Farseer trilogy
Author | Voyager |
---|---|
Published | 1995–1997 |
No. of books | 3 |
Followed by | Liveship Traders |
The Farseer trilogy is a series of
The story contains motifs from
The Farseer trilogy was Margaret Astrid Lindholm Ogden's first work under the pen name Robin Hobb and met with critical and commercial success. Hobb received particular praise for her characterization of Fitz: the
Background
Writing and publication
In the 1980s, American author Margaret Astrid Lindholm Ogden began publishing under the name Megan Lindholm in a variety of genres,
Hobb felt her new pseudonym freed her from reader expectations of a Lindholm book, and she "wrote with a depth of feeling that I didn't usually indulge".[13] The name Robin Hobb was intentionally androgynous and chosen to match the Fitz novels, which were written in a first-person male narrative voice.[9][12] Hobb explained in an interview that she chose the pseudonym because many readers expected a male narrator to have been written by a male author.[12] She continued concealing her identity after publishing the books,[13][15] avoiding public readings or signings of the novels for multiple years, and eventually revealed her pseudonym in an interview with Locus,[13] in 1998.[16]
Hobb has said that the core idea for the Farseer series was: "What if magic were addictive? And what if the addiction was destructive or degenerative?"[16] She said she had mulled over that notion for many years before writing. The first book was initially titled Chivalry's Bastard before becoming Assassin's Apprentice.[11][16] Hobb conceived Fitz's narrative as a trilogy, feeling that his story was too complex to fit in a single book and naturally broke into three parts.[17] A half-wolf called Bruno that moved into her Alaskan home in the 1950s inspired the relationship between Fitz and the wolf Nighteyes.[18] The enigmatic Fool was initially not a big part of the series outline, but grew into a major character as she wrote the novels.[10]
The first volume of the trilogy, Assassin's Apprentice, was published in May 1995 in the US, as a trade paperback by Bantam Spectra.[19][20] Three months later, a hardcover edition was released in the UK by Voyager, a newly launched science fiction and fantasy imprint of HarperCollins.[19][21] The second book, Royal Assassin, followed in 1996, first as a UK hardcover in March by Voyager, and then as a Bantam US paperback in May. The trilogy was completed in 1997 with the release of Assassin's Quest as a hardcover by both publishers, in March in the UK and in April in the US.[4][19] Bantam stylized the US titles in the form of The Farseer I: Assassin's Apprentice;[4][19] Voyager marketed the UK editions as part of the Farseer trilogy, and also as The Farseer Trilogy.[19] The Bantam covers of the first two books were created by Michael Whelan, and the third by Stephen Youll.[19] John Howe illustrated the Voyager editions of all three books.[4][19]
Setting
The geography of the Six Duchies resembles the US state of Alaska and the
The society of the fictional universe is comparable to Western
Plot
Assassin's Apprentice
The narrative begins with the protagonist, aged six, being brought from his mother to the royal family of the Six Duchies. He is given the name
Fitz swears loyalty to King Shrewd and is trained in secret as a royal assassin and diplomat by master Chade. His bloodline grants him access to a form of telepathic magic called the Skill, which he begins to train in under Skillmaster Galen. Galen proceeds to telepathically torture Fitz and blunt his ability to use the Skill; his actions are later revealed to have been at the behest of Fitz's uncle Prince Regal.
Fitz gradually grows aware of his ability to use the Wit, which lets him communicate and bond with animals, but the societal prejudice against this ability leads his guardian Burrich to discourage his early attempts to use it. Fitz's first Wit bond, with a dog named Nosy, ends when the dog is sent away by Burrich. Fitz later adopts another dog, Smithy, and bonds with him in secret, but Smithy is killed defending Burrich.
Regal negotiates a marriage for Verity with Princess Kettricken of the neighboring Mountain Kingdom to strengthen the Six Duchies against the threat of the Red-Ship Raiders. Fitz is sent to the mountains to assassinate Kettricken's brother. He finds Regal plotting to kill Verity and marry Kettricken himself but is able to thwart the attempt.
Royal Assassin
Returning to Buckkeep, the capital of the Six Duchies, Fitz develops a Wit bond with a wolf named Nighteyes, after buying him as a cub from a trapper. He also develops a romantic relationship with a maid, Molly, and a friendship with the enigmatic court jester, who is known as the Fool. Fitz attempts to keep both his Wit and obligations as an assassin a secret from Molly, but their relationship later ends as the result of conflict over Fitz's duties.
