Gate 4: Senior Field Agent


Assignment: Read “Every Heart a Doorway” by Seanan McGuire. When you have completed the reading, please prepare a ~3000 word response to the novel in which you describe how it relates to fairy tales, what you have already learned, etc. You may also consider where you fall in the axis suggested in the book.

Seanan McGuire’s Every Heart a Doorway was a great read! Honestly, it’s probably not something that I would have picked out to read on my own, as I typically avoid anything that might keep me up at night. Every Heart a Doorway definitely had a few tense, suspenseful sections – however, I’m very glad that I had the chance to read this story. Not only was it well-written with intriguing characters and an enthralling concept, but it was also reminiscent of the fairy tales we’ve been studying in our course.

I suppose that begs the obvious question: is Every Heart a Doorway a fairy tale? Of course, this simply brings up the old debate over what exactly is a fairy tale, anyway? I think that Every Heart a Doorway could be a fairy tale depending on how strictly you wanted to define fairy tales. Obviously it’s not a story for children – its content is quite dark at times and there’s some language in the book which is definitely not suitable for young kids. However, unless we adhere strictly to the Bettelheim side of the spectrum, this darkness should not preclude Every Heart a Doorway from being considered as a fairy tale. In fact, death and darkness are found in many classic fairy tales we’ve read. Some of the Grimm stories come to mind immediately.

Further, I think there is a parallel between Hans Christian Andersen’s little mermaid and the wayward children in Every Heart a Doorway. The little mermaid’s determination to get to the world that she wants to join is extreme, as are the lengths to which she is willing to go in order to live there. The wayward children in Every Heart a Doorway share a similar situation in their desire and desperation to rediscover their doors. Certainly, Every Heart a Doorway shares some story elements with fairy tales.

But even beyond that, I think there is good reason to consider Every Heart a Doorway to be a fairy tale. The portal worlds that exist within it are certainly magical, inexplicable, and varied. The universe that the story resides in is certainly one that we might expect to find in a fairy tale – and I think it’s also important to note that it isn’t just the portal worlds that contain traces of magic. The wayward children retain traces of the magic of their worlds even in the “real” world – Nancy’s stillness and Christopher’s flute are two examples that illustrate this particularly well.

However, although I think that Every Heart a Doorway has enough in common be grouped with the fairy tale stories, I’m not sure that the famous authors we’ve read would agree. Bettelheim’s writing emphasized the importance of fairy tales for children, and since this is decidedly not a children’s story I can’t really be certain whether Bettelheim would approve. Further, the characters in Every Heart a Doorway are by definition travelers – I wonder if this would disqualify the story from meeting Tolkien’s specifications, as I suppose it could be considered a travelers’ tale, in a way. However, that said, I also think that Every Heart a Doorway would strongly qualify under Tolkien’s definition of a fairy tale in that it has a “eucatastrophe” at the end. Even though there are some events in the middle of the story that are less than happy, I would consider the ending to be a happy one – and it certainly caught me by surprise. The ending of Every Heart a Doorway is actually a really good example of eucatastrophe in my opinion, with what seems like a set of coincidental circumstances leading to the ultimate resolution of the story.

Another element of Every Heart a Doorway that reminds me of fairy tales is the way that other story elements are incorporated. Fairy tales often share elements of other tales, or else retell older fairy tales or evolve out of their folk story roots. Every Heart a Doorway also borrows elements from other stories – the twins Jack and Jill are an obvious reference to the nursery rhyme, for example. I also really liked the variety of portal worlds that exist in the story – there’s a variety of different ways to represent fantasy and fairy tale worlds and I think that the mapping of the worlds onto directions really seems to encompass a lot of the different types of fantasies and fairy tales that I would tend to think of.

