We are familiar with posts about Weekly or Monthly Book Hauls, or new arrivals of books. These books can be ARCs, purchases and/or gifts. Sometimes, there are stories surrounding these book hauls, but most of them don’t need to be told. I’m taking the opportunity and I’m using this week’s book haul to discuss some lingering and continuing issues I’ve been having with NetGalley.
Most of us remember when we had our requests rejected. This is a scenario I’m still familiar with: request a book, have that request rejected, search other opportunities to receive an ARC (Goodreads giveaways, Bookish First, etc.) and fail in that, purchase the book the week it’s released.
‘Read Now’ Quota Reached
Those of us who check NetGalley daily and/or receive the newsletters know what I am talking about. You receive an email and/or you’re browsing a galley site and you realize that you can download the book immediately. However, you’re NOT in front of your computer and you are unable to download the galley from your mobile device, which means you’ve missed out on receiving the galley. On top of that, your request is rejected; so, you wait until you can purchase the book.
Request Pending (even with the ‘Read Now’ selection available)
This happens more often than NetGalley wants to admit. You request a galley and it’s pending. Then, a few weeks later, the publisher gives the book a “Read Now” status. So, you access your NetGalley account hoping to download the book, only to notice that your request is still pending. You can’t cancel the request and there is no way around downloading the book due to its “status,” which leaves you feeling more annoyed because you were so close to obtaining the galley that you wanted.
In this case, after entering numerous giveaways, the author of Firebreak, Nicole Kornher-Stace, mailed an ARC to me (Thank you SO MUCH for doing that for me)! Firebreak is one of my most anticipated books of 2021, and I’m honored that the author decided to mail me an Advanced Copy in exchange for an honest review, which I will be doing sooner rather than later (after I read the book of course)!
I should mention that this is NOT an issue with Edelweiss+. In fact, there have been times when I’ve had a request rejected only for the publisher to allow for the “Download” option for anyone who is interested. This change overrides the any previous status. If Edelweiss has this override, then shouldn’t NetGalley?!
Galley I Forgot to Download BEFORE the Archive Date
This one was my fault. I heard about this book from other bookbloggers, and I my request was granted almost immediately. Unfortunately, I did NOT download the galley by the archive date. Honestly, I might have misread April (Apr. on NetGalley’s website) for August (Aug. on NetGalley).
I still wanted to read this book, so I bought it! This book is a translation of a trilogy about Norse mythology. Since Norse myths are the stories to read at the moment (I still have to read both Northern Wrath and The Witch’s Heart), I decided to add this one to the list. I want to do a Norse-themed read through before Norsevember 2021!
So, why did I write this post? I wanted to let readers, bloggers and reviewers know that they are not the only ones with these issues on NetGalley. I believe that all of these issues are common knowledge, but for some unknown reason, NetGalley has yet to address the issues surrounding their available galleys. I understand some of it goes back to the publishers’, but they are NOT the ones running the site.
Have any of you had similar and/or different experiences with these galley sites? What did you do? What are your other options for gaining ARCs and galleys? And yes, I’m looking forward to reading ALL of these books!
There are tales of red-haired mountain men and women who could work miracles, of a people who could trace their lineage all the way back to the great King Solomon himself. Tales of a people who kept to themselves, who lives in a tiny quarter of the city of Trnava where they built their own house of worship. They say that on the ceiling of their synagogue there were a thousand tiny stars, (Prologue).
I’ve said more than once that history never stays buried forever because it always finds a way to be unearthed. At the same time, the knowledge finds other ways to be spread and passed on through posterity—storytelling. It is through these stories the audience can piece together what might have occurred in the past, especially when the audience knows what to expect from such stories. Rena Rossner presented a lovely tale of magic and sisterly love in her debut novel, The Sisters of the Winter Wood. In her latest novel, The Light of the Midnight Stars, we get a similar story, which is set during a much darker era.
This story follows 3 sisters: Hannah, Sarah and Levana. They are the daughters of Rabbi Isaac Solomonar and his wife, Esther, and they are the descendants of King Solomon. Hannah is the eldest and her father’s favorite daughter, and her talents include recording events and growing plants. Sarah is the middle daughter, whose temperament matches her fire magic—impulsive and strong. Her talent is the same as her father’s, but he refuses to teach her anything until after she learns control. Levana is the youngest sister, and she is always looking at the stars. She can decipher the messages they communicate to her. The sisters live a happy and prosperous life in the Jewish quarter of Trnava, where their parents hope to find them husbands who are worthy of them. Hannah meets Jakob, the son of the Duchess of Trnava; and, Jakob is willing to meet Rabbi Isaac’s conditions so that he can marry Hannah. Sarah meets Guvriel, one of Rabbi Isaac’s students; he takes it upon himself to teach Sarah about her magic, and the two of them bond over their shared talent and thirst for knowledge. Unbeknownst to her family, Levana starts seeing someone and it is someone who has spent the same amount of time watching her as Levana has spent watching him. The 3 sisters approach adulthood thanks to their parents’ guidance and the love that blooms from the young men in their lives. However, will it be enough for the sisters to survive their first trials as adults?
There are 2 plots in this novel. The first focuses on the love lives of Hannah, Sarah and Levana and what ensues because of it. Hannah falls for a non-Jew, Sarah must wait until she is allowed to marry Guvriel, and Levana doesn’t know how to tell her family about her beloved. Just as it seems like the sisters will live out their lives happily ever after, a tragedy occurs. The sisters flee Trnava with their parents leaving everything behind, including the men they love. The second plot delves into identity and the consequences surrounding it. Hannah, Sarah and Levana must choose on how much of themselves they are willing to reveal to their new acquaintances as they survive the circumstances which led them to their current predicament. How long can one’s identity be hidden before the truth emerges? There are 2 subplots in this novel and they develop alongside the plots. The first subplot is about love and loss. As cliché as it sounds, the protagonists and other characters have lost something (or someone) they love, and they are all struggling to overcome the grief and the trauma enclosing it. The second subplot is hope, which is cliché, too. Hope is what motivates all of the characters as death and violence continues to ravage the country. Hope brings out the resilience in people (and in fictional characters).
The narrative is told from the points-of-view of Hannah, Sarah and Levana in the 1st person. However, Hannah’s P.O.V. chapters are in the past tense because her chapters are written as journal entries, but that doesn’t mean readers won’t be able to pick up on Hannah’s stream-of-consciousness. Sarah and Levana’s chapters are told in the present but in different styles, which is done because they match their personalities (anyone whose read the author’s first novel will know what to expect), and present their streams-of-consciousness, too. Each narrator unveils what they must do in order to survive in a world that seeks to eradicate them and others who share their heritage.