The kingdom continues to be harassed by the Red-Ship raiders of the
Verity and Fitz are unable to turn the tide of the war, and so Verity departs on a journey in search of Elderlings, beings from myth who may be able to help his people. In Verity's absence, Regal plots to kill his father, King Shrewd, and the pregnant Kettricken. Shrewd dies despite Fitz's efforts, and Fitz is accused of his murder. Regal has him tortured, trying to wrest a confession; on the brink of death, he retreats to Nighteyes' body at the wolf's plea. His seemingly dead body is buried. Burrich and Chade later exhume the body and persuade Fitz to return to it, which he does with regret.
Assassin's Quest
Fitz spends several months fighting trauma and seizures but is nursed back to health by Burrich. He learns that Regal has taken the throne, and moved the capital inland; taking on a new identity, Fitz travels west, intending to kill Regal. He encounters a community of Witted practitioners known as the Old Blood, whom he learns from but refuses to stay with for long.
Sneaking into Regal's palace, Fitz is captured by Regal's Skilled coterie. He narrowly escapes with the help of Prince Verity, who uses the Skill from afar through their link. Fitz learns that Molly is pregnant with their child and that both Molly and Burrich believe him dead. Wishing to return to them, he is instead compelled to find Verity due to a Skill-summons. Traveling toward the Mountain Kingdom, he is hunted and twice captured by Regal's forces, but escapes. Pursued over the border and severely injured, he is found and tended to by the Fool, and later meets Kettricken, who fled from the Six Duchies after Shrewd's death.
The group follows in Verity's footsteps, seeking to aid him. Journeying out of the Mountain Kingdom on a road wrought with the Skill, they find Verity in a quarry of magical stone, surrounded by inanimate stone dragons. Verity is attempting to carve a dragon himself and awaken it by Skilling his memories, thoughts, and feelings into the stone. With the group's aid, he is successful but loses his humanity to become the stone dragon.
Verity, as a dragon, flies to Buckkeep carrying the rest of the group to combat the raiders. Fitz remains behind with Nighteyes and manages to awaken the other stone dragons, who follow Verity. Fitz battles Regal with the Skill and defeats him, and slays his coterie. Having seen in a Skill vision that Molly and Burrich have fallen in love, he chooses to mask his identity and remain an outcast, living with Nighteyes at the edge of society. Verity destroys the Raiders, and Kettricken assumes the throne.
Style
The Farseer novels are often described as
The trilogy is described as drawing from Arthurian legend in its characters and narrative motifs: Shrewd's decline recalls the legend of the Fisher King, and Regal bears similarities to Mordred, and Chade to Merlin.[32] Fitz has been termed a melancholy hero,[33] and been discussed as a liminal being, or one who "exists at the threshold of two states".[34] Critics have noted parallels to the character of Hamlet,[35] to Frodo Baggins,[25] and to Severian, the protagonist of Gene Wolfe's The Book of the New Sun.[4] Scholar Geoffrey Elliot describes the setting of the Elderlings books as following in the "Tolkienian tradition", resembling the society of medieval England, but drawing also from the indigenous societies of the Pacific Northwest.[36]
"I remember that first night well, the warmth of the hounds, the prickling straw, and even the sleep that finally came as the pup cuddled close beside me. I drifted into his mind and shared his dim dreams of an endless chase, pursuing a quarry I never saw, but whose hot scent dragged me onward through nettle, bramble, and scree."
