Devon

I don’t know if this is me admitting to have read embarrassingly little in terms of Actual Books since I turned 18 but. Wow. I loved sword catcher, and for once I was there eating up the plot rather than only relating to the characters so much I was obsessively hoping for a happy ending for them. 

I’ve said before that sword catcher was good, so good it’s almost above fandom discourse (like a Beethoven symphony perhaps, you think twice before making arrangements of a masterpiece like that) but even the best symphonies deserve, actually they’re honoured by, critical analysis of the phrasing and melodies and that which are used. And this is a Cassandra Clare book after all. The beauty comes from beautifully (read: realistic, somehow more human than real humans idk I’m blown away every time) constructed characters, and then from the plot. Which was character-driven and so, so delicious, but we’re not talking those kind of spoilers this early in the game. 

While I’ll admit that Kel was the most relatable character, followed by Lin or maybe Ana, there were some things about Conor that just cut a little too close in ways I hadn’t thought about in years. Taking me back to some worldbuilding of my childhood, a ‘reluctant princess’ I came up with based on feeling trapped and overprotected and that fantasy world has long since been archived in my head and it’s entertaining to think this weird kid in western sydney who didn’t get to run quite as wild as some of the other kids (but still did get to run quite wild) felt like that when we were the furthest thing from royalty. I didn’t expect to be reminded of that in an adult fantasy book, but here we are, and I’m being entertained to see all the different takes on Conor: some driven to fascination, some to annoyance, and somehow in the 5 of us who’ve actually read sword catcher already everything in between. 

But let’s be real for a second: who hasn’t heard the ‘oh you can’t be depressed you have everything you need’ and been like. Really hurt by it?? Who hasn’t sat among know it all adults in their younger years who would just judge the hell out of other young people who supposedly ‘never got to hear no’ and now they have ‘no resilience’ and ‘no wonder they’re having problems’? Referring to people you actually relate to and thought, well this definitely isn’t a safe space to be vulnerable I’ll just suffer in silence? I’ve grown up enough now to see Lin’s trauma behind the way she says this about Conor but part of me is still a little mad at her. As for Conor?? He’s everything I’d expect from someone in his position and I actually don’t think the majority of it comes from ‘never hearing no’ and ‘getting everything he wants’ but rather the things that those try to make up for: a lack of real autonomy over his life, not being allowed to feel Normal Child Feelings, having no one he can relate to and see as an equal, a heavy burden of responsibility before he was ever old enough to understand it, and the many levels of fuckery that’s all done to his parents making them not just emotionally unavailable but frivolous, trying to maintain their own autonomy and connection doing silly little rich people hobbies that just make the divide between and resentment of them vs Every Other Person greater (constant stargazing or Decoration and Control). Sugar-coated brains: how could they not be when everything revolves around you but there’s so little you can actually do but pursue the pleasure you’re told you’re entitled to? 

I didn’t expect to be this mad at the royal family culture within SC but when I look back on it I’m not surprised. Not when the setting of the book is on the edge of a revolution, the unraveling of a society that feels so much like today and allows me to zoom out in a way that makes my little revolutionist heart happy. But oh, the angst and the bad decisions as the world teeters on that razorblade. The lives that are lost in the fray. I don’t know what’s happening in our world now but after Cast Long Shadows and an arc I know that she’s proud of (our dear Matthew Fairchild) I do trust Cassie. And in the meantime I’ll let her convince me of what I already know: the lives of nobility are simply pawns in a much bigger game no one (except maybe Ana) knows how to take the reins of, and the life of a pawn, no matter the luxuries, is a sorry life indeed. 

This little revolutionist brain of the 2000s had one thing right, and I feel vindicated to see it in such clarity here: the relationship between social class and genuine connection. From the stark contrast of the opening with Cas and Kel, even also Mari and Lin, against the disaster that is the royal family, it couldn’t be clearer to me: when you’re nobody, when there are no expectations of you, you can be who you really are. Maybe not in the eyes of the authorities, and that’s an important distinction to make, but there’s no need to pretend around your nearest and dearest and sometimes that’s worth so much more than hypothetical safety. Because yes you can get away with things when you’re rich but you’ve also got more people trying to assassinate you for who you are specifically rather than just running the risk of getting killed because you’re unlucky and too unimportant for anyone to think you’d be missed. When you’re royalty (or just have parents with really high expectations or are a gifted kid even) you’re given a mold to grow into and no one really asks if that’s who you really are: why would they, when their worldview depends on you being exactly who they want you to be? So if you’re not it you pretend and even with those, like your children, who are close enough to see behind the ruse, you never quite show them who you really are either. You can see how that would drive one insane. You showcase that the only way to exist is to mask until you snap, or lose the ability to be yourself at all. Which leads me to the second type of sugar coat. 

(And I’m quoting songs as my inspo behind this post as always, title quote is empty wallets by 5sos and I’m about to move onto sugar coat by little big town aka the band with an irl fairchild in it): this sugar coat is politeness and etiquette. There’s a quote somewhere in Kel’s narration I believe that I can’t find but basically views social etiquette and the like as you know. War strategy or something, which is another little segment of the reminder it’s cassie writing this and there’s a lot of accidental neurodivergence, or neurodivergence existing in a world so very different to ours, because that’s a very neurodivergent way of viewing it imo. And in this case, the sugar coat is like a constructed mask you spend your whole life trying to perfect, wear it as it’s handed down from your predecessors: in Conor’s case, lilibet (passed down from my mum, she wears it so well, put it on my shoulders said it’s colder out there than you think/would I recognise myself, would anybody else, if I took the damn thing off and burned it up?) who does make the frivolity and politics of being queen into her whole personality. She’s equally a pitiable and annoying character for that. 

But as for Conor? He’s a Cassandra Clare Created (TM) young man. Of course he can’t quite manage this kind of sugar coat business. The politeness, the etiquette, the little social dances: he longs for real connection (and now we’re back in empty wallets territory, get you high when I’m high, so we see eye to eye: to me this sums out how he makes connections with those who are nowhere near his equals but he wants to have some sort of equal footed connection with: Kel and *[redacted minor spoiler, see below cut]). He’s snapping from the pressure of it, and that’s exactly the kind of driving force for the narrative Cassie uses excellently. We see him coming undone, and hate it (or at least I do) but hope maybe, maybe it’s the path for liberation for him from the life that’s obviously making him (more) depressed (than he otherwise might be), and as the audience we don’t care if the kingdom burns down for this, as long as it doesn’t cause too much collateral damage. And we know it’s going to be a wild ride to get there. 

I don’t reckon this is obvious to everyone else but it is to me, with my experience of Christianity and life and just everything that if you’re a leader in any way, you’re a better leader for being liberated in yourself, having autonomy and appropriate boundaries and Conor has none of that and he’s coming undone and yes there’s a lot of other characters (who I will post about later) with their own arcs and A LOT going on (seriously it’s so deliciously complex and so much more so than tsc ever was with maybe the exception of tec which is kind of adult fantasy anyway). But oh. She really knows how to deliver, all through the first book and I can’t wait to see what the next one has to offer!! And to me the characterisation of Conor is just proof on how expertly the whole world of Castellane and it’s stories is being carried out. 

2023 books - sword catcher by cassandra clare

it's disgusting (the cruel prince, holly black)

it's like a fever (sword catcher, cassandra clare)

Joss Falconet, Vienne d’Este, and Jerrod Belmerci from Sword Catcher!!

Merren Asper and Ji An from Sword Catcher ⚔️

Considering the fact that I repeatedly broke down while making this, I’d really appreciate it if this piece also didn’t flop 🙏