want to like him, because of how he handles the whole evil-girlfriend bit, gah. But I do, because when Alyssa really needs him, he's always there, and he always puts her safety first, and he's totally in love with her. The idiot.

Why, AG Howard? Why must you make Jeb so flawed and annoying and likeable? Never mind, I already know. It's good writing…but so frustrating for us readers, sigh.

But I still don't approve of how he thinks it's okay for him to try and take control of Alyssa's life just because she's young. I get that he's trying to look out for her, and he's not abusive about it (it's big things, like when she wants to stay in Wonderland and help Morpheus and Jeb's like, "You must  be on drugs. That is so  not happening. We're going home. You're not thinking straight. This guy's doing some kind of mojo on you."), but it still bothers me and makes Jeb seriously not the guy Alyssa should get with. At least Morpheus respects her intelligence. Yeah, she might make mistakes, but Jeb's not infallible and he really needs to not act like it. And he needs to not get ticked off about petty things (like Alyssa taking money from Taelor, her enemy, the witchy girlfriend who's made Alyssa's life into a niche of Hades for years and years on purpose, because Alyssa needed it to save her mom's life and couldn’t get it any other way) when he's gone and done crappy things to Alyssa, too. So meh on Jeb.

Morpheus has also been friends with Alyssa since she was a kid…but she doesn’t remember him. And he is madly in love with Alyssa and wants her to have his babies has a biiig crush on her. His theme song really should be "White Rabbit" (originally by Jefferson Airplane, but the version that reminds me of Morpheus is the version done by the Crüxshadows. “…a hookah-smoking caterpillar has given you the call. He called Alice when she was just small…"). Morpheus is so cool, and not just because he's got this smokin' hot cockney accent and muscles and he's so smexy, why is he smexy, why, it makes no sense, he's not even human, why does this always happen to me? handsome. I've read and seen several different versions of Alice in Wonderland over the years and this is the first one I've seen where someone smushed the Mad Hatter and the Caterpillar into one person (and then had the Caterpillar grow up into a butterfly…or in this case, a moth). That right there is incredibly creative. So kudos to AG Howard just for that.

Although I have to wonder why the Caterpillar is always blue? In the Tim Burton movie, in this book (well, Morpheus is sort of blue; he has blue hair), in the animated Disney film, in The Looking Glass Wars. Why is he always blue?

Morpheus has all the answers to Alyssa's questions — why can she hear flowers and bugs talking? What is the deal with this so-called Liddell curse that makes the women in her family able to hear them? Is Wonderland real? And why does Alyssa have the same mark — a mark she always thought was a birthmark — that Morpheus has?

(Footnote: No, they're not related. Ew! He's her love interest, for crying out loud. That sort of thing only works in seriously angsty books like Flowers in the Attic)

Morpheus is willing to give Alyssa the answers she seeks on one condition: she has to come to Wonderland and endure a series of mini-adventures to right the wrongs Alice Liddell apparently did to Wonderland and the local populace, called netherlings. If she manages to fix all the things Alice messed up in Alice's Adventures in Wonderland (like crying that giant pool of tears, which totally screwed up the netherling ecosystem), Morpheus will help Alyssa break the curse on her family and save her mom from the horrible things that they're going to do to her in the asylum. But there's more to what Morpheus wants than he's letting on (duh, of course there is) and Alyssa has to find out what it is before she and Jeb end up royally screwed.

AG Howard should seriously  be congratulated on what she's done with this book. She's taken the creatures we all know from the classic novels Alice in Wonderland and Through the Looking Glass and turned them into absolutely freaky new things. The walrus from the Carroll poem "The Walrus and the Carpenter" (“The time has come, the Walrus said, to talk of many things; of shoes and ships and ceiling wax; of cabbages and kings. Of why the sea is boiling hot and whether pigs have wings.") has been turned into something completely bizarre with squishy tentacles and octopus suckers and waaay too much blubber and seriously sadistic tendencies and a serious need to go on a diet different. The Bandersnatch is still as scary as ever, but I didn’t even recognize the Jabberwock (which is a good thing; she is ridiculously creative, man!) or the White Rabbit.

