Magic is fading…and the ways of Man are conspiring to drive all the Old Ones to the West, beyond the ken of humankind. The ancient groves are being destroyed, and with their loss the land will lose an essential core if nothing is done. The prophecies that were foretold so long ago say that there is a way to prevent this horror and it is the Sevenwaters clan that the spirits of Eire look to for salvation. They are a family bound into the very lifeblood of the land…and their promise to preserve the magic has been the cause of great joy—and sorrow—to them. For in truth, the ways of prophecies are never easy…and there are those who would use power for their own ends. It is left at last to Fainne, daughter of Niamh (the sister that was lost to the clan so long ago), to solve the riddles of power among the gods. A shy child of a reclusive sorcerer, she finds that her way is hard. For she is the granddaughter of the wicked sorceress Oonagh, who has emerged from the shadows of power and seeks to destroy all that the Sevenwaters have striven for…and who will use Fainne most cruelly to accomplish this fate. Will Fainne be strong enough to battle this evil and save those she has come to love?
Child of the Prophecy is a satisfying end to the Sevenwaters trilogy, though perhaps not as enthralling or lovely as the first two. Everything is sorted out; characters from the previous two books return and have decent roles to play; we get resolution in many different quarters. Fainne is a fine protagonist; her inner turmoil gets a little hard to bear at times but at least it’s understandable considering her situation.
I think where the book fell the most flat for me was the ending, which was an “arena battle” (two or more characters face off and battle it out while the crowd looks on and gasps) and dragged on a little too long. It started to feel too melodramatic and cheesy after a while; it’s hard to keep tension like that going without the scene starting to feel like a script. I mean, it was satisfying in that it neatly resolved the book and all the plot threads, but it felt a little clumsy at times.
Another thing that I felt was a step down from the previous two books was the romance. I adored Liadan and Bran in Son of the Shadows (and they steal the show again here), so Fianne’s romantic arc was a little disappointing. I don’t really have anything against her love interest as a character, except that he’s much more underdeveloped than either Bran or Red were. To be honest, I thought Marillier did a better job of explaining Eamonn’s feelings than Darragh’s—not that I wanted Fainne with Eamonn, but I understood Eamonn as a character better than slightly-boring Darragh. I’m also really sick of characters denying that they like someone when they clearly do, which is what Fainne did the entire novel.
I know that there are three more books after this one, but Child of the Prophecy wrapped up the plotline of the first three books neatly. I didn’t think it was as good as Daughter of the Forest or Son of the Shadows, but it was still engaging, compelling, and satisfying despite its flaws. It’s hard for me to find adult fantasy that I like, but Marillier has crafted a beautiful world and her talents as a writer are clearly seen in her works. I may or may not pick up the other Sevenwaters books, but I’ve enjoyed the time I spent reading the first three.
I stood in the doorway, watching, as the old woman took three steps into my father’s secret room.
“He won’t be happy,” I said tightly.
“He won’t know,” she replied coolly. “Ciarán’s gone. You won’t see him again until we’re quite finished here, child; not until next summer nears its end. It’s just not possible for him to stay, not with me here. No place can hold the two of us. It’s better this way. You and I have a great deal of work to do, Fainne.”
I stood frozen, feeling the shock of what she had told me like a wound to the heart. How could Father do this? Where had he gone? How could he leave me alone with this dreadful old woman?
It is from [Sorcha’s] sacrifice that her brothers were brought home to Sevenwaters, and since then her life has known much joy. But not all the brothers were able to escape the spell that transformed them into swans, and even those who did were all more—and less—than they were before the change. It is left to Sorcha’s daughter, Liadan, to take up the task that the Sevenwaters clan is destined to fulfill. Beloved child, dutiful daughter, she embarks on a journey that opens her eyes to the wonders of the world around her…and shows her just how hard-won was the peace that she has known all her life. Liadan will need all her courage to help save her family, for there are forces far darker than anyone could have guessed and ancient powers conspiring to destroy this family’s peace and their world. And she will need all her strength to stand up to those she loves best, for in the finding of her own true love, Liadan’s course may doom them all…or be their salvation.
