Category Archives: Wayward Children

Why You Need to Read: “Across the Green Grass Fields”

Wayward Children, #6: Across the Green Grass Fields

By: Seanan McGuire

Published: January 12, 2021

Genre: Fantasy

            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!

I was able to get this DVD during a bargain sale! I still remember watching these episodes on Saturday mornings on the Disney Channel!

My Rating: Enjoy It (4.5 out of 5).

Why You Need to Read: “Come Tumbling Down”

Wayward Children, #5: Come Tumbling Down

By: Seanan McGuire

Published: January 7, 2020

Genre: Fantasy/Horror

            “Everyone who comes here becomes a monster: you, me, your sister, everyone,” said Mary, voice low and fast and urgent. “The doors only open for the monsters in waiting. But you made the right choice when you left this castle, because you would have been the worst monster of them all if you had grown up in a vampire’s care.”

            “I know,” said Jack… (13: The Broken Crown).

            Responsibility is a trait which marks the coming of adulthood. The older we get, the more responsibility we get whether or not we want it. The concept of being responsible follows the practice of being reliable to others and being held accountable for your actions both good and bad. Even adults don’t always know who is reliable and who isn’t. Children and adolescents are given the benefit of the doubt due to their youth. However, once society deems the youth as “old enough to know better,” society expects the youth to follow the rules and obey the laws, or face the consequences. The Wayward Children series is about children and adolescents who traveled to other worlds for various reasons, and there are those who were kicked out of those worlds because they broke the rules. But, what happens when a traveler believes the rules shouldn’t apply to them? Fans of the series know of one example thanks to the past events in In An Absent Dream, but the author presents readers with an example occurring in the present in Come Tumbling Down.

            Readers catch up with the misfits at Eleanor West’s Home for Wayward Children: Christopher, who traveled to Mariposa; Cora, a Drowned Girl; Kade, a hero of Fairyland and headmaster-in-training; and Sumi, who—thanks to the events in Beneath the Sugar Sky—is alive and her old self again. It seems like an ordinary day at school, until lightning strikes the basement and a Door appears, but none of the students recognize it as theirs. This is because the Door swings inward revealing a large girl carrying a smaller one in her arms. No one recognizes the first girl, but the other girl is one of the Wolcott twins, but which one? It turns out that it’s Jack, but she’s in Jill’s body. Jack didn’t give her consent for the body swap; not to mention, Jack and Jill aren’t identical twins anymore since Jill’s death and resurrection. Jill’s death was one of two punishments she was dealt as consequence for breaking the rules in the Moors. Jill either had to remain in her world, or return after dying where she can no longer become a vampire. The problem was Jill proved to be as ruthless in our world as she is in the Moors, forcing Jack to make a decision to save her sister from herself. Unfortunately, everything blows up in Jack’s face, and Jill and her Master have decided to wreak havoc on the Moors, prompting a war between mad scientist and vampire, and between identical twin sisters. Jack flees the Moors with her fiancé, Alexis, to Eleanor West’s Home for Wayward Children so she can get help with getting her body back from Jill and save her Home. Throughout the story, readers learn more about Jack: what she’s been up to since returning to the Moors, and her future plans there with Dr. Bleak and Alexis. Jack is able to open herself up more to her former schoolmates than she was able to while staying at the school, which is a huge development for her character—and, as a (fictional) individual. Another character who develops in this story is Cora, but not in the “traditional” way. Cora—like the other students—hopes to return Home. However, it seems Cora has a deeper connection to the Drowned Worlds than everyone realizes, including Cora. 

            The plot in this story is sibling rivalry to extreme levels. Jack and Jill were kicked out of the Moors for Jill’s crimes (in Down Among the Sticks and Bones) and Jack made the decision to “change” Jill so both of them could return Home (in Every Heart A Doorway). Unfortunately for Jack, Jill views her twin’s actions as NOT “saving” her, but as “stealing eternity away from her.” Jill sees getting Jack’s body as a way to get everything she wants and damn the consequences. There are 2 main problems with this nonconsensual body swap. First, is that Jill and her Master believe they have found a loophole in the order of the Moors, but the rules in the Moors are strict and valid, and those in charge will NOT allow these transgressions to continue. Second, is Jack has OCD and she cannot cope with being in Jill’s body because of what the Master did to it; and, Jack has no intention of becoming a vampire, so she has to get her body back before the next full moon. There are 2 subplots in this story. The first is the concept of Death within some of these worlds. Just like in Confection, death isn’t permanent in the Moors. However, there are setbacks to being resurrected in the Moors—the body loses its function after each one—and time is of the essence. The second is the continued world-building of the Moors. We learn—through the other characters—how vast the world of the Moors is and about the Powers who run the Moors making sure ALL rules are followed. The subplots are necessary because they develop alongside the plot. Plus, everyone learns quickly how much trouble Jill is in for going against the order of the Moors. 

