Der tote Prinz

Der tote Prinz

Softcover
4.02
StrahlungMordPatriarchatZukunft

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Description

Ein toter Jüngling. Ein sprechender Spiegel. Eine zerstörte Erde. Verseuchte Luft, haushohe Müllberge und rivalisierende Warladys, von denen eine ihre Mutter ist: Das ist Elessas Welt. Jeder Schritt draußen kann den Tod bedeuten. Dennoch verlässt sie den Schutz des heimischen Palastes auf der Suche nach dem Mann, den sie eigentlich nie heiraten wollte. Die Alternative zu Dario jedoch, sein Stiefvater, wäre weit schlimmer. Der erschlich sich durch Mord seinen Platz als heimlicher Herrscher der rivalisierenden Familie und bedroht nun auch Elessas Heimat. Um ihm zu entgehen, folgt Elessa der einzigen Spur, die sie hat: den Worten eines mechanischen Spielzeugs aus längst vergangener Zeit. Ist Dario wirklich tot und damit das nächste Opfer des ruchlosen Stiefvaters, oder steckt wirklich Hoffnung in diesem einen Wort, das die Maschine für Elessa hat?

Book Information

Main Genre
Novels
Sub Genre
Dystopias & Utopias
Format
Softcover
Pages
188
Price
10.30 €

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The story begins in the past and makes a leap into the present. Everything that happens is told from astonishingly many different perspectives. Here the question arises whether one could have eliminated perspectives, but I found the colourful mixture interesting, as each of them also brought their own narrative voice. Where do I best start with the characters? With the fact that all roles are reversed? Or that there is only one non-PoC character? Or that the balance of power has completely turned upside down? Or simply that I find the construction of the world of this story unbelievably ingenious? Aino and Elessa are wonderful female characters who have their own heads and know exactly what they want. They don't shy away from anything in order to achieve their goals and don't let themselves be easily subdued. They are not a perfect mother-daughter couple, yet they complement each other in their own great way. The male figures were rather flat in this respect, which is ironic due to the inverse ratio. Submissive, one-dimensional characters. Exactly what women usually are in fairy tales. B) The way Katherina has put in the plastic garbage that remains after the "big darkness" is simply fascinating. Clothes, jewellery, building material, that's what you should do in real life.

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