Son of the Shadows is almost as enthralling as Daughter of the Forest, marred only by the amount of plot convenience Marillier puts in. The story is gripping, the characters, especially Liadan and Bran, are memorable and well-developed, and the world is mystical and beautiful.
Son of the Shadows is not a fairy-tale adaptation, but rather a continuation of Marillier’s original world from the first book, expanding on the plot threads and conflicts and characters. I like the idea of setting up a world through a fairy-tale adaptation and then expanding on it with an original story later on. Though the plot is self-contained, there are definitely some more threads that will be picked up, presumably, in the third book, as Marillier has been setting up some sort of confrontation between all the different forces at work since the first book (though it’s much more prominent in this one).
I do think the title is a little misleading or misnamed. The person it seems to be referring to only shows up twice, and while the second time is rather a big reveal, I’m not sure if it warrants naming a whole book after him. Then again, there could possibly be multiple “sons of the shadows,” so maybe that’s what Marillier was going for.
The Sevenwaters books have been gripping and wonderful so far. I thought that Son of the Shadows had a few too many plot conveniences, but at the same time, Marillier did make them all work, somehow, though it’s still a little eyebrow-raising. Adult fantasy is always a hard genre for me to just pick up and start reading, so I’m glad that Marillier’s works have been a stand-out in that regard. I’m looking forward to reading the next book!
Recommended Age Range: 16+
Warnings: Violence, death, sexual situations, rape.
Genre: Fantasy, Fairy Tale
“You are strong, Liadan. I cannot tell you if and when you may be called to use this gift. Perhaps never. It’s best you know, at least. He would be able to tell you more.”
“He? You mean—Finbar?” Now we were on fragile ground indeed.
Mother turned to look out of the window. “It grew again so beautifully,” she said. “The little oak Red planted for me that will one day be tall and noble, the lilac, the healing herbs. The Sorceress could not destroy us. Together, we were too strong for her.” She looked back at me. “The magic is powerful in you, Liadan.”
Having once been cursed to dance every night with her sisters, Princess Poppy has vowed never again to put on a pair of dancing slippers. Which is why she’s reluctant to participate in the royal exchange program that her father and some of their neighbor kings have cooked up. Life in far-off Breton isn’t so bad, not when there’s money to be own playing cards and a handsome prince promising friendship…and maybe something more. But when a hapless servant named Eleanora enters the picture and sets her sights on the prince, too, which girl will win his heart? And who is behind the magnificent gowns and slippers that the penniless Eleanora has been wearing to the balls? Only Princess Poppy can see through the magic that holds the rest of the kingdom in its spell. And having fought against one curse before, she’s just the girl to take on another!
Princess of Glass is a fairly unique take on Cinderella, following the bare bones of the tale but branching off and fitting it into the larger picture of George’s fantasy world. I’m not a huge fan of the Cinderella fairy tale aside from the 2015 live-action remake, but George does a good job of changing the tale up so it’s not so straightforward and predictable.
Unfortunately, that’s about the only thing I liked about the book. George seems to be hit-and-miss with me; I enjoyed Princess of the Midnight Ball and most of the Castle Glower books, but had problems with Dragon Slippers and now this book. I don’t think it’s the world or the plot in and of itself that made me dislike Princess of Glass; it’s the way George delivers it. Maybe it’s a writing style issue, maybe not. I’m not sure. I just know that the more of the book I read, the more I wanted it to be over.
Perhaps the melodrama that happens when Eleanora becomes “Lady Ellen” and enchants everyone is what started my dislike; Christian is fighting it and yet not fighting it and thinking melodramatic things and seems to be the only person under the spell who realizes something isn’t quite right. Then there’s the thoroughly unconvincing romance between Roger and Eleanora, and the slightly less unconvincing but still not very well-developed romance between Christian and Poppy, combined with a villain whose motives are confusing until a character conveniently infodumps her backstory near the end of the book.
Maybe the best way to describe how I felt about Princess of Glass is “sloppy.” George had a good idea regarding the retelling of Cinderella and then sloppily executed it. There’s too much infodumping, too much melodrama, and too much convenience. It almost makes me want to not read another Jessica Day George book. Princess of Glass did absolutely nothing to make me appreciate “Cinderella” more and only contributed to the many reasons why I would prefer reading a retelling of any other fairy tale.