            The narrative follows a present sequence with moments of recounting the past (which is not the same as a flashback). It is presented in 3rd person omniscient from the points-of-view of Christopher, Cora and Jack. Readers learn how the Moors affect these characters who either reside in the Moors, or traveled to worlds similar to them—the Trenches and Mariposa. The streams-of-consciousness of the characters allow for the readers to experience Jack’s OCD, Cora’s attraction to the Drowned Worlds, and Christopher’s admiration and creepiness for the Moors make them all reliable narrators. 

            The style Seanan McGuire uses in Come Tumbling Down is a return to the concept of duality. However, unlike the idea of binary—which, was explored in Down Among the Sticks and Bones—the concept of oppositions is the focus. Identical twins find themselves on opposing sides of a challenge, which could evolve into a war, and their mentors are based on 2 of the most popular classic literary books and film characters: Frankenstein and Dracula. The allusions to both Vincent Price and the nursery rhyme, Jack and Jill, lets readers know there has to be a victor. The realization Jack admits about Jill make it obvious as to what must happen. The mood in the story is one of urgency. Everything in the Moors from the residents’ safety to Jack’s sanity is on the verge of being destroyed and Jack and her companions have 3 days to set things right. The tone in this story revolves around the outcome based on the urgency to answer the challenge. Jack and Jill are on opposing sides and the victor will determine the outcome of the balance within the Moors. There is more at stake than a stolen body, but one side doesn’t seem to care as long as they get what they want. Rovina Cai’s illustrations provide the extra context to the story as required. 

            The appeal for Come Tumbling Down have been positive. Fans of the Wayward Children series enjoyed this latest installment in the series as they travel with the students on another quest—remember, it’s against the rules to go on quests. And, while this portal-quest fantasy novella is a great addition to the fantasy canon, fans of horror will enjoy this book, too. The next book in the series, Across the Green Grass Fields, will bring readers back to the past.

            Come Tumbling Down is a fun story which balances adventure and rule-breaking as the characters and the readers return to the Moors. While it seems like this is the end of Jack and Jill’s story (for now?), I have an inkling we could return to the Moors. It might not be anytime soon, but readers will be satisfied with the ending, until the next adventure.

My Rating: Enjoy It (4.5 out of 5)!

Why You Need to Read: “Juice Like Wounds”

Wayward Children, #4.5: Juice Like Wounds

By: Seanan McGuire

Published: July 13, 2020

Genre: Fantasy, Short Story

***This short story can be read for free here on Tor.com.

            They walked west, the three girls: Lundy with her knife, Mockery with her spear, and Moon with her sling. And when the trees loomed before them like the walls of heaven, they exchanged a look but not a word, ducked their heads, and stepped into the darkness.

            This short story is NOT an interlude, but an expansion on Lundy’s first “trip” to the Goblin Market. So, you need to read In An Absent Dream before reading this story. Juice Like Wounds explains why Lundy decided to return to her parents after her first trip to the Goblin Market. 

            Lundy is 8-years-old and is learning how the world of the Goblin Market operates. She has made a deal to stay with the Archivist, whose library Lundy has access to. This means Lundy has been able to read upon the world’s history. And, Lundy is hanging out with her new friends: Moon and Mockery. This is the first time Lundy has had friends, and she is about to lose one of them. Just like Lundy, Moon and Mockery are from other worlds who ended up in the Goblin Market and find themselves happy to be there. This trio of travelers decide to slay a monster in order to retrieve back what was once stolen. 

            The plot is simple: children go on an adventure so they can become heroes. Unfortunately, they are too young to understand adventures don’t always have happy endings. There are 2 subplots in this story. The first one is a further explanation of the world of the Goblin Market. There is more there than the Market, and Lundy and her friends want to learn more about it. The second subplot revolves around Mockery. Readers learn who she was, what happened to her, and her relevance to Lundy’s story. Both subplots are necessary for the plot, and the development of the characters. 

            The narrative in this short story is a continuation of Lundy’s first visit to the Goblin Market, which ended with blood and death. The points-of-view are those of Lundy, Moon and Mockery, and the Archivist, which makes it 3rd person omniscient. The sequence is of the past, and told in the past tense. Readers follow the streams-of-consciousness of the protagonists, and given what happens to them, it is fair to say the narrators are reliable.

