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meteor752 · 9 months ago

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Epic the musical side story where Hades and Persephone get really invested in the story during The underworld saga, sorta small talk about the strange man for the next couple of years, and then freak the fuck out in the audience during god games when they find out not only is the guy still alive, he’s managed to piss off like half the pantheon

Just

“Hey babe?”

“Yeah Perse?”

“There’s like, a bunch of mortals here”

“Mortals? What, how?”

“Idk, they’re like, on some ship”

“Huh. Should I call Thanatos, have him take care of it, or should we just wait it out”

“Call Thanatos, best to rid the garden of any pests before they manage to kill your flowers”

“Pfft, alright. I’ll be right back”

“Okay- wait. A bunch of the dead are singing to him”

“What?”

“Yeah like a bunch. Who are they?”

“Uhh, most of them drowned, a few killed by a cyclops. One broke his neck?”

“They’re singing about a cyclops, about how he let one live or something”

“Probably one of Poseidons. Should I still call Thanatos?”

“No wait, I wanna see where this goes.”

“Alright.”

“An infant, what infant?”

“Maybe the cyclops?”

“OH NEW GUY! He seems important!”

“Also a cyclops victim. They seem close, what do you think friend or lover?”

“They’re Greek, it’s probably both”

“I don’t know how he managed it, but this guy brought down like, the entire vibe of the entire underworld. That shouldn’t be possible”

“Yeah. Oh who’s this lady now?”

“Suicide by drowning. Not sure. Maybe a relative”

“Yeah may-THATS HIS MOM”

“OH MY GODS. OH HE DIDNT KNOW OH LORD”

“Hooooooly fuck, what a way to find out”

““Here in the underworld the past is always close behind”. Think we should make that a slogan?”

“Then we’d have to credit him and stuff tho”

“Yeahhhh. Well, seems like this guy is sticking around for a few hours. Should I grab some popcorn?”

“Yeah I’ll grab the fainting couches”

~~~

“Okay what’s happening now?”

“He just stated speaking to Tiresias”

“Tiresias? He went all the way to the underworld to speak with a prophet?”

“Well he is quite good”

“Wait did Tiresias just reject him?”

“I think so? Oh wait predictions”

“Past romance, sacrifice, betrayal, and some final battle? Who the fuck is this guy?”

“Dunno, but he’s not going home that’s for sure”

“Palace? He must be a king of some kind then”

“Do we know the names of any mortal kings”

“Nope, so that didn’t help at-wait his wife is doing what”

“Ohhh, that must be rough, hearing it from a prophet”

“Okay this chanting is getting intense. I think I heard the word Scylla”

“I heard lightning bolt”

“That doesn’t bode well”

~~~

“He’s just, sitting there”

“Is he done? Should we-oh. No okay new song, let’s see what’s going on”

“Man this guy has it rough. Should we like, do something?”

“I mean, I’m not really the “bless the mortals” type of god. I mean I let a guy borrow my helm once, and I haven’t seen it since. I should probably check up on that actually”

“Yeahhh. They killed a friend of the cyclops?”

“That explains all the cyclops victims”

““Witch turn men to pigs”, you think that’s Circe?”

“Sounds like he-WHAT WAS THAT THIRD ONE”

“You don’t think-?”

““God comes down and makes a fleet drown”, I am most definitely sure!”

“Damn. Wait wooden horse? Oh, I know who this guy is!”

“Really?”

“Yeah he’s one of Athenas warriors! Ody something. Odyssen? Odyssa? Whatever, I remember the horse thing was a big deal when it happened, Ares was pissed, Hermes spread the word to all of mount Olympus”

“One of Athenas eh? Interesting. Oh yeah, the god was definitely Poseidon”

“How are you sure?”

