Crossroads of Twilight - Summary

Crossroads of Twilight is widely regarded as the least favorite book in the Wheel of Time because “NOTHING HAPPENS!” There are several reasons for this view.

It is the only book where the situation at the end is little different from the end of the previous book. Perrin is still seeking to free his wife. Elayne is still trying to gain the throne of Andor. Rand is still resting from his efforts. Egwene’s army is still mired outside Tar Valon. Mat is still traveling with the circus folk and wooing Tuon. Black Ajah hunters are still hunting the Black Ajah.

Typically, when the story is divided across several locales, the author has come back to the locale three times, with some progress being made each time that set of characters is revisited. Over half of the locales are shown only once in this book and even those shown twice don’t substantially change anything plotwise. These short scenes limit what the author can do to progress the plots.

So pacing is affected by the limited time devoted to each locale, and a lack of events to change the status quo. Something must happen though, right?

The book is very strong thematically, as each character has time for introspection and faces a very difficult or momentous choice. The choice is first framed with respect to the cleansing of saidin, which is the most important event to take place in the series so far. The author wanted the cleansing to have an epic scope, which required every character to take note of it, no matter where they were in the world. Often books will have a brief epilogue, revealing some of the reaction to the climatic events of the final chapters. Crossroads of Twilight is such an epilogue, 681 pages long. Cramming in everyone’s reaction bogs down the story and forces it to take place over a short period of time, about a week, which again limits how far events can progress.

The other ta’veren ignore the cleansing, concentrating on the task at hand. Elayne and Aviendha see it as something wonderful. Cadsuane disbelieves it, while other Aes Sedai mistrust it, thinking it the work of the Forsaken, which propels them in surprising directions.

Perrin’s inner turmoil is the most vivid, as he ignores the cleansing to save Faile at any cost, and taking a step too far, then realizes that not limiting what he is willing to do would destroy any chance of his reunion with Faile being a happy one. Other characters must also choose between what they want most and what they are willing to do to achieve it. Each variation brings to mind Shadar Logoth, and the price its citizens paid for their choice. Shadar Logoth is gone now, the last reminder of the price to be paid if you are willing to pay any price.

Crossroads of Twilight was published in 2003, the first book in the series to be written and published after the September 11^th attacks. Of all the characters, Perrin’s amputation of an Aiel prisoner is the most symbolic of the public discussion surrounding the appropriate response to the attacks. Perrin’s followers all insist he do what must be done, but he realizes taking the actions they want would destroy who he is. Yet he struggles to find what other courses of action he can take. He throws away his axe, choosing the hammer instead; he chooses forging, not cutting. In contrast, Mat’s choice to kill Renna to save his followers is declared justice and a righteous punishment for traitors. Rand and Egwene decide to try to find common ground with opponents, in order to fight a greater menace. As with plot elements in earlier books, modern American Mythology is blended into the story, with these plot elements applying to both the Vietnam experience and current events. In addressing these themes, a quieter, more introspective story was in order, yet another reason for the markedly slower pace of this book. I feel that wanting to give the story the right balance in this regard may have been a reason for the longer time it took to write.

Much of the trademark metaphorical language that the author uses to make descriptions mean something more is missing or more subtle. This is a deliberate way of fuzzing the reader’s understanding. Few things are blunt and direct, most descriptions, events, or revelations are vague, incomplete or unclear, which fits in tightly with the overall theme of the book.

Writing Lessons:

Make the voice you tell the story in match the theme.

Make something happen by the end!

The Wheel of Time - Act 2 - Books 4-9

Treating The Wheel of Time as one long novel, the Books from The Shadow Rising to Winter’s Heart make up Act 2. This is the middle of the story, where we expect to find conflict and a growing problem that the heroes can’t solve, leading into the conclusion of the story in which victory is achieved.

The Shadow Rising picks up with Rand having accepted that he is mankind’s saviour. He sets out determined to act out his role, only if he can do it without guidance or prodding. He rejects help from Moiraine, preferring to set out where his parentage leads: to the Aiel waste. With the help of Lanfear, he gains leadership over the Aiel and captures a Forsaken to teach him. Lanfear later strikes out at Rand in jealousy, and he loses his mentors.

Rand becomes a leader, and builds an army of soldiers and male channelers. He learns that followers have more say over the leader than the other way around. His arrogance leads him to make a mistake that gets him kidnapped. His treatment hardens him, and he grows ever more protective of his emotions. He resolves to firmly impose his will over both enemies and followers. For a time he appears to succeed, leaving dead Forsaken and wrecked armies wherever he goes. Eventually, the people he constrains wiggle free or fight back, reinforcing his attitude. Rand is well on his way to becoming a tyrant.

At this late juncture new potential mentors appear, Cadsuane and Sorilea, who see that a saviour who imposes his will is not much better than the Dark One. Their challenge is to save Rand from himself, before it is too late. At the last, Rand stumbles into a trap of his own making, yet recovers enough to gain Cadsuane’s help. He cleanses the taint, metaphorically erasing his past mistakes, but the question remains what path will he follow?

