Genevra Littlejohn reviews Cinder Ella by S.T Lynn

Cinder Ella by ST Lynn

Fairy tales are comforting because we know how they’re going to go. These days, with the advent of modern fantasy, there might be a lot of changes to the incidentals. Maybe the Prince is a marine biologist. Maybe the Evil Stepmother is a media mogul in NYC. Maybe it’s set in a post-apocalyptic wasteland, and Snow White is aided by some helpful zombies; maybe it’s set off planet and Rumpelstiltskin owns a space station. But we know, unless it’s produced by a horror publisher or written by an author lauded for her edginess, that we’re probably going to get a happy ending.

I came across S.T Lynn’s Cinder Ella by accident, looking for something else. But the official copy caught my attention:

Ella is transgender. She’s known since she was young; being a woman just fit better. She was happier in skirts than trousers, but that was before her stepmother moved in. Eleanor can’t stand her, and after Ella’s father passes she’s forced to revert to Cole, a lump of a son. She cooks, she cleans, and she tolerates being called the wrong name for the sake of a roof over her head. Where else can she go?

I grabbed an ebook copy off of Amazon, and I read it on my phone, which was actually not something that I’ve done before. I was immediately charmed. The story is brief at 62 digital pages, making it perfect for a bus read or to pull out while you’re waiting at the doctor’s office. And while I expected total fluff (that being one of the provinces of many retellings of fairy tales) I got a little something more. Ella is, from the first page, a delightful heroine. She takes what pleasure she can in the little kindnesses of the day (a happy dog, a rose cutting beginning at last to shoot) but doesn’t balk at dreaming bigger. Even when she’s downtrodden and abused, she doesn’t lose the ability to look for joy in and improve her situation. But for all of that she is not saccharine or sickly sweet. She grows angry. Her pain is raw. And so much of her determined happiness is simply her best coping mechanism for dealing with cruel, abusive family.

The story is absolutely a piece of wish-fulfillment, and frankly I think that’s a good thing. There’s just not a whole lot of fantastical representation of black trans WLW, and what we do see is rarely so sympathetic or so loving as this. Ella gets to eat delicious food, she gets to wear a designer dress, she is pursued by the heiress to the kingdom. When’s the last time we saw such blatant gift-giving to trans readers of color? Every bit of abuse heaped on Ella by her stepfamily is contradicted by the other people that she meets, and while even this brief narrative doesn’t suggest that everything is just going to be mended as though the hurts were never real,

Due in part to how short it is, there’s a lot in this story that doesn’t get told. We know who the Fairy Godmother-stand in is, but we don’t know anything about her, or how Ella came to her attention, or how magic works in this world and why people are fairly careless in witnessing it. We know Ella’s backstory so well through sheer cultural saturation that it goes almost entirely unmentioned. We know all the roles–the Princess where the Prince would be in most tellings, the nasty stepsisters and evil stepmother, the animal companion–but we aren’t given any details about their internal lives or motivations. This is a quick, bouncy story with a very direct energy, and it doesn’t need to be more than that.

The single criticism that I honestly have, viewing this for what it is, is that I wish Ella’s mother had been present in the text. In the oldest versions of Cinderella, it is actually her mother who performs the acts that the Fairy Godmother takes over in more recent versions. Sometimes the mother is a fish, or fish bones, as in the fifteen-hundred-year-old Chinese story of Ye Xian, sometimes as in Aschenputtel she is the tree that grows over her own grave, and the birds that sing in the tree, and the bones in the grave below. But regardless of her form, in most versions of the story the dead mother’s influence is a tangible thing, in both the jealousy and hatred of the stepfamily, and in the deep strength and self-assurance that Cinderella is able to find for herself. She doesn’t appear in this tale, which I thought was a wasted opportunity for depth.

Unusually, Ella’s father’s influence does make an appearance, in a song that she hums to herself in the beginning. Given that most of the characters with names or speaking lines in the story are female, I thought it was meaningful that one of the only representations of masculinity was loving and gentle. Frequently in WLW fiction the male characters are boorish or cruel. It was kind of an interesting turnaround to see only the kinder side of fatherhood, while women were given as much to unkindness and manipulation as they were to sweetness.

All in all, this one’s an enjoyable afternoon read. 3.5 of 5 stars.

CONTENT WARNINGS: Transphobia and anti-trans abuse, body shaming, fat shaming, some race-specific insults and attacks (“ashy elbows” and braid pulling), kidnapping, homelessness. No sexual assault.

Susan reviews In the Vanishers’ Palace by Aliette de Bodard

In the Vanishers' Palace by Aliette de Bodard

In The Vanishers’ Palace by Aliette de Bodard is a post-apocalyptic post-colonisation fantasy retelling of Beauty and the Beast. Yên is a rural scholar, who offers herself up to a dragon in her mother’s place to repay her village’s debts; Vu Côn is the dragon in question, trying to fix the world that the Vanisher’s destroyed and then abandoned. Together they live in the dangerous Escher-style nightmare that is the Vanishers’ palace, trying to raise Vu Côn’s teenage children and change the nightmare that the Vanishers left this world in.