“That line he just sung, “Ruthlessness is mercy upon ourselves”, Posy is always fucking saying that crap”

“500 men? Damn”

“Penelope, presumably the wife. Don’t know about the other guy tho”

“Either a son, brother, or lover. Or maybe just a friend I dunno”

“Another infant? What the fuck is wrong with this guy, pulling a fucking Hera”

“Gotta appreciate the determination of him”

“Yeah, but I think we’ll see him here again soon. If he’s pissed of Poseidon, and soon to be Zeus if Tiresias is to be believed, I don’t think he’ll get much further when he gets out of here”

“So we are letting him go”

“Yeah. Partly because I want to see what happens next. When he gets here we’ll ask him to tell the full story, from beginning to end”

“Alrighty then”

~~~

“I swear if I get dragged out of the underworld for one of Zeus’ little games one more time this year I might actually start a war”

“Mum keeps staring at me…fuck she’s probably gonna try and talk after this, fuck meeeeee”

“We can escape in the middle of it, no one will know”

“Oh she’ll know. Do you know what this is about like, at all?”

“No, but I think Hermes might launch into the fourth dimension if he keeps vibrating like that in his seat”

“Yeesh”

“Hmm, odd. I don’t see Posy anywhere”

“Maybe he’s competing?”

“Nah, he always declines when Zeus asks, he hates it”

“Why were you not invited?”

“Dunno, probably has nothing to do with me”

“Oh it’s starting, it’s starting”

“Athena’s challenging eh? Interesting”

“Would love to know what any of this is about”

“Mortal lover? Demi-god child? Those are the usual subject”

“Yeah but that’s not Athenas thing. Probably something to do with one of her “warriors” or whatever”

“Apollo, of course. Always has to be apart of these things”

“The drama queen”

“Truly”

“Hephasteus and Aphrodite? That’s a little awkward”

“Weird lineup so far- fucking Ares? Yeah shes not winning this one, sibling spite is stronger than any argument she can give”

“Why would all three of them be included. I can feel the tension from here. I’m uncomfortable”

“And Hera? Yeah no she’s loosing for sure, Hera like not care less about any mortal, unless they’ve offended her”

“She might be convinced, just to spite Zeus?”

“That just sounds unhealthy on so many levels”

“Alright let’s see what this is about”

“Hold up, Ody?”

“Oh my gods. You thinking what I’m thinking?”

“Well he was one of her warriors. Was he not?”

“I can’t believe he’s still trying to get home. It’s been like ten years, how the fuck”

“Well, if he pissed off Poseidon then he probably has something to do with it, the pissy bastard”

“Killed sirens. Why would you do that, so unnecessary”

“Sacrifice??? What the fuck is this man up to????”

“Didn’t we have a few Scylla sacrifices a few years back. Think that was him?”

“Holy shit we did. Yeah, Posy stays away from Scylla to the best of his ability, travelling in her domain to avoid him is not a bad idea”

“‘Phro is mad that his mum died? Girl you are grasping at straws, even more than the previous two”

“Hold up, why the fuck was I not invited?! He traveled through my domain, disturbed my souls, he even woke up Cerberus with his monster wailing, I should be apart of this!”

“I mean it’s a bit weak”

“I have more grounds to be down there than fucking Apollo. Like sirens? Come on man”

“Oh ‘Phro refused huh? Only got two, that’s kinda weak coming from Athena, she usually gets at least four”

“Is that cheating? Her quick thought thing. That cheating?”

“Are there any actual rules?”

“Just, try to win, I guess”

“Oh Ares turn. Wait she lost Aphrodite, this should be over”

“I think this is more of a personal thing. Like I said, sibling spite”

“Oh yeah, Scylla! Fuck this guy is getting around”

“Oh damn, that pissed her off”

“Guessing that the guy other that Penelope, Telemewhatever was his child then”

“Oh wait they yielded?? Huh, never thought that would happen”

“And, Heras turn”

“Yeah like I said she does not give a fuck. But it was a good run”

“Yeah, keeping her four out of five streak”

“Wait what the fuck was that”

“She- she actually yielded?”

“And for not cheating! Man I love this guy, I can’t wait for him to die”

“Only you babe. Wait holy fuck she won?”

“Oh Zeus won’t like- oh, just like I said. He’s pissed”

“Is he gonna kill her?”

“If he does I’ll just resurrect her probably. She deserves a better end, even if she is annoying”

“Well, should we go then?”

“Yeah I have some paperwork to- do I hear boss music?”

“OH SHES STILL ALIVE!!”

“She took a lightning bolt to the face and lived, holy fuck. Gotta respect it”

“I think, she’s actually convincing him? Never thought I’d see the day”

“Well, she’s his favourite child. I think if Ares tried something similar he’d just get struck by another lightning bolt”

