The north is hard and cold, and has no mercy. (ASOS, Catelyn III)
The North was in ruins. The North is in ruins. The king was dead. His armies decimated. Half the country was under foreign occupation. And the Starks, the ancestral rulers of the North, were dead, fled or captives of hostile houses. The Ironborn Invasion, the savagery of the Bastard of Bolton and above all the Red Wedding had despoiled a whole region of its king, its lords, its lands, its armies and its people. Injustice reigns in the North. But despite all the horrors visited on the region, despite it being a broken country, there was hope, a hope that wrongs would be righted and that justice would return.
Hello! And welcome to a brand new monthly series analyzing northern politics and winter warfare in the wake of the Red Wedding. In this series, I’ll be covering the major, middling and minor players, their plots and their conspiracies set in the North. We’ll be taking a deep-dive into all of this, because if anything, the North is an intriguing mess. Shifting alliances, vengeance and claims to Winterfell and the North present readers of A Song of Ice and Fire with a chaotic and enticing plot that starts in A Storm of Swords and takes off in A Dance with Dragons.
To kick things off, I wanted to talk about a theory about a subtle double-crossing that starts in A Clash of Kings, bounds its way into A Storm of Swords and sees some ramifications in the northern plotline from A Dance with Dragons. Tywin Lannister conspired with Roose Bolton and Walder Frey to betray the Starks and end Stark independence, but that may not have been the only betrayal he planned. In fact, Tywin Lannister seemed to be planning another betrayal against those he conspired with.
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
In the gardens of Eyrie by bubug
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, a little while back we here at the blog partnered with ASOIAF University to answer questions about A Song of Ice and Fire. We – that is, myself and SomethingLikeaLawyer – take the text-based questions submitted to us, write up thoughtful text-based answers, and publish these answers on the Tumblr.
So every Monday we present to you The Ravenry. We collect the questions we’ve answered during the previous week over on the Tumblr in post form, with a brief description of each, and publish it here, and link that post on Twitter and Facebook as well. There were a bunch of military maneuvering questions this week, which made the Lord Hand very happy. But military matters are just squares and circles and arrows to me, even in Westeros; it’s why I always skipped most of the Great Northern War in Robert Massie’s excellent biography of Peter the Great. Luckily, I got to talk about royal titles and dynastic marriages, two of my favorite topics. Also, Euron≠Daario. You lovelies know just how to make me smile.
So, without further ado, here’s The Ravenry for the week of 21 September: