The Narrow Road Between Desires

“Bast stood to his full height and grinned, his face sweet and sly and wild. In that moment, he looked less like a rakish young man, and more a naughty child who had stolen the moon and planned to eat it like a thin, pale silver cake. His smile was like the final crescent of remaining moon, sharp and white and dangerous.”

The author uses polysyndeton, the stylistic addition of coordinating conjunctions where none are grammatically necessary, in the phrases “sweet and sly and wild” and “sharp and white and dangerous.” This literary device and the simile comparing Bast’s smile to “the final crescent of remaining moon” describe his physical appearance and establish some of his key personality traits, particularly his penchant for mischief.

“If he said anything further, Bast didn’t hear it, as he was already running lightly through the dewy grass and the startling blue-grey light of dawn.”

Lush descriptions like the ones in this excerpt are a hallmark of Rothfuss’s writing style. The author establishes the early-morning scene through imagery that appeals to the readers’ sense of touch, such as “dewy grass,” and sight, such as “blue-grey light.”

“He’d once tried to trade Bast a pair of frogs for ‘a curse that would make someone fart forever.’ Negotiations had grown heated before falling apart. He was thicker than a prince’s porridge, but Bast still held a grudging admiration for the boy.”

The author creates humor by contrasting Kale’s juvenile request with the businesslike tone of the sentence about the failed “negotiations.” The simile describing the boy as “thicker than a prince’s porridge” pokes fun at his lack of wit, adding to the passage’s playful, comedic tone.

“Bast put his finger in his mouth, then brought the pipes up to his face and breathed in deep through his nose, smelling the wet green of the reeds. He wet his lips and licked the fresh-cut tops of the reeds, the flicker of his tongue a sudden, startling red.”

The author makes the scene more vivid by providing visual, olfactory, and tactile imagery, such as “wet green” and “startling red.” The construction of the reed pipes offers foreshadowing. One of the embrils depicts a piper, and this fortune-telling device is interpreted to represent Bast later in the story.

“Bast continued down the hill toward where the shepherd lay, his steps delicate and graceful. He looked like a stalking cat. He looked like he was dancing. The shepherd sighed again and closed his eyes, his face tilted like a flower to catch the sun.”

The passage contains two similes that compare Bast and the shepherd to “a stalking cat” and “a flower,” respectively. These comparisons convey the shepherd’s physical beauty while giving the character a sense of vulnerability. The scene is written in a somewhat ambiguous way that suggests that Bast’s music may place the shepherd under an enchantment. However, it’s later revealed that the shepherd feigned ignorance of Bast’s approach as part of a game they play. This revelation shifts the passage’s tone and meaning, bringing some irony to the comparison of Bast to a predatory feline. This irony fits within a broader pattern for Bast’s characterization: He may seem dangerous because he possesses supernatural abilities, but he overwhelmingly uses them to benefit the novel’s human characters rather than to threaten them.

“No real harm came from taking gifts like those. The debt they hung was lighter than a pin. But then again, what if the button were of bone? What if there were a ruby hidden unseen in the stone? What if the toy had been adored? Cherished, cared for, generations old? Passed from hand to hand with love, heavy as a shackle made of gold?”

Several of the words at the ends of the sentences in this passage rhyme, as in “bone” and “stone” and “old” and gold.” This adds another layer of artistry to the author’s language and also hints at the ancient Fae rules that inform Bast’s policy against accepting gifts. The excerpt ends with the simile “heavy as a shackle made of gold.” This figure of speech suggests that Bast finds gifts alluring, but he is wary of all obligations and ties to others even though they seem appealing.

“Kostrel stopped his clowning long enough to open up his hand. A bit of metal tumbled down. A tiny teardrop flashed and glittered, caught the sun, and spun…It landed on Bast’s palm as lightly as a leaf. It struck him like an anvil on his heart. It drove the breath from him like he’d been pushed deep underwater. It left him stunned as if the tree behind him had been hit with lightning twice despite the clear blue sky above.”

The ellipsis draws out the moment’s suspense, and the vivid similes after the pause show how Bast is immediately and immensely impacted by the obligation that the gift has placed on him. The comparisons describe the penance piece as light as a leaf on Bast’s palm and yet heavy as “an anvil on his heart.” This juxtaposition highlights that the bond that Bast is under is powerful yet has no outwardly visible effects, which explains why Kostrel is unaware of what has happened to his friend.

“It’s hard to yawn and stretch when it feels like you’ve swallowed a lump of hot iron. But it was not for nothing Bast considered himself an artist. He seamlessly unspooled his stretch like a cat napping on a warm stone hearth.”

