About "The Language of Thorns":
Our queen Leigh subverts common fairy tale tropes in her own ones, and I love this modern twist, I also recognised which fairy tales hers are based on. So I'll tell you my conclusions.
Btw I'll refer to fairy tales as Märchen from now on because I'm German and it's just the better word ("fairy tale" just doesn't feel like it includes all the tropes, creatures and characters, it feels like the stories only revolve around fairies and I think that doesn't do the genre justice).
Spoilers for the entire Grishaverse ahead.
Ayama and the Thorn Wood: This is basically a "Beauty and the Beast" retelling. The major subversion is that she is never really regarded as a beauty, and in the end, she also chooses to become a monster instead of him becoming human because that doesn't need to be fixed. Also every story she tells him is subverting tropes: the 1st one is about how unlikely a true happy ending is, the 2nd one is about how the things that seem like a threat can actually be a blessing and about how evil often disguises itself, the 3rd one is about how you shouldn't trust a stranger even though what he offers seems better than what you currently have and that you shouldn't be safed by a prince. The first of her stories is confirmed to be inspired by Tarrare's "Polyphagy".
The Too-Clever Fox: This is inspired by all of those fables where a fox is the main character. In those, he is normally a natural trickster and very smart. Oftentimes, it's about foxes utilising their wit to get what they want or escape a trap by using others and their flaws, and they normally succeed. The main subversion is that the too-clever fox isn't clever enough, he is trapped and was tricked, he didn't see that the girl was the hunter all along, he is stripped of his wit and the only way he survives is by the help of his friend Lula. Leigh wanted to show that hunters come in all shapes, they aren't always loud or muscular or male.
The Witch of Duva: This is (confirmed by author's note) based on "Hänsel und Gretel" by the Gebrüder Grimm (brothers Grimm). Btw I immediately knew that Magda was going to appear in this tale because of the opening and because I read "The Lives of Saints" just a few weeks prior. The subversion is obviously that neither the witch is the villain nor is the stepmother. Instead, they even help our main character. The real evil is closer than she ever thought. In the author's note, Leigh even confirmed that she did this because it always didn't sit right with her when Hänsel and Gretel returned home because the father who seemingly had no problem with abandoning them wouldn't protect them in the future.
Little Knife: This is inspired by all those tales where the guy (be it a prince or a commoner with a golden heart) has got to go through 3 trials to win the girl (be it a princess, a nobel woman or a very pretty commoner), the Gebrüder Grimm alone wrote many of those for example "Das tapfere Schneiderlein" (The bold Tailor). Leigh thought that trials are a weird way to find a fiancé. The subversion is that the poor guy with the supposed gold heart is just another man who doesn't love Yeva for herself, doesn't care what she wants and doesn't even deserve her because the river did all the work for him. This results in the river who won all the trials asking Yeva to leave those who are unworthy of her and only see her beauty, to which she agrees. Also they are sapphics and nobody can tell me otherwise.
The Soldier Prince: This is 100% based on E. T. A. Hoffmann's "Nussknacker und Mäusekönig" (Nutcracker and Mouse King), and yes, I googled he is the original author Tschaikowsky only adapted and changed the story. The subversion is that he doesn't want a romance, that's just what everyone expects of him. He wants to live a life of his own, and the Mouse King isn't the antagonist but rather helps the soldier accomplish what he already did. I loved the existencial crisis angel of this Märchen and Leigh said in her author's note that this was added because of her childhood trauma caused by "Velveteen Rabbit" (I don't know what that's about but I still can relate because like the amount of childhood trauma "Pinocchio" - especially the whole island plotline - caused in my case is so huge that I'm actually crying right now).
When Water Sang Fire: The author's note confirmed that it's based on Hans Christian Andersen's "The Little Mermaid" and it is basically an origin story for the sea witch. The protagonist Ulla undergoes a corruption arc (set in motion by her ambition and loyalty towards Signy), instead of how Märchen usually deal with outcast protagonists. Normally, those proof themselves worthy of love, friendship and glory by doing something that was regarded as impossible (once again the trials trope). Leigh wanted to show that princes can be cruel and dayum that betrayal hurt (I audibly gasped in public like 4 times even though I did see it coming). Do you think her brother spread the rumours that led to her becoming Sankta Ursula?
Thanks for reading.
