Themes: folklore, justice, truth, fairness
Genre: high fantasy/second-world fantasy
Narrative style: first-person present tense (with passages in past tense as she provides backstory/history) and often lyrical.
This is the first in a trilogy set in a fantasy world with a clearly-defined religion/folklore system which is explored and questioned through the books. Each book is narrated by a different character, but their stories definitely lead on from one another and need to be read in the correct order – it is a series.
As well as being exquisitely written and therefore suitable to show to students as a model of good writing that is likely also to engage them, I particularly appreciate a fantasy story written with underpinning feminist principles. There are great examples of female friendships here and positive models for romantic relationships – no romanticising of stalking or other abusive behaviour here. In this instalment, some have criticised Twylla for being a little passive at the start of the novel, but personally I find that realistic for the context that she is in – her social status is laid out clearly and she is relatively young and naive. She makes mistakes and grows through the novel, which I think is what characters should do. A supremely capable protagonist from the start leaves rather less room for character development!
Here is a set of prompts for analysis on chapter 1, which is shared on the Movellas website (but, again, I would also recommend buying a copy for your classroom/school library/self). This is suitable to use with year 9 students as practice for GCSE ways of working, or in year 10/11 to develop and practise skills. Obviously, reading a whole chapter would never be required in an exam, but it allows for more immersion in the language here and therefore more comparison between the different aspects of the chapter.
- How does Salisbury use language to present different time periods in this chapter?
- [this allows discussion of narrative structure as well as grammatical tense; students could literally try to timecode the various sections of the chapter to track the different timings covered, or to plot events on a timeline]
- How does Salisbury present contrasting senses of control and chaos in this chapter? Which sections of the narrative are concerned with this theme and how does the language used support it?
- [could discuss semantic fields, listing and/or particular word classes such as adjectives, verbs, adverbs used in key sections]
- How does the description of the religious/mythological system help to create the fantasy world?
- [this allows discussion of structure, narrative genre/style, use of invented names/vocabulary]
- Why do you think Salisbury begins and ends with the references to screaming?
- [again, directs to discussion of structure but also theme; could also extend to discussions on likely wider themes of the novel – this is the opening chapter so what has the author set up here?]
I might also be tempted to give this text to A Level Lang students as a potential style model for Original Writing. The complex time shifts and lyrical style help it address the ‘ambitious’ label in the mark scheme.