The style Rena Rossner uses in The Light of the Midnight Stars follows the history of the persecution of Jews throughout our history. The Jewish community were often scapegoats for any and all misfortunes that befell a town, a region, or a country. For example, during the Black Plague, the Jews were blamed for the deaths and the continuation of the pandemic. Many Jewish quarters were obliterated, leaving any survivors to wander to other places where some of them had to hide their heritage from the outside world in order to live. In addition, this book contains many allusions of Biblical (Old Testament/Torah) texts and fairy tales, which are well-written into this novel. This story will make readers recall what they believed they have forgotten about those tales. The mood in this novel is ominous. Who should the protagonists fear more, the Black Mist or those who wish to harm them for who they are? The tone in this novel is resilience. The protagonists demonstrate that they will do everything that is imperative for their survival. The style in the novel replicates all of the adversity the Jewish community dealt (and continues to deal) with and how they continue to overcome it all.
Fans of the author’s first novel will love this one. The appeal for The Light of the Midnight Stars will be positive because the author wrote a strong follow up to her debut novel. Fans of Naomi Novik, Katherine Arden, Alix E. Harrow and Tasha Suri will enjoy this book the most. This book is an excellent addition to both the historical fantasy subgenre and the speculative fiction genre. Likewise, this novel is a great reminder of the importance of Jewish folklore. Once I started reading this book, I couldn’t stop until the end; and, that’s with all of the twists that transpired throughout the narrative.
The Light of the Midnight Stars is a strong standalone novel about family, heritage and survival. Rena Rossner’s style immerses her readers into the past where it was not always safe to parade one’s heritage. While I don’t believe the author meant for this book to be topical, it does serve as a reminder that there will always be opposition towards a group of individuals. Yet, it is those groups of persecuted individuals where we continue to get inspiration from for our daily lives.
My Rating: MUST READ IT NOW (5 out of 5)!!!
Thank you Redhook (and Angela) for sending me a copy of this book!
This is not a review post. While I prepare to participate in some upcoming events (watch the livestream I participated for The Bone Shard Daughter here), I will continue to catch up on some of my reading. The reviews will be posted as they are written, but life is taking over more of my time. At the same time, I can’t just NOT post something!
What did you recently finish reading?
This debut novel is a brilliant blend of dark fantasy and horror. This book reminds me of Black Sun by Rebecca Roanhorse. I will explain how and why in my upcoming review.
This book is a beautiful follow up by Rena Rossner. This book comes out in April 2021. My review will be ready and posted by that time.
What are you currently reading?
I need to finish this audiobook.
I know, I know. I’m behind on my reading, but this book is so good!
I’m behind on reading this book, too. Believe it or not, for a YA novel, this book is just as brutal as my other current read.
What do you think you’ll read next?
I started this book last year, but I didn’t get to finish it by the end of 2020. I’ve heard nothing but amazing (and gory) things about this book, and I really, really want to finish it!
Who doesn’t love Murderbot?!
After THAT ending! I NEED TO KNOW what happens next!
It was set up a hill on a cliff overlooking the ocean. It looked as if it were at least a hundred years old. It was made of brick and had a large turret of all things set right in the middle of the roof. The side of the house facing Linus was covered in green ivy, growing around multiple white window frames. He thought he could see the outline of a gazebo set off next to the house and wondered if there was a garden. He would like that very much. He could walk through it, smelling the salt in the air and—
He shook his head. He wasn’t here for such things. There would be no time for frivolities. He had a job to do, and he was going to do it right, (FIVE).
It’s amazing how a reader comes across a book. In this case, after receiving an eARC, I received a print copy of this book from a giveaway. At the time of this book’s release, the reviews were all about how great and how beautiful the story is, and how everyone should read this book. And, when I started reading the book, I realized the description didn’t do it justice to the story as a whole. The House in the Cerulean Sea by T.J. Klune is a poignant story about family and identity.
The protagonist is Linus Baker, a middle-aged caseworker in the Department in Charge of Magical Youth (best described as social services for “magical” children). He is the stereotypical vapid and lonesome adult who lives alone—with his cat, Calliope—and focuses on his job, in which he is very good at. In fact, Linus is so good at his job, he receives a summons from Extremely Upper Management to take part in a highly classified assignment: investigate an orphanage on the distant island, Marsyas; report and determine whether or not it should remain open; and, check the well-being of 6 “magically dangerous” children and their caretaker, Arthur Parnassus. It doesn’t sound too bad, until Linus reads the files for each child. That is when Linus realizes this assignment is unlike the other ones he’s had before, and why the files are classified. Linus reads up on the files of the children: Lucy, Talia, Theodore, Chauncey, Sal and Phee. But, he waits to read Arthur’s file because Linus believes it isn’t relevant to the assignment. In addition to the children and Arthur, there is Zoë Chapelwhite, the “Caretaker of Marsyas Island,” and the mentor to one of the children. Each of the children are as unique as their files make them out to be, and Linus is able to see them all as children and NOT the magical beings they are. While Linus has no issues with writing up his reports and bonding with the children, he is puzzled by Arthur’s demeanor, especially when it comes to the humans who reside on the island. Arthur is a complex character, but it is through him that Linus develops as both a character and an individual throughout the story.
Although the plot appears to be cliché, it is less straightforward and more complex than presented in the first chapter. In this world, humans and magical beings coexist in society, but they remain segregated from each other. The obvious reason for this is the fear between both groups. Humans fear what they don’t know, and the magical beings fear for their safety (from humans). Linus believes he’s investigating the Marsyas Orphanage because of his ability to “do things by the book.” However, Linus learns quickly about the true intentions of Extremely Upper Management and of Arthur’s reasons for becoming the guardian for these particular children. There are two subplots in this book. The first one surrounds foster care. Just about everyone has heard of (or knows someone who went through or works within) the foster care system—which, includes orphanages and children’s homes—and, the numerous stories—both true and false—about the ongoings that occur within them. This includes visits from caseworkers and social workers. I’m not saying that this book provides “accurate” information—I wouldn’t know—but, there is enough familiarity in this book that brings out the reality within the fantasy. The second subplot involves trauma and fear, and how it is handled. Approximately, half of the characters are dealing with their personal fears and traumas, and they all deal with them in their own way. However, there are positive and negative methods to overcome them, which are explored in this story. These subplots are necessary because they provide more depth and development to both the plot and the characters.
The narrative follows Linus’ point-of-view in the present, and is told in 3rd person limited narration. This means that the readers know what is happening from Linus’ experiences, and what is told to him by the other characters. This use of narration is essential for the story because of Linus’ role as a case worker. He must be able to understand the children, Zoë and Arthur while maintaining his identity as a human; especially, when Linus is told of the traumas the children have gone through. This makes Linus a reliable narrator.