The world-building is really cool; In the Vanishers’ Palace is set on a world that was modified beyond the inhabitants’ understanding by the Vanishers, who abandoned it when they grew bored – and people are actively trying to fix it. The scale of the problems are huge, and compounded by people like the leaders of Yên’s village, who are power-hungry monsters, but people are still trying, and that is something I need right now. And for all that the story is fantasy, it has science fiction elements woven in really well – yes, Vu Côn’s palace has impossible geometry, nonsensical architecture, and death lurking in every corner, but it also has a library that can just generate books, and a distinctly scifi room for Vu Côn’s patients. Plus, the magic of In The Vanishers’ Palace is language based, and the story gives Yên space to explore what is known about magic and the ways that common understanding isn’t always right made me happy!

The story itself takes the basic premise of Beauty and the Beast and focuses on it as a story of agency and independence. Vu Côn’s arc is specifically about her learning to trust people to make their own choices and have valuable knowledge and opinions of their own, and her romance with Yên is explicitly about them negotiating the consent and power dynamics of a relationship where one person starts as a prisoner/employee of the other. Vu Côn’s children are specifically trying to figure out who they are independent of their mother, and what role they can have in this world. And Yên is explicitly finding a role for herself after the danger of her village, where those not deemed “useful” and in danger from the village leaders. I enjoy the ways that motherhood, familial duty, and folklore are also woven into this story as integral threads as well, it really worked!

In conclusion: In The Vanishers’ Palace is the queer retelling of Beauty and the Beast that I didn’t know I needed, and it’s excellent. Definitely recommended.

[This review is based on an ARC from the author.]

Susan is a library assistant who uses her insider access to keep her shelves and to-read list permanently overflowing. She can usually be found writing for Hugo-winning media blog Lady Business or bringing the tweets and shouting on twitter.

Danika reviews Once and Future by Amy Rose Capetta and Cori McCarthy

Once and Future by Amy Rose Capetta and Cori McCarthy

That’s what resistance looks like, Merlin. It’s not one glorious, shining victory. It’s a torch you keep burning, no matter what.

I’m not even sure how to approach writing about this book, because it is so ambitious. Once & Future is a queer, sci fi retelling of the Arthur myth, with a female Arthur. It’s somehow simultaneously dystopian, sci fi, and fantasy. Dystopia, because in this future, the universe is ruled by the Mercer Corporation, which keeps everyone in line by controlling the supply of water. But there’s enough space ships to scratch that sci fi itch, and, of course, there’s Excalibur, Merlin, Morgana, and the Lady in the Lake to keep things fantastical.

That’s partly why it’s so delightful that this also has an almost entirely queer cast. (With several poc characters as well, but this isn’t as clearly defined, so I’m pretty sure Ari is Ketch (Arab) and Lam is Black, but I’m not sure about all the other characters.) Ari and her adoptive brother have two moms. Merlin is gay. Ari, Val, and Gwen are all queer, there’s an asexual character, and there’s a non-binary who uses they/them pronouns. There is no explanation, no reason why everyone happens to be queer, except that in the future, they aren’t so weird about it. (When Merlin says that in his time, people use phenotypical features to guess people’s gender, the other characters are disgusted by this backwards belief.) It’s nice that we’re finally reaching the point where you can have a genre book packed full of queer characters, and to have it be entirely incidental to the plot.

Speaking of plot, I have no idea how to try to summarize it succinctly. Post global warming, humans retired Earth and sought new homes on the moon and on different planets. Ari was born on Ketch, but she was found as a small child in wreckage near the planet. Ketch, originally founded by Arab people, has since been sealed off under a barrier for their resistance against Mercer. Kay and his two moms adopt illegal refugee Ari and start running from the law. When they attempt to return her to Ketch, Mom and Captain Mom (!!!) are arrested, and Kay and Ari are left to fend for themselves–until Merlin shows up to tell Ari that she’s the latest (and first female) reincarnation of the legendary King Arthur, destined to bring down evil (Mercer), ascend the nearest throne, and unite humanity. (Ari is skeptical. Merlin thinks that this usually is easier: “Most boys secretly believed they should be heroes: the stories told them so.”) And that about brings us up to the first couple chapters.

The story is shared between Merlin and Ari. Ari is a reluctant hero, just trying to protect her family and friends and do the right thing. Merlin has been training dozens of incarnations of Arthur throughout time, all without fulfilling their destiny of uniting humanity. Every time, he has to watch Arthur die. He then sleeps in a cave until the next incarnation is ready to begin training. Not only is he stuck in this cycle, tormented by Morgana, but he’s also aging backwards throughout it. Now, he’s a teenager, and he’s terrified of what happens when he becomes a child, then an infant.

