A Shadow in Summer (Long Price Quartet, Book 1) by Daniel Abraham

By Daniel Abraham

The strong city-state of Saraykeht is a bastion of peace and tradition, a tremendous middle of trade and exchange. Its financial system is dependent upon the ability of the captive spirit, Seedless, an andat guaranteed to the poet-sorcerer Heshai for all times. input the Galts, a juggernaut of an empire devoted to laying waste to all lands with their ferocious military. Saraykeht, even though, has continuously been too robust for the Galts to assault, yet now they see a chance. in the event that they can get rid of Heshai, Seedless’s bonded poet-sorcerer, Seedless will perish and the whole urban will fall. With mystery forces contained in the urban, the Galts organize to enact their negative plan.
In the center is Otah, an easy laborer with a posh previous. Recruited to behave as a bodyguard for his girlfriend's boss at a mystery assembly, he inadvertently learns of the Galtish plot. Otah unearths himself because the sole desire of Saraykeht, both he stops the Galts, or the complete urban and everybody in it perishes perpetually.

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The boy must eventually separate himself from his dependency on – and desire for – the mother and must face up to his father. In doing so, the boy becomes more ‘‘man-like,’’ thereby maturing and perpetuating the heterosexual family configuration. But the child must also repress this guilty ‘‘fantasy’’ of desiring the mother and harming the father, and so Bettelheim and others argue that the symbolic content of fairy tales helps children work through such conflicts on a subconscious level. Although Freudians draw heavily on the Oedipal myth, the relationship between fairy tales, myths, and the unconscious is highly complex, A BRIEF CRITICAL OVERVIEW 43 E1C03_1 01/20/2010 44 particularly because each of these terms is defined differently by different scholars.

In contrast to those like Irwin or Tolkien who attempt to circumscribe the boundaries of fantasy, a more open-ended approach can be found, for example, in The Encyclopedia of Fantasy. In this indispensable tome, John Clute and John Grant acknowledge the debt that modern fantasy owes to antiquity, but also explore the many tendrils of fantasy across genres, movements, and modern media – including film. Like Tolkien they note a number of the so-called ‘‘taproot texts’’ that contribute to the ‘‘cauldron of story,’’ such as Apuleius, Bunyan, Cervantes, Chaucer, Dante, Malory, Rabelais, and Shakespeare, to name just a few (ix).

The value of Hume’s position lies in the A BRIEF CRITICAL OVERVIEW 41 E1C03_1 01/20/2010 42 acknowledgement that what we choose to call fantasy is a question of degree and not of kind. Just as fantasy, science fiction, or horror fall along a continuum, so do realist and fantasy elements. Fantasy has the potential to challenge the status quo since it can explore what would otherwise be repressed, and so it is not surprising that psychological analyses of the genre are common. In Fantasy: The Literature of Subversion, Rosemary Jackson focuses on the many fantastic and Gothic texts that inform Todorov’s work, seeing the fantastic as being particularly open to a psychological reading because of its connection to fantasy as a mental process.

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