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Mirror, Mirror on the wall, who's the fairest of them all? (The Golden Apple of Discord, the Judgement of Paris and the most beautiful woman in the world)
The Golden Apple of Discord was dropped by Eris, the goddess of strife. Enraged because she wasn't invited to the wedding of Peleus and Thetis, she fueled a vanity contest between Hera, Athena, and Aphrodite. The apple was meant for 'the fairest one', and Paris was to choose the winner. He chose Aphrodite, who bribed him by giving him the most beautiful woman in the world: Helen of Sparta. [source]
I saw the ghost of what must have once been a beautiful woman, a beautiful woman who gave birth to a beautiful son. [SaB, Ch. 15]
According to this article, 'the golden apple' was identified as quince. Dictionary of Plant Lore states that quince represents a symbol of happiness and fertility. In 17th century England, it was reckoned that pregnant women who eat quince bear wise children.
Each day, the pregnant queen walked the battlements at the top of the palace, her belly swollen, praying that her child would be wise and strong and handsome, but praying most of all for a kind wind to cool her skin and grant her some relief. [Ayama and the Thorn Wood]
Helen's mother Leda was the queen of Sparta, known for her beautiful black hair and snowy skin. Zeus seduced her disguised as a swan seeking protection from the pursuing eagle. On the same night, she went to lay with her husband, and as a result, she got two eggs from which hatched Helen, Clytemnestra, Castor and Pollux. The Homeric tradition suggests that Helen was immortal. [source]
I had been playing dolls and my sister had whined and howled and stamped her little feet until my mother insisted that I give over my favorite toy, a wooden swan carved by our father in one of the rare moments that he’d paid me any attention. [RaR, Ch. 10]
The etymology of Helen's name is unclear. The most common theories are focused around Helenē, probably fem. of helenos "the bright one." [source]
“Welcome, Lena!” boomed the Ulle as he strode toward them. Eryk barely registered the name his mother had taken. To him, she was always Mama, Madraya. [The Demon in the Wood]
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The Lives of Saints part 3
SANKTA MARADI
This is, once again, one of the stories where it’s very easy to see the Grisha work behind everything. Maradi seems to be just a moderately powerful tidemaker, who has a penchant for helping people.
SANKT DEMYAN OF THE RIME
Unlike the story of Sankta Maradi, this one feels like it’s missing something. Like, if what the story tells corresponds at all to the reality, there’s definitely something that has been left out. The pattern of first coming to someone to get them to fix your problems and then immediately pivoting to murder once the solution wasn’t perfect usually needs at least a little more to be happening behind it.
SANKTA MARYA OF THE ROCK
Okay, none of the Grisha powers are explicitly connected to rock, but they could be? So this could be just that the wise old woman knew about Marya’s powers, but on the other hand the last book pretty heavily implied that there are genuine oracles among the Suli, so it could go either way.
SANKT EMERENS
See, the way this story talked about alcohol is how I was expecting Ayama and the Thorn Wood to talk about alcohol, and the way it actually talked about alcohol pulled me out of the story.
SANKT VLADIMIR THE FOOLISH
Again, a clear thing that a tidemaker could do. Granted, according to the story he was able to keep the waters at bay for several days without sleep, but that can be a story that has grown in the telling, and besides he did die of exhaustion afterwards when using their powers is supposed to make Grisha healthier.
SANKT GRIGORI OF THE WOOD
Interesting, Grigori doesn’t get a “new” story, and instead it’s about what we heard in the story proper. Maybe because he had so much focus?
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I do wonder if the regular people ever, like think about how easy it is to map so many of these stories to Grisha powers. Although to be fair, it’s much easier from the point of view of someone to whom both Grisha powers and these miracles round out to “magic” that doesn’t exist in the real world, so the connection is much easier to see.
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The Language of Thorns prompts
Adapted from here & recreating to keep track of prompt fills
i. AYAMA AND THE THORN WOOD.
‘ love speaks in flowers. truth requires thorns. ’
‘ we should leave this place. ’
‘ no doubt it will come and devour us all. ’
‘ the beast will laugh you right out of the wild lands. ’
‘ you know how the stories go. interesting things happen only to pretty girls. ’
‘ stupid girl ! do you wish to become a monster ? ’
‘ strike me. cleave me in two. ’
‘ you’re as thorny as the wood. ’
‘ there is but one rule in my wood. speak truth. ’
‘ perhaps you might show mercy freely. ’
‘ what nonsense ! of course that’s not how the story ends. ’
‘ some people are born with a piece of night inside, and that hollow place can never be filled. ’
‘ you know the only bargain i will make. ’
‘ sometimes the unseen is not to be feared and those that are meant to love us most are not always the ones that do. ’
‘ bad fates do not always follow those that deserve them. ’
‘ no prince is worth your life. ’
‘ are you so eager to be eaten ? ’
‘ they have told me to return with your heart. ’
‘ you think to love a monster ? ’
‘ a man like you is owed no words. ’
ii. THE TOO CLEVER FOX.