            The style Seanan McGuire uses for Juice Like Wounds is a continuation of what she used in In An Absent Dream. The reference to Goblin Market by Christina Rosetti comes up again because the poem mentions a 3rd girl who died after buying and eating fruit from the goblins. Seanan McGuire goes further with her cautionary tale and mentions not only Mockery, but also Zorah—another young visitor to the Goblin Market who no longer lives there. This short story is the first of many cautionary tales about “fair value,” which goes over Lundy’s head. While the Wasp Queen could be a figure of foreshadowing, the story is about Lundy and the Archivist in equal measure. 

            Fans of Wayward Children will enjoy this short story. Juice Like Wounds lets readers know what Lundy was up to during her first visit to the Goblin Market and why she was so eager to return to her parents afterwards. It is unfortunate Lundy never understood the reason why Mockery died although hints were left throughout In An Absent Dream for her to pick up on—Lundy never forgot about Mockery; she just didn’t know what her death signified. 

            Juice Like Wounds is a short story which serves as a cautionary tale as readers travel back with Lundy to the Goblin Market. Seanan McGuire answers the question: who was Mockery? in this expansion of In An Absent Dream. I hope the author has similar stories for future releases because I have some questions about other characters I would enjoy reading in similar format. I know other fans of the Wayward Children series feel the same way.

My Rating: MUST READ IT NOW (5 out of 5)!!!

Why You Need to Read: “In An Absent Dream”

Wayward Children, #4: In An Absent Dream

By: Seanan McGuire

Published: January 8, 2019

Genre: Fantasy

            This, then, was Katherine Victoria Lundy: pretty and patient and practical. Not lonely, because she had never really considered any way of being other than alone. Not gregarious, nor sullen, but somewhere in the middle, happy to speak when spoken to, happy also to carry on in silence, keeping her thoughts tucked quietly away. She was ordinary. She was remarkable, (1: A Very Ordinary Garden). 

            We’ve all asked the question: ‘How did ‘x’ come to be in existence?’ In our world, we have history lessons and oral tradition to teach us about historic moments and events, and changes in technology. In other worlds—in works of fiction—the audience receives the history as the narration continues explaining the scenario, the characters’ backstories, and—in the case of speculative fiction—how the world came to be. Throughout the Wayward Children series, readers have learned about the various worlds the travelers visited, and how Eleanor West’s Home For Wayward Children is a haven for these travelers. It makes you wonder how those who returned to our world readjusted in society before these schools existed. In An Absent Dream, the fourth book in the series, provides one infamous case.

            The protagonist in this story is Lundy, whom we met in Every Heart A Doorway. Everyone already knows how her life ends, but we’re given a look into her life—both with her family and in the Goblin Market. Katherine Victoria Lundy is the middle child in her family’s household. She is 6-years-old at the beginning of the story. She has an older brother, Daniel, who is 6 years her senior; and, her mother is pregnant with her 3rd child, which will be Lundy’s younger sister, Diana. However, Lundy isn’t Lundy yet, she is Katherine; it’s her birthday, and none of Katherine’s classmates are celebrating with her. The reason for this is because Katherine’s father is the principal at the school, which goes unnoticed by both parents. For another 2 years, Katherine is a model student, which isolates her even more. One day, 8-year-old Katherine is walking home from school when she finds a Door with the words: BE SURE. Well, Katherine is sure and she enters the world of the Goblin Market. There, Katherine meets “the Archivist,” who explains the rules and the ways of the Goblin Market; and, “Moon,” a girl around Katherine’s age who is a resident at the Goblin Market, who has trouble following the rules. The first thing Katherine learns there is NOT to use her actual name, but either an attribute or a family name. Thus, Katherine chooses to go by her last name, Lundy; and, Lundy is told she is not the 1st visitor to go by that name. Throughout her “trips” to the Goblin Market, Lundy grows into the person she was denied to be in her world (the story starts in 1962). Meanwhile, Lundy’s family cannot understand why she would choose to be anywhere else but with them, especially Lundy’s father. So, what does Lundy’s family do to her? They find ways to keep her from leaving them, even succumbing to enact guilt. This move begins a rift in Lundy as she tries to figure out a way to find “fair value” before the curfew.   

