The Dragon Reborn - Chapters 53-56

In this section, the Heroes overcome the forces arrayed against them, and Rand confirms he is the Dragon Reborn.

Faile falls into a trap, and since Moiraine assigned responsibility for her to Perrin, he makes use of the ability to enter the Wolf Dream to save her. Compared with Perrin’s careful smithing, his behavior here is frantic, leaping before he looks, urging Hopper to stop explaining and get on with leading him to Faile. These are the impetuous actions of man thinking with his heart, not his head.

Egwene takes control of her captivity, also using her access to the World of Dreams to save herself and her friends. Like Perrin, she is ignorant of the rules governing the World of Dreams, but fortunately her opponents are even less knowledgeable. Egwene is able to channel in tel’aran’rhiod despite being shielded in the waking world. The True Source can be touched anywhere but a stedding. Some part of her, maybe the most important part of her, is free of the confines of a physical body, and in the World of Dreams exists as a conceptualization of herself. The shield is around her body, and is not replicated in tel’aran’rhiod. Is the same true of all weaves? Does it matter whether they are tied off weaves or being held by someone? Later we’ll see how warded boxes are no protection in tel’aran’rhiod, so the answer must be that no weaves in the waking world are replicated in the World of Dreams. That also explains how Be’lal and Rand can wield Callandor in dreams.

Egwene finds Joiya first, and shields her. She scares Joiya by inferring that the shield may extend to her waking body. What affects you in tel’aran’rhiod affects your body in the waking world too, though to a lesser degree. Rand and Perrin’s wounds upon waking have often been less than what they appeared to have been subjected to in their dreams. Readers are finally getting the long awaited explanation of the World of Dreams. There is no better way to explain than by showing examples of the rules in action.

Egwene finds Amico next, who is drifting in and out of sleep as she toys with her dream ter’angreal. Egwene shields her also, but when she finds resistance, she sharpens her weave and rams it in place, stilling Amico. What affects you in tel’aran’rhiod affects you in the waking world, yet somehow Amico’s weaves hold even as she is stilled. Since Amico was not yet fully in tel’aran’rhiod, she can’t access it any further with the True Source cut off, but also can’t have the stilling take effect until she wakes. The ter’angreal has effectively trapped her between worlds. Nynaeve’s punch ends both the channeling and the dream. The ability to still someone instead of shield them may never been a real possibility in battle given how closely matched most Aes Sedai are in the One Power. The only example shown was years earlier when Moiraine battled Merean in New Spring. In tel’aran’rhiod, the willpower making the action is more important than the strength in the One Power, and Egwene forced the shield in place with all her might.

Mat manages to make friends on the rooftops and battle his way through the stone, taking out the High Lord Darlin with battle skill, not luck. He finds and frees the young women, gets insulted for his trouble, but may have saved them from any retribution by the remaining eleven Black Ajah before they fled the Stone.

Rand finally makes his appearance. Despite being absent most of the book, his short talk with Perrin, the updates through the dreams, and what is learned about the prophecy surrounding Callandor and the Stone of Tear all serve to make the stakes important to the reader. In a sentence or two, Rand’s conflict is made clear; his reluctance to learn the truth opposes his need to get Callandor before someone else does. Moiraine balefires Be’lal out of existence, and is herself knocked out by Ba’alzamon, who has decided to kill Rand after all. The only way to survive is to take Callandor.

Like both Perrin and Egwene, Rand must enter the World of Dreams. Ba’alzamon uses tel’aran’rhiod against Rand in a dozen ways. It is unlikely that Rand instinctively knows which weaves to use to survive each trap, or to split Ba’alzamon’s stream of balefire. He just uses Callandor to hold more of the One Power, and in doing so is filled with confidence, which lends him the power to manipulate tel’aran’rhiod. Each of Rand’s feats is more plausible as a consequence of him exerting his will over his surroundings, outmatching Ba’alzamon’s will, undoing what traps his opponent has set. Rand should have had less success using the One Power in this manner in the waking world. But, there is the precedent of his intuitive use of weaves when he used the Eye of the World.

The book’s ending would be difficult for Rand to carry alone. The other character’s plotlines all conclude with some satisfactory action, but it is not clear whether they have overcome their internal difficulties. Is Egwene burying the hatchet with Nynaeve when she asks her to sing to her as she did when she was a child? Perrin set out to find Rand, but dropped that quest in favour of his falcon and the Wolf Dream. Mat just wanted to get away from it all, and wound up defeating some minor villains, but resolved little else. The haphazard way in which each of their plotlines ends leaves the way wide open for Rand to provide the conclusive victory. Be’lal and the Forsaken were late arrivals on the scene in this book, but understanding the scope of their power made Be’lal’s confrontation with Rand a worthy challenge. Ba’alzamon danced around the edges throughout the book, but was never clearly made the main villain, given that neither Egwene nor Perrin had much to do with him. Only the carryover from the other books made it work well.

Another element that worked well was the continually shorter duration of each character’s point of view throughout the novel, culminating in rapid jumps from character to character within single chapters. The same quick switching was in the Great Hunt, but was mostly present because the other points of view were required to understand the events unfolding.  