I couldn’t call the plot at all. That is actually pretty hard, and most of the books I review are the ones I can say that about. I hate it when I can call the plot. But I couldn't call anything in this book at all! It kept me guessing right to the second-to-last page (since the last page had like, 2 paragraphs on it — whoopee…).

All in all, this book is a 4.75/5 stars. Only one thing kept it from being a full 5 stars — Jeb and the fact that he's not just Heroic, but a Heroic Pansy. And she's with him at the end…well, sort of. She wants to be with him instead of with Morpheus, and I'm like, "I get that he's sneaky and a bit manipulative, but he seriously pulled through for you in the end every time, Alyssa, seriously! He totally had your back the entire time! Whereas Jeb has your back on the big things but not in the small things like with the stupid girlfriend! GAH!!! Morpheus is better!"

Meh. She's running away from the truth. She'll get over it eventually. Morpheus has her back. Jeb probably doesn't — not every time. Sure, when it's super important, but boyfriends should have your back every time. So meh.

Anyway, AG Howard, my verdict is clear — your book is awesome, I can't wait to read Unhinged, and please let her get with Morpheus because I'm sooo ticked about the whole way Jeb handles the girlfriend-thing. Boo. But I adore you anyway! So much love pouring out of me right now  that I can't EVEN  because this book is the most amazing thing I've ever read in my entire literary existence except for Nevermore  and Dearly, Departed!  This is going on my I LOVE YOU SO MUCH shelf right next to those two books because it's so incredibly fantastic, it's so fantastic I'm gonna die ohmigawd!

Best,

LA Knight

PS — I'm currently reading this book to my roommate, and we had to stop while she was making dinner because she got so wrapped up in it that she forgot to flip the pancakes and we ended up with a few pieces of flat charcoal.

PPS — I've finished book two, Unhinged. All I can say, AG Howard, you are so cruel to me! Whyyyyyyyy?!?!

Friday, January 23, 2015

Fear (A Tool of Coercion in Dystopian Governments - Part 2/4)

In many dystopian novels—indeed, in many novels with any sort of totalitarian or dictatorial government—there are those oppressed individuals known as the masses. The repressed populace. They suffer the indignities of cruel governments and/or rulers, undergo horrific things in the name of "the greater good." But what about their good? What about the welfare of the individual? What stops people from rising up against these terrible things?

I'm going to use six different dystopian series, as well as references from history, as my examples when answering these questions, but it really all boils down to four very simple things: apathy, fear, blame, and hope. This blog will actually be broken up into four separate posts to prevent having to scroll through a lengthy research-paper-length post if anyone wants to look for something specific.





Fear

The second factor is fear. According to the dictionary, fear is a feeling of alarm, dread, panic, apprehension, horror, concern, or terror. Everyone knows what it means to be afraid of something. Everyone's afraid of something. I'll tell you what—almost everyone is afraid of dying. And if they're not afraid of dying, they're afraid of either a boat-load of pain or someone they love experiencing a boat-load of pain/suffering…which leads me to our new examples for this particular thread of explanation.

In Divergent by Veronica Roth, a lot of crud happens to a lot of people, and things get ignored that shouldn’t, because people are afraid of what will happen to them. In Divergent specifically you see the kind of fear often found in school bullying situations, where someone is afraid to speak up for fear that they'll be targeted next.

At one point, a combat trainee gets several knives thrown at his head by order of a sadistic teacher. No one does anything because they're afraid of being the next target…until Tris, the main character, stands up and says "enough," and stands in the other kid's place so she can take his punishment. She volunteers for the punishment everyone else is afraid of—which is actually the point of the book; she's what's known as Divergent, someone whose aptitude tested high for both selflessness and bravery. But that's neither here nor there and will be touched on in my
review.



There is another point where a different trainee is punished for "cowardice" by being forced to hold herself suspended for five minutes from a bridge. If she falls, she'll die. No one says anything because if they do, they'll have to do the same thing.

I should back up for a moment here and explain why they obey this whacko. He is their instructor for the initiation into Dauntless, the warrior clan of their city—which they chose to enter of their own free will. If they fail initiation, they'll be factionless, which basically means they'll be homeless, without a job, without contact with their families, living on their own on the streets. They were raised from early childhood that this is bad (aren't we all?) so even those who aren't sickos like this particular teacher still have to live with that fear, that potential consequence.