The style T.J. Klune uses for The House in the Cerulean Sea is first and foremost a commentary on stereotypes, especially those placed on children. Ironically, this book was released during the year the world was forced to observe how they operated, and how their societal practices led to social turmoil. In addition, it is children who are taught how the world will perceive them based on these societal norms and practices; and, how it can get better, or worse (usually worse), as they reach adulthood. Earlier, I mentioned foster care systems, but there are several allusions to magical beings across folklore and speculative fiction, including the “smaller details” to what some of us suspected about those magical beings. The mood in this book is paradise. Linus arrives on the island and he is awed instantly by its beauty: the weather, the colors, and the appeal. However, each literary paradise contains its own underlining issue. The tone in this book is the dismantlement of stereotypes and appearances. All of the characters have something within themselves they need to overcome so that they can continue living their lives.
The appeal for The House in the Cerulean Sea have been immensely positive. Several readers and critics have had nothing but great things to say about this book. In addition, this novel was named “One of the Best (SFF) Books” of 2020 by everyone from Goodreads to Amazon. This book is a great addition to the speculative fiction canon and it should be read by all fans of the genre, especially for its lighter tone. Recently, this book became one of the recipients of the American Library Association’s (a.k.a. ALA) 2021 Alex Award. And, I’m going to say that this is the first of many accolades this book will receive.
The House in the Cerulean Sea is the magical book readers and fans didn’t know they needed. T.J. Klune presents a story about stereotypes surrounding identity, youth, family and appearances; and, it provides a bit of magic to it in order to present it as realistic, and it works. If you are looking for a fantasy story that will make you smile, then look no further.
…“The Tale of Saint George and the Witches.” It’s never been one of her favorites, but she reads it anyway.
It’s the usual version: once upon a time there were three wicked witches who loosed a terrible plague on the world. But brave Saint George of Hyll rose against them. He purged witching from the world, leaving nothing but ashes behind him.
Finally only the Maiden, the Mother, and the Crone remained, the last and wickedest of witches. They fled to Avalon and hid in a tall tower, but in the end Saint George burned the Three and their tower with them, (3).
2020 was a memorable year in and of itself. This was unfortunate because events of the present—which, I won’t list in this review—did not allow us to celebrate any milestones. One in particular was the ratification of the 19thAmendment which extended the right to vote to women, which occurred on August 18, 1920. This was a huge event because the movement for women’s rights—known as the Suffrage Movement—launched on a national level with the Seneca Falls Convention in 1848. And yes, similar movements were occurring in other countries around the world. This is one example out of many which demonstrates how long women had to fight and to protest to have their voice heard within the government. Alix E. Harrow gives readers her historical interpretation of this movement—with elements of witchcraft—in her second novel, The Once and Future Witches.
There are 3 protagonists in this novel, the Eastwood sisters: Beatrice Belladonna, Agnes Amaranth and James Juniper. Circumstances have brought the sisters together in New Salem in 1893 on the spring equinox. Agnes, Bella and Juniper have neither seen nor communicated with each other in 7 years. And yet, they still feel like the family they once were regardless of what led them to their current predicaments: Bella is a librarian, Agnes works at a mill, and Juniper has left home (and is a wanted woman). Societal norms and gender stereotypes have placed the sisters in situations where they cannot hope to progress further in life. That is unless they decide to join the local suffrage group, and to practice the magic they were taught from their grandmother, Mama Mags. As these sisters reconnect and reclaim what was denied to them their entire lives, they realize that more is at stake than just having the freedom to practice magic, to vote, and to be a woman. And, they won’t have to do it alone. Joining the Eastwood sisters are: Cleopatra Quinn, a journalist and a member of the Colored Suffrage Movement from New Cairo; August S. Lee, a factory worker from Chicago who has a knack for fighting for fair treatment for factory workers and for practicing “male” witchcraft; and, several members of the Sisters of Avalon, local women who are willingly to use magic in order to receive fair treatment. The antagonists include: Gideon Hill, the ambitious politician, who knows more about witchcraft than he should; and, his ward, Grace Wiggins, who is the head of the Women’s Christian Union—an organization of women who are “content” with the way things are, and are against all suffrage groups and witchcraft. All of these characters develop at they push for what they believe in, and they are more complex than they first appear. These characters deserve our sympathy and our empathy.
There are 2 plots in this novel. The first plot is the female characters who decide to go rogue and to form their own suffrage group which permits them to use witchcraft the patriarchy has denied them for centuries. It seems whenever suffrage groups get closer to achieving their right to vote, society finds a way to “punish” these women, which forces them to learn witchcraft so that they have a way to fight back. However, why is it that magic is stronger in females than in males? The second plot surrounds the legend of “The Last Three Witches of the West” and “The Lost Way of Avalon.” In this book, everyone is familiar with the story of Saint George of Hyll and his “victory” over the witches and the destruction of their stronghold. Yet, Bella, Agnes and Juniper are able to find evidence the witches and the Tower of Avalon did and could still exist. The sisters are able to locate the Tower’s entrance and discover what is inside. The sisters learn the origins of the Tower and its “demise” and the connection it has to the present. There are 2 subplots in this novel, and they embellish the plots and allow them to go at an appropriate rate. The first subplot focuses on how society was “operated” towards the end of the 19th century; labor laws weren’t formed yet, Jim Crow and segregation were practiced, and females of all ages were subjected to misogyny from most of the males in their lives: fathers, male relations (who were favored for inheritance), bosses, politicians, etc. Females had little to no say over their lives, and they could find themselves arrested and imprisoned for refusing to follow these laws—mothers lost custody of their children—because social norms believed males were “superior” to females. The second subplot follows how witchcraft was able to exist alongside those who shunned and tried to expunge it. The question is, why? Was it due to fear, or because women were better at witchcraft than men? Once everything has been revealed to the characters (and the readers), how will they react?
The narrative in this novel is very intriguing. The narration follows the points-of-view of Bella, Agnes and Juniper in 3rd person limited narrative, which presents what each protagonist is experiencing at the moment without the other ones knowing about it. However, there is a slight difference in this narration. Magic allows the Eastwood Sisters to feel one another’s emotions, which allows them to know what is happening to the others at any given moment. The sequence is interesting as well because as the narration is presented in the present in real-time, the story halts whenever a “story” is being told by one of the characters. While the concept of “a story within a story” is nothing new, the presentation of the stories by the characters offers readers the chance to delve into the narrative even more. The narrators are reliable because readers follow their streams-of-consciousness and their memories of the pleasant and the traumatic, which makes the narrative easy to follow.