Writing Lessons:

Give your characters satisfactory resolutions to their story arcs or risk the wrath of the reader.

The Dragon Reborn - Prologue to Chapter 4

In this introductory section, the story is no longer about Rand, but Perrin!

The prologue, as in the previous novel, provides some quick background essentials: how male channelers go mad, why no one wants the Dragon to be Reborn, the Three Oaths that Aes Sedai vow, and frames the battle against the Dark One. The prologue also ties off some loose threads from the last book: Fain fled to Amadicia, the Seanchan were repelled, and the Darkfriend Jaichim Carridin remains well placed, ready to use his station to advance the Dark One’s plans. With all that out of the way, there is even room to squeeze in the plots for this book: Carridin’s orders have suddenly changed from using Rand to killing Rand. The Whitecloaks mean to leave Rand alone, for now, but under Fain’s influence, they may investigate this Darkfriend-filled Two Rivers district. All the bases have been covered in this short passage.

The most important new element out of those was the sudden desire to kill Rand. This is out of character for Ba’alzamon and Lanfear, but we already knew that the Forsaken work against each other as much as with, so perhaps a new Forsaken is involved. Remembering that Ba’alzamon represented doubt, and Lanfear desire, let’s watch for similar characteristics that could be attributed to a new villain.

Immediately, the feel of this novel is different than the previous two. The initial mystery introduced is not ‘who is the black rider?’ or ‘what does the Amyrlin want?’, it is ‘when will we move on from this valley?’. This is not as keenly intriguing as in the previous novels. It is the first appearance of an infamous style that Robert Jordan used abundantly in later books, it is dragging out the revelation of simple details. Why is it used here?

Firstly, this entire first section is told from Perrin’s point of view, the longest sequence to date devoted to a single character’s point of view other than Rand, indicating his importance to the story. As part of making Perrin’s point of view unique, the text is an expression of Perrin’s attitude towards life, move slowly, carefully, and thoughtfully. Perrin himself can’t get right to the point, so chapters from his point of view will show more consideration of details, and feel more drawn out than chapters told from other characters’ point of view. If this wasn’t as obvious in earlier Perrin chapters in the other books, it is probably because there were but one or two chapters at a time, and enough new material was being introduced to overrun this effect. Part of the problem here is that there is no new significant information being presented. Knowing reader perceptions of much later books, I’ll keep an eye on whether this slowness shows up more frequently in Perrin’s point of view than elsewhere.

Another way to show Perrin’s different way of seeing the world is the number of blacksmith references. Descriptions of faces or objects are as comparisons to his experiences at Master Luhhan’s forge. Oddly, Rand never made so many shepherd and tabac references. Perhaps Rand is simply more imaginative and eager for the future, such that his frame of reference extends beyond what he did as a young man. Nynaeve’s cultural references were consistent with her experience, and were used frequently, Egwene’s much less so. Every character, even Perrin, felt like a man or woman of action in earlier books, but now he stands out as slow-moving by association with the idea being expressed in these chapters. Chapter 1 is even called ‘Waiting’.

The famous Wind that rose in the Mountains of Mist does more than describe the setting, the language describing it sets up the mood of ‘Waiting’ before any character is even introduced. Here is some sample language:  Down long valleys, hanging in the air, soon spring up, forgotten, snow that never melted, clouds clung to the mountaintops, snow and white billows seemed one, it held awhile, clung, not yet quickened. A variety of subjects have been described, none of them human, but altogether the reader is primed to think of being stuck in place and impatience to move.

Other characters are reintroduced, with their motivations. Loial who wants to write a book on ta’veren. Min who is reluctantly in love with Rand. Uno who bloody well fights goat-kissing Trollocs. Masema who is overeager to serve Rand. Several plotlines relating to Perrin are begun or touched on here: his association with Tuatha’an, his Wolfbrother abilities, dreams. As the central character, Rand scarcely appears. There is little point, his concerns are the same as Perrin’s to a large extent, and no one has the answers to his most pressing dilemma, how to control the One Power. Switching to Perrin’s Point of View instead of Rand’s has no downsides. Staying out of Moiraine’s point of view, but reminding readers of her inviolable objectives, keeps them suspicious of her.

In the dreams, Perrin gains more insight into the Forsaken than anyone else has. His Wolfbrother dreaming ability lets him enter the World of Dreams despite any protective effects from Moiraine’s presence. First Ba’alzamon, then Lanfear each pays him a visit and tries to get him to drink from their cup. They are still intent on using the Two Rivers boys, and have passed up easy opportunities to kill Perrin here. Interestingly, Perrin tries to assert his identity in a realm where force of will creates reality. Lanfear is eager to help Perrin, and brings him or lets him follow to the chaotic paths of the World of Dreams, where he sees Ba’alzamon meet with Be’lal in puffy sleeves and another Forsaken. They argue and vanish in a fireball. One of them is sending the Soulless after Rand. One of them is behind the Myrddraal that visited Carridin. One of them is not playing Ba’alzamon’s way, and is trying to kill Rand. And they just sent the Twisted Ones at the camp! Waiting is over.

Writing Lessons:

Changing point of view also allows you to change the voice, style, and pacing of your writing. It’s a new person with a whole new world view.