            The plot is a look back into Lundy’s early life—who can be viewed as a “tragic” character—and her childhood and her time in the Goblin Market. This is an intriguing view into how a child survives in “another world” with minimal adult guidance, which could be one of the actual dilemmas Lundy had to deal with as well, while remaining divided on which Home was her real one. The sad thing is Lundy was thriving in the Goblin Market for reasons her family was too blind to notice. There are 2 subplots and they are essential to the plot (and, the entire series). The first subplot regards the concept and the importance of the rules in each world. Throughout the series, readers learn which students haven’t returned Home due to the rules they broke, but there wasn’t too much context in their stories—except for Kade. Lundy is the first character who has to admit her choices to break the rules led to her permanent punishment (unlike Jill). The second subplot presents how and why schools like Eleanor West’s—remember, there are several others throughout our world—became the much-needed havens and fellowships travelers, especially children, never knew they needed. Lundy knew of 2 other travelers: Moon, who was already a permanent citizen of the Goblin Market; and, Franklin Lundy, Lundy’s father, who does everything in his power to stop his daughter from returning to the Goblin Market. Neither friend nor parent can give the guidance Lundy needs so badly. It makes you wonder what could have been if a school existed during Lundy’s childhood. It is obvious both subplots are necessary for the plot to develop throughout the story.

            The narrative in this story is told from Lundy’s point-of-view, but in 3rd person omniscient. This is because there are moments when the P.O.V. shifts away from Lundy—usually to her father—in order to fill in the smaller details of the story. The sequence is broken down into the events leading up to Lundy’s “trips” to the Goblin Market, particularly her first 3 visits. Each visit leads Lundy to staying at the Goblin Market for longer periods of time. However, it is the visits before the curfew, which receives the most attention. Lundy’s “trips” become more frequent, but for shorter visits, almost like they match Lundy’s hesitation instead of her heart. The narrative is a look back at the past, so it is NOT a flashback. This means most of the narration is told from Lundy’s stream-of-consciousness. And, because the narration leads to the end readers know is coming, Lundy is a reliable narrator.

            The style Seanan McGuire uses in In An Absent Dream is an intriguing one. The concept of the Goblin Market comes from the narrative poem of the same name by Christina Rossetti. The poem is about 2 sisters who meet goblins by the river encouraging all to “Come buy, come buy.” The synopsis of the poem is: one sister eats the fruit, while the other one does not. As time passes, the sister who ate the fruit begins to age unnaturally. This causes the other sister to go and buy some of the fruit to save her. The sister resists the temptation to eat the fruit, which saves her sister’s life. It is obvious the author took this children’s poem and retold it with the same dilemmas and the same morals. Seanan McGuire’s retelling of Goblin Market is easier to comprehend, but is just as much of a cautionary tale as the original poem. The mood in this story is the discord one’s desires can lead to within the individual, which is brought on by those closest to them. Once again, the illustrations done by Rovina Cai bring out the beauty in a world very few people know exist. 

            The appeal for In An Absent Dream have been positive. Not only was it nominated for a Hugo Award for Best Novella in 2020, but also it is one of the highest rated books in the Wayward Children series by readers on Goodreads and on other social media and (book) retail websites. This novella is an excellent addition to both the book series and the fantasy canon. I should mention that anyone who did enjoy this book because of the world of the Goblin Market should read both Goblin Market by Christina Rosetti and The Sisters of the Winter Wood by Rena Rossner. The latter is a historical fantasy novel with allusions to Goblin Market. After reading those, fans can move on to the next book in the series, Come Tumbling Down. 

            In An Absent Dream is a story so beautiful and tragic readers will be torn between wanting it to be real and wanting it to be a dream. This is my favorite book in the series next to Every Heart A Doorway. There are several reasons for this: the believable characters, the beauty of the Goblin Market, the split between family and where you belong, and the heart-wrenching end everyone knows is coming but doesn’t want it to happen. Not to mention, the reason and the importance of schools like Eleanor West’s for travelers in similar scenarios. Now, readers have a complete understanding of what these children really need: the desire to choose without any guilt. 

My Rating: MUST READ IT NOW (5 out of 5)!!!

Why You Need to Read: “Beneath the Sugar Sky”

Wayward Children, #3: Beneath the Sugar Sky

By: Seanan McGuire

Published: January 9, 2018

Genre: Fantasy

            The Queen of Cakes would never have been defeated: Sumi had died before she could return to Confection and overthrow the government. Rini wasn’t just saving herself. She was saving a world, setting right what was on the verge of going wrong, (5: Places of the Living, Places of the Dead).

***NOTE: This review contains some spoilers from Every Heart A Doorway. That book should 

be read BEFORE reading this one. 

            Quests; adventures; journeys. Everyone is familiar with the numerous stories about “ordinary” people who leave home to go on a “hero’s quest” usually “to save the world.” Other journeys include a fellowship attempting to do the impossible, and most of them take place in different worlds. Stories about Narnia, Oz, Middle-earth and the gods involve quests. In fact, several video games such as Final Fantasy are about a group of individuals on an adventure to accomplish a goal. Seanan McGuire has her readers return to Eleanor West’s School for Wayward Children before they go on a quest, which is against the rules. Beneath the Sugar Sky, the 3rd book in the Wayward Children series, takes place after some time has passed after the events in Every Heart A Doorway. 

