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described as explicitly as with heterosexual couples. Yet she concludes that the series is conservative, because all its relationships – whether gay or straight – are "monogamous and based on romantic love"; characters who stray from this notion, such as the promiscuous Jerd, are portrayed negatively. She also comments that child rearing is limited to heterosexual couples and that gay women are absent.
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threads, and highlighted how changes in the setting mirrored internal developments in Hobb's characters. Goldstein agreed that the pacing had improved and labelled the second book "exciting, full of adventure", but found the ending predictable and concluded that it left her with "a vague taste of disappointment". Callam praised Hobb's "command of narrative" in the third volume, and a review in
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series begins, a set of dragon eggs given to the people hatch, but the dragons turn out to be stunted, with ill-formed wings, and are unable to fly. A group of dragon keepers is tasked with transporting the eggs to a mythical, long-lost city: Kelsingra, the ancient home of dragons and their servants, the
Elderlings.
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Memory is a recurring motif in the magic system of Hobb's world: the dragons, in particular, retain memories of all their ancestors. The series explores ecological themes, as the return of the dragons is seen as important to maintain the natural balance. Mariah
Larsson writes further that the series
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as "highly successful". Scholar Lenise Prater noted the series' depiction of gay relationships and wrote that Hobb promoted queer themes, but felt that her writing was conservative due to its negative portrayal of promiscuity. The first book's pacing was criticized by several reviewers, but the plot
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The series is set in the Rain Wilds, a forested region where people live in houses built in the branches of trees. Below the trees runs the Rain Wild river, whose acidic waters make the region inhospitable; disfigurement and scaly skin are commonly experienced by the residents of the region. As the
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commented that Hobb's dragons were different from the ones typically seen in fantasy, as they blended dragon-like "mystical grandeur" with human flaws arising from their stunted nature, which made them unable to fly. The reviewer found their growth in the second book interesting, writing that they
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in nature, as while the dragons help enable the utopian civilization of the
Elderlings, they also deplete natural resources, have an adverse, mutative effect on the humans around them, and are a stronger and more intelligent predator than humans. She argues that the thematic role of dragons in the
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quartet "promotes acceptance of queer relationships", it is limited by "conservative impulses". She notes the existence of several gay relationships in the series and remarks that the gay couple Sedric and Carson have a bond that deepens over the course of the books. Sex between gay characters is
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The pacing of the first book was criticized by multiple reviewers. Williams faulted its unresolved nature, suspecting that it was part of a larger story that had been cut into two parts. In a more positive review of the second book, Bear praised Hobb's "sheer inventiveness" in consolidating plot
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Hobb said that in writing about dragons, she was motivated by a "what-if" scenario: "What if the human race had to contend with another set of intelligent beings, ones that would compete with them for territory What if they didn't respect our claims to own things any more than we respected the
386:"flawed characters" drew praise from Williams, who suggested that their weaknesses made their victories "all the more remarkable and precious". Goldstein took a more mixed view, writing that while Hobb's human protagonists were interesting, they repeatedly emulated "the
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called the Rain Wilds a "strange and fascinating place". Hobb's characterization of dragons received praise. Her human characters in the first book drew mixed reactions, but the sequels fared better; the second book in particular was described by
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review of the fourth book added that Hobb's talent lay in creating "characters that feel real". Bear also highlighted the conversations between pigeon keepers in the background of the series, calling it a "deeply entertaining political gloss".
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claims of elephants or wolves or – dare I say it? – indigenous, so-called primitive people?" She originally conceived the story as a single, standalone book, but due to its length, it was published as two volumes:
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Clay Callam agreed, writing that the second book in particular saw Hobb "on top of her craft". Reviewing the third book, Shawl commented positively on the protagonists' "appealing stubbornness and bravery", and a
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found the Rain Wilds a "strange and fascinating place", highlighting its treetop dwellings set above the deadly Rain Wild River, and said that the setting differentiated the series from the typical fantasy novel.
1023:
Larsson, Mariah (2021). "Bringing
Dragons Back into the World: Dismantling the Anthropocene in Robin Hobb's The Realm of the Elderlings". In Höglund, Anna; Trenter, Cecilia (eds.).
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Hobb's portrayal of dragons was well-received. Bear expressed delight at their snarkiness, and their "crabby, whiny, self-centered, vain, and generally unprepossessing" nature. The
241:(2010). Hobb then planned to write one more title in the same setting, but a similar issue occurred with its length, resulting in the release of two further entries,
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agreed, writing that Hobb's world was "delightfully complex", and commented that readers would be drawn in by its "marvelous interplay of power, magic and beauty".