The first sentence conveys Bast’s aghast reaction to Kostrel’s questions about the Fae to swallowing “a lump of hot iron.” As in traditional depictions of the Fae in Western folklore, iron is harmful to Bast, making the simile more meaningful. The simile likening Bast’s stretch to “a cat napping on a warm stone hearth” emphasizes the feigned ease with which he seeks to conceal his alarm and reinforces the novella’s examination of the tension between appearance and reality.

“Bast felt the stiffness between his shoulders ease a bit. His smile softened, growing smooth. Of course. He was a curious boy. Of course. That was the narrow road between desires.”

Through repetition of the phrase “Of course” and word choices like “ease” and “smooth,” the author expresses Bast’s relief that he hasn’t betrayed his master’s secrets and doesn’t have to do something regrettable as a result. The metaphor of the “narrow road between desires” gives the novella its title. In this passage, Bast walks the narrow road by finding a way to balance his desire to protect his master’s secrets with his desire not to harm Kostrel.

“The whistle came again, and Bast found himself on his feet like a puppet with a string tied round its heart. He fought the urge to run like a dog called to dinner, and instead forced himself to stretch and roll his neck, running his fingers through his still-damp hair.”

The similes in this passage convey the power of Rike’s binding on Bast. The comparison likening the protagonist to “a puppet with a string tied round its heart” creates a sense of powerlessness and objectification, while the comparison to “a dog called to its dinner” expresses how difficult it is for the Fae to fight the instinctive pull of the bond. Bast’s efforts to conceal his reaction to Rike’s summons offer a reminder that he is always pretending to be something he is not in his day-to-day life. The stakes of maintaining this charade mount as Bast tries to prevent Rike from realizing that he is at the boy’s command.

“But his unresolved debt to the boy was like a thorn straight through his tongue. And that was when Rike was elsewhere. Close at hand, it was more like a razor, freshly stropped and pressed against his throat. The fact that the boy didn’t know his hand was on the handle wasn’t at all reassuring.”

The author develops the theme of obligation through similes that evoke pain and danger, such as “a thorn straight through his tongue” and “a razor, freshly stropped and pressed against his throat.” The last sentence raises the suspense and stakes with the reminder that Rike can still cause serious problems through his control over Bast even though the boy is unaware of the bond.

“‘Gone forever, still alive, and soon. I swear it on my blood and name. I swear it by the ever-moving moon.’ Bast’s skin seemed almost to shine in the dark. ‘Here in this place, between the stone and sky, I swear to you three times and done.’”

The rhyming of “soon” and “moon” adds to the formality of the bargain that Bast swears to uphold. Rothfuss uses imagery to convey Bast’s supernatural identity and power, such as when he seems “to shine in the dark.” This scene marks an important moment for the novella’s plot and the theme of obligation.

“‘By itself, it signifies the Shattered King. Majesty and power, but in ruin. Fallen into despair.’ ‘Despair?’ Kostrel asked, puzzled. Bast blinked and shook his head, genuinely irritated. ‘No,’ he said. ‘I meant disrepair.’”

The author’s diction offers clues that Bast is thinking about his master, Kote. Just as the Shattered King represents “[m]ajesty and power, but in ruin. Fallen into despair,” Kote was once a mighty hero but has fallen into anonymity and despondency. This connects to the rest of the Kingkiller Chronicle series, in which Bast’s primary motivation is to make Kote remember his illustrious past and reclaim his heroic identity. The precise adjective “irritated” indicates that Bast has revealed more to Kostrel than he intended, suggesting that the usually crafty Fae’s deep concern for his master makes it more difficult for him to guard his thoughts.

“The shingles needed some repair, but otherwise it looked well tended-to. Yellow curtains were blowing out the kitchen window, and the flower-box was spilling over with fox fiddle and marigold.”

The imagery about Rike’s home offers insights into the character of Rike’s mother, Nettie, and how she tries to do the best she can with her limited means and difficult circumstances. For example, the “[y]ellow curtains” and the window box overflowing with flowers indicate that she tries to maintain some beauty and cheer in her and her children’s lives despite her husband’s abuse.

“‘A little sweetness is all any of us have sometimes. It’s always worth it. Even if it takes a little work.’ Nettie turned to look at him. She met his eyes now. Her eyes were like an open door. Bast smiled, gentle and patient, his voice was warm and sweet. He held out his hand. ‘Come with me,’ he said. ‘I have something to show you.’”

The simile likening Nettie’s eyes to “an open door” indicates how Bast’s “gentle and patient” behavior leads her to become more open and receptive toward him. At this point in the novella, Bast has already had two trysts that day, suggesting that his flirtatious behavior toward Nettie may continue that pattern. As a result, his statement about the importance of maintaining “a little sweetness” in life seems like subtext rather than a literal comment about honey. However, Rothfuss subverts this pattern because the “something” that Bast shows Nettie is a wild honeybee hive that helps the woman restore her apiary.