‘ you are doomed to a miserable life. ’
‘ better to be hungry now than to be sorry later. ’
‘ what will everyone say when they see such a face ? ’
‘ we have not gone so soft as that. ’
‘ you think that we will let you live on foolish promises ? ’
‘ you have bested me. that much is clear. ’
‘ will you not free me ? ’
‘ you will have a fine time of it, i can tell you. ’
‘ i can bear ugliness. i find the one thing i cannot live with is death. ’
‘ if you will only cease your talking, i will gladly go. ’
‘ where he went, he bled the woods dry. ’
‘ what’s a bit more blood ? ’
‘ you should leave this place. you are not safe here. ’
‘ with such big eyes, i think you see too much. ’
‘ will you not tell me what troubles you ? ’
‘ why do you stay with him ? you’re pretty enough to catch a husband. ’
‘ just because you escape one trap, doesn’t mean you will escape the next. ’
‘ first i must find my courage. ’
‘ few can resist the sight of a pretty girl crying. ’
‘ the trap is loneliness, and no one escapes it. not even me. ’
‘ in the wood, even songbirds must be survivors. ’
iii. THE WITCH OF DUVA.
‘ there was a time when the wood ate girls. ’
‘ be back before dark. the trees are hungry tonight. ’
‘ who can say what shapes an appetite ? ’
‘ this is my home, you can’t just send me away. ’
‘ i will warn you just this once. go. ’
‘ you cannot come and go from this place like you’re fetching water from a well. ’
‘ hope made me stubborn. ’
‘ stay there and keep quiet. i don’t need rumors that i’ve been taking girls. ’
‘ i will not have you bring a monster to my door. ’
‘ you know that you are welcome to remain here with me. ’
‘ believe me. say you believe me. ’
‘ dark things have a way of slipping through narrow spaces. ’
iv. LITTLE KNIFE.
‘ it is dangerous to travel the northern road with a troubled heart. ’
‘ if you are lost in your own thoughts, you may find yourself stepping off the path and into the dark woods. ’
‘ why must i be the one to hide ? ’
‘ do you think i am so foolish or so cruel ? ’
‘ water only wants direction. it wants to be told what to do. ’
‘ always you have done my bidding, but what good are you to me now ? ’
‘ soon i will be very rich, but will i have a good man ? ’
‘ remember that to use a thing is not to own it. ’
‘ should you ever take a bride, listen closely to her questions. ’
v. THE SOLDIER PRINCE.
‘ this is the problem with even lesser demons. they come to your door in velvet coats and polished shoes. ’
‘ you will find great love and more gold than you could wish for. ’
‘ he’s a charming fellow, but most unusual, and peculiarities seem to follow him. ’
’ it seemed harmless at the time. ’
‘ i have not come to fight, only to talk. ’
‘ wanting is why people get up in the morning. it gives them something to dream of at night. ’
‘ i am perfectly real. ’
‘ she loves you, though, and that will make it harder. ’
‘ best not to ask. i think the answer would please no one. ’
‘ we can stay forever in the land of dreams. ’
‘ i sent you to die a hundred times. ’
‘ i eat the wonder in their eyes. ’
‘ you were an idea in my head. you were nothing, and to nothing you will return when i think of you no more. ’
‘ you wanted only that i might live. you would sacrifice your own life to make it so. ’
vi. WHEN WATER SANG FIRE.
‘ you wish to strike a bargain. ’
‘ make me someone new. ’
‘ this is the problem with making a thing forbidden. it does nothing but build an ache in the heart. ’
‘ easy magic is pretty. great magic requires that you trouble the waters. ’
‘ no one expects me to accomplish anything. ’
‘ i can smell your ambition like blood in the water.’
‘ i know that you should keep it like a secret, not shout it like a curse. ’
‘ you are worth more than that. you should not have to earn him. ’
‘ hope rises like water trapped beneath a dam, higher and higher, in increments that mean nothing until you face the flood. ’
‘ there is no pain like the pain of transformation. ’
‘ take your pleasures as you will. ’
‘ come, and i’ll tell you all you wish to know. ’
‘ he made me dream of things i cannot have. ’
‘ i do not care for dancing. ’
‘ look into the mirror, and try to deny it. ’
‘ you have never been like the others, and you never will be. ’
‘ we were not made to please princes. ’
‘ i am not quite mortal either, and i have many lives to live. ’
‘ i wouldn’t care if you were part human or part frog. ’
‘ my voice is not enough. ’
‘ you know i was never strong. ’
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