Recommended Age Range: 14+
Genre: Fantasy, Fairy Tales, Young Adult
“You are a strenge gel, Princessss Puppy,” the duchess said. “He-ere you are, with ev-er-y young man in Breton to dence with you, and you well not dence.”
“Ah,” Poppy said after deciphering this. “No. I don’t den—dance.”
“Wuh-hy not?” The duchess raised one overplucked eyebrow.
“Because my mother and sisters and I were cursed to dance for the pleasure of an evil king,” Poppy thought. She reached up and straightened her knitted silk choker. “I do not care for dancing,” she said finally.
The Castle Behind Thorns, by Merrie Haskell, was published in 2014 by Katherine Tegen.
When Sand wakes up alone in a long-abandoned castle, he has no idea how he got there. The stories all said the place was ruined by an earthquake, and Sand did not expect to find everything inside torn in half or smashed to bits. Nothing lives here and nothing grows, except the vicious, thorny bramble that holds Sand prisoner. Why wasn’t this in the stories? To survive, Sand does what he knows best—he fires up the castle’s forge to mend what he needs. But the things he fixes work somehow better than they ought to. Is there magic in the mending? Or have the saints who once guarded this place returned? When Sand finds the castle’s lost heir, Perrotte, they begin to untwine the dark secrets that caused the destruction. Putting together the pieces—of stone and iron, and of a broken life—is harder than Sand ever imagined, but it’s the only way to regain their freedom.
The Castle Behind Thorns is a unique reinvention of the Sleeping Beauty fairytale (although it’s not marketed as such, it’s got Sleeping Beauty written all over it), where Sleeping Beauty wakes up not because of a kiss but because someone is fixing everything that was broken in the abandoned castle. I like adaptations of fairy tales that place the fairy tale somewhere in history, and this particular world is closely tied to the religion and the politics of medieval France.
The message of forgiveness laid out in the novel is good, although laid on a little thick by the end. The moralizing message is a bit much for an adult reader, but it might be just the thing a younger reader might need to hear. Haskell seems to have a much heavier hand here than she did in either Handbook for Dragon Slayers or The Princess Curse, so I’m not quite sure if she had a different audience in mind or if she simply thought a less subtle application of her point was needed because of the world she had built. It’s a good message of forgiveness, but it perhaps could have been communicated in a way that was less moralizing and thus less likely to turn people off from it (though, again, a younger audience may be more receptive).
However, I didn’t enjoy The Castle Behind Thorns as much as I enjoyed Haskell’s other works, and I’m not quite sure why. The lack of subtlety may have been one reason. Ultimately, though, I just didn’t find much about the book incredibly interesting. I’m not all that fond of Sleeping Beauty and Haskell wasn’t so unique in the telling of it as to make me really involved in the world and the plot. The premise was good and so was the reimagining of the fairytale as a whole, but the book wasn’t strong as a whole. I’ve read better versions of Sleeping Beauty and better books by Haskell. The Castle Behind Thorns is good, but not great; interesting, but not enticing; imaginative, but not groundbreaking. I’d much rather read The Princess Curse again.
Lovely young Sorcha is the seventh child and only daughter of Lord Colum of Sevenwaters. Bereft of a mother, she is comforted by the brothers who love and protect her: Liam, the natural leader; Diarmid, with his passion for adventure; the twins, Cormack and Conor, each with a different calling; the young, compassionate Padriac…and her other heart, rebellious Finbar, grown old before his time by his gift of the Sight. Sorcha is the light in their lives, and in her young life she has known only peace and happiness. But that joy is destroyed when her father is bewitched by the woman who has won his hear and her brothers are bound by a spell that only Sorcha can lift. To reclaim the lives of her brothers, Sorcha leaves the only safe place she has ever known and embarks on a journey filled with pain, loss, and terror. When she is kidnapped by enemy forces and taken to a foreign land, it seems that there will be no way for Sorcha to break the spell that condemns all that she loves. But magic knows now boundaries, and Sorcha must choose between the life she has always known, promises made…and a love that comes only once. And in that choice, perhaps shattering her world.