The style Alix E. Harrow uses for The Once and Future Witches is a tribute to all elements of folklore familiar and unfamiliar to her readers. The title is an allusion to the novel, The Once and Future King by T.H. White, but has the setting and the mood of The Mists of Avalon by Marion Zimmer Bradley. In addition, as I mentioned earlier, this novel is not only a retelling of folklore, but also a retelling of societal practices from over one hundred years ago. Labor and factory workers suffered long workdays with little pay, women had to follow the rules set by their fathers and their husbands and other laws otherwise they would be punished, and the blatant racism which saw segregation as a legal and an acceptable social practice. All of these are mentioned within the book as well as all of the advocates who pushed for equal rights and fair treatment such as: Ida B. Wells-Barnett and Elizabeth Cady Stanton. This novel is full of allusions to tropes from folklore and familiar tales: Avalon; the number 3; shadows, Maiden, Mother and Crone; witches, Christianity, etc. Also, Alix E. Harrow includes some of her “fractured fairy tales” throughout the story. A fractured fairy tale are stories in which “a writer or storyteller rewrites and refines them for the world we now live in,” (Yolen). Elements and/or familiar parts of a known story—Cinderella attends a festival, Sleeping Beauty must fall asleep at some point, etc.—but everything else is altered so the variant is presented as a new one. The storyteller is able to have fun with these tales as they have more freedom to tell the story that reflect their atmosphere. The Once and Future Witches is a combination of historical fiction and numerous fractured fairy tales, which presents readers with a unique historical fantasy story. The mood in this novel is oppression. Several of the characters—including the protagonists—are subjected to oppression and are willing to do anything to fight against those who dominate them. The tone in this novel refers to the legacy of witchcraft and spells; if they are not supposed to be practiced, then how has the knowledge survived since the death of the last coven of witches? It could be argued that the tone pertains to who has access to witchcraft and what it entails, especially those in power.
The appeal for this novel have been highly positive. Based on other ratings and reviews, it appears readers enjoyed The Once and Future Witches as much as or even more than the author’s first novel, The Ten Thousand Doors of January. It needs to be mentioned that the 2 books—while they belong in the speculative fiction canon—are of different subgenres. The former is a historical fantasy about witches, which is categorized in the paranormal and the urban fantasy (and the witches) subgenres. The latter is a portal fantasy, which is a subgenre of fantasy. Readers need to understand these books are different, yet enjoyable. Fans of The Priory of the Orange Tree by Samantha Shannon and the Winternight Trilogy by Katherine Arden will enjoy this book the most.
The Once and Future Witches is more than a story about witchcraft, it is a combination of various folklore and moments in history. Alix E. Harrow celebrates the centennial of the 19th Amendment by gifting her readers a harsh reminder of how society used to be, and how we take certain rights for granted. If anything else, then you should read this story for the (fractured) fairy tales.
My Rating: Enjoy It (4.5 out of 5).
Yolen, Jane. How to Fracture a Fairy Tale. E-Book, Tachyon Publications, 2018.
Daevabad, in all its glory and infamy. The mighty brass walls embellished with the facades of its founders, her ancestors. The crush of ziggurats and minarets, temples and stupas; the dizzying array of clashing architecture and eras—each group, each voice leaving its defiant mark on the city of djinn. The shafit stolen from Persepolis and Timbuktu, the wandering scholars and warrior-poets from every corner of the world. The laborers who, when their work was left unacknowledged in official chronicles, had instead emblazoned their names in graffiti. The women who, after erecting universities and libraries and mosques, were kept silent because of “respectability,” had stamped their presence on the cityscape itself, (42: Nahri).
It still amazes me how I almost missed this series. When a book’s title and/or cover captures your attention, make time to read it because you might enjoy it to the point where it becomes one of your new favorite books. The Daevabad Trilogy has been a different reading experience and its due to the influence based on Middle Eastern culture and the classic story, One Thousand and One Arabian Nights. The series started with The City of Brass and continued with The Kingdom of Copper, which had an ending that left readers stunned. The Empire of Gold is the brilliant conclusion to this trilogy, and it begins where the last book left off.
The story begins with the antagonist, Manizheh—the former Banu Nahid and mother to both Nahri and Jamshid—as she looks over Daevabad after the almost successful usurpation of the kingdom and its ruler, King Ghassan. The rebellion was “almost successful” because Manizheh failed to retrieve Suleiman’s Seal. Instead, Nahri and Prince Alizayd beat her to the ring. And, just as Nahri and Ali are confronted by Manizheh, they jumped into the lake to get away from her only to find themselves transported to Cairo. Meanwhile, because the ring has been taken out of Daevabad, magic has vanished. Now, Manizheh is left without her magic and with hostile forces who are either trying to gain more independence or regrouping to take her down and reclaim the kingdom. Manizheh descends into madness as she struggles to maintain control of Daevabad. There is only one individual who has magic in Daevabad and it’s Darayavahoush e-Afshin. Dara is fighting a war within himself. He’s struggling to display his loyalty to Manizheh while trying to reach a truce with all of the 6 Tribes, the surviving members of the royal family, and the shafit. In addition, all of the trauma Dara experienced during the last war, which led to the deaths of his family has been resurfacing. It doesn’t take long for Dara to realize that history is repeating itself, and he’s the only one who comprehends what the war could lead to for everyone in Daevabad. This causes Dara to do everything he can to achieve a truce even if it means betraying his Nahid. Thousands of miles away, Nahri and Ali find themselves in Cairo with no clue as to how or why they ended up there. Ali wants to return to Daevabad immediately, but Nahri needs some convincing. The last 5 years haven’t been kind neither to the prince nor to the Banu Nahid, but it is the former’s surviving family members who remain at risk. After a lot of consideration, Nahri agrees to save Daevabad from Manizheh. Unfortunately, the journey back to Daevabad is even more perilous than Nahri’s first journey there with Dara. Not to mention, it turns out EVERYONE is searching for Nahri and Ali, and not just their families. Numerous “outsiders” hope to collect the bounty, and several mystical beings demand the payments of their ancestors’ “debts.” Why does everyone know about Nahri’s heritage except her? And, what other “debts” does Ali have to pay on behalf of both his maternal and his paternal ancestors? Throughout the story Nahri, Ali and Dara develop as characters as they find ways to overcome their traumas as they fight to save their home and to restore magic. It is essential to understand that the horrors and the traumas these protagonists face do not motivate their actions, they allow them to make “reasonable” decisions as they strive to change their world for the better.