“Well, that was fun. When I come back up for spring I’ll have to check with Hermes more about the details of what’s live, actually going on with this Ody dude”

“Yeah. Wanna stop for applebees before we head on down?”

“Yeah, but let’s go now cause mum is heading like right for me and I don’t wanna deal with that until another few months”

This was dumb lol

#Including some headcanons of mine #1. The god games are a regular competition thing that Zeus holds #There’s always one challenger and five competitors (Most of which are very biased in some way)#Before Athena nobody has ever won #2. The reason Poseidon wasn’t competing was because he doesn’t like it #He wasn’t in the audience either probably waiting for Ody to “Get in the water’’#3. When Hades looks at a dead soul he can immediately tell how they died #Like a little chat box appears in his field of vision just giving him info about the dead person #4. Applebees have existed for thousands of years #epic #epic the musical #tagamemnon #Hades #persephone #odysseus #epic the underworld saga #epic the wisdom saga #I think I’m funny

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sagevalleymusings · 4 months ago

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An Overly In-depth Analysis of Spinning Silver Many Years Late

`When I first started writing this in 2022, I had recently finished reading Naomi Novik’s Spinning Silver for the first time. I wanted to remember a particular quote in the book, and stumbled upon some reviews from 2019, when the paperback was released.

The quote I was looking for: You will never be a Staryk Queen until you make a hundred winters in one day, seal the crack in the mountain, and make the white tree bloom.

The reviews:

…read Temeraire and Uprooted at least ten times, but couldn’t reread this. The relationships between the two main men and two main women are abusive. Certainly, there’s trauma involved, but it’s not a woman’s job to heal men’s trauma through sacrificing themselves…

…I adored Uprooted (had some issues, but still loved it completely), however Spinning Silver just felt off – not as magical, terrible “romances”, too many POVs, etc. All in all, it just wasn’t as gripping. I liked Miryem’s character, but the other two protagonists were very bland “strong female characters…”

I hate this. I hate this so much. I hate this enough that I’m going to write an excessively long post defending Spinning Silver for three years. For everyone that doesn’t want to read a masters-student dissertation of an essay or who hasn’t read the book yet and wants to go into this spoiler free, here’s the TL:DR version. There are no romances in this book. The two reviewers above are trying to apply the enemies to lovers tropes they loved so much in Uprooted to a grimm fairy tale about politics, feminism, and Jewish persecution. There are no romances in this book. This is hard to grasp, because two of the main characters are married, and that marriage is a major part of the plot, but no one in those marriages including the men wanted the marriage in the first place. To call it “abusive” is to read modern expectations onto a historical political marriage that, while not inaccurate, fundamentally misunderstands the point and the context in which the story takes place.

Also, I would recommend the audio book, if you have trouble with multiple points of view. They are all in first person, and although it starts out with just two, we add more and more POV until there’s 5 or 6 total. The reader Lisa Flanagan does an excellent job distinguishing POVs which will make this aspect of it easier. Read the book, particularly the audiobook. But if you are reading this book looking for romance, you’re going to be disappointed. It’s still one of the best if not the best re-imagined fairy tale I’ve ever read. Here’s an excessively long post about why.

The Introduction

The very first thing we’re introduced to is Miryem as our narrator explaining that stories aren’t about “how they tell it” but getting out of paying your debts. So how do “they” tell it? The introductory story is about a girl having sex out of wedlock who is left in the lurch because the “lord, prince, rich man’s son” has a duty.

It’s about saving yourself for marriage. Even in how “they” tell it, who the man is doesn’t matter and no one is in love. Your duty to your family comes first.

This story is not about romance. The story this story is subverting is not about romance. Even in how “they” tell it, romance isn’t a good thing.