One of the things that Merlin is seeking to avoid this cycle is Gweneviere and Arthur’s doomed romance. Gwen and Ari are no exception: they’ve been at each other’s throat since childhood at Knights Camp on Gwen’s medieval-themed planet. Of course, that animosity may have just been hiding something else… Unfortunately, Arthurs are destined to have their hearts broken by their Gwenevieres, betrayed by the knight they trust the most: Lancelot. Ari and Gwen’s relationship is just as passionate and thorny as their star-crossed history would suggest.

And no matter what, Ari wasn’t going to be able to walk away from Gwen. She would stay right here, in the riot of her pain, for even a chance at this closeness.

There is also a moment near the end of the book that reminded me of this take on the “ultimate female power fantasy” of The Last Jedi, so that was pretty great.

In fact, if it hasn’t already been clear, I loved this book. It is epic and feminist and queer. It’s about resistance and survival, making connections and refusing to back down. It’s being bravely vulnerable. I loved that I got to know this whole ridiculous crew, who all add to the story. They become a family, in their stubborn, arguing, loyal way. It’s fast-paced, captivating, funny, and feminist. Despite the action and comedy, it’s also deeply emotional, and has moving f/f and m/m romances. When I first added this to Goodreads, I was a little disappointed to see that it’s the first in the series, because I worried that it wouldn’t have a neat conclusion, and I would have to wait for a long time to get the sequel. Now, I’m grateful, because I’m not ready to leave this family behind, and I definitely didn’t predict that ending. (Though I was right about one thing: I am impatient to read the sequel!)

And you were the thing Mercer feared most. A girl they couldn’t control, who wouldn’t stop talking. That’s the scariest damn thing in the universe.

[Content warning/spoiler, highlight to read: I do want to read a review by a Middle Eastern reviewer, because Ketch is described as a planet founded by Arabs, who lead the resistance. Unfortunately, they were all killed by the Mercer corporation. Although there is diversity in the crew, I didn’t feel good about all the Ketch people being killed other than Ari…]

Marthese reviews Sappho’s Fables, Volume 1: Three Lesbian Fairy Tale Novellas by Elora Bishop

Sappho's Fables by Elora Bishop and Jennifer Diemer

This month I’ve finally managed to read another retelling that has been on my TBR for years! There’s the bonus that it’s three retellings not one too! Sappho’s Fables Volume 1 by the amazing Elora Bishop (aka Bridget Essex) – who writes some good fantasy – gives us three sapphic retellings of classical fairy tales with imaginative twists.

“I saw nothing by red and Neve”

Seven is a retelling of snow white. Catalina is a young new wife to a horrible man that experiments on her. She finds herself attracted to his ‘daughter’ Neve. She finds out that he has had 6 wives before, all in the search of immortality. Together, Neve and Catalina break this cycle. This story had horror elements and there was an interesting play with fairy tale elements and sayings.

“My mother is lost to the world of spells, and I am lost to the world in which terrible things happen to good people”

Braided is the retelling of Rapunzel. Gray’s mother sewed Gray’s fate as guardian of the Holity on another child – Zelda. Every day Gray goes to bring her food even though she doesn’t need it. After encountering a magical travelling fair connected with her dreams, Gray realizes she has to try to free Zelda. There were no bad guys here just people trying their best and making mistakes. A lot of casual queerness and acceptance too.

“Animals can be stopped by fear. Animals think. Ragers don’t”

Crumbs is the retelling of Hansel and Gretel. This is possibly my first ever story that I read with zombies and I actually liked it! Han and Greta live with their parents near heaps of trash where they scravage. They have to be careful of the ragers who were once human and have been infected. Their parents leave and the two decide to try to reach the metal forest, which turns out to be a city. There they are safe with Sabine and her brother Robert. Han is always sleeping and Sabine is always offering Greta food…I’m not sure I like the not-honest part but having already read another queer retelling of this story, I quite like this one.

All three stories had clear elements that identified the stories but were also fresh and new. I had many ‘ohhhhhhh’ moments when these elements such as apples, the huntsman, hair, rampions, sweets and witches were used. The retellings don’t focus only on the romance but offer a good story and the stories are short enough that can be read during one or two work breaks!

I’d recommend this book for lovers of fairy tale retellings, fantasy and imaginative tales and especially ‘Crumbs’ for newcomers to the zombie genre like me.

Ren reviews Great by Sara Benincasa

Great by Sara Benincasa cover

TW: Suicide

Every summer, Naomi Rye leaves her home in Chicago to spend her holidays with her mother in East Hampton; a condition of her parents’ messy divorce. Her ambitious mother Anne built a multi-million-dollar cupcake empire from nothing, and now Anne climbs the ranks of the social elite with the same drive. Anne also believes that the easiest way to secure a powerful place in the inner circle of the Senator’s wife, is through their children. From a young age, Naomi is forced into playdates, dinners, charity events and everything in between, with the senator’s daughter Delilah. The summer Naomi turns seventeen, Jacinta – the mysterious summer tenant next door – throws a lavish party. She invites Naomi in the hopes that their new friendship will bring Delilah into her life in turn. Sound familiar?

