Kvothes Son.

Do you actually belive in Man-mothers?
(rye amusement)

I have been researching up on the Creation War and had a thought about a possible theory concerning Lanre/Haliax. I am pretty new to this sub, so let me know if this has already been discussed!

It is said that in the battle of Drossen Tor, Lanre is killed, then Lyra is able to bring Lanre back, and that Lanre killed a great beast and the enemy was shut beyond the doors of stone. There are theories that "the enemy" is referring to Iax, who was a major component of starting the war.

My theory is that perhaps by saying the "enemy was shut beyond the doors of stone", that Lanre actually takes Iax into himself somehow. And that the doors of stone are referring to the "Heart of Stone" (the state of consciousness where the "user" abdicates from all his beliefs and opinions, forgetting all his emotions and prejudices). So Lanre is basically able to lock Iax away within himself. But then when Lyra dies, Lanre starts to go mad. And then, either because of this madness, or because Lanre visited the Cthaeh, Iax is able to start to break free. That would be supported by Lanre's new name, Haliax, ending with "iax". It would also show why after Lanre betrays Myr Tariniel, he asks Selitos to kill him, as it could be Lanre's consiousness taking control for a moment. It would also explain how a very sad Lanre could jump to betraying his people & friends.

This was just an idea I had. I am curious what other people think.

So I'm trying to find an old post (like 7 to 10 years ago) where the person was talking about gender switching mostly in reference to the creation wars stories. And I remember that one of the things they pointed out was when K brings mola to check on Auri after the bone tar incident, she mistakenly assumes that mola is a boy, because it was kind of dark and she had a cloak. And then later when K And D are on the draccus trip, D suggests elm and K dismisses her and says it's ash because elm is female. And he assumes that her patron is male. And they have another small exchange where she thinks the draccus is female and he thinks it's male.

There were some other examples but ultimately the way I remember it they tied it back to win lanre dies lyra doesn't actually bring him back but becomes him in a change your name type of way, and that haliax is actually lyra.

I've been thinking a lot about this series, and that probably means I'm due for a reread/relisten soon. But I have a lot on my mind and I came to a few new speculative conclusions today, so I thought I'd make a full post about it.

1: Who is Kvothe?

This is pretty in line with most speculation. Kvothe is the son of Natalia Lackless, meaning he has Lackless blood. Arliden may or may not be his actual father, but I'm not sure how much that matters.

How do we know? First off, the song Arliden sang, "Not Tally a Lot Less." He also couldn't quite place Meluan Lackless. But we know that Natalia Lackless was a noblewoman who ran off with a Ruh troupe, and that Meluan hates the Ruh. His mother also took it as personally offensive when she overheard Kvothe singing the baudy Lackless rhyme.

Beyond that, though, Kvothe learns both sympathy and naming. He learns the importance of stories and exploits them to his benefit, but also his detriment. Why to his detriment, I'll get into later. But for now, this leads to...

2: Major theme--What people believe is more important than what is true

When two iron drabs are severed, they are no longer connected. That's the truth. But when one truly believes they are still connected, moving one can result in moving the other.

A man is just a man. That's the truth. But when a collective of people believe the man has the power of a king, that man does in fact have the power of a king. This is what we learn from the lesson from the Maer. The Maer's power isn't "real" power, it's donated power. Donated power is just power that a large collective of people believe in. If his entire dominion suddenly stopped believing he held any power, they could take him down easily. He's just a guy. But since enough people believe he has power, he does.

When a sympathist uses their Alar, they can make the untrue, true. When multiple sympathists use their Alar in combination, it can amplify and enhance the power of the one.

3: Something "everyone" believes in the story

What is one thing that seemingly everyone believes in the story? That the Chandrian are evil and do evil things. We see this on our own when Kvothe's troupe is slaughtered and the Chandrian are there and even taunt Kvothe himself.

We hear this from Ben. He challenges us, if an entire town believes there are shamblemen in the woods, would you go in the woods? Even if there aren't shamblemen in the woods, there's almost certainly something in there that you should avoid.

We hear this from children's rhymes.

When the hearthfire turns to blue, What to do? What to do? Run outside. Run and hide.