Fitz drifting into a dog's dream in Assassin's Apprentice[37]
Hobb uses a style within the fantasy genre that casts the fantastic as an unquestioned, familiar aspect of the setting: this creates an "illusion of familiarity" for the reader, according to scholar Susan Mandala.[38] When Fitz first shares a dream with a dog, the narration matches how he experiences the dream – as a perfectly natural, as opposed to fantastic, event – through language that is "lexically coherent" across the human and animal segments, in Mandala's view.[37][39] Similarly, when Fitz first mentions the telepathic Skill, the narrative does not address the term directly, assuming that its meaning is known in-world, but instead focuses on the Skill's potential effect on Fitz's memory, and its addictive qualities.[40]
The story is narrated as a first-person retrospective, with an adult protagonist reflecting on his childhood memories: this has been described as an unusual style in fantasy,[2][25] and critic John Clute termed it a "painfully confessional memoir".[4] Fitz finds some of his recollections painful and imagines "the hurt of a boy" spilling into the ink; along with this self-commentary, the story is "rich" with implicit clues that "most effectively" uncover Fitz's character, according to Mandala. For instance, Fitz describes his immediate family in the same terms as the strangers he meets: his grandfather becomes "the tall man", and his mother is "a voice" that is distant and unfamiliar, signifying his emotional distance from them.[41] Fitz is on occasion an unreliable narrator who distrusts his own memories.[42][43] The novels contain short memoirs prefacing each chapter that narrate a fictional history of the setting: these excerpts are also unreliable narratives, relaying "recollection and gossip".[44]
Themes
Through its fantasy elements, the Farseer trilogy explores themes of otherness.[46] As a practitioner of the Wit, a form of magic described as a connection to all living things, Fitz bonds and shares senses with the wolf Nighteyes.[39] Their relationship is shaped by their contrasting perceptions of the world: the wolf lives "in the now" and unlike Fitz, lingers less on memories and on plans for the distant future.[47] More broadly, the wolf symbolizes nature in Western literature, and the werewolf denotes "slippages between" nature and culture, according to scholar Lenise Prater.[45] The Wit also makes Fitz aware of an interconnectedness between living creatures; by severing such connections, the Raiders turn people into the animalistic Forged. Thereby, Prater argues, Hobb is suggesting that the self is entirely dependent on others, and cannot live autonomously.[48] Scholar Mariah Larsson similarly writes that the depiction of the Wit contains an ecocritical element, highlighting the relevance of non-human life forms and thereby challenging anthropocentrism.[49]
Fitz's internal conflicts in the series – in particular, the sense of shame and trauma that result from his being Witted – have been described by scholars as an allegory for
Fitz's feeling of shame toward the Wit leads him to keep it hidden even from those he cares for, including his beloved Molly. The secret is one of many of Fitz's "multiple closeted lives" that eventually drives Molly away from him.
Queer themes are also portrayed through the Fool,
Hobb sharply contrasts the two forms of magic in the series, the Skill and the Wit: though addiction is portrayed as a negative consequence of both,[62] according to Larsson, the Skill is "more insidious".[63] The Skill is practiced by the ruling class, but the Wit is relegated to lower classes; the Skill is also a stereotypically masculine magic, since it functions as a weapon, and the Wit, used to bond with animals, is more feminine.[64] According to Prater, the series deconstructs these stereotypical expectations through Fitz: he possesses both forms of magic and is simultaneously an outcast and a subject of the throne.[64][65] The gendered attributes are blurred in later Elderlings novels, where the Skill is shown to heal and create melodies, while the Wit can be used to manipulate humans.[66] Larsson argues that the narrative "very cleverly" portrays the two abilities such that the reader arrives at a very different impression than the society of the story.[63]
Reception
Assassin's Apprentice was viewed as the debut work of a new author,[67][68] though a reviewer for Asimov's Science Fiction noted her use of a pseudonym and remarked that the first two books appeared to be the "work of a seasoned professional".[30] Publishers Weekly described the book as a "gleaming debut" in a crowded fantasy market, praising Hobb's portrayal of political machinations within royalty.[67] A similar review from Kirkus termed it "a remarkably assured debut".[68] The sequels Royal Assassin and Assassin's Quest received starred reviews from Publishers Weekly.[69][70] The first book was a finalist for the British Fantasy Award in 1997; the second and third volumes were nominees for the Locus Award for Best Fantasy Novel in 1997 and 1998.[71] The series as a whole was commercially successful: worldwide the Elderlings sold more than a million copies by 2003,[72] and UK sales alone had exceeded 1.25 million copies by 2017.[10]
