Fantasy has never really spoken to me. In college, in the late ‘90s and early 2000s, I had friends who were deep in Robert Jordan’s Wheel of Time, in Dune, and things like that. And then even prior to that, I suppose, Harry Potter, Game of Thrones, though I don’t quite remember when. And the truth is, I didn’t really ever get into any of them. There’s a particular richness, a sumptuousness even, of the worldbuilding, of the systems of magic, of the nomenclature and hierarchies of creatures, that made me deeply uncomfortable, or that I just couldn’t get into. I don’t know which it was.
That said, science fiction was always different. I know it in retrospect might seem inconsistent, but the truth is my father read Asimov, and I read the Foundation novels because they were on the shelf at home. And in a way, perhaps I’m backcasting the insistence, or the inclination, that consequences mattered, and that there was some kind of tether between the imagined world and what it actually could be. All of that meant I saw these as separate categories. And perhaps now I see them more as interconnected than not, but I never really thought to test that barrier, that difference in categorisation.
My daughter, who is now 12, loves fantasy. She always has. She also loves swimming, and swims competitively, which often means we spend long commutes in the car together, sometimes early in the morning, sometimes late in the evening, many times in a day. She has been listening to and reading a series called Skandar, and so she wanted to listen to it in the car, and I ended up listening to it alongside her as well. The first was Skandar and the Unicorn Thief, and now Skandar and the Phantom Rider. It is definitely not a reading practice I would have chosen voluntarily, but it is our form of spending time with each other. And it’s 25 minutes here, 30 minutes there, a few times a week, back and forth, with the narrator’s voice carrying me into a world I am still struggling to map, but one that she is completely fluent in.
Before I started listening to Skandar, I thought unicorns were sunshine and happiness. But here, unicorns are wild. These are skeletal things that are immortal, these are flesh-eating things. It was all brand new to me. And in a way, a lot of what I thought I knew about the genre, I had to put down before I could even hear what the books were actually saying.
That said, for those of you who have read the book, and for those who haven’t, there’s this idea of the bond. In Skandar’s world, a rider is bonded to their unicorn at the hatchery. The true bond is recognised rather than made, and it forms because of who each actually is, their element, their temperament, the fact of the match. Nobody is choosing in that sense. The rider doesn’t choose, the unicorn doesn’t choose. It emerges from between them. The two of them are already what they are, and the bond kind of completes it, or names it.
Then there is the Weaver, and in a way, her technology is the forged bond. Forged not in the sense of a blacksmith and casting, but forged in the sense of bonds made where none were supposed to be, that are imposed by an external force, hers, and designed to serve her purpose. Forged bonds vaguely look like true bonds, because they function like them in surface ways, but they run on coercion rather than on recognition. And the book moves through this distinction without ever explaining it, which is perhaps part of why I could relate to it.
And actually, my daughter pointed something out to me on one of our drives. She said you can tell true bonds and forged bonds apart by the colour. True bonds settle on one colour, the colour of the rider’s element. Forged bonds never settle, but flicker and cycle between all the elemental colours, never resting on any one of them.
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