The plot in this story picks up where The Kingdom of Copper ended. King Ghassan’s tyrannical rule is over, but Banu Manizheh proves quickly to be more ruthless and more paranoid than her former oppressor. And, Manizheh didn’t factor in losing Suleiman’s Seal or magic. Now, she feels powerless and she is forced to depend on Dara to complete her tasks. Meanwhile, Dara doesn’t wish to lose his independence, so he works against Manizheh secretly in order to keep everyone alive. Another plot in this story is Ali and Nahri’s journey back to Daevabad, which is full of physical and emotional turmoil. Ali has to decide whether or not to go through with his plans or that of his family’s. Nahri is dealing with what was revealed to her about her family and whether or not it’s true. The 2 friends need a plan to retake Daevabad and to defeat Manizheh, but it looks like they’ll have to make bargains of their own. There is one subplot in this novel and it relates to family. Ali, Nahri and Dara have struggled with family expectations—yes, even Nahri—and they’ve had an impact on all 3 of them. Ali has been a dutiful prince, but clashed against his father’s rule and his mother’s ambitions. Nahri was told what was expected of her due to her heritage even though she believed her relatives were all dead. Dara did everything that was expected of him by both his family and the (then) ruling family—the Nahids—only to witness his family’s deaths and the Nahids being overthrown. All 3 protagonists attempt to go against their family’s expectations as they strive to make their own decisions and what is best for themselves. This subplot is necessary for the plots of the story because readers can relate to some of the struggles the protagonists are experiencing and why they make certain choices throughout the story.
Once again, the narrative continues from the points-of-view of Dara, Nahri and Ali—with one chapter told in Manizheh’s P.O.V. The narrative is told in real-time and are in 3rd person limited narrative—the characters know only what is happening around them and to them at the moment. All 3 protagonists are reliable narrators because each of them provide everything that is happening to them, including the mistakes they make. The narrative follows the streams-of-consciousness of all of the protagonists. Yet, keep in mind these characters experience both flashbacks and memories. It is important to know the two are not the same thing, and the narrative is able to present this distinction.
The style S.A. Chakraborty uses for The Empire of Gold is a continuation of what readers received from the previous books in the trilogy. One Thousand and One Arabian Nights and Middle Eastern culture are major influences in this book, and there are allusions to the Ottomans and the Napoleonic Wars as well. Now, instead of an impending rebellion, civil war has broken out after the ruler has been overthrown, and the person who claims she is in charge does not know how to maintain control and cannot solve the kingdom’s biggest dilemma, which is the loss of magic. The mood in this novel is discord. All over the world, magic is gone and everyone is dealing with the ramifications, including the civil war in Daevabad. The tone in this novel is resilience and which of the characters, including the protagonists, are able to withstand all of the incoming challenges. Readers should refer to the maps and the appendices as they read this book so that they can keep track of the Tribes and the world-building.
The appeal for The Empire of Gold have been positive. Several fans and readers have lauded the author for providing a strong conclusion to this trilogy. Yes, this book is over 700 pages long, but any fantasy fan will appreciate all of the world-building the author has put into her books. Not only does this series belong in the fantasy canon, but also is a great addition to the historical fantasy and the Middle Eastern fantasy subgenres. Even George R.R. Martin has praised this series. And, fans can expect a new series from the author in 2022!
The Empire of Gold is a gratifying end to The Daevabad Trilogy. The plots answer all of the questions readers have about the characters, and the author provides appropriate endings for all of them. Do not be intimidated by the book’s size because you will finish reading it before you know it. Fans of Tasha Suri, Sabaa Tahir, Egyptian mythology, and Scheherazade will enjoy this series the most. This book is a satisfying conclusion to this trilogy.
The tower took the length of the world—only it was an alien world, replicating itself over and over as it climbed to a distinct, ghostly gap into the clouds. Or did he stare down a well? (Part I. The Duchy. 5).
Critics have an interesting job. They review a genre of media—books, films, video games, etc.—and they offer their thoughts and opinions on each one for the public to have a perceived notion before experiencing it for themselves. While it sounds like an ideal job, many do not know critics are expected to review the “poor” and/or the “bad” works as well. Not to mention, the amount to review never seems to decrease. And yet, critics continue to do it because they enjoy it. So, what happens when a request is sent to them from the creator directly? One of two things: either the request is granted, or it gets shuffled into the pile until further notice. In the case of Yaroslav Barsukov, the former happened and I read his novella, Tower of Mud and Straw, a fantasy story that pays homage to familiar tropes while presenting his twists to his readers.
The protagonist in this story is Shea Ashcroft, the former Minister of Internal Affairs and the former councilor to Queen Daelyn. Shea was stripped of his position after he refused a direct order and is sent to Owenbeg—the kingdom’s border—as the new “intendant” to oversee the construction of a massive tower. Shea, who knows this is a combination of a test and a punishment, arrives to learn about the tower’s construction or lack thereof. Once Shea observes the tower, he learns a truth which triggers a series of traumatic events from his past. Suddenly, Shea is torn between his role and his status, and his knowledge about the potential consequences surrounding the Tower’s completion. Shea demands that the Duke halts the Tower’s construction, which goes against Brielle’s—the Chief Engineer—goals of seeing the Tower completed in record time. Patrick is the Duke’s Military Counselor who is searching for whoever is sabotaging the Tower’s construction. Then, there is Aidan, a man who is obsessed with the Tower’s completion no matter what the cost is so that he can see it through. And, there are 2 women named Lena. The first Lena is the Duke’s Counselor of Arts, and the Duke’s lover. The second Lena is Shea’s (twin?) sister whose been dead for several years. All of these characters forces Shea to confront both his traumas and his fears as he chooses to do what is right instead of his duty.
The plot in this story revolves around the construction of the Tower. The queen has ordered the airship tower to be built for society and for her legacy. However, Shea discovers that the Tower is being built faster than possible. This is because Brielle has been using Drakiri devices—which Shea’s sister called “tulips”—in order to build the Tower to massive size and expectations. As he processes this information, Shea learns from Patrick that there have been sabotage attempts on the Tower. Shea believes it is the Drakiri devices and demands to have them removed. But, Patrick believes there is a more “primitive” attempt to stop the Tower’s construction. There are 3 subplots in this story. The first subplot focuses on Shea’s new responsibilities and the consequences of not seeing them through—2 men attempt to assassinate him for opposing reasons. The second subplot surrounds the legends of the “Mimic” Tower, which are told to him by Lena—the Duke’s lover—who is part Drakiri and is familiar with the culture and the technology of her ancestors. The third subplot delves into Shea’s past, especially his sister, Lena, what led to her death, and why he ignored all of the signs which led him to make a decision with lethal consequences. Not only do all of these subplots connect to the plot related to the Tower’s construction, but also as to why Shea Ashcroft makes the choices he does throughout the story knowing the outcome won’t change.