Daughter of the Forest is a stunning retelling of “The Wild Swans” fairytale. Marillier beautifully combines the fairytale with a Celtic setting, blending history with fantasy seamlessly. While the novel starts off slowly, once the initial set-up to the fairytale begins, the book flies by as the reader is swept up into Sorcha’s journey.
And what a journey it is. Sorcha is a wonderful protagonist, quietly strong and steadfast in the face of seemingly insurmountable obstacles. I love female protagonists of this sort, so it helped me connect with Sorcha even more. Marillier has perfectly crafted the circumstances and the effects; everything Sorcha does is explainable and believable in light of the world and the plot and what happens to her is also so, even the terrible parts. Fair warning, there is quite a violent, difficult scene to read at the beginning of Sorcha’s quest to free her brothers. It’s not graphically detailed, but it’s not glossed over at all—so, in a way, it’s much more graphically detailed than you might expect. Sometimes authors use things like this as a device or as another obstacle the protagonist must climb, but I feel like Marillier included it more for worldbuilding’s sake, to depict just how cruel the world can be at times. Or perhaps it’s to show how deep Sorcha’s bond with Red became, or perhaps it’s both. In any case, it’s handled deftly by Marillier.
That leads me to the thing I adored most about this book, which was Sorcha and Red. I think I’ve mentioned before that I tend to love the “agonizing” types of romance more than most other types, and Daughter of the Forest is full of agonizing—from Red, from Sorcha, from the people around them who see what’s happening and feel powerless to do anything about it. The relationship is slowly and beautifully developed, to the point where I cried at a particular part of the book that is poignant and beautiful and made me not want to put the book down even though I had to go to bed. And the romance ends perfectly, too, in a wonderfully satisfying way—usually I feel disappointed at the end of a book, or at the moment the love interests get together. But not in this book. In this book, I felt nothing but satisfaction.
I thought I loved Marillier already from reading her previous books, like Shadowfell and Wildwood Dancing, but Daughter of the Forest made me adore her. It’s a fantastic fairy tale adaptation, but it’s also a fantastic story, filled with love, loss, sorrow, pain, hope, and all the other things that make a particularly good book stand out from the rest. There are some hard things to read in this book, but there are many more beautiful things, and, like Sorcha, the reader comes to the end with a remembrance of the pain but with the knowledge that things are, as much as they can be in that world, going towards “happily ever after.”
Recommended Age Range: 16+
Warnings: Violence, death, rape.
Genre: Fantasy, Fairy Tale
“Listen to me, Sorcha. No matter where we are, or what we do, the seven of us will never be truly separate. We’ll always be the same for one another. But we are growing up; and grown up people do marry, and move away, and let other people into their lives. Even you will do that one day.”
“Me!” I was aghast.
“You must know that.” He moved closer and took my hand, and I noticed that his were large and rough, a man’s hands. He was seventeen now. “Father already plans a marriage for you, in a few years’ time, and doubtless then you will go away to live with your husband’s family. We will not all remain here.”
“Go away? I would never go away from Sevenwaters! This is home! I would die before I’d move away!”
After the spell protecting her is destroyed, Rose seeks safety in the world outside the valley she had called home. She’s been kept hidden all her life to delay the three curses she was born with—curses that will put her into her own fairy tale and a century-long slumber. Accompanied by the handsome and mysterious Watcher, Griff, and his witty and warmhearted partner, Quirk, Rose tries to escape from the ties that bind her to her story. But will the path they take lead them to freedom, or will it bring them straight into the fairy tale they are trying to avoid?
Rose & Thorn is a retelling of Sleeping Beauty, though perhaps it’s more accurate to say it’s a reimaging. Rose & Thorn is a sequel of sorts to Ash & Bramble, which set up the idea of Story forcing people to fulfill fairy tales over and over. So, the main goal of the characters is to not have the original fairy tale happen, so things go a little differently than one might expect (although saying that may be spoilery, but oh well).
It’s a beautiful retelling of Sleeping Beauty, a fairy tale I don’t actually much like, and there’s loads of originality throughout. Rose is a great protagonist, the type of female protagonist I like. She’s not all gung-ho, “I can do everything cool and awesome” warrior-esque, which can get so tiring and boring. She’s much quieter and understated, which I prefer.