This modern twist on The Great Gatsby was a delight, through and through. I may have a bit of a bias; I read Gatsby for the first time at the age of thirteen, and it has held a very special place in my heart ever since. It was the first book I read in which I hated every character, and still came through moved by the power of the prose. Gatsby taught me that a writer could fill pages with selfish, ugly people, and still create something beautiful.

Once Great came to my attention, I couldn’t not read it. However, there was some initial concern that without the prose, I would just be left with a bunch of rich people whining and making bad decisions. I mean, honestly, guys, I didn’t even make it past the first season of Gossip Girl. But man oh man, did Sara Benincasa pull it off. Her attention to detail is marvelous, and she keeps the tale from becoming stagnant with a small – but key – number of original side characters. Naomi’s parents and her hometown best friend Skags are not given large roles, but they keep things fresh and interesting.

 In that it’s a book fashioned after one known for its vapid, superficial characters, there are a few icky things to note; number one being the ‘positive’ speech about pursuing thinness and envy of people surpassing “even LA thin.” Anyone with body image-related issues or disorders may want to proceed with caution. There is also a heavy dose of homophobia from the rich folk, and Naomi herself plays the Poor Straight White Girl card on occasion – though her butch best friend is quick to call her out on the behaviour.

All in all, Great is a wonderful, true to form take on The Great Gatsby. It’s short and dark and perfectly suited for an afternoon of wallowing on the couch. Just keep in mind that it isn’t the sort of book one goes for when looking for a fluffy pick-me-up.

Sponsored Review: Danika reviews A Lake of Feathers and Moonbeams by Dax Murray

A Lake of Feathers and Moonbeams by Dax Murphy cover

A Lake of Feathers and Moonbeams is a queer Swan Lake retelling, and honestly, it just had to live up to that premise to win me over. I may not be incredibly familiar with the ballet, but I grew up watching Swan Princess constantly. Besides, queer fairy tale(-esque) retellings are one of my favourite things to read. Add to that the beautiful cover and the promise of a positive polyamorous relationship, and I was sold. So I was impressed to find that not only did this satisfy those queer fairy tale cravings, it went beyond that to create an engaging and emotionally compelling story in its own right.

When I think of a queer retelling, I expect it to stick pretty closely to the original, just massaged to include queer characters. A Lake of Feathers and Moonbeams shifts the narrative dramatically, however, changing not just the trappings of the story, but the heart of it. Katya, the main character (though there are multiple POV characters), doesn’t exist in the original story. At least, as far as I have gleaned from reading the Swan Lake Wikipedia article, she would have been an anonymous background character at best with no story line of her own. Although the central plot of Swan Lake does carry over to this retelling, the tension of the story comes from Katya’s unique position in this world.

The story alternates between two points of view. They are identified by a simple, stylized illustration at the beginning of each chapter of either a swan (Katya’s chapters) or a castle (Alexis’s). I liked this little details of the design. I’ll start with discussing the queer elements of this story, because… that’s what we’re here for, right? This is a world that is completely accepting of queer people and nonbinary genders. Princen Alexis uses they/them pronouns, and no one is fazed about having a nonbinary heir to the kingdom. In fact, when they attend a ball, they are “immediately greeted by people of all genders vying for their attention.” There are other nonbinary characters who use neopronouns, such as Larde Tanis, who goes by xie. This is own voices nonbinary representation (Dax Murphy uses fey/fem/feir prounouns in feir “About the author” blurb.)

Bisexuality seems to be the norm in this world, or at least not worth remarking on. Katya, Zhen, and Alexis’s mother all show attraction to multiple genders. Alexis’s best friend and guard, Tatiana, frequently mentions her girlfriend, Inna. Alexis’s parents are in a polyamorous triad, with their mother having two partners (the Czar and Lady Natalya). While attraction to multiple genders is unremarkable in this setting, it does seem somewhat unusual to have multiple partners (though obviously not unheard of, because there doesn’t seem to be any pushback to the leaders of the country being in a triad). Alexis’s parents talk about the difficulties and negotiation that they went through to make this a healthy relationship, but it is clearly worth the effort for all three of them, and Alexis is happy to have three parents.

As I mentioned earlier, the queer and polyamorous additions are not the most dramatic changes in this retelling. We begin with Katya, who has no memory when she bumps into Ivan in the forest. He helps get her acclimated, and she stays with him. She learns magic from him. Their relationship builds slowly and turns romantic. It is against this backdrop of trust (and dependence) that the rest of the story plays out. Ivan captures Zhen–Alexis’s fiancee. Their arranged marriage is meant to unite their two kingdoms. (Although this is a fairy tale world, Alexis’s country is clearly coded as Russia, and Zhen’s is coded as China.) Ivan tells Katya that Zhen is a threat to their life together, and asks her to pretend to be captive with her, in order to gain information. Katya is shaken. This is unlike Ivan. As she observes Zhen–and sneaks away to share her findings with Ivan and beg him to explain the situation–she finds herself falling for her.

