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Judging a Book by Its Cover: The Snow Queen

In this column, Tia Mansouri is going to take a piece of fiction with a notable or elaborate cover and analyze it before she reads it, then compare what she expected to what actually happens and critique how she thinks the end result turned out. This month she's covering Snow Queen, by Joan D. Vinge. The cover art is by Leo and Diane Dillon, who in the illustration world are kind of a big deal, so needless to say she was excited to read the book. (Not to mention the book won the Hugo!)  We were excited too, since her book fits in very well with our theme this week of re-told fairy tales, inspired by the release of Jim C. Hines' The Snow Queen's Shadow.

The Snow QueenThe Cover: I am immediately drawn to the center of the piece, where four women’s faces align. I imagined the story would involve a strong theme of change and ascension, as the lower details invoke nature and flowers and progress higher into the pure white figure - presumably the Snow Queen herself. Because the elaborate mask shown could be either in the process of being put on the figure at the very bottom, who I assume to be the protagonist, or being taken off, I then wondered whether perhaps it is meant to be the other way around, and the Queen at the top is changing into the young girl at the bottom. The rather stylized shadow immediately to the left of the four figures has a certain Darth Vader aesthetic and I'd wager it possess a dark meaning for all of the women depicted.

Another stylized rendering of what I assume to be a city is at the bottom right, with very retro-future pod structures. There is also a woman in a space helmet, set as a counterpoint to the face inside the shadow man. A stylistic choice that charms me is how the hair and outfit of the Snow Queen further blend into the stars of the sky as a connection to space, and the leaves creating a green net for the figure at the bottom blend into the sea and the planet. The three main take home points I get from the image: this is a book about women, a book concerning masks and image, and a book about levels, be they societal, atmospheric, or existential, and the changes that bring characters from one to the next.


Our Favorites: Re-Told Fairy Tales

Into the WoodsI was in about fourth grade when I saw Into the Woods on stage for the first time. This musical, written by Stephen Sondheim, intertwines multiple fairy tales--Cinderella, Rapunzel, Little Red Riding Hood, and several others--telling each story in its familiar version in the first act. At intermission, I bumped into one of my teachers, who had seen the show before. I told him how much I was enjoying myself, and he suggested that I go home and not see the second act, so that I continue to feel happy about what I had seen.

I stayed and saw the second act. And while I was a little shaken up at the time, I am so glad that I stayed. Sure, the second act of Into the Woods challenges the idea of "happily ever after," but in doing so, it provides a means for fairy tales to become more than familiar bedtime stories that fit in a comfortable box created by "once upon a time" and "they lived happily ever after." It provides a way for them to speak to the issues that we all deal with in everyday life.


The Innocent Sleep

The Riverside Shakespeare

Still it cried "Sleep no more!" to all the house.
"Glamis hath murdered sleep, and therefore Cawdor
Shall sleep no more. Macbeth shall sleep no more."

- Macbeth II.ii.54-56

I love Shakespeare. Truly, deeply, tattoo the words on my skin, love. And the reason I love Shakespeare so much is his language. So if you were to tell me that my favorite theatrical production of Macbeth would be one in which I heard fewer than ten lines spoken, I would have thought you mad.

Then I attended Punchdrunk's performance of Sleep No More



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