October 28, 2022, 7:11 P.M.
For whatever reason I enjoy thinking about Diana Wynne Jones' writing as a whole and picking out unexpected or resonant trends. For example, some things that comes up often is:
She'll fabricate a world (right down to its cosmology), fill it with memorable characters, set one or two short novels in it... and then never touch it again. On to the next one. Rinse and repeat for her entire career.
The concept of multiple/parallel universes appear half a dozen times in different novels/sequences, but always in completely different ways. The multiple worlds of Chrestomanci function very, very differently from the multiple worlds of The Homeward Bounders, which themselves function so different from the Ayewards/Naywards of Deep Secret, or the walls between the worlds in Dark Lord of Derkholm. More importantly, all these approaches to multiverse explicitly contradict each other. There is no larger DWJ multiverse; there is no way to coherently combine any of them, much less all of them. I love her for this. Every book is its own project. Franchising be damned.
With one exception (which is the Dalemark quartet, oddly enough), none of these worlds are sealed-off secondary worlds. Our own Earth appears in all of them, though usually from the 'wrong' end of the telescope. Meaning, it's stuff like reading Charmed Life and assuming you're reading a magical secondary world fantasy for most of the book... up until the point when Janet is pulled into the story due to Gwendolyn's spell. The reader instantly understands that Janet is from our own world, from the 1970s when the book was written. She never makes it home, either. She never sees her parents again. She's a supporting character who becomes permanently stuck in the world of Chrestomanci, as a casualty of Gwendolyn's spells.
It is interesting, though, how there are almost no sealed-off secondary worlds in DWJ's oeuvre.
There are lots of neat things to say about how DWJ did this, and why she'd do it, and the implications in the storytelling. But tonight I'm thinking mostly about how it can be a moment, narratively, that makes you halt and have to recontextualize all these things you thought you knew (or were assuming) about the nature of the story.
In Ursula Le Guin's The Dispossessed, Urras is obviously the metaphorical capitalistic stand-in planet for our own Earth... up until a moment right near the end, where we realize our own Earth exists in this novel too and is an ecological wasteland due to unchecked climate change.
Urras may be the distorted-mirror, uber-capitalist version of our own world. But it's also a planet with a functional ecosystem. It's a planet where society is careful about maintaining that ecosystem. We're not going to be Urras, says Le Guin. We'll be lucky if we become Urras. To become Urras means we wised up in time to not go extinct.
And suddenly, little subtle moments in the worldbuilding around both Anarres and Urras—their shared attention to their own ecology—come into a different light. All because our own, devastated Earth turns out to be present in the novel too.
And in Howl's Moving Castle, Howl is a magician who fits into the fairy tale landscape of Ingary as naturally as anyone else—until the chapter when he has to go home to retrieve a lost spell, and you realize home is in another world, aka home is our world, aka Howl is fucking Welsh and found his way into Ingary by pure accident. And Ben Sullivan, Ingary's missing royal magician, is no native of Ingary either.
To Sophie, it just means that both magicians travelled to Ingary from the same enigmatic foreign land, which is as strange to her as any spell.
To us readers, it means "oh my god he's Welsh too? Just how much is Wales secretly connected to Ingary? Next thing you'll tell me Ben Sullivan's a rugby player as well—"