That said, Every Heart a Doorway is also unique and more forward-thinking than most fairy tales that we tend to come across. The story has a more diverse cast of characters than we would see in traditional fairy tales, which is refreshing and modern. But even more than that, I liked that this was a story where the heroes were a group of misfits. After all, it’s too often in fairy tales that the heroes are princes and princesses – anyone else is cast as a villain or a peasant. But Every Heart a Doorway does so much better than that, with a small group of misfits who end up doing good in spite of the expectations of those around them. It was really nice to see that those from wicked worlds and underworlds could still be the heroes, and I thought that this was a lovely message for the story to have. I always like protagonists who seem to find their voices and their strength throughout the story, too. I think Nancy was a great example of this, as she seemed uncertain and shaken upon arriving at the school at the start of the story, but more and more sure of herself as the story progressed. This is also a progression that we have seen in characters like Gerda from Kelly Link’s Travels with the Snow Queen and Lissar from Robin McKinley’s Deerskin. Now I’m beginning to wonder whether this type of character progression is something that see in all stories, or if perhaps it is more common around fairy tales. Regardless, it has been a common element in modern fairy-tale-esque stories and I find that I tend to enjoy it.

Perhaps even more than that – this story, and in particular this analysis, has helped me to realize just how much I enjoy fairy tales, and just how useful they have been for me through a very stressful semester. Fairy tales really are stories where we see the impossible be made possible, and it’s reminded me not to lose hope in my own endeavors. This semester in particular, I took a lot of upper level courses and also decided to join a collegiate sports team after five years of injury. I’m not sure if you’ve ever heard of athletes who come back from that many years out, but I don’t know if I have. People told me it was impossible and it’s been difficult for me to stay positive. However, in fairy tales we find ourselves many characters who didn’t think they could achieve what they wanted to, or who nobody believed in. It’s been a really great experience for me to be around this type of mentality and story, even if I didn’t consciously realize it at the time.

I have also discovered through reading Every Heart a Doorway that I really enjoy Seanan McGuire’s works. I really liked Indexing, but I couldn’t tell if I just liked the book or if my appreciation for it was simply for McGuire’s style as a whole. After reading Every Heart a Doorway, I can confidently conclude that I really enjoy Seanan McGuire’s writing. I also like that both stories have aspects that tie in to our class – both Indexing and Every Heart a Doorway involve the power of the story itself. In Indexing, this power is very obvious and is very central to the concept of the book. Fairy tale stories have an entire government agency dedicated to managing them, so it’s safe to say that they’re very powerful. In Every Heart a Doorway, the story’s power is much more subtle but I think it still maintains a crucial element of the story. As an example, I really liked the following quote: “You’re nobody’s doorway but your own, and the only one who gets to tell you how your story ends is you.” In Every Heart a Doorway, the story is less about subduing rogue narratives and more about crafting your own story so as to end up where you belong – it’s much less overt and much less showy, but the power that a story can hold remains.

Another interesting parallel that I noticed between Every Heart a Doorway and Indexing is the role that age plays in stories. Age is not a major theme of either story, but it pops up in both. In Every Heart a Doorway, there are multiple ways that age is addressed – but perhaps one of the most common seems to be that time does not pass equally in our world as it does in the portal world. I thought it was very interesting that children could spend years in other realms only to return at around the same age as they had left home. I suppose that this indicates that age and maturity should not be taken at face value. Likewise, Lundy ages in reverse and also illustrates this very well. Indexing even parallels this with Sloane – I don’t think I recall if we know her actual age, but I believe it is implied that she may be older than she seems. But these stories also have balance – we do not simply see those characters who are more mature than their appearance might imply. I think it is also interesting that both stories show “dangers” of aging. In the case of Indexing, this is with the Peter Pan case that the team encounters in the field. In Every Heart a Doorway, Eleanor can no longer stand to be in her nonsense world because she is too much of an adult. Apparently being an adult has its downfalls, too.

Although Every Heart a Doorway has many similarities with our other stories, it’s also particularly unique in its concept. The idea of numerous portal worlds that open for those who are well-suited to them is not reflected in our other readings, and I find it particularly fascinating. Then again, I suppose that this type of personality-based selection is one that we see in other fantasy nowadays – the houses in Harry Potter and the factions of Divergent come to mind right away. However, I really like that the portals in Every Heart a Doorway are more unique than that – kids are not simply sorted according to where they fall on a spectrum or which values they hold dear. Instead, they’re chosen by very specific worlds, worlds that we do not necessarily see choosing other children. Yet, because the worlds can still be categorized, the reader still has a framework to use to make sense of the worlds.

