The Road to Levinshir. W E MADE POOR TIME the next day, as Krin and I were forced to lead the three horses and Ell besides. Luckily, the. My piece in that anthology was called “The Road to Levinshir.” versions of “The Road to Levinshir” (Or “Levenshir” depending on my mood.). 8 discussion posts. G33z3r said: This is our discussion of the short story. The Road to Levinshir by Patrick Rothfuss From the anthology Epic.
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In this sense, Niall is right about one thing: that Rosenbaum is indeed merely all about the playfulness. Time and again in his stories, the old encounters something different, destroys itself to assimilate it, and creates the new.
The flux and confusion in his stories mirror that of his worlds. Rosenbaum is perhaps interested less in the coherency of his stories than he is in the incoherency of existence.
Whether or not this excuses his failings is obviously down to individual taste!
And to suggest that certain techniques are only allowed if they are counterbalanced by a seriousness of topic is patently ridiculous. A deliberately incoherent story may encourage us to find enjoyment in incoherence.
Do your objections boil down to thinking he should just pick a style and work in it? My argument simply is that, however well executed this particular technique is, its explicit status above the story renders it particularly susceptible to being left high and dry by a weak story. And no amount of oh-so-arch metafiction can rescue them from that.
But deliberate inocherence is a coherence of a stripe. Abigail: OK, but this seems to be starting from the assumption that metafiction is solely a technique, a means to an end rather than an end in its own right.
Sadly, elsewhere Rosenbaum too often falls back on distractions, sleights of hand and tipped winks.
I just happen to dislike one particular recurring part of it, his laboured postmodern schtick. Heartland stuff.
This is true of a large class of stories, what we might call the indistinguishable from magic set, and it makes no difference. Multiple valid readings are only interesting when they allow you to read the same story in different ways whereas whether it is SF or fantasy you still read the story in the same way.
Even the comparison between the two titles is slightly illustrative. This story is for people like me.
We deserve stories too. It might not be for everyone.
But not every story has to be for everyone. Maybe this was just a story for people like me and Vi. People who are curious about Auri and the life she leads. People who are, perhaps, not entirely normal. Vi said a few other things that gave me enough confidence to send the story to my agent.
He liked it, and said we should show it to Betsy, my editor at DAW. Betsy liked it. Magic exists in Temerant, too, but obeys a well-defined set of rules and principles that can only be exploited by those who have trained in its professional and scientific use.
As the novel begins, the reader hears an old storyteller speaking of a famous old wizard called Taborlin the Great, who was captured by evil beings called the Chandrian. Escaping them, Taborlin fell from a great height—but since he knew the "Name of the Wind", he called it and the Wind came and set him down safely.
In later parts of the book, characters are often skeptical of such stories. Some kinds of magic are taught in the University as academic disciplines and have daily-life applications those who can afford it are able to buy magical lamps, for example, much better than the candles used by poorer people.
However, most of the population does not have reliable knowledge of the magical disciplines and many still doubt that magicians can truly call upon the Wind. The Chandrian—whose appearance is supposedly heralded by flames turning blue—are often dismissed as mythical bogeymen.
In the rural town of Newarre, the Waystone Inn is managed by an innkeeper named Kote and his assistant Bast. It is revealed that Kote is actually the renowned Kvothe: an unequaled sword fighter, magician, and musician, rumored to have killed a king and caused the present war in which the civilized world is embroiled. Bast is Kvothe's assistant and student and a prince of the Fae. Kvothe has gone into hiding and assumed the identity of Kote in order to keep a low profile. Kvothe saves a traveling scribe known as Chronicler from spider -like creatures called scrael, whereupon Chronicler, recognizing Kvothe, asks to record his story.
Upon consenting, Kvothe tells Chronicler that this will take three days corresponding to the planned trilogy of novels. Kvothe begins his story during his childhood, when he lived amongst a troupe of highly reputed traveling performers known as Edema Ruh. His loving parents train him from a young age as an actor, singer and lute player. He does extremely well in all of these as in every other field to which he turns his hand. The troupe acquires the scholar and arcanist Abenthy, who trains Kvothe in science and sympathy : a discipline that creates links from one physical object to allow manipulation of another.
Kvothe also witnesses Abenthy calling the wind to fend off suspicious townspeople and vows to discover the titular "Name of the Wind", permitting this control.