Read the previous entry in the series here.
Read the next entry in the series here.

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Another letter from Erek to his old master, Kerig, provides an update from the previous before “The Well” begins. As the chapter opens, Rapskal pleads with Thymara to accompany him after she and Tats have taken him aside. Thymara considers recent events, conferring mentally with Sintara as Rapskal continues to plead, his words not entirely his own. At length, Thymara is persuaded, and the pair walk Kelsingra, Rapskal speaking from memories he has taken in from it and plying Thymara further. He urges her to reach into her own ancient memories for the secret of restoring Silver.

Elsewhere in the city, Reyn and Malta confer about their fortunes and those of their family and of Tintaglia. Malta places Phron’s hand upon the dragon and offers something not unlike a prayer.

Thymara resists the call to dive into memory, and she rejects Rapskal’s insistence harshly. Sintara pleads with Thymara, however, and she reluctantly descends into the well along with Rapskal. As she does, she feels the memories rising around her, and at the bottom of the shaft, she finds the remains of her past self. More memories rise within her, and she releases a hidden reservoir of Silver from which the dragons begin to drink.

Phron cries and Malta moves to feed him from her breast, the child’s parents exulting in the evidence of changes worked by Tintaglia upon him. Other dragons approach Tintaglia, shunting the Khuphruses aside as they bring Silver to Tintaglia, treating her. The elder dragon rises, hungry, and moves to hunt amid the joy of those surrounding her.

I remain pleased to see the chapter-prefaces used not only in the Asimovian style of providing greater context for the world and the events depicted in the pages of the chapters, but also to trace ongoing outside narratives. I know I’ve commented on the device before, but as it continues to be a source of delight for me, I feel I ought to remark upon it now and again. And it really is a treat to have the short little snippets–because the letters are rarely of any length, sensibly to them being carried by pigeons–do so much to illustrate what else is going on. More formally, by pointing towards events outside the main narrative, the letters assist Coleridgean willing suspension of disbelief by gesturing towards Tolkienian unexplored vistas that authenticate the act of sub-creation; more briefly, by making the presence of outside context within the milieu explicit, the letters deepen the verisimilitude of the main narrative. That is, they make the world in which the main narrative takes place “more real” than a work centering on metamorphosing dragons and their effects upon the world would otherwise be.

The depiction of the Silver in the present chapter continues to reaffirm for me the link between it and the Skill plied in the Six Duchies. I’ve commented on the perceived link a few times (such as here, here, and here), so I was already quite confident in the interpretation. Reading again of the manner in which the Silver-treatment occasions Tintaglia’s recovery offers more to bolster the interpretation; compare, for example, the dragon’s recuperation to that Fitz endures in his Skill-healing (see Golden Fool, chapters 20 and 21). The continued effort to “normalize” things across series taking place in the same milieu, relatively contemporaneously, is clear in the present chapter; it works better here than in some other places in the tetralogy, which is a pleasure to see.

The depiction of the Silver in the present chapter also continues to remind me of the EarthBlood in Donaldson’s Chronicles of Thomas Covenant the Unbeliever. (I write about it a bit here.) The tension between destructive force and creative power embodied in a markedly colored outflow from within the earth is telling, although I’d need to do some additional rereading to pull out the parallels more fully. Doing a bit of source-study remains tantalizing, of course, but that would require more of an investment of time, and I am not sure how much of it I am likely to have in the near future.

It’s for good reason, or reason good for me, at least. But I would still love to attend to the project, along with a great many others…

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