The narrative is told from Shea’ point-of-view. However, the sequences are presented using different narrations. Most of the narrative is told in 3rd-person limited narrative, meaning readers know what is happening to Shea, but any inner monologues or thoughts are presented in 1st-person narrative. This change in narration illustrates the inner conflicts Shea deals with throughout the story, and these moments of streams-of-consciousness not only present Shea as a reliable narrator, but also presents the conflicts and the protagonist as relatable. What does it take to make a “good” decision? The protagonist’s flashbacks throughout the narrative are written so that they are easy to follow along as well.
The style Yaroslav Barsukov uses in Tower of Mud and Straw is a fantasy story with a steampunk setting and elements of folklore which is part political thriller and part cautionary tale. The language used by the author focuses on the “political” aspects found within the world-building as well as the culture of the “immigrants” and their “contribution” to the society they reside in. What happens when more emphasis is placed on the benefits of an unknown technology instead of its origins? And, what happens when “stories” are no longer “just stories”? And, when every side wants you dead, how will you “go out”? The mood in this novella is eerie. There is an unnatural state in the atmosphere, which is brought on by the Tower, but it seems most of the denizens decide to ignore it and say that it’s people and NOT the Unknown who are bringing this change in the atmosphere. The tone in this story is revelation. What happens when there is truth to legends, and they are linked to a personal tragedy? What would you do?
The appeal for Tower of Mud and Straw have been and will be positive. I received an eARC from the author, and I strongly recommend it. This book will be released through an independent publisher, so it won’t receive the same marketing as books from larger publishers, but I’m a bookblogger who is recommending that you read it. And, it seems that other early readers have enjoyed it as well. This story is a great addition to the fantasy canon, and its lasting appeal will be due to its cult following. This story can and will be re-read because of the story’s structure and format. Each part of the story and the protagonist’s backstory are essential to the story—you can’t skip over anything! And, while one of the final scenes in the story seems “overdone,” it works with the question readers will have by the time they read the last sentence.
Tower of Mud and Straw is a story full of themes and tropes presented in a way that makes for an incredible story. Yaroslav Barsukov is an author who seems to have more stories ready to give to readers than he is letting on. Until we get those stories, we’ll have to settle for this one about politics, unknown technology, folklore and vertigo. Anyone who is looking for an intriguing story written by an indie author should read this one.
It’s 2021, the pandemic is ongoing, and it still sucks. Fortunately, we’ve gotten better at entertaining ourselves through our hobbies and interests. Readers and bookbloggers have been able to make the most of lockdown by reading (or, trying to read) our TBR piles and helping authors and publishers with promoting any books we get our hands on! Technology continues to be a lifesaver as we all continue to find ways to keep up with news surrounding our favorite authors and any upcoming book releases.
David Walters—a.k.a. FanFiAddict—impressed everyone last spring with last year’s “MayDayCon2020” where he hosted 7 panels and 7 live readings in 14 hours! This time around, FanFiAddict reached out to a few of his fellow bookbloggers—Beth Tabler, Travis Tippens (from The Fantasy Inn), and Jason, a.k.a. Traveling Cloak—to assist with “TBRcon2021.” This virtual Con had 17 panels across 6 days, with several of our favorite speculative fiction authors participating in the panels discussing numerous topics within the genre, and about writing in general. In fact, I’m going to say that it was because of the “Writerly Advice—NOT” panel that led to #writingadvice trending on Twitter (with some “interesting” responses).
Without listing all of the authors, this virtual con had authors ranging from debut to indie to “established” ones across the speculative fiction genre—epic fantasy, grimdark, space operas, historical fantasy, etc.—and, all of the S.P.F.B.O. finalists were there too, with the Con ending with a round of Dungeons & Dragons. So, what made this virtual Con so memorable? First, as I mentioned before, was the authors. Just about all of the subgenres and genres were represented by the participants—whom were from diverse backgrounds and from around the world (i.e. Australia)! Next, were the topics discussed on each panel. Topics from world-building to history to the future of the genre were talked about, and it was interesting to hear what each author had to say about them. Last, was the schedule. While it was impressive how David managed to host the first Con in a day by himself, how he managed to get even more authors to participate in 1 or more panels for a 6-day event is beyond laudable. Yes, this virtual Con was free, and could be viewed on YouTube, Twitch and Facebook, but I would argue that this is further proof that these virtual Cons are worthy fillers for all author events while the pandemic continues (yes, I want it to end, too).
“TBRcon21” had something for everyone, and you can rewatch these panels online. Another reason I’m discussing virtual Cons again is because of what I believe fans are getting out of them. Although several Cons have moved to virtual, not all of them are accessible for everyone. Everyone who is interested has to register for tickets, and there are times when they sell out. It is too early to tell what will happen to virtual Cons whenever “normalcy” returns, but I don’t believe they will go away. This Con is proof authors are interested in interacting with fans and readers, and those fans and readers will find ways to attend these events. I hope agents, marketers and publishers are paying attention because it looks like bookbloggers have found a way to bridge themselves between the publishing industry and the readers who Google whether or not they should read a particular book. And before you ask, I’m not excluding BookTubers. In fact, if these virtual Cons were to become more ubiquitous, then I believe some BookTubers could give us a hand with certain panels. While we’re on the subject, I know some podcasters who would be interested in participating as well.
“TBRcon21” is another accomplishment by FanFiAddict, and it is proof the publishing industry is paying attention to us, and authors are willing to communicate with their fans and vice versa, and will find ways to keep at it no matter what it takes. So, what shall we do as we all decompress from this event? Well, Virginia McClain will be hosting “QuaranCon2021” this spring, and I’m looking forward to it. I hope to see more participants (and authors) at that event this year! I hope to see you all there participating in the live chats!
This article was written for the Martian Chronicle blog, but it was never posted so I decided to rewrite and to present it on my blog. Enjoy!
When children and adolescents show an interest in reading, we—as adults, and as readers ourselves—want nothing more than to load our recommendations and favorite books on to them. Unfortunately, not only will this overwhelm young readers, but also turn them off to reading the books we want them to read (outside of school reading). One of the reasons for this is because many adults fail to pay attention to the genre of literature the kids are reading. If a teen is reading non-fiction, then they’re not going to be interested in historical fiction. If a child enjoys fairy tales, then giving them a book about aliens might not capture their attention. In addition, suggesting “popular” (i.e. Percy Jackson, Magic Tree House, etc.) books isn’t the way to go because those readers might have read those books already. Knowing the books within a preferred genre is worth reading and it will keep the interest of reading in children and in adolescents.
