THAT SELF-SAME METAL

Joan Sands is a 16-year-old Black girl blessed by Ogun, the Orisha of iron, with the ability to manipulate metal.

Not only can Joan shape metal, but it also speaks to her, sharing its true name and giving her powers and strength that could cause her to hang as a witch in King James’ Protestant England. The year is 1605, and Shakespeare’s Globe Theatre is the mainstage for Joan’s tragic first encounter with powerful Fae, faeries who are wreaking havoc in the mortal realm after almost two millennia of being bound by a pact created by Ogun. With her godfather—the only other living person blessed by Ogun—arrested, it may be up to Joan to find a way to stop the Fae from completely taking over the world. Although the fighting, on stage and off, between Joan and the real-life counterparts of the Fae characters from Shakespeare’s plays is exciting, much of the action jumps around, introducing periphery situations that are hard to connect to the main plot. While it’s clear there’s been diligent research about the time period, politics, and faery folklore, other elements—like compelling love triangles and partnerships and magical tampering with historic events—aren’t fully fleshed out, while other important threads are confusingly dropped midway through the novel. However, interesting characters offering brilliant representations of queerness and set in a glorious foundation will pull readers in.

A promising and original, if uneven, series opener.