The characters Hobb created received acclaim from several reviewers,[30][73][74][75] and the Farseer novels have been praised as works of character-driven fantasy.[76] Writing in The Times in 2005, critic Amanda Craig praised Hobb's depiction of Fitz and stated that his bond with the wolf Nighteyes was as "passionate as the deepest romantic love".[18] In 2014, the Los Angeles Review of Books reviewer Ilana Teitelbaum described the novels as offering "complete immersion in Fitz's complicated personality", and remarked on the psychological complexity of Fitz's characterization, as well as Hobb's depiction of trauma. Teitelbaum praised the portrayal of Fitz's internal conflicts, noting that his emotional scars shape his perspective and that Fitz isn't ever able to escape them completely.[2] An Interzone review of the first book drew attention to the "wonderfully enigmatic" character of the Fool, whose riddles and predictions were only gifted to others similarly lonely. However, the reviewer criticized Galen, the Skillmaster, as "too manic to be credible".[26]
The novels' prose and fictional setting also drew praise. Scholar Darren Harris-Fain felt that Hobb's "skill" at
The plot of the trilogy, according to Harris-Fain, was an "effectively balance[d]" blend of dark occurrences and warm moments between characters.[77] In a review of Assassin's Apprentice, Booklist felt the plot was traditional but praised its execution.[74] The second book contained plot twists that drew praise from reviewers including Kirkus,[75][81] though the reviewer found "ominous signs" of the narrative losing control.[75] A year later, Kirkus termed the sequel an "enthralling conclusion".[82] The length of the third book was criticized by Booklist and Langford, although both critics praised other facets of Hobb's writing.[83][79] Booklist felt the extra pages delivered in terms of "emotionally compelling scenes of both magic and battle".[83] A review for Locus praised the pacing of the third volume, adding that its "lively dialog" and divergence from a typical quest narrative made it a "great read".[84]
The Farseer novels led to Hobb receiving broader recognition as an exemplar of fantasy writing. The trilogy, as well as its sequels, were viewed by Library Journal as "masterworks of character-based epic fantasy".
In a discussion of the fantasy
Sequels and adaptations
The Farseer trilogy is followed by four series set in the Realm of the Elderlings, the last volume of which was published in 2017.
The series was adapted as a comic book in French under the title L'Assassin Royal. Spanning ten volumes, it was published from 2008 to 2016 by Soleil Productions.[93][94] An English-language comic adaptation of Assassin's Apprentice is slated for release in December 2022. Co-written by Hobb and Jody Houser, the series is planned to comprise six issues and features artist Ryan Kelly, colorist Jordie Bellaire, letterer Hassan Otsmane-Elhaou and publisher Dark Horse Comics.[95] In a 2018 interview, Hobb stated she had not sold television or film rights to the series.[96]
References
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"A New Look for The Farseer Trilogy". HarperVoyager. February 26, 2014.
- ^ a b c d e Teitelbaum, Ilana (September 8, 2014). "Bright Home, Dark Heart". Los Angeles Review of Books.
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Tor.com. Macmillan.
- ^ a b c d e f g h Clute, John (October 29, 2021). "Hobb, Robin". In Clute, John; et al. (eds.). The Encyclopedia of Science Fiction (3rd ed.). Gollancz.
- ^ Harris-Fain (1999), p. 388.
- ^ Holliday & Morgan (1996), pp. 364–365.
- ^ Blaschke (2005), p. 55.
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"Megan Lindholm Awards". Locus Science Fiction Foundation. November 8, 2021.
- ^ a b Blaschke (2005), p. 58.
- ^ a b c d e f g Flood, Alison (July 28, 2017). "Robin Hobb: 'Fantasy Has Become Something You Don't Have to Be Embarrassed About'". The Guardian.
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Pomerico, David (June 21, 2010). "25 Years of Spectra: Assassin's Apprentice by Robin Hobb". Suvudu. Random House. Archived from the original on March 26, 2016.
{{cite web}}
: CS1 maint: unfit URL (link) - ^ a b c d e f g Adams, John Joseph; Kirtley, David Barr (April 2012). "Interview: Robin Hobb". Lightspeed. Vol. 23.
- ^ a b c d e Anders, Charlie Jane (April 14, 2011). "Find Out How Robin Hobb Became Two Different People". io9.
- ^ Blaschke (2005), p. 59.
- ^ Blaschke (2005), pp. 55, 58.
- ^ a b c "Robin Hobb: Behind the Scenes". Locus. Vol. 40, no. 1. January 1998.
- ^ Blaschke (2005), p. 57.
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- ^ a b c d e f g Brown & Contento (1999).
- ^ Holliday & Morgan (1996), p. 364.
- ^ Johnson, Jane (August 13, 2015). "How Megan Lindholm Became Robin Hobb". Sainsbury's eBooks Blog. Archived from the original on June 12, 2016.