When it comes to speculative fiction, adults tend to select the “typical” and/or the “popular” books of the genre to give to children and to young adults. And, there is nothing wrong with choosing Alice’s Adventures in Wonderland and Watership Down. However, there are so many other books to give to these young readers and the genre has expanded so much that it can feeling overwhelming for everyone. That being said, here are some recommended books for young readers who are fans of the speculative fiction genre.
The Wizard of Oz: The Complete Collection by L. Frank Baum
There are 14 books in this series which is often compared to Alice’s Adventures in Wonderland and Through the Looking Glass by Lewis Carroll. Several books, including the 1st book, The Wonderful Wizard of Oz, does follow Dorothy and her dog, Toto, on their many adventures in Oz, but the series gives readers more insight into the entire world through several other characters who live in different parts of Oz. Think of them as “modern” American fairy tales.
The Spiderwick Chronicles by Tony DiTerlizzi & Holly Black
Holly Black is more known for her young adult books, but she has co-written this series—and, a sequel series—with Tony DiTerlizzi; and yes, the books are better than the movie. This series follows twin brothers, Jared and Simon Grace, and their older sister, Mallory, as they move into their family manor. As they unpack, they wonder if there is something, or someone, else living in the house. When Jared finds a “field guide” that belonged to their great-uncle who disappeared over 80 years ago, Jared, Simon, and Mallory learn that their backyard is home to numerous magical creatures, both good and bad.
Akata Witch by Nnedi Okorafor
DO NOT CALL THIS BOOK, “HOGWARTS IN AFRICA,” because it is NOT THAT!!! This book will remind readers of Rick Riordan and Ursula K. LeGuin, in which “gifted” children attend a school where they learn magic that is based on their heritage. Sunny and her friends learn how to hone their abilities which is based on African shamanism and cultural practices. The plot alone makes this book and its sequel, Akata Warrior, stand apart from other “magic school” stories.
Young Wizards by Diane Duane
What if wizardry and magic weren’t just about casting spells, but protecting the entire galaxy? What if your spell book was real and you had to be able to read the language its written in in order to cast spells? This series, which started in 1983 with So You Want to Be a Wizard, follows Nita Callahan and Kit Rodriguez as they begin their careers as wizards. After completing their “Ordeal,” the two friends travel throughout Earth, to Mars, and to the rest of the galaxy as they work on their tasks using scientific spells. Currently, there are 10 books in the series, and each one sees the development of the young wizards.
This horror story will make readers question whether or not their local urban legends are real. The story follows 11-year-old Ollie, who is grieving the death of her mother. One day after school, Ollie sees a crazed woman yelling at a book and threatening to throw it into the river. Ollie steals the book and begins to read it. She reads about two brothers who were in love with the same woman, and a deal they made with “the smiling man.” Ollie believes what she’s reading is just a story until her school bus breaks down and her broken watch “warns” her to “RUN.”
Brave Story by Miyuki Miyabe, translated by Alexander O. Smith
This book won the Batchelder Award in 2008, and it was written for children as young as 8-years-old. However, this book can be enjoyed by adolescents; and yes, the fact that the book is more than 800 pages long is another reason this book is recommended for adolescent readers. The story follows Wataru Mitani as he goes on a quest in another world to save his parents’ marriage. The difference here is that this story is written in a style that appeals to gamers, especially fans of (Japanese) role-playing games, or RPGs. Fans of Ni no Kuni: Wrath of the White Witch and Final Fantasy will love this story.
Haroun and the Sea of Stories by Salman Rushdie
What if your father was a famous storyteller who receives his stories from a river of dreams? What happens when that river stops flowing and your father can no longer perform his job? Join Haroun as he journeys to defeat the dark force that is halting the flow of the river, and the stories, which flow to his father. This is a very unusual quest.
Memories of the Eagle and the Jaguar Trilogy by Isabel Allende, translated by Margaret Sayers Peden
15-year-old Alexander Cold is sent to stay with his grandmother who works for International Geographic. Her latest assignment takes both of them on an expedition to the Amazon. There, Alex meets Nadia Santos, and the two friends go on an adventure through the Amazon, where they learn about their spirit guides, which are in the forms of animals, so that they can save an ancient city from ruin. Isabel Allende’s YA trilogy, which starts with, City of the Beasts, follows the protagonists’ adventures both in the Himalayas and in Kenya as well.
This book, which is set in a futuristic war-torn Nigeria, was influenced by the anime series (and its many spinoff series), Gundam. Onyii and Ify are sisters who live in a camp with other orphaned girls that is isolated from the ongoing civil war. However, after an attack on the camp, the sisters are separated and find themselves on opposite sides of the war. In a future where space colonies, A.I.s, and flying mechs exist, how does a war end when both sides have advanced technology. Will Onyii and Ify survive the war and reunite?
Tamora Pierce Pantheon
For almost 40 years, Tamora Pierce has written stories of several characters through generations in the world of Tortall. Alanna: The First Adventure was released in 1983, and it follows Alanna as she and her twin brother, Thom, switch places in order to go to the school they want to attend. Thom goes to school to train as a mage, and Alanna travels to the King’s castle to train as a knight. There is only one problem. Females haven’t trained to be knights in over 400 years. This means Alanna will have to disguise herself as a boy so that she can become the knight she wants to be. And, that’s just the first quartet in that universe! There are a lot more stories about different girls learning and growing into strong women that take place inside and outside Tortall.
These are a few of several books and series available for young readers of speculative fiction. Now, some of these authors have written other books for children and for adolescents, and I recommend those books as well. This is a starting point for young readers who want to read books that might not receive the recognition they deserve. Yes, let them read Harry Potter and The Chronicles of Narnia, and The Earthsea Cycle and the Rick Riordan Pantheon; but, these fantasy, horror, science fiction, fairy tale, and magic realism stories are worth reading, too. I hope you enjoy them all as much as I do!
Wayward Children, #6: Across the Green Grass Fields
By: Seanan McGuire
Published: January 12, 2021
It had been so long since there was a human in the Hooflands. She didn’t like to consider what might be ahead of them that was bad enough to require human intervention. Humans were heroes and lightning rods for disaster, and none of those stories she’d heard about them when she was a filly had ended gently from them, or for the people around them, (8: Time and Transformation).
Destiny vs. chance; fate vs. free will. These opposites are disputed more often than we want to admit. Is it destiny, or did your choices lead you to this moment? Did fate or chance determine your current circumstances? Regardless of ANY beliefs—religious or not—just about every individual has debated these questions among others, or between their personal thoughts. In speculative fiction—particularly in fantasy—this debate is investigated further by including prophecies in the plot(s) of the stories. Nowadays, many fantasy authors go into the “dangers of prophecies” and how it can bring about more harm than good, emphasizing how free will is a more “realistic” approach to fantasy stories. This is one of the several messages that can be found in Seanan McGuire’s Wayward Children series, and the debate between destiny and chance comes up in the latest book in the series, Across the Green Grass Fields.
