From the get go, we are introduced to the mythical, fabled
creature made of clay: The Golem. This figure is lifelike and free to roam the
world without a master after the man died at sea just moments after animating
her. Unsure of her nature, prone to fits of anger she cannot control, the Golem
seeks refuge in a world of confusion. She is cast into New York City after
walking along the bottom of the sea floor to avoid immigration and comes out of
the sea a lost newborn. Were the reader only privy to this tale: the education and
acclimation of an alien creature to the world, then he may be happy, for she is
soon seen for what she is by a skilled and learned Rabbi and thus taken in and groomed
toward humanity.
But the reader is given a second tale, that of a Jinni, a
creature made of fire that has been imprisoned in a flask for generations. The Jinni
is released by a Syrian Blacksmith, Arbeely, who takes the organism, trapped in
human form, in as his apprentice. The narrative then juxtaposes back and forth
between the two plights as each creature creates a purpose and seeks to find
its place in society. Ultimately, and begrudgingly, the two meet and begin a
mutual narrative, one distrust and anger, one that seeks a Golem looking for a
purpose, a Jinni looking for freedom, and the seemingly destructive force the
pair is, turning everything they touch into either earth or fire before
discovering that they share a bond more concrete than their fantastical nature.
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