- ^ Elliott (2015), p. 188.
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Cardy, Tom (June 24, 2014). "The Mother of Dragons". The Dominion Post – via Stuff.
- ^ Larsson (2021), pp. 124–125.
- ^ a b c d e Elliott (2006).
- ^ a b c Morgan, Chris (August 1995). "First Fantasies". Interzone. No. 98.
- ^ Senior (2012), p. 197.
- ^ Mendlesohn (2014), p. 56.
- ^ Senior (2012), pp. 197–199.
- ^ a b c Heck, Peter (February 1997). "Assassin's Apprentice and Royal Assassin". Asimov's Science Fiction. Vol. 21, no. 2.
- ^ Oliver (2022), p. 46.
- ^ Senior (2012), pp. 197–198.
- ^ Flood, Alison (September 10, 2014). "Fool's Assassin by Robin Hobb – A Melancholic Hero Fights Again". The Guardian.
- ^ Kaveney, Roz (1997). "Liminal Beings". In Clute, John; Grant, John (eds.). The Encyclopedia of Fantasy. St. Martin's Griffin.
- ^ Craig, Amanda (August 14, 2015). "Fool's Quest, by Robin Hobb – Book Review: More Swords and Sorcery from a Dame of Thrones". The Independent. Archived from the original on June 18, 2022.
- ^ Elliott (2015), pp. 185–189.
- ^ a b Mandala (2010), p. 102.
- ^ Mandala (2010), pp. 100–102.
- ^ a b Larsson (2021), pp. 130–131.
- ^ Mandala (2010), pp. 101–102.
- ^ Mandala (2010), pp. 128–130.
- ^ Melville (2018), p. 282.
- ^ Mendlesohn (2014), p. 11.
- ^ Mendlesohn (2014), p. 16.
- ^ a b Prater (2016), pp. 26–27.
- ^ Prater (2016), p. 23.
- ^ Larsson (2021), p. 134.
- ^ Prater (2016), pp. 25–26.
- ^ Larsson (2021), p. 124.
- ^ Melville (2018), p. 284.
- ^ Larsson (2021), pp. 126, 130.
- ^ a b Melville (2018), pp. 285–287.
- ^ Larsson (2021), p. 130.
- ^ Melville (2018), p. 288.
- ^ Melville (2018), pp. 288–289.
- ^ a b Melville (2018), p. 289.
- ^ Larsson (2021), p. 132.
- ^
Zutter, Natalie (October 24, 2019). "'I Have Been Incredibly Privileged to Write the Full Arc of Fitz's Story': Robin Hobb on 25 Years of Assassin's Apprentice". Tor.com. Macmillan.
- ^ Larsson (2021), pp. 126–127.
- ^ Prater (2016), p. 29.
- ^ Melville (2018), p. 294.
- ^ Case (2005), pp. 100–101.
- ^ a b Larsson (2021), pp. 132–133.
- ^ a b Prater (2016), pp. 23–25.
- ^ Melville (2018), pp. 284–285.
- ^ Prater (2016), p. 25.
- ^ a b "Assassin's Apprentice". Publishers Weekly. April 3, 1995.
- ^ a b "Assassin's Apprentice". Kirkus Reviews. March 1, 1995.
- ^ "Royal Assassin". Publishers Weekly. April 1, 1996.
- ^ a b c "Assassin's Quest". Publishers Weekly. March 3, 1997.
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"Robin Hobb Titles". Locus Science Fiction Foundation. August 31, 2020.
- ^ O'Neill, John (April 23, 2017). "Robin Hobb Wraps Up the Fitz and the Fool Trilogy with Assassin's Fate". Black Gate.
- ^ a b
"The Farseer: Assassin's Apprentice by Robin Hobb". EBSCOhost 9611124567.
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Green, Roland (April 1, 1995). "Assassin's Apprentice". Gale A16849560.
- ^ a b c "Royal Assassin". Kirkus Reviews. March 1, 1996.
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- ^ a b Harris-Fain (1999), p. 380.
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Cassada, Jackie (March 15, 1995). "Hobb, Robin. The Farseer: Assassin's Apprentice". EBSCOhost 9503177634.
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"The Farseer: Royal Assassin by Robin Hobb". EBSCOhost 9611124569.
- ^ "Assassin's Quest". Kirkus Reviews. February 1, 1997.