One of my favorite parts of stories such as this is considering where I might be best suited when it comes to such systems. I think that this is because I find this exercise especially challenging – where other people can pick out where they would fit nearly instantly, I analyze and struggle, and change my mind indecisively. And this isn’t the fault of any of the systems – I think I just happen to be in between a lot of things, which is why I also tend to struggle to get decisive results from things like online MBTI tests and the like.

Anyway, as for the compass – I think I’ll start with the logic and nonsense spectrum. I am inclined to think that I am very close to the middle of this. It’s not that I don’t like logic or nonsense; honestly I rather appreciate both of them. I prefer a balance, and I have the perspective to understand both sides. Certainly, I hope that I understand logic given that I am pursuing majors in mathematics and computer science. But I also think it’s just as important to have nonsense in our lives – if everything was logic, everything would be completely predictable and then where would all of the fun be?

Then, for the virtue and wickedness spectrum, I like to think that I lean heavily towards the virtue side. I definitely don’t think I’m perfect, but I do try to be a good human and it’s important to me to treat others kindly whenever possible and to be treated fairly in return. I think I’d much prefer a virtuous world to a wicked one, though I am sure that there are a lot of middle grounds that I’d happily be able to tolerate too.

That covers the major directions of the compass, but minor directions like rhyme, linearity, whimsy, and wild are also mentioned. However, because we see less of these in the story, it’s harder to figure out what exactly the correlate with. I like to think that I might appreciate a whimsy world, but I worry that I may be too serious for it. I also highly doubt that I’m wild, and I know that I lack skills in rhymes. Still further are the prospective new minor directions discussed near the end of the novel: vitus and mortis. Finally, here’s one that I actually feel quite certain on. I’ve always been an athlete, so it’s always been difficult for me to sit still. I would definitely not be able to conform to death worlds where stillness and darkness are prized. I enjoy moving quickly and often and so I’m quite certain that I’d favor all living worlds over dead ones.






Fairy Tale or Not? The Girl Who Ruled Fairyland

Is The Girl Who Ruled Fairyland – For A Little While (By Catherynne M. Valente) a fairy tale? Why or why not?

Whether or not this story is a fairy tale, I really liked it – but then again, I’m not an especially difficult reader to win over. I was sold by the time that Valente was comparing stories to blueberry patches – born and raised in Maine, I simply had to like it at that point. There was really no choice in the matter.

Also, Mallow is an awesome name, primarily because it is reminiscent of marshmallows. Valente seems to understand that the way to my affections as a reader is by allowing me to taste the story. I appreciate this. I also adore the Shakespearean names of the large cats. This story is so beautiful!

As for whether or not this is a fairy tale – well, it happens in Fairyland, so why shouldn’t it be? I think I tend to favor a broad, inclusive interpretation of the definition of a fairy tale, if only for simplicity’s sake. (If you think it might be a fairy tale, skip the debate and just call it one … then there’s more time to read it!)

More than that though, this story has that magical, otherworldly quality about it that I connect with fairy tales. Reading it was certainly an escape from reality, and I definitely got the sense that things which are impossible here are very possible there. To me, this is definitely a fairy tale, and a very good one too.


Indexing: Episodes 5-8

If you have Spotify, you can find my playlist: here.

Otherwise, here’s what I’ve got:


With a Smile and a Song – Snow White

The Sound of Silence – Simon & Garfunkel

A Dream Is a Wish Your Heart Makes – Cinderella

The Fox (What Does The Fox Say?) – Ylvis

Fix You – Coldplay

You’ve Got A Friend – James Taylor

You Can Fly! You Can Fly! You Can Fly! – Peter Pan

Sleeping Beauty Suite Op.66a – Tchaikovsky

The Frog Hunters/Gator Down – Princess and the Frog

Kiss Me – Sixpence None The Richer

Lollipop – MIKA

We Can Work It Out – The Beatles

Things We Lost In The Fire – Bastille

Pumpkin Pursuit – Cinderella

Walking Tune – Percy Grainger

It’s the End of the World As We Know It (And I Feel Fine) – R.E.M.

Indexing: Episodes 1-4

In my copy of Indexing, the first four episodes cover pages 1 – 126 (assuming I correctly understood what an episode is). Even though this is a considerable chunk of reading, I’m still uncertain which character I like the most.