            Readers are reunited with the students from Eleanor West’s school: Kade, who is training to be the school’s next headmaster; Christopher, who is waiting for the Day of the Dead so his Door will appear, if it does; Cora, the school’s newest student, who was a mermaid; and, Nadya, one of the school’s longest residents, who talks to turtles. It is an ordinary day at school, until a girl wearing a cotton candy dress falls from the sky and into the turtle pond. The girl identifies herself as Onishi Rini, the daughter of Onishi Sumi, one of the students at the school. Rini claims she is from the future and she is searching for her mother—who disappeared from their home in Confection. There is one problem, Sumi is dead, which means she can’t have a daughter in the future, at least in our Logical world. However, Confection is NOT a Logical world, so there should be a loophole, right? Eleanor allows some of her students to go on a quest—which, is against the rules—”to put Sumi back together.” Kade, Christopher, Cora and Nadya travel with Rini on her quest bringing their knowledge and their skills as they attempt to do the impossible. Readers learn more about these characters, the worlds they call Home, and the worlds they travel to. Who else will they meet along the way?

            The plot in this story is straightforward. A few schoolmates are going to resurrect the dead friend with her future daughter leading the way. All they have to do is travel to the worlds where pieces of Sumi can be found so they can put her back together. Not too difficult right? Not to mention, with Sumi dead, Confection remains under control of a despot, who will do everything in her power to stop her nemesis from coming back to life. There is one subplot and it goes back to one of the plots from Every Heart A Doorway, which is the construction of the Great Compass. Kade, Christopher, Cora, Nadya and Rini all traveled to different worlds; and, those worlds are connected to each other somehow. As the students continue on their quest, they note which worlds are connected to each other, which serve as clues for the students who are trying to return Home. It seems like the Great Compass is forming into a larger map where one world has pathways to several other worlds. Someone just has to figure out a way to map them all out. The subplot develops alongside the plot as the characters note which Doors take them to which worlds. 

            The narrative follows the points-of-view of all of the travelers, but the focus is on Cora because she is the newest student. This means that the P.O.V. is 3rd person omniscient and the sequence is in the present as readers follow the events in “real time.” In addition, following the streams-of-consciousness of the characters make them reliable narrators that makes it easy to follow the story.

            The style Seanan McGuire uses in this story reminds readers of the adventure stories they’ve read (and, probably continue to read). Throw in elements of hero’s quest stories from myths and legends and some Japanese pop culture and you have a story everyone can enjoy. Allusions to Orpheus, the Underworld, JRPGs, Sailor Moon and Back to the Future can be found throughout the story and are recognized by readers who are familiar with them. Additionally, the allusions to magic objects and other tropes from folklore could be viewed as foreshadowing for future books in the series and as evidence that magic exists in our world. The mood in this story is adventure. The students go on a quest to save their friend and her future and her Home. They don’t know what’s going to happen, but they know it will be more fun than they’ve had in a long time. The tone in this story is fellowship. The students wouldn’t embark or assist in this quest if it wasn’t for the loyalty—both strong and fragile—they have for each other. They are not sure whether or not they will succeed in their quest, but they are willing to risk it all because of the friendship they share. There are illustrations in this book done by Rovina Cai. While they are few, they capture the essential parts of this quest, and the illustrations are beautiful.

            The appeal for Beneath the Sugar Sky have been positive. And yes, this novella was nominated for some of the literary awards its predecessors have won. However, fans of the series agree this book is a creative continuation about the lives of the students at the school. Readers learn through the characters that magic is brought over to Earth from other worlds, and the magic and the worlds are connected. This book is a portal-quest fantasy and it belongs in the fantasy canon alongside the other books in the series. This book can be read by fans of both Philip Pullman and Joseph Campbell. And, due to its connection to the first 2 books in Wayward Children, readers can and should reread all of the books in the series so they know how each book is related to each other. After reading all 3 books, they will be ready to read the next book in the series, In An Absent Dream. 

            Beneath the Sugar Sky is a sweet addition to the Wayward Children series. This book gives readers a quest with some of their favorite characters—both old and new—where they learn about them and some of the many worlds as they journey to save their friend. The author combines story elements from the past and the present in order to present this narrative to her fans. In all, this novella is a must read for fans of fantasy stories and of fantasy scholarship. 