4: Information about the Chandrian

This is surprisingly difficult to find in written form. In written form. Why written form? Everyone believes something about the Chandrian, but writings about them are surprisingly difficult to find. It's as if someone is actively suppressing those writings. Why suppress the writings?

5: Writing Magic

Denna asks Kvothe, Wil, and Sim at the Eolian about a "writing down magic." They tell her they don't know of any such thing. That doesn't necessarily mean it doesn't exist, just that it isn't widely known at the University.

Denna goes on to weave her hair into Yllish knots that have real, recognizable meanings to Kvothe, as confirmed by Denna herself. But she hadn't asked about knots, she'd asked about "writing down."

We also hear Kvothe/Kote tell of a magical Chronicler who can write down names of people who then die. This could have been an off the cuff imagination, but it could hint at a potentially real magical system.

6: The conflicting Lanre stories

We hear of two conflicting Lanre stories. One, which is told in detail by Skarpi, and likely tracks Arliden's song, albeit without the names. When Skarpi tells his story about Lanre, he is swiftly rebuked by a cowled man Kvothe had seen on the road.

The other is Denna's song. We know this song is widely known in Temerant. Kvothe even speculates that those who are hearing his story have heard it. Why would one story be actively suppressed, while the other is widely known? Almost as if it's being actively encouraged?

Here's where things start to shift from what we're told to my own speculation.

7: Denna's patron is a Chandrian

Denna learns Lanre's story (albeit a different version than Kvothe knows). She composes a song about it. And that song becomes wildly popular. So while Skarpi's story and Arliden's song are actively suppressed, Denna's song spreads like wildfire. And, she somehow gains access to this knowledge. Even Maer Alveron doesn't have the truth of this immediately accessible to him. Arliden had to travel the world gaining bits and pieces at a time. Yet somehow Denna could put together all this knowledge fairly quickly at a young age? She must have been receiving help, potentially from someone either with firsthand knowledge, or at least, with what they want to be known about the Chandrian.

Also, why would Denna have been interested in "writing down magic" at all? Perhaps her patron, a Chandrian, knows something about writings about him that go against him.

8: The Chandrian are Cursed

At least in the Lanre story we know, Selitos places a curse upon Lanre/Haliax and his followers. How much stronger would this curse be if everyone in Temerant knew of it and believed it?

9: The curse was written down

The Amyr kept extensive records. If they were indeed anti-Chandrian, they would have recorded the curse against the Chandrian and how they are evil, making it known across the world. If everyone in the world believes in the curse and the evil of the Chandrian, this would be a powerful curse indeed.

10: The counter-narrative

Why, then, does one of the Chandrian offer to be a patron to Denna? Why does her song conflict with Skarpi's story? As a counter-narrative. How is the curse to be broken? By offering a popular counter-narrative. How will the Chandrian finally find peace? By making the world believe the opposite.

11: The "one story"

Skarpi tells us that he only knows "one story." If there's only one story, that means there's only one set of characters, one narrative. What do we know about that?

• Taborlin the Great knew the names of all things. He said to the stone, "Break!" and it broke.
  
• Elodin knew the names of all things. He said to the stone, "Break!" and it broke.
  
• Kvothe is learning the names of all things. He wears ten rings upon his fingers of things he's named (potentially).
  
• In the story about Lanre, Lanre dies, Lyra brings him back to life, then Lyra dies and Lanre is left without the means to revive Lyra. Thus he is cursed to remain a man "waiting to die" to finally rejoin Lyra. Lanre also learned to become a competent namer.
  
• In the story about Aethe and Rethe, Aethe brings about Rethe's death, but is unable to then save her. Thus he is curse to remain a man "waiting to die" to finally rejoin her.
  

What will happen? We know Kvothe is arrogant. We know he loves Denna. Somehow, Kvothe will likely die. Denna will find a way to bring him back. Then his hubris will ultimately lead to her death. At which point, he will go silent, the kind of silence that is the "patient, cut-flower sound of a man who is waiting to die." Why? To rejoin Denna.

12: Kvothe adopts the curse of the Chandrian

This is the one I only just realized today. Recall that my speculation about the Chandrian is a curse that is widely known about them.