It’s this tension between Katya, Ivan, and Zhen as well as the triangle between Katya, Zhen, and Alexis that form the core of the book. Katya is torn between Zhen, this new element in her life, and Ivan, the person who she loves and trusts. She wants to believe that there must be a good reason to hold Zhen prisoner, that she must be a legitimate threat, but she also struggles to find that threat in Zhen. At first, I found it difficult to believe that Zhen would be flirting with Katya while she had been kidnapped and trapped in the woods, but Zhen addresses this directly: “Yes, we are trapped. Yes, we are waiting for someone to save us. That doesn’t mean I want to dwell on the fact!”

It’s this internal struggle between Katya’s loyalty for Ivan and her growing relationship with Zhen that really fascinates me, so I do want to discuss some spoilers. I will mark where the spoilers end. 

Initially, I felt that Katya was a passive character. Because she seems to appear out of nowhere as an adult, she can seems naive and inexperienced–quick to believe whoever she is speaking to at any moment. I found it especially hard to believe that she would so easily go along with Ivan’s plan for her to kill the “threats” at the palace. As the story continues, however, I think that shifts. After all, it is ambiguous how much agency she has at first: Ivan has been manipulating her from the beginning, hiding her from her origins, protecting himself by using her. He tells her “Say you will never leave me,” she immediately (involuntarily?) responds with “I will never leave you.”

Katya really has to struggle to accept that despite him being the only relationship she’s ever known, her introduction to love and belonging, he doesn’t deserve her loyalty. The extent of his manipulation is slowly revealed to both us as readers and Katya: not only did her use her in this instance, he has been draining the life from their forest and using her life force to bind Zhen to the lake. It’s despicable, and I’m tempted to question how he can both be this villain and be the person who supported her in the beginning of the book–but that’s not impossible. Abusers can seem loving and supportive when it suits them. They can even justify their actions to themselves that way. And Ivan certainly seems to think he can violate Katya and care for her at the same time: he claims “I loved you, Katya,” with “a mixture of devotion and sorrow in his eyes,” even when she knows the extent of what he has done to her.

An element I really liked was when Katya realizes that she doesn’t owe him an explanation for why she turned against him. It’s such an important moment, to realize that you can’t control someone else’s narrative. Ivan will likely always believe he was in the right. Katya could try to communicate with him, could pour her heart and soul out trying to get him to see how he violated her, how he betrayed her, but it would be a waste. He doesn’t deserve her energy.

Overall, I thought it was a satisfying conclusion. There’s enough loss and struggle to feel realistic, but it manages to be a happy ending anyway. I liked the nod to compersion: “An inkling of a feeling bubbled in Alexis, seeing Katya and Zhen happy, together, made them feel happy, too.” The novel leads us to think there is no way that Zhen, Katya, and Alexis can all three be happy with their situation, but the ending challenges that, showing that relationships can be built in many creative ways and still be fulfilling.

Spoilers end here!

Now I’ll address a few bits and pieces I wasn’t able to work in to the rest of the review! I liked the magic system, which seems to hang together well, and it also introduces a type of magic that I’ve never seen in a book before: nuclear magic! It’s an interesting concept, and the scenes that depict it are striking. I did have some minor issues. I didn’t entirely understand some details of the political plot (how did the son betray the Czar, for instance?), but that’s not my strength as a reader. I’m so caught up in characters that I often miss really obvious plot points. Also, the characters don’t use any contractions in dialogue, presumable to feel more fairy tale-esque, but I found it a bit awkward and distracting. Although I only noticed a handful of typos, one error I saw repeated throughout the book were numerous comma splices (“Leave that to me, I am still Czar.” and “We need to settle this dispute, it’s been too many generations.” for instance.)

Those are some very minor complaints, however, in a story I thoroughly enjoyed. I loved the queer-positive fairy tale world, but I was pleasantly surprised to find that was only the backdrop for a subtle story about trust, betrayal, and new possibilities. I highly recommend A Lake of Feathers and Moonbeams, even if you’re not familiar with the original story!

This has been a sponsored review. For more information, check out the Lesbrary’s review policy.

Ren reviews We Were Witches by Ariel Gore

We Were Witches by Ariel Gore cover

TW: self harm, violence against women, sexual assault

‘Beautiful’ does not even begin to encompass the captive, rhythmic style Ariel Gore possesses. I found it difficult to read quickly despite it being a relatively short work; every few pages there would be a line simple in structure but devastating in truth. I would be left raw, and was often forced to take a few minutes of sitting quietly before I could pick it up again. Reading this book was not always comfortable, but it was always very real. Her revelations discomfit, the view of an unkind world is gutting, and I am so glad to have found and read it. This will not be the last time.