My Rating: MUST READ NOW (5 out of 5)!!!

Why You Need to Read: “Down Among the Sticks and Bones”

Wayward Children, #2: Down Among the Sticks and Bones

By: Seanan McGuire

Published: June 13, 2017

Genre: Fantasy

*Winner of: ALA Alex Award 2018, ALA RUSA Fantasy Award 2018

            It did not occur to Jill that Jack’s avoidance, like her own, had been born purely of parental desire and never of a sincere wanting. Their parents had done everything they could to blur the lines of twinhood, leaving Jack and Jill stuck in the middle, (6: The First Night of Safety). 

            Series of any kind—books, movies, TV shows (including anime), video games, etc.—remain intriguing. One of the many reasons series continue to fascinate everyone is due to the ways the elements—the story, the characters, the setting, etc.—keep us immersed within them. Another reason is because of the creators of these series. They have to come up with creative ways not only to keep our interest, but also find ways to make us want more from them. Not to mention, some of the creators find ways to expand on their world through their series. Series are not limited to any genre or any format, but it seems speculative fiction captivates our expectations when it comes to using series to expand on everyone’s desires, especially the creators’. And, series can be presented to the audience in any order the creator wants to present them. Seanan McGuire is such an author who presents her Wayward Children series across moments in time. Down Among the Sticks and Bones is the second book in the series, which takes place before the events in its predecessor, Every Heart A Doorway. 

            The protagonists in this story are Jacqueline and Jillian Wolcott—also known as, and preferred to be called, Jack and Jill—identical twins with different personalities yet similar demeanors. Both girls had the unfortunate luck of being born to Chester and Serena Wolcott who believe having children would move them up the social ladder (and yes, such adults still exist, sadly). The parents take this notion to extreme levels by forcing their daughters into roles of binary femininity—the girly-girl, Jack; and, the tomboy, Jill. Unfortunately for the twins, the style of parenting forced upon them not only messes up their idea of what femininity is, but also causes a crescendo of sibling rivalry instead of sisterhood. Jacqueline, who always wore dresses she could never get dirty, wants to prove she knows more than what others let on—which she does. Jillian, who cannot decide whether or not her short hair and her boyish clothes make her a freak, wants nothing more than to have any sort of affection from anybody—which she deserves. It comes as no surprise their Door leads to the Moors, a place which reminds travelers of black-and-white monster movies (where monsters are “born”). Once there, the twins are separated—physically—for the first time, and will remain that way for the next 5 years, through most of their adolescence. Jack goes with Dr. Bleak to become his apprentice, which allows her to learn everything she could ever want; and, Jill goes with the Master—a real monster—who showers her with all of the affection and the attention she always craved. As the twins grow apart with their new parental figures, it comes as no surprise Jack and Jill develop a spectrum of psychopathic behavior, one way more extreme than the other. 

            The plot of this story revolves around the birth, the upbringings—remember, they each had 2—and the growth of the twins into what they become by their 17th birthday. Yes, the Moors cemented Jack and Jill into monsters; but, one could argue their parents put them on that path before their Door appeared. There are two subplots which develop alongside the plot and are essential to the story. The first subplot follows how the twins gain separate identities, something that was denied to them by their parents, but explored in the Moors. The second subplot delves into types of parenting, especially toxic parenting. There are 5 adults who “parent” Jack and Jill, and 3 of them would be labeled as “toxic.” These subplots and the plot are important to the story because readers get an understanding of the nurturing the twins endured throughout their entire childhood. Keeping this in mind, while Jack and Jill are not responsible for their adult role models, they are responsible for their decisions and their actions.

            The narrative in this novella isn’t a flashback, but a look into the past. The points-of-view is 3rd person omniscient, or a narration which moves between the P.O.V.s of multiple (main) characters. In Down Among the Sticks and Bones, the first characters readers are introduced to are Jack and Jill’s parents, Chester and Serena Wolcott. Readers learn the reason why they decided to have children, why their parenting methods are viewed as “toxic,” and their “reactions” to their daughters’ disappearance and their return. Due to the narrative styles used in this book, the characters’ P.O.V.s are reliable because readers follow their streams-of-consciousness. In this case, the readers are able to empathize with (most of) the characters, especially Jack and Jill. This narration is straightforward and engrossing. 

