The continued re-envisioning of fantasy has been eye-opening. I had given up on the genre by the 1980s, as writers milked Tolkien’s formula in ways that I found not that interesting. As often happens, the genre itself was simply going through the types of changes that happen when young readers rethink the generic expectations that they grew up with, and then become writers. Beautiful stories often are the result.
That said, Sarah J. Maas’s Throne of Glass hints at that kind of rethink. Several African authors have created some amazing texts (I’m currently working my way through this list), N.K. Jemisin has won a Hugo and written a fantasy series that I still think about a lot, and even the white guys (Erikson & Esslemont, Martin, Abercrombie, et al.) have pushed fantasy far beyond its previous incarnations, making it both more and less based in real-world laws. Beyond the genre, authors like Susannah Clarke, Karen Lord, Jo Walton, and Akwaeke Emezi incorporate elements of fantasy in texts that fit into a variety of categories, all of which look far different for having accepted this straying.
Maas’s exploration of generic boundaries is a bit more restrained, at least in this first novel, but still Throne of Glass defied my expectations, often. I’ve catalogued some of these thoughts below:
- The female protagonist and heroine has been done, of course, but Maas adds a couple of interesting elements of choice to her portrayal, (this is sort of a spoiler, but not really) including who she chooses to end up with. There are elements of romance in this novel in ways that I do not often see.
- Bringing in chaos and the Wyrd (and the land of faerie) is a touch that I wish more authors did (Clarke is brilliant at it, and Martin’s children of the forest owe a lot to this concept as well), and these features add depth to this novel.
- This is a long series, so I am assuming that these elements get explained more thoroughly in future texts, but there is a lot of potential in that world…
- These characters are also developed differently, in a way that hints at what Lauren Berlant saw as ways to deal with the constant trauma that many people in our world experience. The main character, for instance, is rescued from a slave mine, albeit for a competition that she might not survive (although we know she will). At first I was frustrated, because the slave mine experience seemed to be one that was offered as a isn’t-she-amazingly-tough backstory. As the novel develops, though, the horrors of that place become more apparent, and we start to get glimpses of how the experience has both traumatized and molded her.
- It’s an interesting approach to character development, and I wonder if Maas does this as an element of her craft, mimicking the gradual reveal of trauma that might happen in intensive therapy.
Throne of Glass helps expand the generic boundaries, and I am curious to see how that expansion continues. Fantasy has moved far from the hide-bound genre it was in the 1970s (with apologies to Stephen R. Donaldson, of course), and here’s hoping its influence lives long…