It begins with Ariel at age 19, delivering Maia in a hospital in Italy. The following chapters delve into her confusion and uncertainty as she returns home for the first time in a long time, and she slowly finds her footing in a world that is not good to her. It becomes an anthem for all that is endured silently for the betterment of privileged fragile men. Reading this book, I was angry, and I was heartbroken.

Poor little male violence
You can climb my hair.

The book is made of rage. And writing when you have rage is important (as is reading about rage when it’s so similar to your own) because more often than not, that rage is turned inward. Because suffering as one’s own island is what women have been groomed to do. There are endless layers and contrasts to Ariel’s explorations as she grows from teen to young adult, and she pulls no punches in her descriptions of suffering (and betrayal after betrayal). Nothing is easy. There is prejudice and rigidity even in the broader spaces in which she tries to make a home.

Ariel goes to college, baby in tow. She studies the witch trials extensively. Outlines the trends in accusing poor, unmarried women of witchcraft and executing them. Paints a picture of women who mattered so little, the only way to find their stories is by the court records of their trials.

Very few people in power really care about other people’s sexuality. They care about money. But shaming sexuality is easier because that realm is so vulnerable. And of course if you control sexuality, that’s power that can be transmuted into more money.… my public shaming is not merely designed for my own benefit, but rather serves as a sermon and a warning to other girls and other women who may hope to escape the confines of a system designed to support and enable the white-supremacist capitalist war machine.

Different is dangerous. Different needs to be leashed.

College teaches Ariel lessons in taking up space. She makes a few key friends. Finds some cute girls to make out with. Her Women’s Studies professor encourages her to explore feminism, and Ariel’s automatic rejection is, ‘feminists just get abortions’. I was taken aback, but equally appreciative of Gore’s ability to be honest about her growth. Because we aren’t born good feminists, and it is hard to accept a label often thrown like an accusation when you are too young to know it should be worn like a badge of honour.

She gains confidence in her desire to be a writer because here, at this women’s college, people do not laugh at her dreams. But she also learns that the people in her new home carry their own flaws. Her intro to (White Girl) Feminism gives her creative freedom and embraces her talent, but it does not account for poverty. It advocates for queer rights, but does not care for butch representation. Ariel’s employer stages a gay wedding between two femme white girls (one hetero, the other with no interest in marriage) – rejecting a butch couple actually looking to get married – because the butch couple are too gay for the kind of press this ‘feminist magazine’ is hoping to garner.

Ariel learns that feminists can be terrible too, when they are not willing to change. When their idea of Feminism is the only Feminism.

Also, honourable mention goes to Ariel’s crush on her Women’s Studies professor. Been there, Girl.

We Were Witches reads like a novel and you want it to be a novel, because in a novel, when the writing is this good, the ending always satisfies. But when my Kindle told me I was 70% through and things were still getting worse, I wanted to cry.

Ariel gives birth to a daughter, and the doctor mutilates her without thought.

The only alive the doctor knows is crying.

She goes home to a mother who will not let her forget the ‘shame’ of being a teenage mother. She takes Maia and branches out on her own and tries to finish college, only she needs welfare assistance to do so. And the woman she tries to befriend throws her to the wolves (the wolf being the woman’s asshole husband who shouts welfare/single mother-shaming abuses at Ariel, then escalates to threats, prompting her to pack her things and leave the city). She moves to a new college. A queer friendly, women’s college.

It does not get better.

Her ex-boyfriend punches through the glass window in her door to break inside. She phones the police. The police show up and Lance charms them, painting Ariel as hysterical. She tries to file a restraining order. But ‘children need their fathers’ and suddenly the choices are share custody with Lance, or have Maia taken away.

As the book progresses, a very clear picture begins to take shape. Here, we explore the pieces:

The police refusing to believe Ariel and Lance aren’t married. Refusing to believe that Lance broke down the door and was ready to hurt her.

Passing as straight for the courts because queer mothers have their children taken away from them.

Ariel’s friend raped – at 14, by a police officer – and told her rapist has visitation rights.

A childhood friend of Ariel’s, raped during her first year of college: her push against the college for laws of consent to be clear and mandatory are made into jokes on the radio.

The witch trials have not ended. And this is as bleak a reality as it is an important one to remember. Fighting when you’re tired, when you’re exhausted – because you’re fighting your fight and the fight of queer/poor/unmarried/underrepresented people before you, even preceding the witch trials, and you were brought into this world fighting – is important. The alternative is death. This book is about intersectional feminism, motherhood, male privilege, violence, the burden of emotional labour, and the one hundred other aggressions dealt with daily to varying degrees by anyone who is not a cis-white male. Everyone needs it.

