“Ronan, with his dangerous dreams, sleeping some-place other than the Barns or Declan’s town house? Dubious. The ‘nighwash’ limits his movements, so much so that spending a night outside of the Barns can have quite destructive results. It was tough seeing him struggle so much: he feels left behind by Adam (who is in college) and Gansey (who has taken a year off and is travelling alongside Blue). Although he has somewhat ‘calmed’ down, most of what he feels and does is still undeniably Ronan-ish. Ronan was no hero, but he knew fucking right from fucking wrong.”Ĭall Dawn the Hawk stars one of my all time favourite ‘fictional’ characters: Ronan Lynch. Yet her style doesn’t solely emulate that of a traditional fairy tale as she injects her prose with a good dose of modern aesthetics. Her use of repetition also gives a unique rhythm to her story. Stiefvater pays incredible attention to word she uses and to the way that certain phrases sound. There are many elements of her writing style that seem to mirror those of a fairy tale: she employs repetition and recurring motifs, ‘truth’ and ‘naming’ shape both the narrative and the characters, the words and images she uses have a certain significance. The very first line of Call Dawn the Hawk echoes that of a fairy tale and Maggie Stiefvater demonstrates just how impressive a storyteller she is throughout the course of her novel. “This is going to be a story about the Lynch brothers.” This book is full of Stiefvaterisms (in the best possible way). Okay, I loved it even more this second time around.
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