In actual fairy tales, not Disney princess stories, romance often has nothing to do with it. These are stories for little children to get them to obey their parents. Rumpelstilskin is about ingenuity and perseverance. Even in a story like Cinderella, the romance is entirely incidental - the story is about hard work, strength through adversity, and moral superiority. The marriage itself isn’t romantic in the sense that the two main characters fall in love. These stories are older than the modern concept of love. For authors with a strong sense of familial duty and nationalism, writing about something as subversive as romantic love would go against their goals.

This is the setting that Spinning Silver takes place in. It’s a modern fairy tale set in a regency era. The fairy tale Miryem tells in our introduction paints romance as a bad thing. You marry out of duty.

But Miryem from the start tells us that filial duty isn’t what the stories are really about. They’re really about paying your debts. Within the first 2 minutes of this book, it’s already told us three times that this story isn’t about romance. Once in the setting of a fairy tale about filial duty, once in the denial of how they tell it, and once in the revelation of the real interpretation.

The Power of Threes

The power of repetition and specifically of threes comes up over and over again in the book. In many cultures across the world, three has special significance. From the fairy tale side of it, Rumpelstilskin itself contains layers of threes within threes. Rumpelstilskin makes a bargain for the miller’s daughter on the third night. The queen has three days to guess Rumpelstilskin’s name, and guesses three names each day.

It’s likely that these repetitions of threes in fairy tales come from the Christian backdrop they were written in, which at times focuses on the third path in the middle of two binaries, or the significance of building power, though it’s difficult to make any sweeping, central claims about why three is significant because fairy tales are so widespread across countries, time, and religion. But it’s important that Novik is writing this from a Lithuanian Jewish perspective, so there’s a subtle shift in the interpretation and meaning of the rule of threes. I’m not Jewish, so what specifically this is as grounded in Novik’s ancestry is something I can’t be clear on.

During my research, one explanation that seems to resonate with the symbolism of this book is a Chabad interpretation. From chabad.org: The number three symbolizes a harmony that includes and synthesizes two opposites. The unity symbolized by the number three isn’t accomplished by getting rid of number two, the entity that caused the discord, and reverting to the unity symbolized by number one. Rather, three merges the two to create a new entity, one that harmoniously includes both opposites.

Lithuanian Judaism is majority non-Hasidic, so this is just one tangentially-related explanation of the importance of threes. I’m sure there’s other interpretations I’m missing because I can’t possibly begin to know where to look. But I like this explanation for grounding the story because I think it fits well with the symmetry of our protagonists and their husbands (or lack thereof), and the way the story is building to their creating something new.

So when the very first thing we are shown within the first two minutes of the book is a thrice denial of romance, we need to take Naomi Novik seriously when she says that the book is about getting out of paying your debts. Or, at the very least, this is what Miryem thinks the book is about. The way in which the characters grow and change does reveal some of the original cynicism in this thesis, but ultimately this is a story about what we owe each other, and how that debt comes for us if we don’t pay it. And on top of that, Miryem describes the love interest of the miller’s daughter as “lord, prince, rich man’s son” (3 possibilities). Who this love interest is doesn’t matter in the slightest.

All this to say that within the first two minutes of the book, if you are still reading this expecting a romance, you aren’t listening to the author.

Jewish Heritage

Also within the first few minutes of the book, we learn that Miryem is a Jewish moneylender in a fantasy version of Russian-occupied Lithuania some time in the Middle Ages. I’m not going to get too deep into this. I am, as I said, not Jewish, and these characterisations edge very close, on purpose, to deeply anti-Semitic tropes. But understanding what Novik is saying about her heritage and her family’s persecution is critically important to understanding the book.

Naomi Novik is a second-generation American. She’s Lithuanian Jewish on her father’s side, and Polish Catholic on her mother’s side. In many ways, Spinning Silver has been treated as a spiritual successor to Uprooted. Uprooted is set in a fantasy version of Poland, Spinning Silver is set in a fantasy version of Lithuania. Both stories are about Novik’s heritage, and the stories from her ancestors. Spinning Silver is a lot more obvious about this, but there’s a non-zero amount of Catholicism in the way the Dragon structures his magic, and in the older folk magic that lives in the trees.