The romance was a little boring, but I find most romances boring in YA since it’s so clearly designed to appeal to teenagers. Griff as a character, at least, was interesting, although I thought the ending was a little rushed—it was believable, but definitely could have been more so in terms of his change.
The main problem of Rose & Thorn, and of Prineas’s fairytale retellings in general, is the concept of Story as this malevolent force that constrains people to its will somehow (through a Godmother, but then at the end it’s revealed it can act on its own, so why does it need a Godmother?) and forces them into fairy tales over and over. But not all stories are Story, only some—if they’re “your own stories,” whatever that is (seemingly the one you want). What if the story you want is the same one that Story wants? Anyway, it’s a little hard to swallow and several times it seems a little forced in the story, as if Prineas also realizes that an idea like Story is hard to convey or accept as realistic.
However, despite the problems of its underlying concept, Rose & Thorn is an imaginative, fresh retelling of Sleeping Beauty with memorable characters (even if you haven’t read Ash & Bramble) and an interesting protagonist, and carries enough appeal to make me want to keep reading Prineas’s fairy tale retellings.
Recommended Age Range: 14+
Genre: Fantasy, Fairy Tale, Young Adult
“Ohhhh,” I breathed. This was the Forest. It had offered the clearing as a baited trap, I realized, and it had reached out to take me as I slept. Merry had told me that the Forest was evil, and maybe I should’ve been frightened, but I suddenly felt excited. Ready to go where the Forest led me.
It was, I realized, my story beginning. “Once upon a time…,” I whispered to myself.
I ate a quick bite of breakfast, rebraided my hair, washed my face in the stream—which hadn’t disappeared, like the road—put on my cloak, slung my knapsack over my shoulders, and, ready to start, turned in a slow circle, looking for a way through the trees.
“Once upon a time,” I repeated, “there was a girl who was searching for a path through an enchanted forest.”
Rump: The True Story of Rumpelstiltskin, by Liesl Shurtliff, was published in 2013 by Yearling.
In a magical kingdom where your name is your destiny, twelve-year-old Rump is the butt of everyone’s joke. But when he finds an old spinning wheel, his luck seems to change. Rump discovers he has a gift for spinning straw into gold—as much gold as he wants! His best friend, Red, warns him that magic is dangerous, and she’s right. With each thread he spins, he weaves himself deeper into a curse. To break the spell, Rump must go on a perilous quest, fighting off pixies, trolls, poison apples, and a wickedly foolish queen. The odds are against him, but with courage and friendship—and a cheeky sense of humor—he just might triumph in the end.
I appreciate Rump for its attempt to retell the fairytale of Rumpelstiltskin from the point of view of the titular character, since 1.) there aren’t many (that I know of) retellings of that particular fairytale and 2.) the obvious (at least, to me) would be to retell it from the miller’s daughter’s point of view.
However, Shurtliff is no Vivian Vande Velde, and I much preferred Vande Velde’s tongue-in-cheek, short retellings in The Rumpelstiltskin Problemthan Shurtliff’s more expansive yet more mediocre retelling. I hate to compare fairytale retellings, but I read Rump right after reading The Rumpelstiltskin Problem and the latter was delightful while the former was average.
Rump contains a decent protagonist, but the villain is over-the-top, the book is littered with stale tropes and mechanics, and at times the plot is incredibly obvious, even for a retelling. Perhaps it would be a better read if the reader was not acquainted with the original fairytale as much as I am.
Also, all the kiddy, immature jokes in this book put it squarely in “clearly for younger readers” territory, and I prefer books that don’t so publicly announce their audience. That, combined with the stale and obvious tropes, made Rump more of a chore to read than a delight.
Recommended Age Range: 10+
Genre: Fairy Tale, Middle Grade
I gathered the straw from the ground until I had a handful. I sat at the wheel. A few pixies fluttered around my hands and the straw and the bobbin.
“Gold! Gold! Gold!”
I fed the straw into the wheel.
Whir, whir, whir.
I spun the straw.