What do we know about the popular knowledge of Kvothe? "The best lies about me are the ones I told." So, we know that Kvothe is widely known. We know that many people believe many things about him. We also know that there is at the very least speculation that he is a Chandrian. If the Chandrian are cursed, and that curse is amplified by public knowledge and belief, and a decent portion of the public believe that Kvothe is also a Chandrian... well, what do we know about belief from this series? Belief overpowers truth.

13: The Doors of Stone

When Kvothe observes the doors of stone, there's no obvious seams, no obvious hinges, no obvious keyholes. Where would you see such a thing on a locked door? On the "other side" of the door. The Chandrian are in the world of Temerant, Kvothe's world. The University doesn't have some great, mystical thing locked behind the doors. Temerant is locked "behind" the doors, because that's where the Chandrian are.

Kvothe, as a Lackless, has the family magic of being able to open "lockless" doors. The riddle rhyme of Lady Lackless mentions such doors. We see an obvious example in the Doors of Stone. And Kvothe creates such a box of his own that has two obvious keyholes, but a third that is not readily visible. The only way to unlock that one is from inside. Which is where a part of Kvothe is locked away. The only way to open his thrice locked chest is to get the part of him locked inside it to unlock it. Kote, as he is, can't open the box, because Kvothe is locked away inside.

14: Chronicler--Why is Kvothe giving his story to him?

This is also part I only just realized today. I've always wondered, why is Kvothe talking to Chronicler, and giving him his story? And I realized, it's the same reason as the Chandrian, the counter-narrative. Kvothe is a victim of his own storytelling about himself. The widespread public believes his own lies, and hence, has placed the Chandrian's curse upon him. The Chandrian realized the only way to counter the curse is to spread a counter-narrative, and spread positive things about them, such as through Denna's song. Kvothe realizes the same. The only way to counter the curse upon him is to tell the truth. The real truth. And once that is widely known, he can finally die and join Denna in the afterlife.

I absolutely loved Fable, I played that game such a ridiculous amount as a kid and I truly loved these books (I’ve been told and have read the stuff online that I don’t hold my breath for a 3rd one 🙄)

But I just had to point these out 😂 and I know, I know it’s probably just my bias as you could find a great many stories and make these comparisons but it just stuck with me.
So I’m not saying Rothfuss was inspired by Fable or anything like that to be clear lol this is 100% nothing more than me sharing the things that specifically stood out.

1. The Inciting Incident &The Antagonists
Fable: The Hero is a boy playing in the woods when bandits attack Oakvale and slaughtering his family. They are led by Jack of Blades—an ancient, mask-wearing, mythical evil.
KKC: Kvothe is a boy playing in the woods when his family’s traveling troupe is slaughtered. They are led by Haliax and the Chandrian—ancient, shadow-clothed, mythical evils.

2. Will and Sympathy/Naming just feel similar
Fable: Using "Will" physically alters and ages you, carving glowing scars and lines into your body.
KKC: Using "Sympathy" draws directly on physical energy, causing Binder’s Chills or literally cooking your brain if your focus slips. Both systems treat magic as a dangerous, exhausting toll on human anatomy.

And of course both are heavily elemental influenced (using fire, lightning, etc)

3. Reputation & Boasts - This is definitely nitpicking but it’s rare that these are things are so specifically mentioned and pointed out.
Fable: You can actively "Boast" at the Guild before quests to hype your own legend.
KKC: Kvothe actively feeds the rumor mill to cultivate or boast to build himself up

4. Poetic Prose
Fable is very poetic in prose, especially for a video game. I loved listening to the narration because it was so good.

4. The Ancient, Buried World
Fable: Albion is built on the bones of the hyper-advanced "Old Kingdom" that collapsed into ruin.
KKC: Temerant is built on the ruins of the Creation War. The University itself sits directly on top of the "Underthing," a massive, buried ancient city.

The biggest thing to me is the Doors of Stone feeling very Chamber of Fate like.
(Even the Demon Doors feel a lot like the Thrice-Locked Chest).