One final note, and then I promise I will stop hyping it up. I’m a sucker for reimagined fairy tales; there are some brief retellings throughout the book, but the Rapunzel retelling wrecked me. I won’t spoil it, but it wrecked me. Do not read this book until you are in a place where you are okay feeling every feeling. But please read this book.

Marthese reviews Gretel and “Dragon Essence” by Niamh Murphy

”She had trusted two strangers in her house, offering them food and shelter. It was nonsense not to trust her.” – Gretel: A Fairytale Retold

With GDPR the copious amounts of author newsletters were at best purgatory. The ‘please subscribe to us’ emails were really great to weed out authors that I am not so interested in reading anymore. One author’s newsletter that I kept was Niamh Murphy’s. This author sends a lot of freebies and previews, is interested in fantasy and historical fiction (she’s actually a historian!) and sends advice and tips on where and what to read. I particularly liked her newsletter of Sapphic Fairytale Retellings! Anyone subscribed to her newsletter has received the short stories I will review below!

Despite knowing of this author, I hadn’t read any of her stories before last week, but now I’m intrigued. I started by reading “Dragon Essence: A Prequel to the Dark Age Trilogy.“This was, and and still is currently, free with a newsletter subscription! I have never read a prequel before the actual series, but this particular prequel was good at introducing the world and making the readers invested in seeing more from from it. The prequel is very short and can be read during a lunch break.

The plot surrounds Andra, a Captain of the Dragon Ward. Andra’s lover, Olwen is a mage set on getting a hold on a dragon egg – which Andra is bound to protect. Olwen gets killed, and the way to bring her back to life may see Andra breaking all sorts of oaths. This was a refreshing read, though very morally dubious. Why I could understand why the characters were acting in a certain way, I didn’t feel it was 100% okay. Be forewarned, there is violence on mythical creatures and violence of the human kind. The story contained also a preview of the first book Dragon Whisper. I love queer fantasy, especially with dragons and I’m interested to see how the wizards vs druids and the humans vs dragons elements will play out. I also do not know many queer fantasy books/historical fiction books with druids.

After I finished “Dragon Essence” I felt like reading the series…only it is not yet out. So I read Gretel: A Fairytale Retold, which as you probably guessed is a retelling of Hansel and Gretel: one of my favourite childhood stories! Gretel isn’t that long and is a bit fast paced, but then again, so was the original story. Hans and Gretel are introduced while running away from wolves and fortunately they are saved by a woman who offers them lodging until Hans heals. Gretel and Hans are away from home and have been looking for work. Maeve, the woman who saved them, lives in a cottage in a fort – all on her own. Gretel and Maeve grow closer in a really sweet way (and sexy way too as it involved a first-time sex scene in the woods!), but Hans is ever suspicious of the ‘witch’. Gretel has always had Hans and Hans had always had her back…until both those things are not true anymore. This story has a happy ending for the couple! It also has one of the best concluding lines from a character that I’ve ever seen.

While short, I think this story was great. It is a fast-paced story but there was no ‘love-at-first-sight’. It also featured a realistic fracturing of a family bond and growing romantic bond. I found Maeve to be an interesting character because she’s kind and feminine but still strong, physically and mentally. I absolutely hated Hans. Perhaps if it was longer, we could have seen a nice side of him. The writing was simple but effective and emphatic. This novella is currently free!

Overall, this is an author I would look into more. Niamh Murphy also has a youtube channel where she talks about books. I enjoyed discovering this author especially because of the fantasy and  retellings with a dash of history. I look forward to discovering new authors of those genres.

Mary Springer reviews Snow White and Her Queen by Anna Ferrara

Snow White and Her Queen by Anna Ferrara cover

Trigger Warning: the book contains scenes of suicide, rape, and assault and this review will discuss them.

This review contains spoilers.

Katherine was married to the King of the Northern Kingdom when she was thirteen. Seventeen years later, she plans to kill herself, but she is saved by a beautiful young woman. Soon she finds out this beautiful woman, only seven years younger than her, is her stepdaughter, Eirwen, also known as Snow White. What follows is a tumultuous love story and retelling of a classic fairy tale with a unique twist.

I have had a difficult time gathering my thoughts on this book. To be clear, I did enjoy reading this. However, there are several elements that I’m having a hard time reconciling with my enjoyment. Katherine married King Ferdinand when she was thirteen, a mere child. When we first are introduced to her as an adult it is through a graphic scene in which she has painful sex with Ferdinand. He is angry with her for not getting him a child after so many years of marriage. Katherine, believing him to be a good man and her to be a bad wife for not getting pregnant, then decides to kill herself in the garden. This is where she meets Eirwen. Later on, Ferdinand tells her to get a hobby, specifically hunting, and there she meets Phillip. Phillip decides he is in love with her and won’t take no for an answer. Eventually, this leads to him sexually assaulting her.