The protagonist in this book is Regan Lewis, and when readers first meet her, she is 7-years-old. This is significant because one day, during recess, one of her friends—Heather Nelson—brings a garter snake to show off to her and their other friend—Laurel Anderson. While Regan is fascinated with the snake, Laurel is disgusted with it and slaps it out of Heather’s hand. Laurel states that “girls don’t play with disgusting things like that,” because a first grader believes she knows more about the world than her friends. From that day into the 4th grade, Heather is ostracized by her classmates and Regan remains “friends” with Laurel due to fear of the same thing happening to her. The one thing Regan loves which is considered to be “girly” is horses, which her parents—who love her tremendously—indulge her. However, Regan learns at 10-years-old that she is not “completely female” due to an “anomaly.” This leads to Regan confiding in Laurel (which, was foolish), which causes Regan to flee her school in tears. As Regan is making the long walk home, she finds a Door and walks through it. Regan finds herself in Hooflands—where all mystical horse creatures reside—and is adopted by a herd of centaurs: Pansy, Chicory, Rose, Lily, Clover, Lilac, Bramble and Daisy (notice a pattern here?). Throughout her time in Hooflands, Regan is able to grow into the person she wants to be without the social constraints and the gender role expectations of her (our) world. Regan experiences the same amount of love with the herd as she did with her parents; and, she has a “true” friend in Chicory, something Regan realizes she never had with Laurel. The centaur herd, like Regan’s parents, do everything they can to keep her safe, while keeping her informed about the world around her. Regan grows up realizing that one’s sex and gender doesn’t define an individual, and she is able to think the same way when confronted about “why she was brought to Hooflands.”
The plot in this book surrounds the idea of friendship. As cliché as that sounds, Regan’s growth focuses on what having and being a friend entails. Yes, Regan was 7-year-old when she stopped being Heather’s friend in favor of Laurel, but such things and worse are everyday occurrences with children and adolescents (I am an educator, and I can attest to A LOT of schoolyard—and cyber—bullying). Regan—who knows she doesn’t have any friends amongst her classmates—confided her “secret” to Laurel because she didn’t have anyone else to talk to; and, knowing what Laurel’s reaction will lead to, Regan runs away. Regan learns what real friendship is in Hooflands and worries her “predestined task”—something she doesn’t believe in—will bring it all to an end, and she doesn’t want that to happen. The second plot in this book centers on the choices all of the characters make, and the “what ifs” asked by all of them. Regan realizes Heather would have been a better friend than Laurel. Regan’s parents should have given their daughter more time to process the life-changing news they had to tell her. The centaurs make many choices, which they know they had to live with, from protecting Regan to choosing husbands. By the end of the story, Regan is able to make her “ultimate” choice because she witnesses the consequences which outweigh the benefits. There is one subplot in this novella and it involves Regan’s sex (she is intersex). While this revelation comes as a shock to her and causes her to worry about how she’ll be perceived by her peers and everyone else in society, Regan experiences some of the “benefits” which she uses to her advantage unknowingly, especially for someone who loves to ride horses. The subplot is essential to the plots in this story because the subplot drives the entire story.
The narrative of this book is told from Regan’s point-of-view and in the past sequence. This is NOT a flashback, but a look back at what happened to Regan from when she was 7-years-old to when she is 16-years-old. The narrative is told in 3rd person omniscient (readers get insight to what happens to Regan’s parents and other characters) and through Regan’s stream-of-consciousness. Given everything Regan goes through and the growth that results from it make her a reliable narrator.
The style Seanan McGuire uses in Across the Green Grass Fields is part homage and part criticism of popular children’s media, particularly of the TV cartoon, My Little Pony (the first variant was based on the toys from the 1980s), and of The Chronicles of Narnia by C.S. Lewis. First, let me say many of you will make the comparison to the Oz series by L. Frank Baum—and, you wouldn’t be wrong. However, thinking over what led to the protagonist making her choice has resulted with me leaning more towards Lewis over Baum; and, I might be wrong in that as well. Anyway, the author has explained to her fans how a beloved cartoon series contained a lot of danger in a world of horse creatures. Not to mention, McGuire’s view on what happens to the human character, Meghan, makes you reconsider what you think you know about My Little Pony, fairy tales and magic. As for The Chronicles of Narnia, think about the premise made by the Narnians whenever a human—“a son of Adam or a daughter of Eve”—appears in Narnia. Those humans are expected to live up to a role which was “predestined” for them, and they must go along with it because “it is was they’re supposed to do.” McGuire allowed her protagonist to be more mindful about certain things and to consider how such beliefs and notions can affect everyone, something this character is very familiar with. The idea of destiny versus free will is explored in books by Brandon Sanderson, Katherine Arden and Jenn Lyons (and even more authors). The mood in this novella is anticipation of what is coming. The tone focuses on the choices that are made in response to the anticipation of the inevitable. Once again, Rovina Cai provides the illustrations in this book. This time, those illustrations are spread out more in the book and I want to say it is because more emphasis is placed on the world of Hooflands instead of its inhabitants (many of the readers know what minotaurs, unicorns, kirins, etc. look like).
The appeal for this novella have ranged from mixed to positive. So far, some of the readers have said that this book is not their favorite in the series, but they still enjoyed it. Other readers (and reviewers) have been very critical about certain parts of the story, especially the ending. Everyone is allowed to have their opinions, and I can see where many of them are coming from. Yet, I do agree with one statement about this book in the Wayward Children series, it can be read by middle grade aged readers (ages 8-12)—as long as they are mature enough to deal with the book’s content. This is because the context and the characters mirror their age group the best. That being said, I believe this book continues with the theme of “cautionary tales” fans have picked up on throughout the series. Adolescent and adult readers are forced to recall their experiences as (or with) schoolgirls and how those notions continue to influence and to hinder each new generation of young girls. And, for those of you who do not believe girls are not “vicious” should re-watch Mean Girls or any “cat fights” videos on YouTube. Across the Green Grass Fields is a great addition to the series and it will be enjoyed by fans of the series. Furthermore, we have to wait another year until we get to read the next book in the series, Where the Drowned Girls Go. Who knows, maybe we’ll meet up with Regan again?
Across the Green Grass Fields in the most amiable book in the Wayward Children series so far, but it is not without the threat of danger fans know to expect from Seanan McGuire. This novella about young girls and horses is a much-needed commentary about choices, femininity and friendship. Say whatever you want about this book, but there is little girl you know who wishes there was a world of horse beings where you get to talk and to ride them all day long!