Back the girl on the bridge. If she falls, she dies. If she refuses to do the bridge-punishment, she fails initiation and gets kicked out of Dauntless, leaving her factionless, alone in the world, and totally screwed. No one says a word as she holds onto the bridge until Tris can't take it anymore and starts cheering for her (imagine a deadlier version of the Chocolate Cake Scene in the movie Matilda). One of Tris's friends also joins in, spurred on by Tris. And when the five minutes of punishment are up, even though the teacher says it's not okay, Tris and her friend help the girl back onto solid ground. But they are the only ones who are willing to face punishment by doing this.

In Delirium and The Iron Codex, the things everyone fears are pretty much the same: getting sick with an incurable disease and being ostracized from society because of it.

In Delirium, nearly everyone is afraid of amora deliria nervosa because they're raised to be. It didn't start out that way (it evolved over about 100 years, I seem to recall) but by the time the first book takes place, everyone is raised to fear this particular "disease." It's considered a contagious mental illness.

It's almost like the Communist Scare in the 50s—anyone who may have the deliria, as they call it, is considered high-risk, practically an enemy of the state. People will lock themselves in their houses to get away from it. Sure, there are rebellions who know it's all a load of crud, but those people who don't are basically brainwashed by the fear of getting sick and losing everything. You see in Requiem, the third book in The Delirium Trilogy, just what happens to people even associated with someone who might be "sick."

And of course in The Iron Codex by Caitlin Kittredge, people fear the necrovirus. At least there, they have somewhat tangible "proof" that there is such a thing. The government's scientists and researchers claim that anyone infected with the virus will go mad (which, most people accused of having the virus do go mad, but for a completely different and understandable reason; case in point, the MC's mother). Once they lose their minds, they start mutating into these monstrous creatures that roam the land around the walled city of Lovecraft.

Why isn't this totally bogus? Because the monsters actually exist. The government's not making that one up. But in order to explain where the monsters really come from, they'd have to explain alternate worlds to the populace, which would not go over well. And there is something that connects those people who contract the "necrovirus" and go crazy to these monsters from other worlds. So this particular fear is based on legit concerns and evidence twisted to suit government theories. Clever.

Add onto this that in The Iron Codex, America's in the middle of the Cold War, except now we've got monsters and madness-inducing viruses to worry about, and unlike the whacky US, Russia sometimes works with these monsters. They just basically turned into the Antichrist. So then we've got the fear of being called a Communist during the Cold War in a country where witches are still persecuted and anyone who's a Communist is generally considered a witch, on top of the necrovirus and the monsters. And the government of Lovecraft (and the US) is promising to keep everyone safe from all three of these terrible, terrible things so long as everyone continues to be good little boys and girls.

Fear of a specific group is an effective tool, all right. Look at Nazi Germany. How did Hitler turn so many people against the Jews and other non-Aryans so that things like the Night of Broken Glass occurred? Fear. The Jews, according to the Nazis, were the enemy.

You see the same thing in Delirium—the Invalids, the people who refuse to be "cured" of the deliria, are the Enemy, they're out to get you. In Divergent, there's talk of an Enemy beyond the city gates, and that's one of the things Dauntless are supposed to do—defend the city against this Enemy. In The Iron Codex, there are heretical Communist witches who consort with virus-spreading monsters, and they're the Enemy. And in Matched, there's a war supposedly going on in the Outer Provinces that helps to reinforce the idea that only an Enemy, or people classified as dangerous by the Society, would attempt to attack that same Society.

And what does the government always do in these novels? The government offers to protect its people from these Enemies that seem to be everywhere.

A type of fear that's used in Delirium and Matched (and to some extent in Divergent) is the fear of the unknown. The biggest instance of that is Matched, but we'll explore that last. For now, we'll touch on the other two.

In Divergent, fear of the unknown is a big problem. People are afraid of being factionless because without their faction, they feel they have no place, no purpose, no role in society. Having been there before, I know how scary that can be. So do a lot of young people beginning to enter adulthood.

