The Broken Crown by Michelle West
Jul. 12th, 2008 05:34 pm![[personal profile]](https://www.dreamwidth.org/img/silk/identity/user.png){kind=small}
meganbmooreLike many of these many-volumed fantasy series composed of bricks, The Broken Crown serves largely as setup for the main story. In it, we are presented with what I assume are the elements of the main story, where a young woman is, against her will, chosen to bear the daughter of a god. In time, her daughter, Kiriel, joins one of the Ten Houses in Averalaan, which were introduced to us in West’s Sacred Hunt duology.
Most of the book, however, does not focus on Kiriel, or on Jewel, a central character from the duology who also appears here, or on anyone else in Averalaan. Instead, most of the action is set in the south in a city called Tor Leonne, a society where ruthless oppression, especially of women, is the norm. The book is told primarily through the eyes of Teresa, an unwed woman who runs her brother’s harem, and her niece, Diora, a girl known as the greatest beauty in the land, who is sold off for her father’s gain. The narration offers no modern perspective of the society and imposes no ideas of “the way things should be” in the characters’ heads. There’s no awareness of another way of life in Teresa or Diora’s voices, just a determination to claim what power and control over their lives they can in a society that allows them none.
Because of the power (literal power) in her words, Teresa was not allowed to marry, and all offers for her hand were refused. In her society, even married women have no power, only prestige. Unwed, she is looked at as an object of pity, her only power her bother’s voice. It is, however, a power she can use for influence, and to protect the women of his harem, and her niece. Diora possesses the same power as Teresa, but has been told to hide it from birth. Valued only for her beauty, she is raised from birth to be wed, and when she is, there is no romanticism to it. Her husband is cold and cruel, and it is emphasized that he’s no worse than any other husband. When she does find her place, it is taken from her, and it is her ability to say and do nothing that saves her. This is not portrayed as weakness or cowardice (and isn’t) but as the most difficult thing she has ever done. And when that is over, she finds herself in the position of being sold off again. When she is finally able to seize a little power and control, it’s because she finds a way to twist the rules that have oppressed her her into life to her advantage.
I have to say, though, that while West is a good writer (only a good writer could make you accept the world depicted here) she isn’t George R. R. Martin in that I can easily follow all the different perspectives, most of which don’t interest with each other. In addition, some of the names seem needlessly complicated, not to mention similar, and I’m not always sure what’s a title, and what’s a name. I mean, I don’t know if Sendare is the name or the title of Diora’s father.
Most of the book, however, does not focus on Kiriel, or on Jewel, a central character from the duology who also appears here, or on anyone else in Averalaan. Instead, most of the action is set in the south in a city called Tor Leonne, a society where ruthless oppression, especially of women, is the norm. The book is told primarily through the eyes of Teresa, an unwed woman who runs her brother’s harem, and her niece, Diora, a girl known as the greatest beauty in the land, who is sold off for her father’s gain. The narration offers no modern perspective of the society and imposes no ideas of “the way things should be” in the characters’ heads. There’s no awareness of another way of life in Teresa or Diora’s voices, just a determination to claim what power and control over their lives they can in a society that allows them none.
Because of the power (literal power) in her words, Teresa was not allowed to marry, and all offers for her hand were refused. In her society, even married women have no power, only prestige. Unwed, she is looked at as an object of pity, her only power her bother’s voice. It is, however, a power she can use for influence, and to protect the women of his harem, and her niece. Diora possesses the same power as Teresa, but has been told to hide it from birth. Valued only for her beauty, she is raised from birth to be wed, and when she is, there is no romanticism to it. Her husband is cold and cruel, and it is emphasized that he’s no worse than any other husband. When she does find her place, it is taken from her, and it is her ability to say and do nothing that saves her. This is not portrayed as weakness or cowardice (and isn’t) but as the most difficult thing she has ever done. And when that is over, she finds herself in the position of being sold off again. When she is finally able to seize a little power and control, it’s because she finds a way to twist the rules that have oppressed her her into life to her advantage.
I have to say, though, that while West is a good writer (only a good writer could make you accept the world depicted here) she isn’t George R. R. Martin in that I can easily follow all the different perspectives, most of which don’t interest with each other. In addition, some of the names seem needlessly complicated, not to mention similar, and I’m not always sure what’s a title, and what’s a name. I mean, I don’t know if Sendare is the name or the title of Diora’s father.
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