            The style Seanan McGuire uses in Down Among the Sticks and Bones can be argued as becoming “the villain.” I’m NOT an expert in psychology, but it has been mentioned by several experts that neglected and abused children often crave love and affection and are willing to do just about anything to get it. However, if those parents and/or adult role models are “toxic,” or are “parents who inflict ongoing trauma, abuse, and denigration on their children,” (Forward and Buck, 12). The author’s use of specific moments Chester and Serena and the Master inflicted the identities and the roles they wanted onto their daughters—throwing away gifts from Gemma Lou, murdering playmates, etc.—foreshadows the behaviors (i.e. Obsession Compulsive Disorder, or OCD) and the traits (i.e. eager-to-please) the twins will exhibit in the future. This story is NOT a parenting book, but a cautionary tale of children and how they are individuals, and NOT blank slates to force into a role of the adults’ choosing. The mood in this story is duality. Jacqueline and Jillian are identical twins—who are nicknamed after the nursery rhyme by everyone but their parents—who are forced into the false binary roles of femininity—girly and tomboy—by their parents, who are brought up separately in the Moors later on by 2 new “role models” as the mad scientist’s apprentice and the vampire’s daughter—two of the most notorious “monsters” in literature. This book is the first in the series to include illustrations—by the talented Rovina Cai—and they present the moments of “love” the twins experienced during their stay at the Moors. 

            The appeal for this book have been positive. It was nominated for the same literary awards as its predecessor. Yet, it was the American Library Association, or the ALA, who gave this novella its accolades winning both the Alex Award—given to 10 books written for adults that have special appeal to young adults, ages 12 through 18—and, the ALA RUSA Award—an annual best-of-list comprised of 8 different fiction genres for adult readers—in Fantasy. These awards—given by librarians—demonstrate readers of most ages can read and appreciate this book. And, while this book takes place before the events of Every Heart A Doorway, you should read that book before reading this one. That way readers won’t get confused about the book’s context. After learning about the world Jack and Jill traveled to, who wouldn’t want to learn what happens in the next book in the series, Beneath the Sugar Sky?

            Down Among the Sticks and Bones is an engrossing follow up to its predecessor. Readers get a look into how the twins lived before finding their Door and living in a new world who embraced them for better and for worse. Seanan McGuire uses duality in order to give readers the beauty and the horror in everything from gender identity to parental figures. Which world will we travel to next?

My Rating: MUST READ IT NOW (5 out of 5)!!!

                                                            List of Works Cited

Forward, Susan, and Craig Buck. Toxic Parents: Overcoming Their Hurtful Legacy and Reclaiming Your Life.

e- book, Bantam, 2009. 

Why You Need to Read: “Every Heart A Doorway”

Wayward Children, #1: Every Heart A Doorway

By: Seanan McGuire

Published: April 5, 2016

Genre: Fantasy

*Winner of: Hugo Award for Best Novella 2017, Nebula Award for Best Novella 2016, Locus Award for Best Novella 2017, ALA Alex Award 2017

            …the wanting. You want to go back, and so you hold on to the habits you learned while you were traveling, because it’s better than admitting the journey’s over. We don’t teach you how to dwell. We also don’t teach you how to forget. We teach you how to move on, (3: Birds of a Feather). 

            Anyone who is a fan of Lewis Carroll, L. Frank Baum, C.S. Lewis, Philip Pullman, and authors who write similar stories MUST READ THIS SERIES!!! The Wayward Children books are a portal fantasy series which asks the question: what happens when those who are “spirited away” return to our world? Seanan McGuire answers this question in her series. While it is obvious which stories inspired and influenced the author, the originality will draw readers into this series. It mentions how a combination of Time and Desire can lead to a portal to another world. And, there are many worlds which we are familiar with whether or not we realize it. They are allusions to other portal fantasy and adventure books and readers have to recall all of them in order to comprehend the series. 

            While there are several characters in this book—the students and the (resident) teachers are “travelers”—the protagonist is Nancy, the newest arrival at Eleanor West’s Home For Wayward Children: No Solicitation, No Visitors, No Quests. She is 17-years-old and was “gone” for six months in the Halls of the Dead before the Lord of the Dead returned Nancy to our world so that she can “Be Sure” before making her choice to stay there forever. It’s been “seven weeks, four days” and counting, and Nancy is waiting for her Door to reappear. Nancy is like many of the students at the school, she wants to return Home, but knows there is a slim chance of it happening. Nancy’s parents send her to this school so she can “get better,” but Nancy learns quickly that the school is a haven for other children like her who want nothing more than to return to their Homes. There’s Sumi—Nancy’s roommate—who traveled to Confection and cannot sit still long enough to hold a conversation. Kade—a relative of Eleanor’s—who was kicked out of Fairyland and is in charge of managing everyone’s “preferred” wardrobe. Jacqueline and Jillian—known as Jack and Jill—are identical twins whose adventures in the Moors is something out of a black-and-white horror movie. And, Christopher who traveled to a world of “happy, dancing skeletons” similar to the holiday, Día de los Muertos. The adults in charge consist of Eleanor West, the headmistress, whose Door is still open; and, Lundy, the school’s therapist, who is aging in reverse as punishment for breaking the rules of the High Logic, High Wicked world she “visited.” Unlike Eleanor, Lundy knows she can never return to her Home, and so she projects her bitterness on to the students. All of the residents at the school want to go Home, but they all have to settle on having to learn how to readapt in our world. And yet, many of the students refuse to believe their Doors are lost to them forever. 

