By Robin Hobb
Within the moment breathtaking quantity of Robin Hobb's Liveship investors trilogy, a brand new tide of glory and terror sweeps ahead the tale of the Vestrit extended family, their liveship Vivacia, and all who try to own her.
As the traditional culture of Bingtown's previous investors slowly erodes lower than the chilly new order of a corrupt ruler, the Vestrits anxiously watch for the go back in their liveship--a infrequent magic send carved from sentient wizardwood, which bonds the ships mystically with those that sail them. And Althea Vestrit waits much more avidly, residing basically to reclaim the send as her misplaced inheritance and captain her at the excessive seas. however the Vivacia has been seized via the ruthless pirate captain Kennit, who holds Althea's nephew and his father hostage. Althea and her onetime sea mate Brashen get to the bottom of to disencumber the liveship--but their plan may well end up extra risky than leaving the Vivacia in Kennit's bold grasp....
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Extra resources for Mad Ship (The Liveship Traders, Book 2)
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.