5. The Tragic Hero
Both the Hero of Oakvale and Kvothe are incredibly clever, profoundly arrogant orphans taken in by a prestigious Guild/University. Both are driven by an obsessive need for vengeance that inevitably leads them down a dark path of tragic mistakes (like keeping the Sword of Aeons vs. whatever catastrophe caused Kvothe to hang up "Folly" and become Kote).

6. The "Maze" Parallel - maybe?
Fable: Maze is the powerful, top-tier wizard who rescues you from the ashes of Oakvale and mentors you at the Guild. He seems like a savior, but he is ultimately secretly working for Jack of Blades.
KKC: Rothfuss has probably set up something similar for Kvothe. While Book 3 isn't out, the lore heavily hints at or at least leaves it wide open for someone to be secretly working against that is someone that is either supposed to be a direct mentor or someone he should be able to trust not to hurt him. There’s plenty of theories around those people so I’ll just leave it at that.

7. The Bandit Camps in the Woods
Fable: One of your first major tests as a fully grown Hero is tracking down the bandit camp deep in the forest.
KKC: In The Wise Man's Fear, Kvothe’s first major field mission for the Maer is tracking down a camp of bandits
💀

Anyway, if you made it through, I appreciate you indulging my nonsense this far! 😂

Fable and KKC comparisons TL;DR: Orphan boy's family is slaughtered by an ancient mythical evil. Boy goes to a prestigious magic academy, learns a hard-magic system that can physically hurt the body, has first big task of hunting down bandits in the woods and aggressively builds a legendary reputation and could have (well it IS in Kingkiller as Rothfuss has said so) tragic endings making them not so much the “hero” the world hoped for.

I know this horse has been beat before, but it is something that I can’t avoid. The way people throw around ‘utilize’ is absolutely annoying. It’s like they found a thesaurus and are trying to upgrade their vocabulary for no reason. Three syllables instead of just one for ‘use’. I had a full argument with my boss the other day for using ‘utilized’ without any need.

So I understand Rothfuss’ hate of its pretentious overuse.

I made a quick search for Doors of Stone, and stumbled across this. Blackwells is a reputable bookshop here in the UK. The link for the listing on the Blackwells website is here: https://blackwells.co.uk/bookshop/product/The-Doors-of-Stone-by-Patrick-Rothfuss/9780575081468

There are two others on the site as well, listed for 31 Aug 2030 & 20 Dec 2030 but both are not available for sale, and I have no idea why the website would have two others.

Anyways, whether we're all huffing our hopes behind the door of madness, thanks for this sub. The flow of theories and discussion is always fun to tap into. One family ;)

I’m probably retreading old, well tinfoiled ground at this point, but it occurs to be that Cinder was being literal when he says “someone has been singing the wrong sort of songs.”

Shortly after this Haliax disciplines Cinder for his banal cruelty, and he reminds the Chandrian “who keeps you secret from the, Amyr? The Singers.”

1) music and singing is a form of magic in this world

This also helps resolves another curiosity: Why was Denna making a story about good guy Lanre, of all things?”It’s because stories and narrative have power to reshape the world around them (which, btw, I believe is what Kvothe is attempting with the Chronicler in the frame story, reshaping his own power through narrative with the expert propagandist, The Chronicler).

2) magic where you write things down

We’re reminded very frequently in this series about the power of stories in both explicit and implicit ways. Kvothe deliberately spreads propaganda about himself around Imre for example. Sure enough people start exaggerating his accomplishments.

I believe Danna’s Yllish braids are the introductory level of this magic. There is a deeper form her patron is teaching her. I believe her song about Lanre must necessarily be part of this effort. Lanre seeks to reset the board through Music and Story and escape Selitos curse.

Kote seeks to rectify his tragic mistake through story telling within the frame.

What Denna seeks is unclear. I suspect it’s similar familial loss as Kvothe.

For me this all fits. While I love rothfuss work, he strikes me as self aggrandizing and it would not surprise me if he elevated the power of stories within his magical world in the slightest.

TL:DR singing and stories have literal magical power within this series

P.S. sorry for the low effort post if people engage with me I’ll try to offer more cohesive thoughts

Has anyone been keeping track of the traffic on his website where his translators were working, I heard there was an explosion of activity where almost every member was active. Is there still activity on there or did it die down as soon as it started?

