Originally self-published online, this tale reads more as impassioned fanfiction than a fully realized, judiciously edited...
A scarred survivor must decide if she will be predator, prey, or something more.
Violently orphaned, then tortured, 17-year-old Janneke has spent a century in Permafrost as a goblin thrall. When the Erlking’s death sets off the Hunt for the white stag, Janneke accompanies her current master, Soren. Together, they must stop Lydian—Janneke’s abusive first captor and Soren’s maniacal uncle—prevent a war, decide Janneke’s humanity, and resolve their unusual relationship. Video game–like action sequences, obligatory fae political machinations, unnecessary mystical ordeals, random animal slaughter, and melodramatic brooding ensue. Suffering from chosen one syndrome—prophecies, magical birth, inexplicable uniqueness, and desirability—Janneke survives the Hunt through stubbornness, specialness, and a repeatedly mentioned but superficially discussed childhood of being raised as a male heir (she reserves the feminine form of her name, Janneka, for intimates). Russet-haired, green-eyed Janneke has dark skin and suggested Scandinavian origins, while Soren is white-haired, purple-eyed, and blue-gray skinned. Dazzling descriptions and morbid humor aside, debut author Barbieri eschews original dialogue and subtlety in favor of anachronisms, clichés, blunt moralizing, and insensitive treatment of sexual abuse.
Originally self-published online, this tale reads more as impassioned fanfiction than a fully realized, judiciously edited novel; best for existing fans. (Fantasy. 16-adult)Pub Date: Jan. 8, 2019
ISBN: 978-1-250-14958-9
Page Count: 368
Publisher: Wednesday Books
Review Posted Online: Sept. 29, 2018
Kirkus Reviews Issue: Oct. 15, 2018
BOOK REVIEW
Not everybody lives, and certainly not “happily ever after”—but within all the grisly darkness, Alice’s fierce integrity and...
A ferocious young woman is drawn into her grandmother’s sinister fairy-tale realm in this pitch-black fantasy debut.
Once upon a time, Althea Proserpine achieved a cult celebrity with Tales from the Hinterland, a slim volume of dark, feminist fairy tales, but Alice has never met her reclusive grandmother nor visited her eponymous estate. Instead, she has spent her entire 17 years on the run from persistent bad luck, relying only on her mother, Ella. Now Althea is dead and Ella has been kidnapped, and the Hinterland seems determined to claim Alice as well. The Hinterland—and the Stories that animate it—appear as simultaneously wondrous and horrific, dreamlike and bloody, lyrical and creepy, exquisitely haunting and casually, brutally cruel. White, petite, and princess-pretty Alice is a difficult heroine to like in her stormy (and frequently profane) narration, larded with pop-culture and children’s-literature references and sprinkled with wry humor; her deceptive fragility conceals a scary toughness, icy hostility, and simmering rage. Despite her tentative friendship (and maybe more) with Ellery Finch, a wealthy biracial, brown-skinned geek for all things Althea Proserpine, any hints of romance are negligible compared to the powerful relationships among women: mothers and daughters, sisters and strangers, spinner and stories; ties of support and exploitation and love and liberation.
Not everybody lives, and certainly not “happily ever after”—but within all the grisly darkness, Alice’s fierce integrity and hard-won self-knowledge shine unquenched. (Fantasy. 16-adult)Pub Date: Jan. 30, 2018
ISBN: 978-1-250-14790-5
Page Count: 368
Publisher: Flatiron Books
Review Posted Online: Sept. 25, 2017
Kirkus Reviews Issue: Oct. 15, 2017
Dark, demanding, and delicious.
Twelve pitch-black original fairy tales form the backbone to an acclaimed fantasy series.
Fans of the Hazel Wood series know of Althea Proserpine’s cult anthology, the original stories whose characters escaped into our world. Featuring, among others, Hansa the Traveler, Twice-Killed Katherine, and, of course, Alice-Three-Times (whose tale’s much-speculated-about ending falls oddly flat), the stories feel both familiar—the first was already included in its entirety in the series opener and several others, in abbreviated and altered form—and revelatory, unfolding in all their rich, lush, macabre, and grisly glory. Despite their vaguely preindustrial Western European setting, these are anything but traditional folktales. While every protagonist is female, the themes are not explicitly feminist; rather, the overwhelming tone is savage, angry, bitter, and cruel. Most of the leads do achieve a vicious and vengeful sort of triumph, but only one even approaches a conventional happy ending. Relationships (exclusively heterosexual) are only an excuse for male lust, domination, and manipulation. Parents (especially mothers) are mostly neglectful, smothering, abusive…or dead. Death, often horrific death, is a constant presence, even as a literal character in several stories. Although this collection could well be read on its own, the unrelenting grimness can be wearying; it may be best appreciated for the context and commentary it offers for the preceding volumes. Tierney’s bold illustrations, many featuring stark, contrasting tones of red, black, and white, accentuate the mood. There is some diversity in skin tone.
Dark, demanding, and delicious. (Fairy tales. 16-18)Pub Date: Jan. 12, 2021
ISBN: 978-1-250-30272-4
Page Count: 240
Publisher: Flatiron Books
Review Posted Online: Oct. 26, 2020
Kirkus Reviews Issue: Nov. 15, 2020
PERSPECTIVES
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