The Starless Sea
The Starless Sea is a 2019 speculative fiction novel by Erin Morgenstern. It is her second book, following the best-selling "The Night Circus", which was published in 2011. The novel reached number three on The New York Times Best Seller list, and was also a "Los Angeles Times" and "Sunday Times" bestseller. Plot synopsis. The Starless Sea does not have a linear plot, but rather is a pastiche of a modern narrative, folk tales, mysterious biographical snippets, stories within stories within stories, and the made-up history of the fantastical world within which it takes place , all interlocking and intertwining, not necessarily in a linear way. The modern narrative follows Zachary Ezra Rawlins, who is a grad student at a New England University. One day he finds in the library a book called "Sweet Sorrows" with no author or publication information, and is amazed to discover that among its fairy tales and textual snippets, it also tells stories about him, and especially of an incident when he was a child, and came across a magical door. Afraid to discover magic isn't real, he demurred to go through it. Sweet Sorrows, however, describes the magical library  on the other side of the door, and the Starless Sea upon which it sits. Zachary sets out on a quest to find out more, and finds a literary masquerade ball in Manhattan, where he meets two other characters central to the book: Mirabel, who he later discovers is a denizen of the magical underground world upon the Starless Sea, and Dorian. Dorian steals Sweet Sorrows from Zachary, and blackmails him into breaking into the premises of a secret Guardian society to retrieve a book that he, Dorian, requires. This mission and the action that ensues end up with Mirabel  saving Zachary and taking him though a doorway in a park. Here, Zachary first encounters the magical realm he read about earlier, and meets The Keeper, who is in charge of the sanctuary they all reside in while there, and Rhyme, an acolyte in charge of the library and its books. Though Mirabel is clearly pushing Zachary forward to some objective, she is not forthcoming about what it is or how to get there. Zachary continues to be swept along on currents of stories and characters, along the way also managing to save Dorian from the clutches of Allegra, the  leader of the Guardians. While Allegra claims she is actually protecting the library, Mirabel and the Keeper, who live within it, see her as an enemy, and indeed Allegra proves herself capable of any evil act imaginable in the pursuit of her – also murky – goals. Dorian and Zachary are quickly becoming a potential love match, but they find themselves torn apart by the weird and mysterious events of the underground world. Each of them encounters figures from previous biographical tales as well as fables, and these encounters eventually bring the various and seemingly unconnected story strands to their fateful and  fabulistic close. Reception. Describing the plot as requiring readers to have great tolerance for meta moments, Leigha McReynolds, reviewing for "LA Review of Books", says: "If you want someone to tell you a straightforward story, this novel is not going to deliver. And the narrative ambition of the text deserves to be recognized and rewarded." While recognizing the many rewarding moments within the complex narrative, McReynolds ultimately concludes that the payoff was lacking, asserting that the many connections failed to add up to a cohesive narrative with a clear message. "The Guardian" review by Natasha Pulley describes "The Starless Sea  as a novel that rejects traditions and conventions of world building; a that rejects older stories to make up its own. Pulley describes the myriad images, snippets of backstories, and tales within tales as assuredly beautiful", but recognizes that "there is no logic that binds these lovely set piece tableaux. Nobody explains why the Starless Sea is honey, or how a honey sea isn’t full of dead flies. The novel reads like panel after panel of mythic illustrations: it expects a certain acceptance of unlikely images". She writes that some readers might find this approach infuriating, while asserting that  this is because it challenges deep-seated conventions of the fantasy genre. She further maintains that "The Starless Sea" demands to be read on its own terms, not those set in those different times and places readers have come to recognize: "Rather than a traditional fantasy novel, this is an artificial myth in its own right, soldered together from the girders of skyscrapers – a myth from and for the US, rather than inherited from older nations. Like any myth, it refuses to decode its own symbols. A reader might find this deliberate vagueness either uplifting or maddening, but the novel ’s scope and ambition are undeniable." Lyndsay Faye, in her "New York Times" book review, finds the pastiche that is "The Starless Sea" to be unrewarding. She doesn't find the main character compelling, but does praise Morgenstern's style, which "especially in the frequent Grimm-esque interludes, employs aggressively simple children’s literature syntax to describe outlandish settings that are either opulent or decaying. Her skill at rendering these spaces is remarkable, the smells of smoke and honey wafting through stone corridors and nameless cats slinking along secret passageways... But a cigar is never just a cigar, and it ’s impossible to settle in without being bludgeoned by mystique." But she finds the crippled by "numbingly vague expostulation" and "pseudo-philosophical sentences". Faye concludes: ""The Starless Sea" flounders as a novel. As an ode to an aesthetic, however, it is marvelous, rife with stags carrying lit candles on their antlers, fallen cherry blossoms and story-sculptors who put their chronicles in clouds. 'I’m not sure I’m following the metaphors anymore,' Zachary objects. He won’t be alone. But for those swept away by the romance of its imagery, "The Starless Sea" will provide hours of honey-drenched  bliss." Kirkus' enthusiastic review calls "The Starless Sea" "an ambitious and bewitching gem of a book with mystery and passion inscribed on every page," and Adrienne Martini, in "Locus Magazine", describes how "Morgenstern takes great glee in subverting expectations for what a story needs to contain in this, um, story," explaining that the difficulty in describing or following the novel's plot narrative is because "The Starless Sea" is less about the narrative plot, and more about the philosophical underpinnings of stories themselves. She concludes that "Like any story, "The Starless Sea" has a beginning and an ending. It also  has a middle – a lot of middle. Morgenstern crams about a billion ideas – including but not limited to game design, folk tales, cocktails, and bees – into the endless-feeling middle. Some of them open up her tale in interesting ways; some don’t live up to their promises. She takes a big, admirable swing but doesn’t completely connect. Still, it’s a book full of beautiful moments, even if they don’t all work in concert." Amal El-Mohtar, however, writes for "NPR" that "The Starless Sea" made her feel like "a child falling into a story again," finding  the narrative twists and turns exciting, and making her feel like she was "playing a puzzle game, being guided through a beautiful labyrinth of harbours and honey and bees." Because of this regard for the conceptual, she is disappointed by the more conventional villain-driven narrative that develops later in the book, taking it to its denouement. Her overall review, however, is unabashedly positive: "What did work for me, deeply and wholesomely and movingly, was the whole affect of the book, its warmth, its helpless love of storytelling and beautiful, polished fables. It's a book that's a pleasure  to dwell in, a delicious experience to dip in and out of... When I finished it, I was uncertain of my thoughts about the whole; the next night, when I realized there was nothing left of it to read, I felt lost and sad."