Last night I stayed up until four-thirty to finish the Secret Country Trilogy, by Pamela Dean. I will not lie: I read it because of the Cassie Claire thing. I've been meaning to pick it up if I'm ever in the right library, and yesterday, Pasadena, so there you go. A lot more passages than just the two that Avocado analyzed felt deeply familiar to me, which I imagine is how everyone else felt in reverse -- though -- if you haven't read these books, trust me, it is absurdly ironic that she chose to steal these, and actually, I could completely understand making a game out of taking lines from them. Dean quotes Shakespeare, Tennyson, Carroll, Thomas, Eliot, and god knows who else over the course of the book quite indiscriminately, if for very solid plot reasons. The one quote I know is from a copyrighted source -- Sayers, "Lay on thy whips," etc -- was entirely unmarked and jammed together with a huge amount of Shakespeare. It's possible she attributed everything in a lengthy notes section, but my ebook copy didn't contain it. What Cassie Claire did was still incontrovertible plagiarism, but hey! at least it's apropos.
The first two books -- The Secret Country, The Hidden Land -- were perfect. I really don't even know how to articulate the feeling of total warmth I have for these books, except for that it's exactly what good fantasy YA ought to be. The story of these books is tropaic enough to be its own fairytale: A number of children (three to five) invent a fantasy land or set of magical rules, and then suddenly find themselves inside it. It's a testament to Dean's skill that the Secret Country always feels both like a real place with a rich and terrifying political history, and like something invented by five children in the eighties, with characters named Justin, Claudia, and Melanie. And the Dubious Hills, and Fence's Country, which isn't named after the character called Fence. And a secret land guarded by a unicorn and a dragon.
The third (Whim of the Dragon) was still wonderful, but less perfect. ( spoilers for all three books )
My favorite part of all three books, which is also something I remembered from Tam Lin, is her perfect perfect use of Archaic Fantasy Language. It's not intrusive, it's not unreadable, it's not historically accurate Shakespearean English, but it does all the things that it's meant to do -- it is more formal, more precise, more given to long strings of puns on the word "sensible," more upsetting when two dudes who are best friends challenge each other to the death in it. If I could do one thing that Pamela Dean does, it'd be this.
The first two books -- The Secret Country, The Hidden Land -- were perfect. I really don't even know how to articulate the feeling of total warmth I have for these books, except for that it's exactly what good fantasy YA ought to be. The story of these books is tropaic enough to be its own fairytale: A number of children (three to five) invent a fantasy land or set of magical rules, and then suddenly find themselves inside it. It's a testament to Dean's skill that the Secret Country always feels both like a real place with a rich and terrifying political history, and like something invented by five children in the eighties, with characters named Justin, Claudia, and Melanie. And the Dubious Hills, and Fence's Country, which isn't named after the character called Fence. And a secret land guarded by a unicorn and a dragon.
The third (Whim of the Dragon) was still wonderful, but less perfect. ( spoilers for all three books )
My favorite part of all three books, which is also something I remembered from Tam Lin, is her perfect perfect use of Archaic Fantasy Language. It's not intrusive, it's not unreadable, it's not historically accurate Shakespearean English, but it does all the things that it's meant to do -- it is more formal, more precise, more given to long strings of puns on the word "sensible," more upsetting when two dudes who are best friends challenge each other to the death in it. If I could do one thing that Pamela Dean does, it'd be this.