My breath caught in my chest. I stopped, unable to believe what I was seeing. In my hand were bits of straw, but around the bobbin were glowing, shimmering threads. I brushed my fingers over the threads, smooth and warm. Gold. I had just spun straw into gold.
The Rumpelstiltskin Problem, by Vivian Vande Velde, was published in 2000 by Houghton Mifflin.
Have you ever wondered just what was going on when that odd little man with the long name stepped up and volunteered to spin straw into gold for the miller’s daughter? When you stop to think about it, there are some very peculiar, not to mention hard to explain, aspects to that story. Vivian Vande Velde has wondered too, and she’s come up with these six “alternative” versions of the old legend. A bevy of “miller’s daughters” confronts the perilous situation in ways that are sometimes comic, sometimes scary. Usually it’s the daughter who gets off safely. Other times—amazingly—it is Rumpelstiltskin himself who wins the day, and in one tale, it is the king who cleverly escapes a quite unexpected fate. Once you’ve read The Rumpelstiltskin Problem, you may never think about fairy tales in the same way again.
I have a soft spot in my heart for Rumpelstiltskin, so when I read the author’s note that prefaced The Rumpelstiltskin Problem, I was a little disgruntled at how Vande Velde so callously tore apart my beloved fairy tale. Luckily, the six tongue-in-cheek “retellings” that followed were hilariously simple and brilliant reimaginings of the original fairytale. All of Vande Velde’s “explanations” for some of the odd occurences were wonderful, and I liked that she took a different approach for each story. Sometimes the miller’s daughter was the hero. Sometimes it was Rumpelstiltskin. And the king even gets his own part to play in one of the stories.
The Rumpelstiltskin Problem is certainly not a “serious” retelling of Rumpelstiltskin, and Vande Velde’s humor is of a particular type which everyone may not enjoy, but the whole thing is wickedly clever regardless. It’s a quick, easy read and very conducive to reading out loud to children. It’s not particularly satisfying, but it is fun!
Recommended Age Range: 12+
Genre: Fantasy, Fairy Tale, Middle Grade
The lord high chamberlain said, “Christina’s father, what is the meaning of this?”
“I am not Christina’s father,” Otto said. “I don’t even know who Christina’s father is.” Now what? He continued, “I…might bear a slight resemblance to the man, but in truth I am a dangerous magical creature who knows all sorts of enchantments besides the spinning of gold form straw, and I have come to take what is rightfully mine. IF you don’t over my—this girl, I will put a terrible spell on you.”
He had been worried that he looked so frightening, Christina might not realize she was being rescued. And, indeed, he saw that she had clapped her hand to her forehead and that she was shaking her head.
This final book in the New York Times-bestselling Fairyland series finds September accidentally crowned the Queen of Fairyland. But there are others who believe they have a fair and good claim on the throne, so there is a Royal Race—whoever wins will seize the crown. Along the way, beloved characters including the Wyverary, A-Through-L, the boy Saturday, the changelings Hawthorn and Tamburlaine, the wombat Blunderbuss, and the gramophone Scratch are caught up in the madness. And September’s parents have crossed the universe to find their daughter. Who will win? And what will become of September, Saturday, and A-Through-L?
The Girl Who Raced Fairyland All the Way Home is a delightfully perfect ending to the Fairyland series. It resolved things in ways I wasn’t expecting, and yet as I read those resolutions, I couldn’t help but think how well they fit with the characters as we knew them. September’s desire to go home warring with her desire to stay in Fairyland was perfectly resolved at the end, making such complete sense that although the series is finished, I am happily content.
I’m also glad that we got some final resolution with the Marquess, who was my favorite part of The Girl Who Circumnavigated Fairyland in a Ship of Her Own Making. Many things from that book were brought back and her resolution was quite sweet and a good way to resolve that character. However, I do think Prince Myrrh was a bit of a wasted character and a little pointless to include since he doesn’t do anything.
Blunderbuss the combat wombat was probably my favorite part of the book, and the description of her’s and Ell’s kiss at the end was hilarious. I also liked the fawning over Agatha Christie and the Cantankerous Derby in general.
I do think the part with September’s parents was a bit sudden and I didn’t really buy the fact that they so readily agreed with the “Let’s all stay in Fairyland!” idea, but it had a really strong Oz vibe to it, as this whole series in general has had, so I rolled with it even if it seemed a little contrived.