1614:
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Prater, Lenise (2016). "Queering Magic: Robin Hobb and
Fantasy Literature's Radical Potential". In Roberts, Jude; MacCallum-Stewart, Esther (eds.).
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criticized the first book's characters as "self-absorbed and static" and felt that it had a young adult tone, but praised their evolution in
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The first book's prose was critiqued by Bear, who said that Hobb was typically a "fine stylist", but felt that her writing in
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had progressed closer to the beings of myth but retained flaws which he compared to "the chink in Smaug's armor".
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suffered from too much exposition. Goldstein agreed, describing Hobb's prose as "a little tired" in
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Callam, Clay (September 4, 2011). "Everybody's
Reading Martin's 'Dance With Dragons'".
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Melville, Peter (2018). "Queerness and
Homophobia in Robin Hobb's Farseer Trilogies".
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Phillips, Fred (April 18, 2010). "Hobb Offers View Rarely Seen in 'Dragon Keeper'".
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remarked on her "talent for action sequences". Reviewing the concluding volume, the
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trilogies, and features an entirely new cast of characters. The quartet features
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Phillips, Fred (August 1, 2010). "'Dragon Haven' Leaves
Questions Unanswered".
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themes, as it examines the reaction of humans to a new predator in the world.
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515:"Facts Universally Acknowledged, Being a Review of Robin Hobb's Dragon Haven"
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749:"The Golden Age of Epic Fantasy (a Review of Robin Hobb's Dragon Keeper)"
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Callam, Clay (April 8, 2012). "Hobb's Latest a Credit to the Series".
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of the sequels and the conclusion of the series were well received.
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The
Enduring Fantastic: Essays on Imagination and Western Culture
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reviewer
Elloise Hopkins called it a "superb end" to the series.
185:. It is her fourth series set in that world, following after the
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894:"Worlds Beyond: The Pace is Draggin' in Robin Hobb's 'Dragon'"
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Woodhead, Cameron (February 25, 2012). " City of Dragons".
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Hedelt, Rob (May 12, 2013). "Lost City Finds Answers".
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Reviewers welcomed Hobb's return to the setting of the
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According to fantasy scholar Lenise Prater, while the
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The Routledge Handbook of Ecofeminism and Literature
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Waller, Rhian (2022). "Fantasy and Ecofeminism". In
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Gender and Sexuality in Contemporary Popular Fantasy
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683:(July 25, 2009). "Fantasist Hatches Clever Plot".
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390:story" in being unhappy outcasts. Author
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253:. The series is variously titled as the
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16:Quartet of fantasy novels by Robin Hobb
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598:. In Clute, John; et al. (eds.).
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354:Hobb's return to the setting of the
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549:Jewell, Stephen (March 18, 2013).
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892:Callam, Clay (February 8, 2010).
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181:, a setting in Hobb's fictional
1000:"Blood of Dragons. Book Review"
572:"An Interview with Robin Hobb"
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1027:. McFarland & Company.
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368:was her best work. Writer
604:(3rd ed.). Gollancz.
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159:Fitz and the Fool trilogy
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1140:The Rain Wild Chronicles
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551:"Robin Hobb Interview"
284:needs an improved
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1235:Wizard of the Pigeons
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714:(February 18, 2012).
259:Rain Wilds Chronicles
1610:Fantasy novel series
1522:"Her Father's Sword"
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1108:. pp. 490–499.
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747:(February 5, 2010).
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1558:Forest Mage
1539:Soldier Son
1400:Fool's Fate
1259:Alien Earth
1211:(1983–1989)
1207:Windsingers
1016:Works cited
830:Prater 2016
712:Shawl, Nisi
627:Waller 2022
592:Clute, John
537:Prater 2016
301:August 2022
245:(2012) and
237:(2009) and
154:Followed by
142:Preceded by
1604:Categories
1284:Elderlings
1185:Robin Hobb
1066:2156322163
985:A281117896
960:1000447908
805:1349988437
462:References
388:Cinderella
375:Nisi Shawl
340:Elderlings
335:ecocentric
228:Background
205:ecocentric
179:Rain Wilds
175:Robin Hobb
81:Robin Hobb
33:UK edition
1373:Tawny Man
1251:The Gypsy
908:352457671
879:734543146
854:440229806
780:893404041
695:356262565
420:Rain Wild
350:Reception
200:Tawny Man
134:Published
123:Publisher
1062:ProQuest
956:ProQuest
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875:ProQuest
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257:and the
105:Language
1541:trilogy
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1375:trilogy
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1294:Farseer
1104:(ed.).
976:The Age
754:Tor.com
520:Tor.com
440:The Age
188:Farseer
137:2009–13
127:Voyager
117:Fantasy
108:English
97:Country
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Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