“Bast glanced up at the sky, and saw he had time enough to indulge himself a bit before he had to head back to the inn. He was proud of all he’d done today, but the difference between finish and flourish…well, that was something only artists know. Why craft and wrap a gift and then forsake the bow?”

The literary techniques in this passage give insights into Bast’s character by highlighting his creativity, pride, and self-indulgence. For example, the author’s diction in words like “artists” and “flourish” expresses the protagonist’s high opinion of his cleverness. The metaphor comparing the finishing touches of his plan to “the bow” on a gift adds to the self-satisfied tone. Later in this chapter, Rike punctures Bast’s smugness by showing real vulnerability and brings out a more genuine side of Bast in return.

“The storm passed and Rike stepped away, scrubbing roughly at his face with his sleeve. The red sunset had spread, streaking the entire sky with shreds of pink and crimson.”

The “storm” in the first sentence is metaphorical, referring to the powerful emotions of fear, self-loathing, and anger that move Rike to weep in Bast’s arms. This moment brings the two characters close and shows a gentler, more caring side to Bast. In addition, the visual imagery of the “red,” “pink,” and “crimson” sunset adds a sense of tranquility and indicates that Rike’s circumstances will improve. The sunset is also a reminder that the day is fading and that the characters need to finalize their plans soon.

“Hearts were easier to read than books. Glamour wasn’t that much more than making sure folk saw the thing they already had plans to see. And making fools of foolish folk was hardly cunning grammarie. But this? Convincing someone of the truth they were too twisted up to see? How could Bast begin to loosen such a knot?”

This passage develops the theme of perception and identity by discussing how Fae magic alters appearances and realities. The simile comparing hearts to books reinforces the relative ease of magic, which is then contrasted with the complexity that Bast sees in Rike’s mind and emotions. The metaphor of “a knot” conveys how the boy’s self-image has been twisted due to his father’s abuse.

“Bast laughed then, it burst from him, wild and delighted. He laughed again, it sounded like children playing in the water, like bells and birds, like someone breaking chains.”

The simile comparing Bast’s laughter to the sound of “children playing in the water” fosters a sense of joy, and the alliteration of “bells and birds” adds to the passage’s lyrical quality. The sound is also compared to “someone breaking chains.” This foreshadows that Bast will be able to help Rike break free from his self-loathing while liberating himself from the bond at the same time.

“In the fading light, Rike stared at him. Bast’s eyes were dark as dark. He smiled like a child who knew that he was clever, quick, and wild enough to steal the moon.”

The repetition in “dark as dark” fosters an eerie, suspenseful tone as Rike and the readers await the details of Bast’s plan. The simile comparing the smiling Bast to “a child who kn[ows] that he [i]s clever, quick, and wild enough to steal the moon” indicates that the story is nearing its conclusion because the narrator compares Bast to a child plotting to steal the moon in Chapter 1 as well. The description of Bast as “wicked” in this chapter is ironic because he’s planning to help Rike, and the contrast between the protagonist’s outward appearance and true intentions reinforces the broader tension between perception and identity in the story.

“‘Jessom showed up reeking like a rummy and looking like he’d been beat by seven different demons.’ ‘Only seven?’ Bast asked.”

The repetition of “seven” highlights the dramatic irony that gives the scene its humor. The audience knows that Bast is the one who beat up Jessom, but the townspeople gossiping about the events are unaware of this.

“‘The part of your father that lives in your shadow. That is mine. The fear that you will grow up into him. That’s mine as well. The part of you that hates yourself, and feels that he was right to hate you. Those are mine. I’m taking them forever.’ His voice was like a chisel against stone. ‘Now.’”

The repetition of “mine” adds emphasis and gravitas to Bast’s dialogue, as though he is beginning a powerful magical ritual. The simile likening his voice to “a chisel against stone” functions on multiple levels. The comparison indicates a level of sternness in his tone, but it also connects to the novella’s discussion of Bast’s artistry. Like a sculptor shaping a stone, the protagonist transforms Rike and removes the parts of the boy’s psyche that harm him.

“Slowly, as if pressing into wind or through deep water, Bast took the step that brought his third and final turning to a close. There was no wind. No cricket stitched. The night stood breathless as a balanced coin.”

The author creates a hushed atmosphere of anticipation through the simile describing the night as “breathless as a balanced coin” and through imagery, such as the observation that there is “no wind” and not even the sound of a cricket to disturb the scene. In addition, the description that Bast is moving “as if pressing into wind or through deep water” indicates the great effort required of the magic he casts on Rike.