That said, I do like the story. The concept is refreshing and intriguing, and I definitely like the interactions between the characters. However, I’m less sold on the characters as individuals – Sloane’s angst and darkness were amusing at first but were becoming more predictable until the recent plot twist. Henry is also interesting but we spend so much time in her head, so to speak, that I am almost more curious about some of the characters we have seen less of.

I like what we’ve seen of Jeff and Andy so far, and I’m curious to read more about Demi, too. I think Demi’s story might be the most interesting to me at the moment – her entrance to the fairytale world wasn’t too far off from the start of the story, so as the reader I can connect to her newness to the team. For this reason, I find it easy to sympathize with her – she has been plucked out of her normal life into the ATI, just like we as readers have been dropped into the world of the story. Even though we don’t read as much about Demi as we do some of the other characters, I think she might be my favorite so far.

I also really like some of the minor characters in the story! I have to wonder if the tensions with the deputy director will ever amount to any problems with the story – he definitely seems like someone the team could unite against. I also thought that Birdie’s character was quite adorable so far and I hope that we get to see more of her in the rest of the story.

Gate 2: Interview

Here’s my Gate 2 Submission! I say “um” a lot, unsurprisingly.


TL;DR Version: Thanks classmates, you’re all amazing. 🙂

Compare & Contrast: Deviations in Travels with the Snow Queen and Deerskin

Kelly Link’s Travels with the Snow Queen is certainly a deviation from The Snow Queen. The main elements of the story remain intact: Gerda goes on a journey to the Snow Queen’s palace to find Kai, and the supporting characters that she meets along the way are reminiscent of those in the original. However, this story definitely deviates in that the “happily ever after” seems to be missing and in that the story is much more explicit in content – where the Snow Queen may have been able to pass as a story for all ages, this one has language and sexual references that are not appropriate for children.

This is reminiscent of the way that Deerskin is more explicit than the original Donkeyskin. Further, we can also draw a parallel between Travels with the Snow Queen and Deerskin in that a deeper dimension is given to the story. In Deerskin, the reader witnesses Lissar’s strength as a survivor as she overcomes an absolutely horrifying experience. In Travels with the Snow Queen, we see that Gerda is not stuck in a relationship with Kai – she can leave him if she chooses, and she does so by choosing to become a tour guide for the Snow Queen. This makes Gerda a very powerful heroine – she could have rescued Kai, but she chose not to, deciding that Kai was not deserving of her rescue.

I think one of the main differences that struck me between Travels with the Snow Queen and Deerskin is the point of view. Deerskin is told in the more conventional third person, whereas Travels with the Snow Queen is told in second person – at times it is difficult to place whether we are on Gerda’s tour or whether we are simply along for the ride with her in the story. In either case, the reader is very close to the story – in some cases, the story even seems to address the reader directly. This gives a very different effect from Deerskin, where there is more distance between the reader and the narrative.

Journal Entry: Hans Christian Andersen

I really enjoyed reading about Hans Christian Andersen’s life. It’s inspiring that Hans Christian Andersen was able to achieve so much given his humble beginnings – I think it’s especially admirable how hard he worked and that he never gave up on his dreams despite the obstacles and struggles.

I also found it interesting that the biography tied some of the stories into Hans’s life. It’s a little bit heartbreaking though to discover that The Little Mermaid’s lack of complete acceptance was based on the author’s life – however, I think this may be one of the aspects that adds realism to Andersen’s fairy tales. After all, the real world and the people in it are not always kind or accepting.

It’s also sad that Andersen was never able to fully fit into the Collin family and upper-class society. This isn’t really surprising, but I can certainly sympathize with Andersen – despite his brilliance, he was never ‘good enough’ to be fully accepted by elite society and I imagine that wasn’t easy for him.

I also particularly liked reading about the reception that Andersen’s tales received in his lifetime. Today, we mainly know them as classics, so it was really interesting to discover what readers thought of them initially, as well as to learn about Andersen’s interactions with other writers of the time. I thought it was especially relevant to our class that Hans Christian Andersen became friendly with the Grimm Brothers and their folklore group. I can’t help but wonder what such a group might have talked about, or if these writers may have directly influenced each other somehow.