            There are 2 plots in Every Heart A Doorway. The first is learning how the school operates and how Eleanor recruits students while keeping them safe. The second is the construction of the “Great Compass.” Eleanor, Lundy and Kade spend their free time compiling a book of the descriptions and the characteristics of each world. The most common “directions” are: Nonsense, Virtue, Logic and Wicked; then, there are several “minor” compass directions such as Rhyme and Linearity. These plots are continuous throughout the series, and it is fascinating to learn how the school is managed, and it’s intriguing to learn which worlds are “connected” to one another. However, it is the subplots that keep the readers engaged, and there are two of them. The first concerns the murders of some of the school’s residents. Who is killing them and why? The second subplot follows the worlds each traveler visited and the “stereotypes” surrounding each one. For example, who’s to decide on whether or not a world of rainbows is “good” over the world with skeleton people? All worlds whether or not they exist in reality contain both beauty and danger.

            The narrative in this story follow’s Nancy’s point-of-view; but, she does not remain as the only P.O.V. character in this story. There are times when the P.O.V. switches to other characters, even for a paragraph. So, this narration is presented using 3rd person limited omniscience. Due to the style of narration, the protagonist—and, the other P.O.V. characters—are reliable narrators. Not to mention, readers get the characters’ streams-of-consciousness throughout the story. It should be mentioned whenever the characters are talking about their Homes—both their worlds and their families—they are as memories, NOT flashbacks! This is because the characters are describing their experiences as they remember them; and, some of those recollections are unreliable because they are from their perspectives, which are biased. 

            The style Seanan McGuire presents is a twist on portal and quest fantasies. Farah Mendlesohn defines “Portal-Quest Fantasy” as: “In both portal and quest fantasies, a character leaves her familiar surroundings and passes through a portal into an unknown place. Although portal fantasies do not ‘have’ to be quest fantasies the overwhelming majority are,” (Mendlesohn, 1). McGuire asks the question: what happens if the ‘hero’ or the ‘traveler’ returns to our world? On the one hand, Alice from Alice’s Adventures in Wonderland goes back to Wonderland in Through the Looking Glass before returning to our world for the rest of her life. On the other hand, Dorothy from the Oz series traveled to Oz so often, she, her aunt and her uncle, and Toto move there permanently. So, why did one stay in our world while the other one didn’t? Would Alice have stayed in Wonderland if she was given a choice? And, the characters from McGuire’s story, what would they give to return Home? The author asks these questions as these children return from their travels changed, and are suffering—NOT from PTSD—but from struggling to return to their mundane existence. The allusions to all of the stories and their authors mentioned are informative and valid. Instead of the “familiar” fantasy stories and fairy tales we believe we know, readers receive the dark lore and the styles from other variants of folklore and fantasy stories. And, it’s the reality check fantasy readers didn’t know they needed. The mood in Every Heart A Doorway is a haven for all of the travelers. The tone in this story is how each character struggles to accept their current predicament. Some have accepted it and others continue to search for their Doors.  

            The appeal for Every Heart A Doorway were and continue to be multitudinous. Not only did this novella win several awards—including the Hugo and the Nebula—but also gain numerous readers who were introduced to the author and her other books, including myself! This book and the other ones in the Wayward Children series belong in the speculative fiction canon, and have lasting appeal because of the characters and their stories. The fact this continues to be an ongoing series will have fans rereading this book over and over again. In fact, Tor.com announced fans and readers can expect the series to have at least 4 more books, bringing the current total to 10 books!

            Every Heart A Doorway is an amazing and unique look into how diversified fantasy is based on all of the worlds the characters have traveled to, and why all of the authors who wrote similar stories believed their characters were better off returning whence they came from instead of remaining where they were the happiest. Fans of both traditional and twisted fantasy stories should read this book. This novella will have you searching for your Door.

My Rating: MUST READ IT NOW (5 out of 5)!!!

                                                            List of Works Cited

Mendlesohn, Farah. Rhetorics of Fantasy. Wesleyan, 2008.