“It is an easy thing for a prince to call the spears, but in the end the children pay the price. For their sake, the wise prince will wage no war without good cause, nor any war he cannot hope to win.” (ADWD, The Watcher)
From his vantage point overlooking the Water Gardens, Doran Martell looked at the children at play in the pool below. To his side lay a letter from King’s Landing informing the Prince of Dorne that his brother was dead at the hands of Gregor Clegane. All around him, overripe blood oranges ominously fell from trees, giving off a sickly-sweet odor as they split open upon impact. While Doran watched, Dorne was angry — angry at the recent death of Oberyn Martell, angry at the murders of Elia Martell and her children at the end of Robert’s Rebellion. Doran Martell knew all this, and yet from all appearances, he did nothing.
The reality, though, could not have been more different. Doran Martell was doing something to avenge his lost loved ones, but the prince could not seek the immediate vengeance that his family and countrymen wanted. The Prince knew that if Dorne went to war against the Iron Throne, they would lose, and if they lost, it would be the children who would suffer.
However, events had finally shaped up to the point where Doran Martell felt that he had his chance to truly strike a blow for vengeance all the while avoiding deaths like those of his sister and her children so many years before.
Recently, I attended Balticon, where George R.R. Martin dropped a completely new chapter from The Winds of Winter on us: the long-awaited Damphair chapter. George actually offered the convention a choice: he could read the “Sons of the Dragon” (the extended cut of Aenys I and Maegor the Cruel’s history intended for Fire and Blood), the previously seen Mercy chapter, or the never-before-heard Aeron chapter (which had previously been offered at WorldCon 2011, but rejected in favor of Arianne II). By overwhelming applause, the assembly voted for Aeron, to which he warned us: “This is similar in character to Ramsay Bolton. You are some sick motherfuckers.” The attendees seemed to freely acknowledge the claim, and what followed was probably one of the most thrilling chapters I’ve had ever had the fortune of listening from any novel, easily as engrossing (albeit in a morbid sense) as the high climaxes of A Storm of Swords. George admitted that there might be some revisions, even substantive ones, between the reading we received and the final version that comes in the published book. However, even on its own, the chapter was spectacular. Many were in attendance, but I didn’t see a bored face in the room. This chapter was a while in the making, but every bit was as savory as it could possibly be.
As a note, this isn’t in perfect chronological order. I suggest going to this piece to read the notes from the con. This is organized by greater themes, not strict progression.
This is a piece I’ve had in the back of my mind for sometime now, like at least a year and a bit, and I’ve finally found the time to get around to actually doing it.
I’ve heard a lot of comments about how the character of Ramsay Snow comes across as being a one dimensional horror movie villain. In this piece I want to counter this position and really dig into the character of Ramsay Bolton. I will argue that Ramsay is more than a one note B villain. Instead, Ramsay is a well developed and multifaceted character in his own right.
Greetings readers, I know that it has been a while since I’ve published on the blog but hopefully this essay, and the ones to follow, are the end of my writer’s block. This essay is the first in a brand new series that I’ve been working on for a little while and is something that I’m very excited to share with you all. It’s not as dense, extensive, or as layered as our Three Heads of the Dragon series but I hope it will be a fun read regardless.
The series, titled “Rags to Riches; How to Make it Big In Westeros”, will examine characters who have proven to be especially socially mobile in the rather rigid feudal system of Westeros. The series will explore the dynamics of social mobility within Westeros, the themes of Lord Varys’ famous riddle, and how the traditional power structures of Westeros are being unravelled in the face of rising socioeconomic changes.
My first entry in this series will cover fan favourite, Bronn.
Today, we are joined by a very special guest glass_table_girl for an analysis of Sansa Stark and how she has used courtesy to survive so far, and how she’s weaponizing it for the future. – BryndenBFish
Every fan can recite the trademark phrases from Sansa’s storyline, such as “courtesy is a lady’s armor” or “women’s weapons.”
Despite these metaphors, Sansa’s storyline through the lens of fighting and warfare goes unexplored, and ignores motifs that contrast with other characters to highlight the themes in both Sansa’s storyline and the progression of her character.
tl;dr: Sansa’s storyline is defined in language that equates her learning to warfare. Throughout her story, she accumulates an arsenal while playing defense, pivoting to an offensive position in her first TWOW chapter with the act of “dancing,” which the books establish to be a metaphor for violence or fighting. By framing Sansa’s education in martial language, the story establishes her learning as becoming a warrior—in a different sense.
As you may or may not know, Wars and Politics of Ice and Fire has its own Tumblr page (as well as its own Twitter and Facebook pages). Even more excitingly, we here at the blog have partnered with ASOIAF University to answer questions about A Song of Ice and Fire. We – that is, SomethingLikeaLawyer and I – take the text-based questions submitted to us, write up thoughtful, text-based answers, and publish these answers on the Tumblr.
Lots of answers this week, and – dare I say? – a lot of, well, random questions this week. I don’t know, every week is sort of like that, I guess, but I felt like I was answering stuff all over the place. But, hell, I got to use a Dune reference and talk abour possible Arya engagements, so it’s all good. The Hand continues to remain the smartest person on the goddamn planet, with some really excellent metas about Robert’s Rebellion and very nice takes on the Martell-Stark relationship and the Eddard-Jaime one as well.
If I can prolong this intro for half a second more: I’m starting a new feature on the Tumblr, called House Words Wednesdays. Every week I take a House with unknown words and I give it a motto, explaining my choice. I started this past week with the junior branch of House Royce, and the reaction was extremely positive – so much so that I actually have requests through October! Super cool. You can take a look at this doc to see what’s been suggested, and if you don’t see a House you want words for, tweet me or message me or the blog and I’ll schedule it. It’s a super fun project and I’m excited to continue.
So, without further ado, here’s The Ravenry for the week of March 21:
House Yronwood of Yronwood (Image credit to Scafloc29)
The heirs of House Martell may be styled Princes (and Princesses) of Dorne, but theirs has not always been the uncontested rule of that most southern state. Unlike the Starks and Lannisters, supreme kings in their realms for thousands of years – unlike even the Arryns, conquerors who have become well-respected over several millennia – the Martells have faced heated opposition to their “mere” thousand-year rule of Dorne. The most fearsome of those foes, and the most overmighty of those vassals after Nymeria’s conquest, has traditionally been House Yronwood of Yronwood.
Once High Kings of Dorne, the Yronwoods waxed more powerful than any of their Dornish neighbors until the arrival of Nymeria and her Rhoynish countrymen. Yet the Yronwoods have never let their formerly lowly rivals forget their own impressively royal pedigree or dynastic might. Diplomatic tensions and outright war between Houses Martell and Yronwood have marked Dornish history; the Yronwoods have never succeeded in casting off the Martell yoke (despite strong efforts to do so), but still the masters of Sunspear ignore the masters of the Boneway at their own peril. Studying the history of House Yronwood allows these tense and antagonistic relations to shed further light on where House Yronwood stands in the current day – and where the former High Kings may go in the future, to regain the realm that was once theirs.