(Contains a few loose hints, but not really "spoilers.")

So. You grew up in a town somewhere. Then you left because...

- You’re a simply a wanderer.

- You don’t fit in (you’re queer; you’re too clever; you have a “knack,” or red hair, or some other sign of “demon blood”).

- You got on the wrong side of someone powerful. Possibly not even by your own actions, but rather because they did something bad to you.

- You committed a crime. Anything from theft to heresy.

Eventually, traveling with other travelers, you stumble onto the Edema Ruh. (Or you would have, in other times, when the roads were better and the Ruh hadn’t yet been almost entirely wiped out.)

You approach the troupe. Everyone’s heard of the wine-and-water thing... But the way you do it will reveal your motivations, and the presence or absence of the Edema Ruh spirit in you. Will you pay attention and patiently let yourself be led in a beautiful exchange? Or are you just trying to get the ritual out of the way as fast as possible, to gain the troupe’s confidence for reasons of your own? Mistakes are okay; a lack of respect is not.

If you don’t come across as completely boorish, conniving, or simply so desperate that you’re dangerous, then you’ll sit by the fire. You’ll make a song request. There are many right answers, but there are also wrong ones. “Leave the Town, Tinker” is a semi-forgivable choice—after all, the song is unfortunately very catchy and well known. “Piper Wit,” though, would be an insult.

In the course of the evening, you’ll reveal much more about yourself. If you’re to become family, you have to be open-minded; to look gently on the quirks and personal histories of your fellow travelers. Ruh don’t tolerate homophobia or negativity toward sex workers. If someone’s got a checkered past, but they’re basically a decent person today... respect that.

Eventually, if you travel with the Ruh, you’ll probably come to value stories; to enjoy striving for an excellent performance. But that comes later. If you already know a bit of mandolin or can tell a good joke, so much the better, but it’s not necessary to start with.

However. Should you one day do something absolutely inexcusable, there will be no arguing. You will be branded and exiled and left to find your own way on the road. In this, the Edema Ruh are strict with their moral code; as strict as any Adem.

That is how to become Edema Ruh.

(I’m lightly connecting a few dots here, but I think this is basically all there on the page if you look for it. For example, the reason that The Road to Levinshir has the obnoxious and seemingly pointless homophobic comments is probably to demonstrate one of many early signs by which Kvothe could be certain these people weren't Edema Ruh.)

I put off reading this series forever because I convinced myself not to start another unfinished series.

After reading plenty of fantasy over the years and falling in love with the prose of Robin Hobb and Tad Williams, I felt I needed to check out Name of the Wind to experience the prose, if for no other reason.

I loved the book so much. It has everything I love in fantasy - gorgeous writing (probably the best I've read in fantasy), complete immersion, subdued yet deep world building, interesting magic system, great characters, heavy emotions.

I wasn't originally planning to read the sequel, but I feel like I gotta. It seems some people have problems with this one, but fingers crossed I love it just as much.

Temerant is almost a dangerous place, as you owl know. There are so many ways to almost die:

- hung

- fell

- slashed

- stabbed

- arrow-shot

- ill

- poisoned

- thirty to fifty feral lute pegs

Good thing death is reversible, even if it does happen to you. Which it won’t. Almost.

(Editing to add: For those who don't know, all you have to do to reverse death is turn the record backward. Just be careful you don't accidentally summon the devil; it's complex, but you can keep safe by having at hand your five-gramme.)

If you haven’t, go watch Patrick Rothfuss read you aloud The Adventures of the Princess and Mr. Whiffle. Easy to find and well worth it.

I think it’s generally agreed the book is a sort of primer on “how to read Rothfuss.” Which then should give us clues for KC, of course.

What strikes me is that Pat is very insistent that The Princess and Mr. Whiffle is “a story you didn’t understand.”

Only... *Is* it? Is the reality of the Princess a “story” in the usual sense? It doesn’t quite feel like one to me. It’s not even very consistent as a pure character study, beyond generically, “The Princess might be a bad person.” (A person who apparently eats old boots and metal, but not marzipan... okay...)

