The trilogy—composed of Carry On (2015), Wayward Son (2019), and Any Way the Wind Blows (2021)—originally spawned from Rowell's 2013 novel Fangirl , where the characters wrote fan fiction about a fictionalized wizard named Simon Snow.
Rowell uses the book to critique the traditional hero's journey. Simon was bred and manipulated by his mentor (the Mage) to be a living weapon. Once that purpose is fulfilled, he is cast aside by society and left to handle his severe trauma and loss of identity alone. Rowell argues that real life does not end when the villain is defeated; the hardest work is learning how to live afterward. 2. Healing and Trauma Any Way the Wind Blows
is fiercely trying to find a way to break a demonic curse placed on Shepard, a non-magical American "Normal" she brought home with her. The trilogy—composed of Carry On (2015), Wayward Son
The ending of the book leaves the characters in a realistic "happy for now" state rather than a flawless, static "happily ever after." Internal Conflict Final Resolution Loss of magic, severe depression, identity crisis Once that purpose is fulfilled, he is cast
, his boyfriend and a vampire, is trying to hold his noble family together through a series of legal and personal crises.
The book is heavily character-driven, prioritizing quiet kitchen table conversations over action sequences. Simon battles severe depression and body dysmorphia regarding his wings, while Baz fights intense self-loathing regarding his vampirism. Their healing is shown as non-linear, messy, and requiring active communication. 3. Found Family and Belonging
The trilogy—composed of Carry On (2015), Wayward Son (2019), and Any Way the Wind Blows (2021)—originally spawned from Rowell's 2013 novel Fangirl , where the characters wrote fan fiction about a fictionalized wizard named Simon Snow.
Rowell uses the book to critique the traditional hero's journey. Simon was bred and manipulated by his mentor (the Mage) to be a living weapon. Once that purpose is fulfilled, he is cast aside by society and left to handle his severe trauma and loss of identity alone. Rowell argues that real life does not end when the villain is defeated; the hardest work is learning how to live afterward. 2. Healing and Trauma
is fiercely trying to find a way to break a demonic curse placed on Shepard, a non-magical American "Normal" she brought home with her.
The ending of the book leaves the characters in a realistic "happy for now" state rather than a flawless, static "happily ever after." Internal Conflict Final Resolution Loss of magic, severe depression, identity crisis
, his boyfriend and a vampire, is trying to hold his noble family together through a series of legal and personal crises.
The book is heavily character-driven, prioritizing quiet kitchen table conversations over action sequences. Simon battles severe depression and body dysmorphia regarding his wings, while Baz fights intense self-loathing regarding his vampirism. Their healing is shown as non-linear, messy, and requiring active communication. 3. Found Family and Belonging