Spinning Silver is much more explicit, and Novik has said as much, that Miryem’s family is supposed to reflect her father’s family and his experience as a Lithuanian Jew.

Our book takes place in a fantasy version of Lithuania in 1816. That’s a very specific date I’ve picked out for a book that otherwise appears to be ‘the ambiguous past.’ How did I come to that conclusion?

I did a little bit of research to try and determine when and this is what I came up with: Lithuania didn’t exist until the 13th century. Lithuania didn’t have a tsar on the throne until Russian imperialism in the late 1700s. Restrictions on Jews’ ability to work in craft or trade began around 1100 in Europe, and began to wane around 1850. In Lithuania, this fluctuated depending on the specific time period, so we can a little further narrow the timing down to after the mid 1600s but before the 1850s, probably during early Russian imperialism. Leadership is religious, either Eastern Orthodox or Catholic, who at the time believed that charging interest was sinful, so employed members of other religions, specifically Jews, to do their money lending for them. Because of the association with sinful, dirty work, and previous oppression as a religious minority, this led to a significant rise in anti-Semitism, coming to a head with a series of Jewish pogroms in Russia from (officially) 1821-1906, leading millions to flee and thousands of deaths. So we can narrow our estimation down to about 80 years, between 1820-1900.

Then my historian partner started reading it with me and exclaimed, "is that a reference to the Year Without A Summer" so actually 1816, but you can also see how easy it is to narrow that date down even as an amateur just by examining the exact flavor of anti-Semitism in the text. Which is why, even after I learned about the year Without A Summer, I left my aimless searching in.

Most audience members probably don’t know this much detail about history, but Spinning Silver is very clearly written with an audience understanding of this history in mind. We’re supposed to see the rise in anti-Semitism throughout the book which adds a layer of tension because at any moment, the politics in the wider world and rising anti-Semitism might catch up to our protaginists, and Miryem and her entire family could be killed.

That’s it, book over. Anti-Semitism sweeps through, destroys everything it touches, and none of the clever problem-solving of any of our heroines matters. It’s over.

This dark possibility looms over the story like a storm cloud the entire time. The most explicit reference is when Miryem uses the tunnel her grandfather dug.

“I pulled it up easily, and there was a ladder there waiting for me to climb down. Waiting for many people to climb down, here close to the synagogue, in case one day men came through the wall of the quarter with torches and axes, the way they had in the west where my grandfather’s grandmother had been a girl.”

The fear of persecution isn’t just something of the past. It is something that people in this community are actively thinking about and planning contingencies for.

We’re five pages in and I’ve barely gotten through the first five minutes of the book. I could do this for literally the rest of the book if I wanted to - five minutes later, Miryem as narrator starts talking about a festival at the turn of the seasons between Autumn and Winter, which she calls “their festival” and resents the townspeople for it because they’re spending money they borrowed from Panov Mandelstam on it. Meanwhile, Panov Mandelstam is lighting a candle for the third day of their own festival, when a cold wind sweeps in and blows the candles out. Her father tells them it’s a sign for bed time instead of relighting them, because they’re almost out of oil. Panov Mandelstam is reduced to whittling candles out of wood because, “there isn’t going to be any miracle of light in our house.” I didn’t catch this the first time around, because I’m an ignorant goyim I wasn’t thinking about this book as an explicitly Jewish fairytale. But Novik is obviously making a reference to Channukkah, and the fact that Panov Mandeltam doesn’t relight the candles for Channukkah is powerfully unsettling. And then on the eigth day, Miryem takes up her father’s work and collects the money he’s been neglecting, and there is light in their house for Channukkah after all, but the miracle is hard work, not magic. The entire book is like that, layers upon layers of meaning with every sentence. Subtle clues before the curtain is pulled back. I want to teach a seminar using only this book on the definition of “show, don’t tell.”