And even the antagonists of the book have to deal with fear of the unknown in their own way. They have to deal with those who tested as Divergent, people the villains are afraid of. Why do they fear those who are Divergent? Because being Divergent means you're harder to understand, harder to predict…and that makes you harder to control. That makes you an unknown factor. So it isn't just the oppressed masses that can be manipulated by their fears.

If we look at Delirium, you see a more subtle form of this fearing the unknown. The deliria is a "disease" that brings with it a rollercoaster ride of emotions and feelings that can sometimes make you feel like you're crazy. You definitely feel out control. That lack of control in and of itself can be scary, especially when pressured (as many young people are) to always be and feel in control of yourself.

But this use of fear is especially strong in Matched. Why do people give up their choices? Because they are afraid of making the wrong ones. Why does Cassia, the MC, choose to be Matched for a spouse instead of trying to find her own love? Because she's afraid of what will happen if she isn't. Why does she follow the rules of the Society? Because she's afraid her life will fall apart if she doesn't.

You see this most strongly in the main plot of the first book (since this fear no longer rules Cassia in books 2 & 3). Cassia believes she is Matched to her best friend Xander (which makes her really, really happy). Then her Match Card supposedly "malfunctions," showing her someone other than Xander, and she practically has a panic attack because she literally doesn’t know what it means or what to do.

In times of stress, what are two of the most common pleas people make? "I don't know what to do" and "Someone help me."

Translation: Please, someone take over for me because I can't handle this. Fear will make you need someone to trust, someone to hand over the reins to when you can't take it. And if that trait, that inability to handle opposition and stress and unhappiness, is slowly nurtured by the shape our government and society is taking in response to that flaw? It's a never-ending circle, and eventually, it would get to the point where people are at in the Society in The Matched Trilogy.

Now, is everyone like this in the series? No. There's a whole rebellion going on that Cassia finds out about in book 2, and it's been going on for years and years. But the point I made above is a big foundation of the Society.

So that's fear of the unknown used to a society or government's advantage. Then, of course, there's fear of the government itself. You see this in Enclave and The Hunger Games, and even a little bit in Matched.

In The Hunger Games, rebellion is quickly squashed without mercy. The first time the districts rose up against the Capitol, the bad guys firebombed the entirety of District 13 to charred rubble and smoke and then, after executing every high-ranking member of the rebellion they could find (and probably their families, though I don't remember), they instituted the Hunger Games as a reminder that rebelling against the government will get you nothing but suffering. And while the harsh living and working conditions of Districts 5-12 also contribute to the difficulty in striking back at the government, another thing that does it is fear.

Unfortunately you don’t see this in the film, but in the book you find out that anyone suspected of committing "treason" against the Capitol is rounded up and turned into something called an Avox—basically a slave-class person subjected t experimentation, who can't speak, who's wired with some kind of "disobey and you die" device. They basically torture you, experiment on you, and make you into a slave. Fun stuff.

And then of course, there's the basic principle you see a little of in Britain during the rising tensions between the Saxons and the Normans, as well as between the Nazis and the non-Aryans—the fact that if you tick off the wrong person, they can and will kill you without mercy or fear or reprisals. Each district has a company of Capitol soldiers chillaxing there. Apparently the ones in District 12 are nice, but the ones in District 11 are psychotic. We don't get any details about the others, just that they're there. And yes, I suppose the populace could attack and kill the soldiers…but the soldiers are better fed, better trained, and they're armed. And of course, everyone remembers what happened in District 13.

In Enclave, it's barely touched upon—the same as in Matched—but one thing people worry about in those books is what happens when you break the laws; what kind of effect the government's punishments will have on you and those you love.

In Matched, Cassia is threatened by an Official who says she can ruin Cassia's chances of getting her dream job, can have Ky (her real love) sent somewhere horrible, screw up her parents' careers, etc. At the end of the book, Cassia is threatened with having her citizenship taken away.

And in Enclave, Deuce is thrown out of her enclave—though luckily, her partner cares for her enough to follow her so doesn’t die alone in the tunnels from zombie death—when she's framed for breaking the law; this fate is one of the reasons she's always been careful to walk the line.

Fear. Fear is the mind-killer, to quote Frank Herbert. Fear can destroy people's hearts and wills, but it has to be wielded carefully or that fear can turn into a desperation that ends in mass suicide/homicide for everybody. And that is where blame and hope both come in.