by Robert Jordan
I’m going to use most of this space to talk about my general frustrations with Jordan’s writing. I’ve had plenty of time now to think on it, and I’m starting to come to terms with some of my disappointment, especially as I look back on the first couple entries, which I thought were pretty great. So I’m focusing on Crossroads, but some of these thoughts have been drifting through my head for some time now.
The biggest problem is that Jordan refuses to focus each book on a single narrative or plot line. This is okay when minor characters are able to have their own adventures that will either be entertaining in their own right, or will tie into our main narrative later. Think about Harry Potter’s friends; they always have their own shit going on, but those side quests generally have an impact later. Hermione or Ron will accidentally discover some knowledge that Harry will need to get past the three-legged dog, or win the Tri-Wizard Tournament, or whatever he does in the other books. But Jordan refuses to close even minor subplots, leading me to question why I’m supposed to care. Perrin is the perennial offender here. His squad has been separated from the other characters for several books now, and I have no idea what Rand actually wants them to be doing. Frankly, it doesn’t even feel like Rand and Perrin exist in the same world, and that’s not a good thing when they’re not only in the same world, but ostensibly in the same story.
When it comes to minor characters, I have no idea which ones are going to become important until the moment they’re shoehorned into the plot. This is always done one of two ways: the character either suddenly proves to be indispensable–Faile–or suddenly betrays one of our real heroes–so many irrelevant Darkfriends/Black Ajah/Ashaman that I can’t even name them all. Actually, my inability to name a single one of these characters says a lot about the impact they’ve had. I know that one (or more) of the Ashaman betrayed Rand at some point, but the individual Ashaman are such non-entities that it has absolutely no impact on me. I didn’t know the characters before the big reveal, and I didn’t remember anything about them afterwards. The sheer number of minor characters dilutes the impact of all of them, and while these characters can sometimes make the world feel bigger, most of the time they just make it more confusing.
This leads me to ask: What does Jordan find interesting? Even when he stumbles into a plot with undeniable potential, he gives it the same or worse treatment than he gives everything else. The breaking point for me was the romance between Mat and Tuon. After disappearing for an entire book, Mat then reappears in Winter’s Heart, which ends with the promise of a great story line for him. In order to escape his life of captivity and sexual assault, he is forced to kill or kidnap Tuon, heir to the Seanchan Empire. He has no choice but to bring her along, and as they make their escape, he realizes that she is the Daughter of the Nine Moons, foretold to be his wife. Interesting! This has potential. Surely Jordan will spend a good chunk of Crossroads allowing this romance, which we already know is going to happen, to develop in interesting ways.
Wrong. Not to spoil anything, but nothing really happens between them for 90% of the book. A later chapter is dedicated to their “courtship,” such as it is, but it’s really a missed opportunity, even if I have my doubts that Jordan could pull off a relationship that doesn’t feel like a bad romantic comedy. “I can’t believe this person! How could anyone stand to be around them! But oh, there’s something about them…” Regardless, we will never find out, because more time is given to Perrin’s relationship with his axe than Mat’s with Tuon. And that is not hyperbole. That is an accurate comparison based on page numbers. And even the Perrin-axe relationship pales in comparison to the three-book quest to rescue Faile, the character nobody cares about, the romantic interest that nobody was asking for.
Lastly, I think it’s somewhat telling that Jordan’s titles have become completely abstract and arguably irrelevant. “The Crossroads of Twilight,” mentioned in the epigraph, doesn’t play any part in the book, and the words aren’t even written in the text. I’m not saying this is the worst thing in the world, but it’s an indication that there isn’t any one thing that ties this book together, which brings us back to the painful admission that Jordan forgot what the fuck he was writing about. Not every title needs to refer to an object, as in the first installment, or an event, as in the second. But the title should have some relation to a plot or theme of the book, and you would be hard pressed to make the case that “Crossroads of Twilight” has any meaning whatsoever, either thematically or in relation to the world that Jordan has built. If anything, it just reminds the reader that the series is at a crossroads, as we move from the muddled middle to the (hopefully) spectacular finale, and as we make the decision to finish the saga or set it aside in favor of more concise, meticulously plotted, and thematically coherent fair.
Most of these issues are really symptoms of the main problem, namely the lack of a reason for this book to exist. Yes, Jordan has to continue the saga. Mat and Rand and Egwene have to get from point A to point B, though at no point do these characters interact in most of the later books, Crossroads included. In a sense, we need Crossroads to get us a step closer to the end, but there’s nothing that it’s actually about. No characters experienced major turning points, and the most interesting new relationship–Mat and Tuon–was given about twenty pages of an 800-page text.
I’d read somewhere that Jordan intended it to catalog characters’ reactions and responses to Rand’s actions at the end of Winter’s Heart. Apparently, Jordan thought it didn’t really work. I think I disagree with his assessment, though. I mean, yes, I have my own problems with the book, but I actually liked the use of that event as a turning point for these characters. It felt like a reset, or a refocus, for the plots and subplots. Obviously, it didn’t immediately tie the story together into a cohesive whole, but it was a nod in that direction, and at this point I’ll take what I can get.
When a novel ceases to exist in its own right, we have a problem. Crossroads of Twilight was a fine entry into the series, but in no sense is Jordan telling a series of stories in novel form. It’s become a TV show, or a comic book, in which each entry serves only to lead into the next entry, until the creator decides that enough has happened and the plot can be wrapped up. That’s clearly happening with Wheel of Time. I didn’t hate Crossroads, but my patience with Jordan’s unending web of characters and plot is wearing thin.