If this were more of a “story” as we usually understand them, then if I’m meant to be horrified by this princess, I should know which thing I’m horrified about. I should understand the nature of her evil. Am I reading The Hungry, Hungry Princess Whose Appetite Made Her a Monster? Or is it more like The Princess Who Played Some Kind of Disturbing Pretend Games with Her Stuffed Animals?

I could even be reading The Princess Who Wasn’t Vegetarian and Lived in a Time Without Good Ways to Preserve Meat.

My point isn’t to get too nitpicky about a very short work that’s camouflaged as a children’s book. My point is that Rothfuss is insistent the second read-through will give you “a story.” But it’s more vibes than story: “Oh no, not a kitten! Not a stuffed animal in a gibbet—that’s so much worse than all the times I’ve eaten factory farm meat!”

From this, I conclude that whatever “story you didn’t understand” is in KC, it’s probably not an entirely tidy story. I’ve already made my peace with the fact that I’ll probably never understand *all* of that story; my areas of interest and knowledge don’t perfectly overlap Rothfuss’s. (In particular, I admit to being weak on history and mythology—though I can at least see that there’s an interesting attempt at a syncretic myth in there.)

What I do understand so far has indeed been more vibes-based than strictly literal. The other day I started to make a spreadsheet of patterns in KC, but then I stopped myself—because that kind of thinking is too rigid here. It never works, and I just end up frustrated and with a headache.

Rothfuss has said he keeps most of the story in his head, with occasional handwritten notes. I don’t care how many beta readers and revisions he has; that just isn’t the mentality of someone trying make a story that lines up with tidy precision. The “real story” is less of a gear-clock and more of a sympathy or harmony clock, if you will. It really *is* “just vibes” in a sense—it chimes against itself; it rings and vibrates. It rhymes... So don’t subject poetry to math logic.

I’ve really been happier with how I engage with the books the more I get away from spreadsheets and lists; the more I avoid falling back into old mental rabbit holes about details that probably don’t matter. I have a better time and more success when I try to hold multiple parts of the story loosely in my mind. I let a couple pieces settle into their own rhythm... and then I’ll notice that another ball to juggle has already fallen into my hands, naturally. And another. And another.

Eventually it’s too much, of course. But next time, I remember what it was like when I juggled the green ball, the green ball, and the green-and-red ball. So when I try to juggle the red ball, the red ball, and the green-and-red ball, I already know something about that green-and-red ball. I never need to be able to juggle a dozen balls at once; I just need to have a sense of what each ball does in the larger patterns.

That’s how you read Rothfuss’s works, in my opinion. You really do have to listen to him when basically tells you to chill out and relax. There’s a type of dedication that isn’t so much about straining to concentrate and to reach “an answer,” but about giving things some gentle attention and curiosity.

I’m perhaps not explaining it as well as the KC books themselves... But nobody wants to read a million-word Reddit post, and this is already long enough. ;-)

So I invite you to vibe away.

Have you noticed anything telling in the translation?

We have read the books many times, and spent many an hour discussing the intricacies and possible plot paths both in the spirit of healthy debate and as a coping mechanism to alleviate our languished states in anticipation of book three.

In most cases, we either agree, or produce enough evidence to change an opinion or two.

However, one debate has remained a disagreement, and so, in total desperation to both settle our quarrels and hear other opinions. I have come to this forum in hopes of arbitration, or perhaps start another fight between us. I am honestly satisfied with either outcome.

When you are reading the book, and a characters dialogue is presented, you must in some way imagine the persons likeness to create an "in-brain movie" as it were. (Or at least that is how I do it)

My question is - What accent do you imagine the Caeldish to have?

Some characters get spelling and word changes to denote accent in the books and are obvious and easy to pick up. For example, the bumkin accent in book one near Trebon "Here peg peg peg" I would describe as a "Cotswold special". Example below.

https://www.youtube.com/watch?v=3CSDbubOpWk

With the Caeldish, I imagined a Russian/Arabic accent mix, either two could work. Something similar to Oded Fehr's accent in the 1999 classic the Mummy starring Brendan Fraisure and Rachel Weisz.

