Myth, the Universe, and Everything

I wanted to post this on Monday, but, well, I had a deadline yesterday and had to finish reading a few series of review books at different grade levels before I could justify posting. So, just pretend this is my Valentine's Day post, ok?

You know that I read a lot of romance novels, and that I love the genre. You may also remember that we're reading the Safehold series as a family, and we're currently in the middle of By Schism Rent Asunder, the second book in the series. As I'm sure you've guessed, the Safehold books are not romance novels. However, like a lot of my favorite SF and F books, there's definitely romance inside the rest of the court intrigue and derring-do. But I think this is one of the first times I've seen compelling romance minus the angst that normally accompanies it.

I don't use angst as a pejorative here. As I posted on one of sartorias's recent Book View Cafe entries, I love me some romantic angst. My two top favorite novels of all time are both YA, and both involve the main character loving someone who she can't believe actually loves her back (which causes a heart-wrenching moment or two along the way!). In one case, the heroine doesn't actually know she's in love -- and that he might return her affections -- until she realizes she's put herself in a situation where it looks like she's betraying him utterly, and she might lose him after all. In the other, the girl knows very well that she's in love, but due to the hero's sudden absence, and his return in the company of her sister, she believes that, like in everything else in her life, her sister has proven better than she has. This opens her up to temptation by a faerie queen -- because how else will she win her heart's desire? And, of course, both have happy endings. (I'm not revealing the titles here, because these moments happen right at the end of both books, and they're complete spoilers as such. Some of you, of course, may recognize the moments. Or remember my listings of top books from earlier posts.)

Graceling by Kristin Cashore has some moments like this, also, with the exception that heroine Katsa thinks that, to have the life she wants, she has to reject all romance. Po, the hero who loves her, has to convince her that she can have romance without sacrificing herself. This may seem like a completely different moment, but the reconciling that Katsa goes through to decide what being in love would mean for her selfhood had that same kind of poignancy for me that the other stories did.

As much as I love those moments, there's no denying that they're angsty. They're full on teen torment, questioning of the self and one's relationship with the world. But that kind of angst isn't reserved for teens or YA novels. What would a good romance novel be without that same kind of questioning? If the hero and heroine knew from the very beginning that they were going to reach their happily ever after -- the way we readers do -- romance novels would be a lot shorter. The barriers that get thrown up between the hero and the heroine could be battled together, because hey, that's what teamwork is for! There are rare romance novels where this happens, but most of the fun in the romance novels I read is the will-they, won't-they push and pull, especially when it's driven by concerns that make a lot of sense -- or the world threatening to implode -- rather than miscommunication and stupid decisions.

Of course, in a SF or F epic, the romance isn't the center, and it doesn't need to take up the same amount of space. It can happen in small moments (there's a gorgeous moment in The Lord of the Rings when Aragorn notices that Eowyn is in love with him and he realizes that he has to reject her -- it's slipped in there, very quietly, and amounts to about one line of text; the love story between Eowyn and Faramir is equally quiet and lovely). It can be the hinge around which the final happy ending swings. Relationships can go through various possible incarnations or progress from fresh young love to passion to comfort (the Inda books follow a lot of relationships through various incarnations and succeed at showing love at many stages, for example).

Or romance can be a digression from the major plot that enhances the lives of the characters -- and makes readers like me squee just a little bit. This is the case with the romance currently transpiring in By Schism Rent Asunder. Two characters (unnamed for those who haven't read the series) have decided on a political marriage before meeting. There's already initial mutual respect, or the marriage would not have been the preferred form of alliance. When the characters do meet, there's instant attraction -- and, thus, relief. The marriage is the right thing to do: there's a new hope that they may actually enjoy it, as well. They each brooch the potential for romance a little tentatively -- the hesitation and uncertainty that the other may not feel the same spark -- but it's quickly acknowledged that, yes, the spark is there. And thus they can progress, without all of the will-they, won't-they push and pull, because the relationship has already been committed to. I don't think I've ever seen a romance done quite this way before, and while I'm sure that there may be quarrels and tempests in the future (they've only just begun on the relationship where I am in the story), I think the way their relationship has been presented thus far makes me as a reader fall in love with them just a little bit. And that, to me, is a great mark of success, whether or not the happily ever after is looming at the end.

When What I Saw and How I Lied won the National Book Award for Young People's Literature, I was a little surprised. I'd known when I started reading it that it was intended to be a young adult book, but I wasn't sure if teens would be as enraptured with the depiction of post-World War II United States as I was. The narrator exists so thoroughly in that time that instead of feeling like the historical fiction I grew up with, it feels in the moment--but the moment is sixty years passed.

Then I finished the book. Wow.



I was drawn in initially by just the cover image. I still think it's a beautiful and fabulous cover. And it captures exactly the feel of the story as the story plays out. By the last page, I think I was convinced that this actually is a true YA novel, and brings out some of the best elements of what can be done inside the genre.

That said, I'm still on the fence about whether teens will enjoy it as much as adults. And I'm afraid that the YA label might mean adults won't go for it. But I know that, given the folks who read this blog, I'm preaching to the choir. We all know how good the YA section is. And you all know how seldom I recommend a book here that isn't science fiction or fantasy. So seriously, if you have any inkling to go and read this one--pick it up. I'm really glad I did.

(Geek addendum: Judy Blundell is the real name of her pseudonymous identity, Jude Watson, author of tons of Star Wars books. I haven't read her under that identity, but I felt it pertinent to pick out the SFF link I discovered after the fact.)