Good and Evil

But at some point I’m going to have to move on, and so let’s talk about trauma, poverty, and morals.

Novik introduces the townsfolk as Miryem sees them, but not all the townsfolk. Each person introduced by name winds up coming back later, enacting some kind of harm. But it seems to me that this harm is foreshadowed in each instance.

First, we’re introduced to Oleg. Oleg’s wife is described as being Oleg’s “squirrelly, nervous wife.” This isn’t the only time it occurs to me to wonder if Oleg beats his wife, but I think the description is intentional. Oleg eventually tries to murder Miryem, for explicitly anti-Semetic reasons, but I think this violence is foreshadowed in the way we see him interact, in brief flashes, with his wife and son, and how they’re always described as being a little withdrawn, a little afraid of Oleg, and not very sad that he’s gone, except in the part where this is going to be a financial burden on the family.

Next introduced is Kajus. Kajus who had borrowed two gold pieces to establish himself as a krupnik brewer (the krupnik he brews would lead to Da’s alcoholism). His solution to Miryem banging on their doors is to offer her a drink. Clearly getting people hooked and indebted to him is a tactic he’s used to success more than once.

The last person introduced in this sequence is Lyudmila. Again, we are given a set of three. Lyudmila is different. Lyudmila never borrowed money. She doesn’t have a direct reason for despising the Mandelstams. Or at least, she shouldn’t. And yet, her distain jumps off the page. Lyudmila is the quiet, insidious voice spreading lies and rumors about the Jewish family in town. Her violence is not explicit. But it is the same.

The last person we’re introduced to, given an entire separate section to his own, is Gorek.

Good and Evil part 2 - is Wanda’s Da an evil character?

Gorek, who’s better known for the rest of the book as Wanda’s Da, is also introduced to us first as a borrower trying to get out of paying his debts. Gorek is a violent drunk. This is established repeatedly. Gorek is not a good man.

But is he evil? Certainly he seems to be the antagonist of Wanda’s story, and there’s no love lost when he dies. But I think it’s interesting that even Gorek, in many respects, is sympathetic. He’s not very different from any of the other men in this town. Oleg is violent. Kajus profits off the many people in the town that drink their troubles away. Gorek is not uniquely awful even if he is particularly awful. And even for Gorek, the text takes pains to remind us that he buried his wife and five children. His life is hard. Their plot of land is sat next to a tree where nothing will grow. How much rye did they waste before they learned that lesson? And when Mama was alive, they had enough to eat in the winter, but only because she was very, very careful to divide everything up. On his own, Gorek couldn’t make that math add up, even before he started drinking his troubles away. Gorek is facing a life where unless something drastic changes, he and his children will slowly starve to death, and there’s nothing he can do about it.

So he sells his daughter for one jug of krupnik a week. Gorek has made his bed; he doesn’t want to keep living. He’s drinking himself into the grave he dug for his wife. But in the meantime he does still need to take care of his children.

I don’t say this to forgive his actions; I do think Gorek’s actions are unforgivable. Some people cannot be redeemed, they can only be defeated, and Gorek is one of those people. But at the end of the book, Wanda and Sergei and Stepon still bury him when they go back to Pavys, next to the rest of their deceased family.

Gorek is a product of his environment, and that environment is cruel and cold. The people it produces are by and large cruel and cold. No one in the town bothers to bury Gorek. No one stops him from hitting his wife and children. There’s nothing at all strange, according to the rest of the town, about his selling his daughter for drink.

I wouldn’t go so far as to say that Gorek is not evil, but I also think that this book is taking pains to present with sympathy the kind of environment which creates people like Gorek. Like our Staryk king, who was entirely prepared to force himself onto Miryem even though neither one of them wanted it. Like Mirnatius, who did not himself commit any acts of violence, but who was perfectly willing to benefit from the violence being committed with his face. The world is cold and cruel, and it is very, very easy to become cold and cruel from it.

The Power of Threes revisited: Miryem’s magic