The villain Ishamael has returned in a new body, naming himself Moridin. He reveals his plan to be not to try control Rand yet. A board game serves as a metaphor for controlling Rand. It can be as dangerous to hold Rand as to let your opponent hold him. Moridin has cast doubt in Rand’s mind, now he plans to sit back while the heroes fulfill those doubts and set Rand’s path towards the Shadow. The only hitch so far is Rand’s cleansing of saidin, a danger so great to the Dark One that all the Forsaken were commanded to stop it even if Rand is killed in the doing.

The cleansing of the taint is the single most important event to happen in the world, opening up the possibility of men and women working together to defeat the Dark One, and acting as the opening blow of the Last Battle. As a pivotal moment, it makes a logical place to end Act 2.

Robert Jordan deftly creates obstacles of character, making the heroes’ choices directly responsible for how events play out. Nowhere is this clearer than with the battle for Rand’s identity, where his most personal defining choices dictate the fate of the world.

Supporting characters have been propelled into positions of leadership throughout Act 2. Elayne, Egwene, Mat and Perrin have assumed the responsibilities of leadership without going through the difficulties that Rand has created for himself. Notably absent is Nynaeve, who acts as Rand’s protector and conscience, disposing of threats to him, and she therefore has no leadership duties to assume.

All of the characters have had romantic interests identified and the majority have cemented them. Where stories frequently are resolved by acquiring the romantic interest, the fact that this story has tied most of them up this early may signify that the most important role of the relationship is to make men and women work together, like saidar and saidin. Resolving the romance at the end of the story would be counterproductive in achieving this goal.

The World of Dreams, Tel’aran’rhiod, is a place where identity and force of will shape reality. The early part of Act 2 had a heavy focus on this realm which was conspicuously absent in later books. This is distraction on the author’s part, diverting the reader’s attention from the possibilities of its powers until their eventual use in the final act.

Several of the books made use of a magical item or spell in the climax of a plotline, such as the Bowl of the Winds, balefire, a’dam, or the Choedan Kal, but these are far less obvious quests than in the earlier books of the series.

The broadened cast of characters and more frequent use of minor characters’ viewpoints greatly expand the world. Readers understand that the whole world is at stake, because they are exposed to the entire world and its myriad cultures. This wider tapestry has the side effect of bogging down the story a bit; most often when the readers can’t see how a scene affects the characters they have been following for so long.

The story carries the best pacing and enjoyment when readers are treated to several chapters in a row featuring the same locale before jumping to a different one.

Continuing the theme of American fantasy, the books of Act 2 reflect a far less certain time, reminiscent of the Vietnam era and its outcome, and the internal conflict it created.  Rand and America have stepped forward to claim the privileges of adulthood, and then made an apparent bungle of things with hardened arrogance and ego, the type of errors in judgment such as any young man might make. These events are part of the modern American mythology, along with the self-questioning that comes with it. These books are about the search not only for what outcomes are right, but what actions are right to reach them.

The Wheel of Time - Act 1 - Books 1-3

Treating The Wheel of Time as one long novel, the books The Eye of the World, The Great Hunt, and The Dragon Reborn make up the first act. The groundwork is laid for the series concept as a whole, and all of the most important thematic elements are introduced. The beginning and end of the story are bookends, what shows up in one should be resolved in the other. So what are those elements that we can expect to see in the final act and the final volume A Memory of Light?

The first act is where Rand is told he must save the world, which is reportedly the idea that got the series started in the author’s mind. By the end of the first act, Rand accepts that this is true, and he is the saviour of mankind. The second act will be his struggle to convince others that he is the saviour, and the final act will be where the world saving takes place.

I’ve mentioned several times that self-awareness and force of will are defining characteristics of the heroes. In the most recent books Rand is using his force of will to make it to the Last Battle in a way that is counter-productive, becoming almost as bad as the force he is trying to defeat, running headlong down the path that Mordeth took, leading to the destruction of Aridhol. Mordeth’s drive and desire to root out evil was described early in the series, because that destructive single-mindedness is the major pitfall Rand has to overcome. As a saviour figure drawn from Christian religion, forgiveness and acceptance are the character traits that are supposed to save mankind from its sins, and those are the characteristics Rand must embrace before he shares Mordeth’s fate, and humanity suffers Aridhol’s.

Seven of the original characters are defined by their willpower: Rand, Perrin, Mat, Egwene, Nynaeve, Lan, Moiraine. Each of them has a drive to accomplish their goals that far exceeds that of the characters around them. Lan’s influence has been detrimental to Rand, as it has introduced him to the myth of the lone warrior fighting an impossible war, a myth which Rand is eager to star in. Readers are told several times that Lan will die alone in the Blight if he carries on this way, but he looks forward to that romantic death. A similar fate awaits Rand if he follows Lan’s footsteps, yet Ba’alzamon has laid just such a path before Rand.

