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If she didn’t steal the faces, Arya basically killed a random girl in order to exact revenge on Walder. Not a huge deal (if she was a deserving Frey), but it doesn’t bode well for Arya’s overall sanity. While it’s my third favorite GoT episode, I could easily proclaim it as one of the best TV episodes overall. Yes, two LOST episodes still hold a title of my favorite TV episodes overall but this one is a big rival to them. Cersei told us in No One that she chooses violence, and in one violent act she wipes out her KL enemies in one fell swoop. Well, apart from Unella and Pycelle, her gifts for the Mountain and Qyburn. They get their own special brand of Team Cersei treatment. The Light of the Seven is one of the most stunning pieces of music I have ever heard, and I’ve lost count of the number of times I’ve clicked on it on YouTube. It is haunting, and beautiful, and builds up throughout the sequence to a crescendo. He had been manipulated by his mother, grandfather and advisers; even by his wife. The people he should have trusted most were the ones who tried to bend him to their will. And finally, in this episode, we see Tommen take charge of his life. He knows his wife, brother-in-law, father-in-law, great-uncle and cousin are dead. He knows the High Sparrow and much of the court are dead. Sweet, sweet Tommen, who never thought badly of anyone, died alone and by his own will. Cersei is here to protect her children and blow shit up. Jaime considers his murder of Aerys to be honorable in its own way, as it was an act intended to save the lives of the population of King’s Landing.

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It is worth noting the increasing recognition achieved by local authors who have been offering more realistic approaches to Reno, departing from the overused cliches about the city, often popularized in novels and short stories written by temporary visitors. Thus, several authors have successfully portrayed the multicultural condition of Reno, illustrating the transformation of the traditional western imaginary and the growing visibility of minority cultures in the American West. For example, Basque-American Robert Laxalt, the most distinguished Nevada author since the mid-twentieth century, employs Reno as the fictional setting of the last sections of Child of the Holy Ghost (1992). In this novel he offers a remarkable portrait of the city in the early twentieth century, employing a realistic perspective to describe its class and ethnic distinctions and, in particular, its wide range of temptations for young sheepherders. Laxalt’s daughter, Monique Urza, a native of 2 Some parts of this section on contemporary Reno fiction, for example, the ones on Willy Vlautin’s novels and on Hassman’s Girlchild, appeared earlier and in a somewhat different and more extended version in my book New Literary Portraits of the American West: Contemporary Nevada Fiction (2014). Contemporary Reno Writing 43 Reno herself, also sets her novel The Deep Blue Memory (1993) partially in Reno, though the main emphasis of the book is on the search for identity of different generations of a BasqueAmerican family, not on the city itself. Another Reno native, Verita Black Prothro, has portrayed skillfully Reno’s small African-American community in her story “Porched Suitcases” (2001). Multicultural Reno also plays a prominent role in Emma Sepulveda’s From Border Crossings to Campaign Trail: Chronicle of a Latina in Politics (1998), a powerful example of autobiography as activism. In this memoir Sepulveda, born in Argentina, raised in Chile and resident in Reno, departs from traditional views of Reno as a “sin city,” presenting this place as a “white-faced, red-necked” city where at the beginning she feels like “a Latina extra inserted into a movie script for comic relief” (1998, 80). Apart from this multicultural dimension of Reno writing, it should be noted that in the last decade several remarkable novels and short stories set in Reno have achieved national or even international recognition. Such is the case, in particular, of Willy Vlautin’s renowned novels The Motel Life (2006) and Northline (2008). Vlautin, a Reno native, is also the leadsinger and songwriter of Portland alt-country band Richmond Fontaine. Although his last two novels, Lean on Pete (2010) and The Free (2014), are not set in Reno, Vlautin’s early recognition as a writer is largely based on his compelling portraits of this city in his first two novels. Both The Motel Life and Northline depart from stereotypical tourist views about Reno, revealing the darker reality behind the neon myth. The Motel Life should be regarded as a powerful example of realistic fiction on “the intimacies of place” (to use Christine Berberich, Neil Campbell and Robert Hudson’s terminology in Affective Landscapes in Literature, Art and Everyday Life, 2015) and, in particular, on contemporary Reno life. The novel, adapted into a film in 2012,3 shows two orphaned brothers (Jerry and Frank Flannigan) struggling with poverty and almost homelessness in downtown Reno and its surrounding areas during the early 1990s. Vlautin focuses on the issue of class and its role in the American West.

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