Even Miryem says that she’s had to be cold and cruel to be their family’s moneylender. We don’t see very much of this. But she does after all agree to have someone work in her house for essentially no pay. We don’t necessarily realize it, because it comes at our own turning point, but Miryem has to learn empathy just as much as her Staryk king does. When she agrees to allow Flek and Tsop and Shofer to help her with her trials.

I read Novik’s new anthology Buried Deep and Other Stories and in that collection she says it’s a line from the Staryk king about Miryem’s magic that made her want to expand what was originally a short story into a full book. “A power claimed and challenged and thrice carried out is true; the proving makes it so.”

Fairy tales are about hard work. This line from the Staryk king isn’t just a way of constructing magic, it’s just literally true. If I get a job as an accountant, despite not knowing anything about accounting, and I don’t fail, then by the end I will be an accountant. I love this, that the magic in Spinning Silver is just hard work.

Miryem’s magic is another rule of threes. The Staryk king challenges her to turn silver into gold three times, to make the magic true, and she does it – with mundane means, through ordinary hard work, but it’s done. She barters freedom for a day by turning three storehouses to gold, and she does that too – with wit and hard work, but it’s done. The Staryk king challenges her that she’ll never be a Staryk queen, unless she can do three feats of high magic, and she does each one. Or rather, each one gets done, and Miryem has a hand in it. But the first feat of high magic requires the assistance of one other person. The second – the assistance of three. Much like each trial before it grew in magnitude – first 6 coins, then 60, then 600 – so too do all three stories grow in magnitude. It would stand to reason then that the third test of magic would require at least three upon three people. But Miryem is not the only protagonist in this story.

Circling back to Romance: Arranged Marriage is Bad That’s Obviously The Point

In addition to the rule of threes woven repeatedly in Miryem’s story, the entire story itself is a Triptych. One story is the story of the girl who could turn silver into gold. One story is the story of the children who find themselves lost in the woods and stumble onto a witch’s house full of rich food. One story is the story of the duke’s misfit daughter who marries a prince. They are all of them different fairy tales. And at the end of the story, they all come crashing into each other. The white tree belongs to Wanda’s story, bought with six lives.

Three sets of three people in each story

There are many, many examples of threes woven throughout this story, but it was only three years into writing this essay that I realized that the marriages themselves are a set of three as well. After all, only Irina and Miryem get married, right?

But Wanda is offered a marriage proposal. In a story with less magic, Wanda would have married Lukas, and been yet another generation of poor, miserable women that died in childbirth. But Wanda says no, a thing entirely unheard of in this era. Women didn’t say no to marriages arranged by their fathers.

And at the end of the story, Wanda is still unwed, with absolutely no indication that this will ever change. Wanda’s agency, this rejection of marriage, is treated with the same weight as the marriages themselves. Saying no is just as valuable as Irina’s political marriage, or courting for a year and a day and marrying for love, as Miryem eventually does.

And Miryem does marry for love. She originally has no choice in the matter, but that contract is rendered void when the Staryk king is forced to let her go. We don’t see the year’s worth of courting because it’s not relevant to the story because this is not a romance but I really don’t want to lose this point because I think Wanda’s story sometimes gets forgotten precisely because it doesn’t have a marriage. But Novik is explicit about this through Wanda’s story. Irina had no choice, not really. So it never occurred to her to say yes or no. She kills the man who sought to marry her – Chernobog wanted to marry Irina, not Mirnatius. Irina murders her would-be husband, Miryem divorces hers, and Wanda says no. Yes, the arranged marriages in this book are abusive – Novik knows that and tears them down one by one and rebuilds them into something with far more agency, that our women protagonists chose.

The Story

So we’ve come all this way and learned that Spinning Silver is not a romance, not really. The married couples in the story do come to love each other, after a fashion. But that love blooming was not the point. The point was…

