Penelope decides that a change in scenery is overdue, and three plane tickets to America are procured. After all, they’ve all got their own personal traumas too. Not that it’s Simon’s job to provide fun. He doesn’t feel like being around himself, and as such, it’s not much fun for anyone else to be around Simon Snow either. The loss of his bottomless well of magic and his Humdrum-fighting purpose have left him feeling bleak about the future. Wayward Son picks up where Carry On left off and begins with the question, what happens when the battle against evil is won? What happens to our savior once he’s saved the day? The answer, he struggles to find his footing back in a world that is not at war and under constant threat. Rowell is one of those, and Wayward Son deftly handles many important themes, such as identity, trauma, and prejudice. That during this fictional escape, I can (safely) face some of my own issues (personally, that would be anxiety in all its ombré shades of unwelcome) is an added bonus and something many fiction writers accomplish with excellence, that meshing of escapism and real-life applicability all rolled into one. Because, yes, books can be many things and they do not have to be escapist, but when I peruse the fiction aisles I do not do so looking for a title to highlight the miseries of my own life, I do so looking for escape. And when I say escapist, I award that title like a badge of honor. Wayward Son is no different, and maybe the most escapist of her reads yet. Whatever dish that may be for you (for me its pizza), her novels, just like the comfort-food counter part, sooth away whatever ails inside of us, at least for the time we spend locked away in her story worlds. Rowell’s books have always had something reminiscent of comfort food to me.
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