The Girl who Raced Fairyland All the Way Home is a perfect ending to a wonderful series, which started strong with the first book, wobbled a bit on the second and third, and hit a home-run on the fourth and fifth. This last book had a few minor things I didn’t like, but overall, this has been one of my favorite series to read and it had such a good ending that I’m not even sad that it’s over—I’m that satisfied.
Recommended Age Range: 12+
Genre: Fantasy, Middle Grade
“I know I ought to have come as soon as I heard Greenwich Mean Time sounding off at you, but I couldn’t stop looking at the Human section. So many books I’d never heard of! SO many titles I couldn’t understand? What’s a Wuthering? Why is it Important to Be Earnest? I am always earnest. Why would anyone not be?”
Wildwood Dancing, by Juliet Marillier, was published in 2007 by Alfred A. Knopf.
High in the Transylvanian woods, at the castle Piscul Draculi, live five daughters and their doting father. It’s an idyllic life for Jena, the second eldest, who spends her time exploring the mysterious forest with her constant companion, a most unusual frog. But best by far is the castle’s hidden portal, known only to the sisters. Every Full Moon, they alone can pass through it into the enchanted world of the Other Kingdom. There they dance through the night with the fey creatures of this magical realm. But their peace is shattered when Father falls ill and must go to the southern parts to recover, for that is when cousin Cezar arrives. Though he’s there to help the girls survive the brutal winter, Jena suspects he has darker motives in store. Meanwhile, Jena’s sister has fallen in love with a dangerous creature of the Other Kingdom–an impossible union it’s up to Jena to stop. When Cezar’s grip of power begins to tighten, at stake is everything Jena loves: her home, her family, and the Other Kingdom she has come to cherish. To save her world, Jena will be tested in ways she can’t imagine–tests of trust, strength, and true love.
I grew to love Marillier’s writing through her book Shadowfell and its sequels (reviews coming to the blog at some point!), so I decided to try some of her other books—and I’m glad I did. Wildwood Dancing is an adaptation of “The Twelve Dancing Princesses” with a little bit of “The Princess and the Frog” thrown in, although I would say that the book is more inspired by them than actually adapts them. It’s an enchanting book with a beautiful setting, an “other realm” that I actually really liked (I don’t usually like “fairy realms” in books for some reason), and a protagonist who, while maybe not incredibly assertive, was quietly strong and persevering.
Some readers, used to the type of strong female characters that fight, speak their opinions loudly, and eschew all forms of tradition, might see Jena as meek and quiet. But while she’s certainly quiet, I found Jena a refreshing breath of air. She does her best to thwart Cezare as she can, in the position she is in, without stepping out of the bounds of what that world requires. Maybe that makes her seem spineless, to some people, but not to me. I appreciate a protagonist who works within his/her role, rather than breaking out of it and working without.
A few aspects of the plot were a little obvious—I spent most of the book impatiently waiting for Jena to realize what I had already figured out—and most of it is predictable, although seeing as how it’s at least a semi-adaptation of “The Twelve Dancing Princesses,” it would be. But I enjoyed Wildwood Dancing despite the predictability, despite the grating repetition of Cezare’s machinations, and despite the plodding middle, and I enjoyed it because of Jena, the beauty of the world and the writing, and the quiet wonder and mystery that steeps throughout the entire book.
Recommended Age Range: 14+
Genre: Fantasy, Fairy Tale, Young Adult
The folk of the Other Kingdom had their own name for this expanse of shining water—at Full Moon, they called it the Bright Between. The lake waters spanned the distance between their world and ours. Once we set foot in their boats, we were caught in the magic of their realm. Time and distance were not what they seemed in the Other Kingdom. It was a long walk from Piscul Dracului to the Deadwash in our world—an expedition. Gogu and I had made that forbidden trip often, for the lake drew us despite ourselves. At Full Moon, the walk to Tӑul Ielelor was far shorter. At Full Moon, everything was different, everything was upside down and back to front. Doors opened that were closed on other days, and those whom the human world feared became friends. The Bright Between was a gateway: not a threat, but a promise.