- ^ a b
Green, Roland (February 1, 1997). "Assassin's Quest". Gale A19122084.
- ^ Cushman, Carolyn (March 1997). "Robin Hobb, Assassin's Quest". Locus. Vol. 38, no. 3.
- ^
Shilling, Jane (August 23, 2014). "Fool's Assassin by Robin Hobb, Review: 'High Art'". ProQuest 1555423441.
- ^ Moran (2019), p. 64.
- ^ Prater (2016), pp. 21, 30–32.
- ^ Melville (2018), p. 300.
- ^ Prater (2016), pp. 29, 33.
- ^ Prater (2016), p. 33.
- ^ Larsson (2021), p. 125.
- ^
Templeton, Molly (June 7, 2019). "Assassins, Pirates, or Dragons: Where to Start with the Work of Robin Hobb". Tor.com. Macmillan.
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"Assassin Royal 01 – Le Bâtard". OCLC 904568192.
- ^
"Assassin Royal 10 – Vérité le Dragon". OCLC 964524643.
- ^ Alverson, Brigid (September 12, 2022). "Dark Horse to Adapt 'Farseer' Trilogy into Comics". ICv2.
- ^ Larsson (2021), p. 126.
Sources
Primary
- Hobb, Robin (May 1995). Assassin's Apprentice (trade paperback). Bantam Spectra. ISBN 0-553-37445-1.
- Hobb, Robin (August 1995). Assassin's Apprentice (hardcover). HarperCollins Voyager. ISBN 0-00-224606-6.
- Hobb, Robin (March 1996). Royal Assassin (hardcover). HarperCollins Voyager. ISBN 0-00-224607-4.
- Hobb, Robin (May 1996). Royal Assassin (paperback). Bantam Spectra. ISBN 0-553-37563-6.
- Hobb, Robin (March 1997). Assassin's Quest (hardcover). HarperCollins Voyager. ISBN 0-00-224608-2.
- Hobb, Robin (April 1997). Assassin's Quest (hardcover). Bantam Spectra. ISBN 0-553-10640-6.
Secondary
- ISBN 978-0-8032-6239-3.
- OCLC 47672336.
- Case, Caroline (2005). Imagining Animals: Art, Psychotherapy and Primitive States of Mind. Routledge. ISBN 978-1-317-82202-8.
- Elliott, Geoffrey B. (2006). "Shades of Steel-Gray: The Nuanced Warrior-Hero in the Farseer Trilogy". Studies in Fantasy Literature. 4: 70–78. OCLC 133466088.
- Elliott, Geoffrey B. (2015). "Moving beyond Tolkien's Medievalism: Robin Hobb's Farseer and Tawny Man Trilogies". In Young, Helen (ed.). Fantasy and Science Fiction Medievalisms: From Isaac Asimov to A Game of Thrones. Cambria Press. ISBN 978-1-62499-883-6.
- Harris-Fain, Darren (1999). "Contemporary Fantasy, 1957–1998". In ISBN 978-0-8108-3596-2.
- ISBN 978-1-55862-205-0.
- Larsson, Mariah (2021). "Bringing Dragons Back into the World: Dismantling the Anthropocene in Robin Hobb's The Realm of the Elderlings". In Höglund, Anna; Trenter, Cecilia (eds.). The Enduring Fantastic: Essays on Imagination and Western Culture. McFarland. ISBN 978-1-4766-8012-5.
- Mandala, Susan (2010). Language in Science Fiction and Fantasy: The Question of Style. Continuum. ISBN 978-1-4411-4106-4.
- Melville, Peter (2018). "Queerness and Homophobia in Robin Hobb's Farseer Trilogies". ProQuest 2156322163.
- Project MUSE book 21231.
- Moran, Patrick (2019). The Canons of Fantasy: Lands of High Adventure. Cambridge University Press. S2CID 213876317.
- Oliver, Matthew (2022). "History in the Margins: Epigraphs and Negative Space in Robin Hobb's Assassin's Apprentice". JSTOR 48692593.
- Prater, Lenise (2016). "Queering Magic: Robin Hobb and Fantasy Literature's Radical Potential". In Roberts, Jude; ISBN 978-1-317-13054-3.
- Senior, W. A. (2012). "Quest Fantasies". In ISBN 978-0-521-42959-7.
External links
- Farseer trilogy series listing at the Internet Speculative Fiction Database