
One my first attempts at depicting The Snow Queen using AI engines. Her hair’s the wrong color, and I had to run the pic through a facial normalizing engine to fix her lips and eyes, but overall it’s a good representation.

Arienrhod’s Winter Hawk mask
In the opening chapter, prologue really, of The Snow Queen the reader is treated to a humdinger of a setup for the rest of the book. During the planet Tiamat’s masked festival/ball, a couple sneak away to have sex in one of the side rooms, where they fall asleep from drugged wine. Arienrhod, the Winter Queen, appears with an offworld doctor to implant one of her cloned embryos into the woman’s womb. This is the genesis of Moon Dawntreader Summer, the heroine of the book. The scene is sumptuously described, with the Queen wearing the elaborate mask of an Arctic bird of prey while the doctor wears an “absurd fantasy creature, part fish, part pure imagination.” The masks and festival set the stage for the cyclical nature of the this world’s rituals and their themes of change and renewal.
In human history, the concept of a masked ritual is an old and potent one dating back to the Stone Age. In donning the mask, the human identity is subsumed by another, usually a deity or some other elemental power. Even today indigenous societies perform these rites, which, in the New World, have been subsumed by, but also influenced, the rites of their colonizers. This is the marvelous genesis of the festival season of Carnival in Brazil, the Caribbean, and other Latin American nations. These elaborately costumed parades and balls are planned all year round and grew out of the invading Spaniards’ Catholicism, where they served as a last chance for freedom and partying before Ash Wednesday’s penitence and the austerities of Lent. It wouldn’t hurt to add that the Spaniard’s African and indigenous slaves added their own ideas of religious ritual. Thus, a true mestizo event was born.

Another Winter Hawk mask
Back in Europe, the same Catholic Carnival festivities also included the indignities of food fights, street parties, mock battles, cross-dressing, clowns and circus performances, and comedic presentations where everyday norms were mocked and turned upside-down and topsy-turvy. In this it has elements of the Roman feast of Saturnalia where slaves become masters, women become men, and what is grotesque or distasteful paraded openly. Basically, a time to let off societal steam.
(In the U.S. only New Orleans, settled by French Catholics, has held on to the Carnival tradition, as the country was founded by Protestant faiths.)
Vinge’s Mask Night festivities are based on the Brazilian and Venetian Carnival models, with her festival occurring at 25 (Earth year) intervals, making it a once in a generation event. The masks are prepared and stockpiled for all this time, as the cozy scenes with Fate Ravenglass, a blind sybil/maskmaker, demonstrate. At the culmination of Mask Night the masks are ripped off, then burned or otherwise destroyed, and the participants are considered reborn.
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