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)!