The goal of reading is to immerse yourself in another world. To find yourself in a place, a time, a situation that becomes so real to you that it’s a wrench when you realise that they were words on a page. I remember reading a book with a blind protagonist when I was a teenager (I think it was The Cay but I can’t be 100% sure now, after fifteen-ish years) and being surprised when I finished that I could see. Intellectually I knew that, of course I could see, I was reading, but the world the author had created was so non-visual that it was a shock to come out of it.
I read The Name of the Wind mostly in half-hour spurts, my lunch break at work. Almost every day that I read it, I was surprised by the beeping of my break timer. I finally got to the point where I couldn’t take being wrenched out of the world anymore, so I avoided any kind of social/online interaction and just finished it.
And then I came downstairs and said, “I want to be back in this world. I’m ordering the sequel.” (I did check to see if it was at the local library, but all the copies are out and I seriously don’t want to wait that long.)
It’s hard to describe this book in a way that’s not trite. It’s an epic fantasy novel, with the medieval-esque setting and the swords and sorcery aspects of that – but it keeps from becoming clichéd. It’s also the first in a series. And it’s an amazing feat of worldbuilding.
I’m not even sure how he did it. With some authors, you can see how they do the worldbuilding. It may be skilful, but you can see that this is where they’re telling about the religion and this is where they’re laying out the social structure. There’s some of that in The Name of the Wind of course, but it’s often very subtle. The storytelling structure is incredibly effective, weaving hints and foreshadowing through the “present-day” bits as well as through the story. The world that he develops and presents is so incredibly real that it is almost painful to leave it.
Favourite quotable bit: Words are pale shadows of forgotten names. As names have power, words have power. Words can light fires in the minds of men. Words can wring tears from the hardest hearts. There are seven words that will make a person love you. There are ten words that will break a strong man’s will. But a word is nothing but a painting of fire. A name is the fire itself.
The whole book isn’t in that vein, of course: that passage was said by a professor at the university where the main character is studying. But it basically sums up the motivation of the main character and, presumably, the impetus for the series. Words and communication of various forms – especially music, and especially singing, the combination of music and words – are so important throughout this book. People die because they say or sing the wrong things; names – pure names, not just the words – have immeasurable power; the stories told create the event and the character.
I don’t want to say too much about the story itself, in part because it’s the first in a series. This book, while a book in itself and a story in itself, is also very much only the beginning of the story. It sets up the world and the characters and the conflict, but the conflict is not even close to being resolved, or even completely revealed.
It’s an incredible world, and I can’t wait to be in it again.
(Sidenote: This book didn’t completely register on my radar for a long time. I’d heard the name, but got it confused with The Shadow of the Wind by Carlos Ruiz Zafon, which I read several years ago. It wasn’t until the sequel came out a few months ago, and a lot was being written about Patrick Rothfuss, that it clicked with me that they were different books. Also, The Shadow of the Wind is very good, and also has a relatively recent sequel, which I have not yet read and still want to.)