By internal chronology one of the penultimate instalments in Joan Aiken’s Wolves Chronicles, Cold Shoulder Road (1995) nevertheless shares several of the thematic motifs of the preceding volumes, one of the features that helps to characterise the whole sequence. As is my practice I shall be listing and discussing these, with a certain big proviso …Continue reading “Shouldering themes”
This is planned as the first (and probably ‘final’) discussion post on Philip Pullman’s The Amber Spyglass following my earlier review. What I want to do is pick up on a few random themes and thoughts which don’t necessarily or frequently appear in commentaries and reviews.
So there won’t be discussion on anticlericalism and religion; nor do I wish to discuss the science of Dust or lodestone resonators, the multiverse or quantum entanglement. But I do wish to make some observations about John Parry, Asriel and Marissa Coulter; about the broad structure of His Dark Materials; about one or two of the beings in the trilogy which I haven’t yet discussed; and a couple of other matters.
Above all, I want to point to His Dark Materials and in particular The Amber Spyglass as examples of Pullman’s skill at novelistic collage.
Joan Aiken, born 4th September 1924 in Rye, East Sussex; died 4th January 2004 in Petworth, West Sussex
‘The most immediate manifestation of Aiken’s inventiveness is to be seen in her plots.
These are wild, intricate farragos in celebration of improbability, involving the skilled manipulation of a large cast of colourful characters and held together by a style which is a blend of the humorous, the satirical, the parodic and the melodramatic.
Chance, luck and coincidence are accorded significant roles in these narratives in a manner frequently reminiscent of Dickens or Hardy, though neither of these has quite the Aiken degree of recklessness.
There is a further Victorian influence in her fondness for exploiting the surreal possibilities when the totally logical confronts the totally nonsensical.’
— from ‘The Twite Stuff’, a 1999 piece in praise of Joan Aiken’s writing by the late Robert Dunbar in The Irish Times
This post will be looking at some of the themes in Joan Aiken’s Midwinter Nightingale — a title in the series known collectively as the Wolves Chronicles — which we have been exploring in a review and in related discussions. We start with the avian motif that has characterised so many of the instalments.
I do like it when books that happen to figure in my current, completed or planned reading — however different they are in theme or tone — somehow manage to display links. Whether it’s unconscious or pure coincidence I’m never sure, but it’s an added pleasure when I spot the chain of connections.
Every so often I put up a post drawing together themes, or characters, or places. As we approach a turning point in the year — in this case, the end of 2019 — it is tempting to start a summative series of posts. But I shall resist that impulse, reserving such an approach for December.
This time I shall merely attempt to summarise what the last few books I’ve read have, or indeed don’t have, in common. Why? Because, like all of us, I am a pattern-seeking animal and like to check that life isn’t just a random sequence of events, with no meaning or significance at all.
Or so I’d like to believe!
We come now to my final post analysing aspects of Joan Aiken’s 1971 instalment in the Wolves Chronicles.
Here I want to examine themes in The Cuckoo Tree that not only distinguish it from other titles in the series but also show it sharing memes and tropes common across the Chronicles.