Reasons to read Robin Hobbs's Realm of the Elderlings
. Lotta material (it’s a series of series)
. Characterization so good it literally feels like real people
. Lots of POC (including most of the main characters)
. A genderqueer prophet is one of the major recurring characters
. Multiple different cultures and political systems (there’s a matriachy)
. Hella feminist (especially Liveship Traders)
. Telepathic powers and communicating with animals
. Most unique take(s) on dragons I’ve ever seen
. I cried. A lot.
. Last book in the most recent series is coming out this year
In a colder tone, he added, ‘So what did you really plan to do, Chade? Pass off Fitz’s daughter as Verity’s? Steal her from Molly and give her to the Queen, to raise as her own?’ The Fool’s voice had gone deadly soft.
taking a moment to appreciate Fool laying in to Chade for his behaviour because it’s so rare that anyone does and I am really hoping for more of this in AF (though given the way the plot’s going it seems unlikely idc). Also, Chade’s response to the above quote:
‘I… the times are hard and the need so great… but… not steal her, no. Burrich would understand, and I think he could make the girl understand. Besides. What can she offer the child? A penniless candlemaker, bereft of her trade… how can she care for her? The child deserves better. As does the mother, truly, and I would do my best to see that she was provided for, also. But the baby cannot be left with her.’
1. Fool has made Chade hesitate. Lots of ellipses in that speech, especially for Chade, I think. Fool hit the nail on the head and now Chade’s trying to pretend that what they said wasn’t perfectly accurate.
2. Chade holy shit you are a terrible person. Seriously. If you’re that worried about Molly being able to care for Nettle, maybe you could… idk… offer some monetary support. Noooo you’re going straight for steal the child and pass it off as someone else’s
3. You cannot convince me that Molly would have been at all safe in this scenario. Chade passing Nettle off as Verity’s child and just leaving Molly hanging out in luxury as a loose thread? Fuck no. Molly would have died. Probably not too immediately; or alternatively, Molly was bound to pass away while looking after Nettle despite “all of Chade’s help” leaving Burrich as the sole person to persuade to give Nettle up to Kettricken.
tl;dr: chade fallstar is a terrible, terrible human being and Beloved should tear him a new one more often.
Assassin’s Apprentice by Robin Hobb, Chapter Nineteen “Journey”, The Fool
You know, rereading The Farseer Trilogy… before Robin Hobb (and two other authors), I think I’ve taken for granted the way my prior fantasies clung to formulaic tropes and characterization. The tomboy must be spunky and spirited, the farm boy must be naive, humble and soon to rise as a hero with special lineage, the mentor must be helpful, fatherly and maybe a tad manipulative (also die by the end of the novel by genre fiat) and the prophet must be cryptic, always a few steps ahead of the hero and nudging sly hints to aid them on their story arc.
With that in mind, I was kind of ready to write off the Fool. To be fair, I was ready to write off a few of characters (Shrewd and Regal) for adhering to archetypes. I thought the Fool wasn’t much better, simply mixing the prophet trope, the fool trope and the jester trope to make a sly-tongued trickster who spoke in riddles that would aid Fitz on his political and personal future. Nothing special, I thought. Sure, he was entertaining and he brought in some (needed) moments of levity, but he felt like a plot device, someone meant to give Fitz a peek behind the curtain of his future.
But here? This moment, and the period where Fitz snoops in the Fool’s room and finds that doll, is when I sat up straighter, stared at that question, felt a sudden stab of sympathy and thought “oh god, the Fool has feelings?” Throughout Fitz’s entering the Fool’s room without permission, I figured “oh Fitz, this is bad, he’s going to riddle you into shame!” I certainly thought it was a big no-no on Fitz’s part, but I didn’t expect the Fool to necessarily take it seriously. I figured he’d let out a wry rebuke to reprimand Fitz at most.
But this is so blunt. From the moment he asked that, I knew this became personal to the Fool. No cryptic hints or obfuscating riddles, the Fool was exposed and vulnerable and certainly hurt by this invasion of personal space, considering how Fitz ruminated on how much the Fool prizes his privacy before breaking in.
And what does the Fool do with his hurt? Expect ridicule. Because he plays a role in court that means people will generally mock and ridicule him because of position alone… and he expects that ridicule to extend into his private life. Even though he treasures his own intimacy and privacy, he’s expecting people to laugh at him for what he cherishes most, his vulnerable heart in the span of his room.
No way could I write him off after this. Not after this sympathetic peek into his interior. Too real, the Fool got way too real.
And damned if this didn’t break my heart upon reread…
FitzChivalry Farseer - I love how Fitz always is ready for a fight, and he knows he’s gonna come out on top, if a bit battered. Even if the people around him are like “No Fitz” he still does it while they all facepalm in despair.
here’s the bastid. stiff-as-a-stick chivalry’s by blow. you got a name, boy?
click for hd
hello rote fandom! i recently decided to learn how to photoshop so that i could a) pick up graphic editing skills and b) contribute more to fandoms! so here are my very first edits, featuring dev patel as fitzchivalry farseer
i spent ages on these, so please dont repost! cheers all, have a great day
ROYAL ASSASSIN (1997) by Michael Whelan, cover for the second book in the Farseer Trilogy by Robin Hobb.
We’ve gotten a number of requests for this piece over the years. And we get just as many questions about why Michael only illustrated two covers in this popular series. You’ll see clues to that in the accompanying photos.
Even though Fitz wields an axe in the book, the sales department wanted a sword on the cover. The change was based solely on marketability, and for an artist who has always prided himself on accuracy to the author’s words, that created an artistic dilemma.
In the end, Michael made the requested change but opted not to return for the last installment of the trilogy. It’s a shame because these are excellent books.