Another hard part about reading this is how the two men were supported and even enabled by those around them, men and women. Ferdinand blames Katherine for all his misdeeds, which is what causes her to be known as the Evil Queen. He has effectively isolated her from any support, including her own ladies-in-waiting who gossip about her behind her back. This is what leads to Phillips being so able to hurt Katherine, because she has no friends, no support system. This did feel believable and realistically explained the fairy tale aspect of Katherine being known as evil.

One of my biggest feelings of unease going into the book (before the assault scenes) is that this is a love story between a stepmother and stepdaughter. However, this book reassures the reader in that regard. Katherine and Eirwen are only seven years apart in age and Katherine only sees Eirwen once, on her wedding day to Ferdinand, before the beginning of the book. They are technically family by law, but do not grow up together and they do not act and are not treated as a mother and daughter. For the majority of the story, Katherine is thirty and Eirwen is twenty-two or twenty-three.

The romance felt real. From the moment Katherine meets Eirwen she is captivated by her and struggles with understanding how she, a woman, could be attracted to another woman. Eirwen has the same inner conflict. Not only did both characters feel complex but their romance developed in a believable manner.

The world building was well done. It wasn’t too complex because it didn’t need to be and I enjoyed being able to simply immerse myself in the characters. In this version, the dwarves are miners who have become hunched over or “dwarfed” from working in the mines. They are not good people in this edition, but it follows the book’s theme of patriarchy and misogyny, so I was fine with this change.

There were some choices the characters that felt too sudden. There were moments when characters would reveal motivations that I felt were not previously set up. For example, without giving too much away, Eirwen thinks about part of her plan for revenge against Ferdinand and how Katherine is involved. Her logic felt out of place because it seemed like it hadn’t been set up or foreshadowed. Later in the novel, Katherine tells Eirwen one of the things that attracted her to her in response to Eirwen’s plan for revenge. This reason for attraction felt odd because it seemed like it had been mentioned before at all.

The ending felt somewhat unsatisfying. There was so much violence perpetuated against Katherine and Eirwen that I was disappointed to see how those injustices were dealt with. However, considering the world and characters the author has built, the ending does make sense. Like I said, I’m not sure how to reconcile many elements of this book. However, I wasn’t totally disappointed in the ending and I am happy with where the characters end up.

Having said all of this and voiced many gripes I have with this story, I would recommend reading it. This book was engaging, interesting, and in many ways enjoyable. The story of Snow White is originally so intent on pitting women against each other over conventional standards of beauty and it was great to see a version in which both women get to have more character and agency. If you’re a fan of fairy tale retellings with a twist that the women actually love each other, I recommend picking up Snow White and Her Queen by Anna Ferrara.

Rebecca reviews Seeing Red: A Sapphic Fairy Tale by Cara Malone

Seeing Red is a cute and quick read with a sweet romance and really well-written characters. It’s loosely based on the fairy tale and I absolutely enjoyed this modern take with relatable characters.

Hunter has too much on her plate. She’s living with her sister, Piper and helping with the bills and her two nephews. She’s balancing a job in a care facility while also trying to keep Piper away from her jailed criminal husband, Jed Wolfe. Although things are really desperate, Hunter tries to show Piper that there’s a good life away from pulling cons. Meanwhile, wealthy college student Kiera has just moved in with her grandmother who’s been diagnosed with Alzheimer’s. Kiera isn’t only taking care of her grandmother but also hiding after an embarrassing encounter at her sorority house. A chance meeting brings Kiera and Hunter together. Kiera needs help with her grandmother and Hunter becomes the old woman’s caretaker. The pay is great, Kiera’s grandmother really likes Hunter and her family, and…there’s something magical happening between Hunter and Kiera. Maybe, Hunter can finally slow down. However, Jed still has his claws in Piper and her desperation to provide for her family will have consequences for all.

The split perspective between Kiera and Hunter with an occasional chapter from Piper really works because the characters have such distinct voices. Malone deftly avoids stereotypes and creates characters that are wonderfully written and relatable. Kiera and Hunter are great protagonists who are brave, interesting, and very real. They are so well-written that I was totally invested in them individually even before their romance blossoms. However, I would have liked more development on Hunter’s history, and Jed’s presence needed to be more ominous because he doesn’t seem like that much of a threat.

The romance between Kiera and Hunter is gentle, sweet, and natural. Despite the fairy tale romance, I like that Malone avoids leaning on classic tropes. She examines real issues like manipulative relationships, financial struggles, and Alzheimer’s. There are many instances that could have been melodramatic but Malone excellently handles her plot and characters to avoid unnecessary drama.

Cara Malone’s Seeing Red is a lovely read. The characters are really well-written, the romance is cute and the happy ever after perfectly fits. If you’re looking for an adorable lesbian romance that’s loosely inspired by a fairy tale, you won’t be disappointed!

Rebecca is a Creative Writing student and freelance proofreader. Come say hi: https://rebeccareviews.tumblr.com/