I love this choice, because insects are other enough to humans for their hybrids to occupy an uncanny valley. However, the temporality of Honeycomb has some of the cyclical quality of the natural world, which makes sense, considering that the Silken Folk, Harris’s name for what another author might call the fae or fairies, are insects-and only partially anthropomorphized ones at that. And in the origins of the world of Honeycomb are also the origins of its conflict: the Honeycomb Queen and the Hallowe’en Queen are a primal dyad from whose actions, conflict, desire, disappointment, and hope arise. The book begins in the deep reaches of time and concerns itself with origins and endings. Honeycomb is mythic in its deference to tradition, and mythopoeic in its creative swerves. For instance, a barnyard provides the setting for several political fables, such as “The Troublesome Piglet,” which are scattered throughout the book. Some are standalone episodes which share themes or settings. Like its insect architectural namesake, Honeycomb has a strong organic structure capable of holding nectar derived from the pollen of many different flowers. Honeycomb is an apt title for this book, in which the structure of the multiverse is likened to a honeycomb. There was only Dream, the river that runs through all the Worlds, reflecting the hearts and desires of the Folk on its journey towards Pandæmonium.” Harris’s Honeycomb, “there were no stories. “When the Nine Worlds were still very young,” goes the first sentence of Joanne M.
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