‘Cobweb Forest’ is the concluding volume in Nazarian’s trilogy – a series that combines an Alternate Europe with an update and expansion of the Greek Persephone myth. There is a fairly standard genre story at work here: a plain young woman is gifted with an immense power and is pivotal to saving the world. She attracts the attentions of a handsome young knight who is far above her station by snapping at him, and they become romantically entangled. It’s also reassuring that every character presented with a potential romantic entanglement ends up romantically entangled. It’s a very pretty plot and my inner thirteen year old loves it, and wishes my outer cynical adult would stop pointing out that this is standard, as though that was a bad thing.
In ‘Cobweb Bride’ a personified Death turns off death for all living things, and demands a cobweb bride before he turns the natural order back on. Girls, including heroine Percy Ayren, start heading north to Death’s shadowy castle, to audition for the role of cobweb bride. Percy becomes Death’s Champion and starts her romance with Beltain Chidair, the Black Knight, and son of the troublesome dead Duke of Chidair, known as Hoarfrost. Percy is the Plot A, but there’s a strong Plot B with Claere, sickly daughter of the Emperor, who is stabbed to death on her birthday. Claere sets out with her murderer, Vlau, to see if she is the cobweb bride. Dead Claere is clearly more animated and interesting than living Claere was. There are also three very pretty courtiers, known collectively as the League of Folly, who take the road to Death’s shadowy castle.
In ‘Cobweb Empire’ it became clear that turning off death caused a whole new set of problems – in addition to the menacing army of undead at Hoarfrost’s command, there is another menacing undead army lead by the beautiful Rumanar Avalais, ruler of the Domain, setting out to conquer the Empire. And, chunks of places, inhabited and otherwise, start disappearing. Europe has been carefully snipped open and stretched apart and Nazarian has sewn a couple of imaginary kingdoms into the gap. It's a great setup. ‘Real’ Europe is mentioned, so clearly it exists, and it seems that the no death and the encroaching nothingness problems are limited to the stitched in kingdoms.
Percy travels to the Domain in search of the Cobweb Bride and has a Luke/Vader (I'm endangering the mission, I shouldn't have come) style brush with the Domain’s ruler, who is set up to be either the captor of the Goddess Persephone, or an evil version of Persephone. She further tests her powers as Death’s Champion, and she and Beltain declare their love. The book ends with the return to Death with the wrong cobweb bride.
At the beginning of ‘Cobweb Forest’ it is clear that the girl Percy has brought back the wrong cobweb bride. The wrong cobweb bride is Demeter, and she and Hades explain what’s gone wrong with Persephone. Percy is sent out to get the right cobweb bride this time, and there are more disappearing places and undead armies attempting to take the city of Letheburg, while the girls from 'Cobweb Bride' bake pies for the brave lads on the walls.
There's an interesting two-level mythology at work – Hades tells the age appropriate one to Percy, and the more adult version to Beltain. Gods in this world appear to be intrinsically linked to processes – specifically here, the cycle of seasons and the cycle of life. Persephone’s transformation into Evil Persephone, and Hades’ breakdown as a functioning Death are explained and the timeline starts making sense, since I couldn’t initially work out how the process had all suddenly broken down at the beginning of ‘Cobweb Bride.’
The first two books were great, but this one was a bit of a let down. It certainly wrapped up everything established in the first two volumes. The interactions with the Gods introduced another level of tension on top of the cessation of death and the encroaching nothingness, but it didn't feel equal to, or larger than, the existing problems. Nothing got solved, it all just got a little worse. Percy remained as she was. She suffered tragedy, but she had very little doubt. She had very little agony over what I considered her toughest (non)decision. I wanted to see more tension, more acknowledgement that she could have forced her power if she'd considered that working on a larger scale was more important than letting an individual choose their own fate.
I'd also expected some acknowledgement of what I always considered the darker elements of the Persephone myth. When I first read it as a child, I read the child's version. Persephone is carried down to the Underworld by Hades, who loves her and woos her. She finally succumbs to his advances and eats six pomegranate seeds. Zeus is forced to negotiate a deal for Persephone's return to the world above for half the year because a sorrowing Demeter refuses to bring on spring. It all reads like a love story. It was only later I found the version called 'The Rape of Persephone' and saw the story in a different light. It's possible that from the violence of the beginning of her union with Hades that Persephone grew to love him. But it is also possible to view this story in a completely unromantic light, and see Persephone as little more than an object, traded between her mother and her husband.
This series opens with Hades' demand for a girl, a bride. It is a demand that cannot be ignored. If Hades is not a process, this is a monstrous abuse of power. If we read Hades as a process, then the demand for a bride is an indication of a breakdown in that process, and a patch job to keep it all going. If Persephone is also a process then all my thinking on how this could be a story on the subjugation of women, and why there is nothing in here about choice, just an obligation to submit to power or be labelled the cause of suffering, is wrong. There's no need at all to think that if Persephone doesn't want to go back to Hades, she shouldn't have to. If she's a process, though, it recasts her story as neither a rape nor a romance … and we can move it all into allegory and accept that it's meant to be mysterious. Unfortunately, this doesn't work. The gods are all clearly highly personified and have exceedingly human motivations.
It's satisfying that every possible couple ends up as a couple. Mostly the strengths of this book, and all the books in the series, are the bittersweet moments of pathos. What is well done is the general terror of understanding the fate of a world where nothing dies, and the individual tragedy of losing someone you love.