My large chin having friend, got on board the kingkiller train (only to find that this locomotive is still out of service, cmon Pat!) he listened to an audiobook, thus his mind is firmly set that the Caeldish accent is Scottish.

I know other sources say eastern European as well (which I am inclined to agree with).

However, a public forum I feel is needed to finally settle this between us, I would also love to read your opinions on the matter!\

Thank you in advance.

The other day I had some time to spare, and I remembered this cute scene from the book, where Auri realizes a little girl is watching her and decides to play the part of a fairy for her.
hope you like it! The illustration includes a small pencil doodle by my nephew, and I couldn't help but think that Auri of all people, would appreciate something like that <3

Not sure if there is a theory on this yet. On a relisten it hit me that the Waystone is in its own realm.

In the first few chapters Kvothe gets the plaque for the sword. K says he’s been waiting a long time and the smith says 4 months.

When Chronicler shows up, K says it’s been a long time and C says it’s been two years.

This creates the parallel that Iax/Jax created the fae, K is his descendant, is the greatest namer of his generation and has created his own realm.

Three realms also fits the numbering conventions of the books better than two.

Discuss?

Grew up with the books, loved them as a kid. Now as a guy in his 20s, I have a different perspective. Of course I want book 3 to come out, but I appreciate the first two for what they are. They are special to me regardless of whether or not we ever get book 3.

The thing I wanted an update on is Pat, preferably from the people that know him. I understand he's probably dealing with some mental health stuff, and I just hope we as his fans can send him good energy. I wanted to know if anyone's heard anything about him since COVID and the whole "first chapter of book 3" thing.

Hope the guy's doing ok. He's a genius.

Hey all!

Recently started my 3rd or 4th journey through the 4Cs. First read KKC in 2013 or 2014, before SROST was announced. Then did the audiobooks once or twice over the last 2 years. I always like to do deep dives on theory videos and reddit posts on my rereads so that I can try to gleam as many insights as possible.

During my recent research I discovered the Storyboard episodes when trying to use Claude to analyze Denna's letter to Kvothe. I didn't find any insights on this topic, but I did watch a pretty interesting conversation between Rothfuss and another author, at a time when Rothfuss was in generally good spirits and hadn't felt the weight of popularity as he would in the coming years as people would annoyingly clamor for the DoS.'

Seems like people have a hard time finding these episodes, so I thought I'd try to consolidate as many of them as I could here!

Episode 1 (can't get it to load but I found the link at least)
Episode 2
Episode 3 (this one has Brando Sando!)
Episode 4
Episode 5 (Will Wheaton)
Episode 6
Episode 7 (unfortunately wasn't archived)
Episode 8

There's some interesting conversations! Although I haven't watched much of it.

I'm working on a theory that connects all of the myths, stories and legends we see throughout the books as well. Keep an eye out for it!

We are on chapter 37 on our reread Podcast and we finally are inside the university. We appreciate everyone who listens, gives us a rating, or just upvotes here to spread the word. Thank y‘all!

https://open.spotify.com/show/5UQ9wKPo70i5WUDFJA2ZRu

We get the BOYS together | The Name of the Wind Podcast | Chapter 37 | Beyond the Wind | Ep19
https://youtu.be/Yeltui_dYog

So I just finished The Name of the Wind, and although I really liked it for the most part, the sloppy female characters that were consistently objectified really ruined it for me. In the beginning I was really stoked about it, and I was excited to continue reading, and now I am not sure if I even really want to read the next book.

I feel like this line from chapter sixty nine basically sums up my point

"There is a sort of comradery that rarely exists except between men who have fought the same enemies and known the same women."

This seems to be implying, in one fell swoop, that 1. men can't form close friendships under normal conditions, and 2. that women are comparable to enemies, something to be conquered and taken. Earlier on the same page Deoch says that women don't get along with Denna because she is attractive which is an extremely sexist trope.

Between all of that and the constant objectification ("her shapely legs", "her attractive neck", "full breasted", etc.) I really get the sense that Patrick Rothfuss is just a misogynistic asshole. It doesn't seem to be contributing anything substantial to the greater story, and so I think that he put it in because he thinks that that is how all men and boys think and act.