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.Ī glimpse of the characters dealing with rebuilding and fallout after A Court of Wings and Ruin (2017). 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.

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. 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. Now Althea is dead and Ella has been kidnapped, and the Hinterland seems determined to claim Alice as well.

Instead, she has spent her entire 17 years on the run from persistent bad luck, relying only on her mother, Ella. 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. A ferocious young woman is drawn into her grandmother’s sinister fairy-tale realm in this pitch-black fantasy debut.

Melissa albert the hazel wood