Ba’alzamon, as the force of doubt, undermines Rand’s trust in others, making him think he has to do battle alone. Rand’s friends seek to support him, but his chivalric view that people must be saved in spite of their own wishes will make him dismiss their help over time. Ultimately, defeating Ba’alzamon requires rejecting the ideas he represents. Rand will have to realize that all humanity will be fighting the battle, and it will be a battle of ideas and willpower, not of bloodletting. Individually, no one can stand against the Dark One, but collectively, humanity can reject the selfishness he represents and stand united.

None of that is any good against Trolloc hordes, but there is one place in which ideas and force of will can fight battles: tel’aran’rhiod, the World of Dreams. Here, ideas are given strength. The idea that the world can rally around is that there is a person who can defeat the Dark One, a Dragon, and in tel’aran’rhiod you can lend strength to the Dragon by believing in him. If one person can alter reality by thinking it, how much more powerful would it be if a group of people collectively will it to be real in tel’aran’rhiod? But first, he has to believe in himself, which point he has reached at the end of Act 1.

Every book in Act 1 ended with a battle in tel’aran’rhiod. The last book should also end in tel’aran’rhiod. The Pandora/Eve who freed the Dark One is especially knowledgeable about tel’aran’rhiod. She was encountered early in the story, therefore she should have a role to play at the end of it. Her sins must be redeemed by the Dragon if the story is to follow western religious myths. Dreams and willpower are the common link between several important characters and plot elements.

Each book so far also has a magic object used in the final battle: the Eye of the World, The Horn of Valere, and Callandor. This practice should generally continue, but for the final book, it should be a magic object introduced much earlier than in that book. Tel’aran’rhiod itself qualifies, even if it isn’t an object, but an environment.

This series should rightly be classified as American Fantasy, as it incorporates several important historical and mythic elements from that culture. The Seanchan’s role as invaders from across the sea who require absolute devotion to their ruler evokes the War of American Independence. The slavery that the Seanchan built their empire on speaks to themes from the American Civil War. The myth of the self-made man, the lone cowboy, is one that permeates American culture and the egos of Rand and Lan. Despite the many other mythic influences of far older cultures, American Mythology also stands out prominently.  

The Eye of the World - Chapters 5-8

In this section, the threat to the characters is revealed in the form of Trollocs. The jarring suddenness of the attack, happening as the heroes prepare a quiet domestic dinner also tells us about the enemy’s opportunistic and vicious mindset.   The attack on the farmhouse gives readers an idea of a victim’s expected treatment at the hands of the enemy. The Trollocs demonstrate a brutal desire to end human life, and wanton destruction of anything that might help humans sustain it. What they can’t break or burn, they render unusable, smearing it with their own filth if that is all they have at hand. Burning a village is still a bit of an abstraction, but Rand discovering how quickly and efficiently the Trollocs have made a ruin of the farmhouse is a more potent way to make the reader understand what the enemy does, and evoke an emotional response.  

It’s easy to lose track of this when later dealings with Forsaken give more human motivations to the Dark One. The Trollocs and Myrddraal should be more representative of the Dark One’s objective: the end of all life.

The introduction of the supposedly mythical Trollocs allows the characters to consider the idea of other mythical beings actually existing, such as Aiel, Green Man, and Ogier. Introducing a new concept can be tricky, you don’t want to bore readers with heavy exposition, but you need them to be familiar enough with it when it finally comes up later in the story. Contrasting the future idea with the current idea allows not only the opportunity to give the desired information, but to present it in a manner that is logical to the characters, and therefore more credible to the reader.

Two threats to Rand’s identity are revealed. Tam may not be his father, and the Trollocs may be seeking him out personally. Imagine what the story would feel like without either of these: just like our teenage D&D campaigns: Walk-fight-walk-fight-walk-fight.

Can you find the paragraph that is not told from Rand’s point of view? His back is turned, so it’s obviously not him seeing the expressions and gestures.

An important theme is brought front and center: Trust. The Two Rivers folk have a strong and intimate fellowship with each other, even with their least likeable neighbours, the Coplins. Strangers don’t benefit from the same trust, and none less than Moiraine, the Aes Sedai in their midst. Rand, Thom, and Bran can’t say whether she can be trusted, but Rand decides trusting in her is better than letting his father die. This may be the last time he can make such a decision without external forces trying to affect his judgment of who he can trust. Lack of communication is often pointed out as a common theme running through the books, but the reason for that lack is first and foremost a lack of trust between the characters. I expect  A Memory of Light to delve into how humanity must trust in itself, and each other, if they are to overcome the Dark One. In Haral Luhhan’s words: “the Light will take care of us all. And if the Light doesn’t, well, we’ll just take care of ourselves. Remember, we’re Two Rivers folk.” The challenge is getting the whole world to act like Two Rivers folk!

Writing Lessons:

Even when the story is epic, look for ways to make it personal to your characters, and more importantly, your readers.