Radiorez

There’s the surface layer of “John dumped Earth’s soul into a Barbie doll” of like “of course a man dumped a woman’s soul into a Barbie” but to stop there is, no. We’re doing the man the myth the legend a disservice. It’s so much worse. Because he doesn’t want Alecto like that. He doesn’t want her in a sexy way. It’s not about the Barbie. It’s about the toy. He says, I wanted Galatea, I wanted a Christmas tree fairy, I wanted a Renaissance angel. I wanted an icon, I worshipped you, I thought you were the most splendid thing that ever existed, the only way I could wrap my head around you was to frame you in every concept I had of beauty and power. But I did all that because I wanted to have you. “It’s human nature to want something.” That’s the only excuse he gives for eating the Sun. “It’s human nature to take.” EATING THE SUN. DOOMING THE SOLAR SYSTEM. “I wanted it. I took it. It’s human nature to take.” He had to put her in a body because he was scared she would get away. “I thought you would escape before I was done.” He thought of Hollywood Hair Barbie not because that was his ideal of beauty and sex and not even just because that was his favorite possession but because that’s the relationship he wants to have with her. “She got to have all the adventures.” He wants to be with the Earth! He wants to have adventures with it! He wants it to be his. He wants it. “It’s human nature to take.” It’s not about fitting Alecto into a body, it’s about fitting Alecto into a story. 

First he wants her to be his companion, his solace, his other half; then he wants her to be Alecto the avenging Fury, the devil, the beast, his unmaking; then he wants her to be Annabel Lee, buried by the sea, the tragic lost love whose grief he must always carry; but it’s always about the story he’s writing in his head. Why do kids catch butterflies? They see this beautiful, fascinating thing, and they love it, and they want it, and so they need to have it. To catch it so it doesn’t get away. John had to chain Alecto because she might get away. She was a liability. She held too much of his heart, metaphorically, and his soul, literally, and he couldn’t stand the idea of not having her. What if he chained Alecto because she wanted to leave? Or, worse, because she wanted to go back? What if Earth was doing a lot better now, a few centuries on, and she was tired of being meat? And John just couldn’t stand the idea of losing her? “It’s human nature to take.” It’s human nature to love, and to not want to let go of what you love, and to take it, to make sure it can’t leave, because you can’t risk the idea that it might not love you back. It might not want to be part of your story.

Compare that to Nona’s life. The very first time we meet Nona’s caretakers, they’re listening to her. Camilla turns on the recorder and asks Nona to describe her dream, and then listens. That scene so wonderfully establishes what’s the most important about Nona’s life: she has people who take care of her, protect her, but also leave room for her. Pyrrha and Cam and Pal order her around. They keep secrets from her. They do things that might harm her right now or go against her wishes and justify it as being for her protection. They use her, too: they’re listening and watching to see what she might become, to know how she might play a role in their war. They do everything John does to his lyctors. The difference is, they also listen to her. They don’t make her follow the story in their heads. They change themselves to accommodate her, the way they expect her to change to accommodate them. Nona doesn’t always get what she wants, because often it isn’t good for her. The people raising her need to keep her safe and fed and well. They don’t take orders from her. But they listen to her. 

And Nona tells them. Nona doesn’t want to be a Renaissance angel, she wants her hair in braids and a cheeseburger t-shirt. John would have given Alecto every thing of great beauty and power, every thing he thought might ever be appropriate to the grandeur he’d built in his mind, but he would never have bought her a shirt from Salt Chip Fish Shop. Pyrrha doesn’t give her anything of beauty and power. Pyrrha makes Nona eat her eggs because she needs food to keep that human body going, even though Nona whines and complains and demands pikelets and birthday gifts; Pyrrha says, eat your eggs, because it’s good for you, and go to school, because it’ll keep you occupied, and don’t come to my dig site, because it’s dangerous for you. Then Pyrrha sells her cigarettes for cash to bribe someone, sure, but what do you want to bet some of that money also went to buy the pikelet mix she makes for Nona the next day, and the shirt she buys for Nona’s birthday too? She doesn’t give Nona exactly what she wants, because Nona is a child and needs protection and guidance. But she doesn’t give the gifts she wants to give; she gives the gifts she knows Nona wants to get. She listens.

And that’s what saves them all. Blood of Eden wants Nona to be Harrow, or Gideon, or both, or a lyctor; an ally, an enemy, something they understand, and if they’d been able to force that on Nona things would have probably gone catastrophically wrong. Instead Pyrrha, Cam, and Pal let her tell them who she is. Tell me your memories. Try out this sword. What do you think about bones? And as much as they want her (or don’t want her) to react to those things, to have certain answers, they listen to the ones she actually gives and react accordingly, and that saves them from making the terrible mistake of not realizing her true identity.

Random 3am thought got me thinking about Promate characters based on their morality, intelligence, and wisdom.

Lio! the proportions are rlly off but whatever just ignore it