Well it was about getting out of paying your debts, wasn’t it? Novik told us very explicitly that it was about getting out of paying your debts right on the first page. It’s not how they told it. But she knew.

Miryem spends the entire book making her fortune from nothing. Wanda takes over the work from her. Stepon takes over after Wanda. The debt that the town owed to Josef was a major thread over and over again throughout the whole story. Oleg tries to kill Miryem over it. The Staryk king seeks Miryem’s hand because of it. Raquel had been sick because their dowry had been spent. Wanda comes to their house to pay off the debt. Nearly everything in the book can be traced back to the debt against Josef Mandelstam.

And then, in Chapter 25, Josef sends Wanda with many letters to the people of the town forgiving all the remaining debt that was owed. The people of Pavys get out of paying their debt.

But… how do they get out of it? Not through any trickery of their own, not really. There is a stated implication that fear was a big part of it. Sending Wanda with letters of forgiveness would mean that they would not be harried or harmed while they were wrapping up affairs in the town. But Josef also doesn’t need the money. They have a home of their own, many hands to make light the work, blessings from the Sunlit Tsar to establish their place in the world, and blessings from the Staryk king that will ensure their safety even through a hard winter. They want for nothing, so they do not seek to reclaim what is theirs.

And in a way they got all those blessings through paying their debts, but in a way they did not. The Staryk way of paying their debts teaches us something very important about what a debt really is. The Staryks don’t keep debts. They make fair trade. And if they can’t make fair trade, there is no deal. Or at least, they say they make fair trade. They didn’t trade for the gold they steal from the Sunlit world, though I suspect they would argue that the pain that is caused to the people of that world is trade for their putting a monster on the throne. And Miryem rightly points out that they had been raiding for gold and raping the people of Lithvas long before Chernobog sat on the throne. They make fair trade. But only with those they view as their equals.

But the Sunlit world is even worse. The Tsar doesn’t make fair trade. He spends magic like water and steals the lives of people that didn’t bargain with him to pay for it. In the Sunlit world, people take as much as they can with as little return as they can get away with. Not everyone, of course. But it is of particular note here that in this story, Jews are vilified particularly because they ask for fair trade in return. And the people they loan money to don’t want to give it to them.

But fair trade can only go so far. The Staryk king is trying to make a road back to his kingdom, and he can’t, because there is nothing of winter that they can find in the warm summer day. And he cannot take Stepon’s white tree seed, because it was bought with six lives, and given to Stepon alone, and there is nothing that the Staryk king can barter with that would measure against a mother’s love. But Stepon wants to see the white tree grown, so they find a way to plant it. Irina digs hard soil in apology, and the Mandelstams sing a hymn to encourage growth, and although none of this was done for the Staryk king, he still uses the work to create his road.

Sometimes, fair trade isn’t enough, and one must trust that it is to the benefit of all to aid each other.

The truest way of getting out of paying your debts… is to abolish the concept of debt.

That’s right, motherfuckers, eat your kings and burn the banks to the ground, love is the anti-capitalist manifesto we made along the way!

This section was going to be a little bit of a joke, but the more I think about it, the more it really isn’t. Miryem’s magic makes wealth meaningless in its magnitude. Wanda’s magic is having food and shelter to spare. And Irina’s magic is having just leadership that rules for the people, not for power. Novik’s fairytale ending is collectivism. She tells us three times, through three stories of hardship. And it isn’t even about becoming a princess, because Wanda marries no one, and lives in a magical house that seems to always have everything they need. So long as they do what they can to take care of it.

The real magic is community. Doing for yourself what you can, and reaching your hand to another when you can spare, so that they might do the same. And so long as we all do that together, the darkness cannot come in to feast.

#disk horse #media analysis #naomi novik #spinning silver #literary analysis #okay this one's long even for me #also it took three years to write #five thousand words #nine sources #and two pages of notes

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