Jul. 12th, 2017

skygiants: Hazel, from the cover of Breadcrumbs, about to venture into the Snow Queen's forest (into the woods)
With Sorrow's Knot I think I have now finished reading everything from Erin Bow's backlog, which is good in that I have consistently enjoyed it all, but bad in that I have no more Erin Bow backlog.

All of Erin Bow's work (I can now say, having read all of it) is in some way about death and undeath and the wildly unhealthy ways in which human beings react to loss; however, Sorrow's Knot is EVEN MORE explicitly about this than most. The book focuses on Otter and her friends Kestrel and Cricket, who are all pretty sure they know what they're going to do when they grow up: Kestel is going to be a ranger, Cricket is going to become a storyteller (despite being a boy and getting a certain degree of side-eye for deciding to stay in the women's village at all -- everyone knows it's dangerous in the forest and boys don't have any power to protect themselves with, sorry boys!), and Otter is going to train with her mother Willow and Willow's teacher Tamarack to learn the very important job of being a binder, aka Person Who Stops The Dead From Coming Back And Killing Us All.

Then Tamarack dies -- and then Willow abruptly and without explanation decides she doesn't want Otter becoming a binder after all -- and then the knots that stop the dead from coming back to haunt the living begin unraveling -- and then more people die -- and then Otter and friends get to go on a road trip! It's not a super fun road trip and it unsurprisingly features several close encounters with the dead.

I really liked the worldbuilding and the slow and careful work that Bow does to build out the daily lives of the characters and the culture -- it's a North American-based world without European influence, and I'm certainly not qualified to comment on how well it's done, but to me it felt interesting and non-obvious. Also, Otter's world is almost entirely composed of women and everything revolves around Significant Mother-Daughter Relationships and it's great, although Erin Bow sadly had not yet discovered lesbians as of this book. (Though I feel like perhaps this is the book that led to her discovering lesbians? Like, I do wonder if someone came up to Erin Bow and pointed out that she'd written a matriarchal village where Actual Heterosexual Romance is explicitly rare and still somehow only featured Actual Heterosexual Romance onscreen, and Erin Bow was like 'WHOOPS OK SORRY I'LL MAKE IT UP TO YOU' and then we got The Scorpion Rules. Which, I mean, if this is the case, I guess I'm not complaining, I'm very happy to have The Scorpion Rules!)

I also really liked the importance of stories and storytelling and lore and bits and pieces of information shared and not shared, but the pacing of the way those stories are shared with the reader sometimes felt a little off to me; there were occasionally times, especially towards the end, when I felt like the book was leading me to expect a Big Reveal that had already been revealed. But, I mean, the point of the book is not really to Reveal, it's to examine grief -- and as I have mentioned above, Bow is exceptionally good on grief.

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skygiants: Princess Tutu, facing darkness with a green light in the distance (Default)
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