BEGUILED

In a Celtic-inspired fantasy land, a young weaver struggling for survival makes a deal with a storied spirit.

Seventeen-year-old Ella learned to weave at her father’s knee, but since his death in debtors prison, she’s braved life in the slums of Eidyn Crag alone. Interactions with Odina, a wealthy client, provide a glimpse of what life could be, and a bargain with the Bean-Nighe, a Scottish folkloric figure, brings the vision tantalizingly closer. Through Odina, Ella meets Callum, a magnetic and mysterious young man who promises her the world—for a price. What ensues is a dark tale that explores themes of poverty and power, vulnerability and exploitation. Ella, and her audience with her, learns the steep price of trust misplaced. The backdrop of mixed Scottish and Irish folkloric elements is muddy in contrast to the clarity and bite of the central themes, the worldbuilding a dilution of the rich traditions it borrows from. In contrast to the fictional Scottish setting, Odina is named as coming from a real Indigenous nation, the Mi’kmaq; Mi’kmaq culture and her experiences as a Native woman in predominantly White Eidyn Crag are not explored. Unusually for a fantasy world, birth control is raised as a concern. Troublingly, however, the efficacy of the calendar method is misleadingly overstated. Ella and Callum are cued as White.

Woven of many compelling threads, the final tapestry does not live up to the sum of its parts.