Stageplay

Last night I dreamed you and I were lying in bed with the television on and reading books.  It was a little like the ending of If on a winter’s night a traveler by Italo Calvino (with the Reader and Ludmilla in bed together at last), except that I think you might have been a mix between Vidanric from Crown Duel by Sherwood Smith and Mairelon from Magician’s Ward by Patricia C. Wrede.  Only when I woke up, I forgot you at the same time that I reached out for you to hold me.  I elbowed an empty space and felt sad, because now I think that you might have been my Ideal Reader, the me who is smarter and kinder and wiser than me.  I might miss you, but I’m not sure.

As I got off of work, I walked through the parking lot toward my car, unlocked the door, and got inside.  The problem with this emerged only when I realized I was sitting on the passenger side.  I took this as another sign that my subconscious contains two people, Author and Reader, Speaker and Audience, Lover and Beloved.  Self and Other Self.

I guess my other self is male and likes to drive, heh.

Also, I may have made all this up.

The Hero and the Crown

Robin McKinley’s young adult novel The Hero and the Crown most justly deserved the Newbery Award in 1985. It is a story told in high fantasy style about Aerin-sol, Dragon-Killer, the only daughter of the king. Aerin lives under the rumors that her mother was a witch who spelled the king into marrying her and died of grief when she saw she had borne only a daughter. The only redhead in a court full of petty brunettes, Aerin finds friends only in Tor, her father’s heir (and the name of a fantasy publishing house, ironically enough) and Talat, an aged and lame warhorse. When Aerin discovers how to make herself fire-proof, however, her life of seclusion changes drastically.

Aerin’s adventures–encountering the dragon Maur and facing the truth of her own past–are not that of stereotypical fantasy; they are the stuff that poor fantasy imitates. While it must be acknowledged that the plot structure would make critical theorist Vladimir Propp (of the thirty-one narrative functions) shed a tear of joy, the ending is not all victory, or at least no victory without a cost.

Even if there were only five stars, I would give it six, because I think Aerin is a heroine who will be hard to forget.

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