#Review - The Book of Gothel by Mary McMyne

The Book of Gothel 
Mary McMyne
Orbit, 28 July 2022
Available as: PB,  366pp, e, audio
Source: Advance copy
ISBN(PB): 9780356517704

I'm grateful to Orbit for an advance copy of The Book of Gothel to consider for review.

The Book of Gothel is a compelling, richly imagined and involving fairy-story retelling. It distinguishes itself from much of this genre by not being set in a vaguely fantastical world but by being firmly rooted in a particular time and place - the Black Forest of the later 12th century. Indeed, the book shows a clear engagement with the political and religious conditions of the time. There is a framing device (the discovery and translation of the book itself by a modern academic) which makes this completely clear, neatly answering the "how do I come to be reading this story?" question.

Our main protagonist is Haelewise, introduced as a young girl at the beginning of the story but who is writing it all down as an old woman. It is her life story, or at least the story of her early life, before she became "Mother Gothel", named from the tower in which she lives. The Book of Gothel is a wonderfully varied story, involving magic, romance, politics, religion and prejudice as well as male power. Haelewise wants nothing more than to be safe with her family, but the times - and her weak father - won't permit this fate for her. After her mother dies, Haelewise - subject from birth to "spells" - either migraines or epilepsy, perhaps - is distrusted by the townsfolk and driven out as being a witch. After that, her existence is precarious, not really fitting in anywhere and full of yearning, for the mother and the life she has lost, and for the sweetheart who might have been hers had things been different.

Haelewise's life is also shaped by her having to compromise to receive any help or support. What she's is being asked to sacrifice is her adherence to the creed of her mother - a system of belief, part magical craft, part old religion, part simply inherited wisdom that challenges the Church - which Haelewise was only just discovering. McMyne makes this very much something that Haelewise sees as her inheritance from her adored mother, so more than simply a creed or faith, it's bound up with her identity and with the love of a parent. A very personal thing, I think. That connection gives Haelewise's dilemma a real depth and heart, one that keeps this book from being at centre a neo-pagan apologia. 

That complexity of holding together different beliefs and faith systems also shows in what to me was the most intriguing aspect of the story - an encounter between Haelewise and St Hildegard of Bingen, well known now for her mystical experiences but also for her music (and much else!) I loved that McMyne let Hildegard show the possibility of a Christian mystical context, and suggest that these matters might be a little bit complex. Like Haelewise, Hildegard is clearly having to compromise and her success both in politics and in church affairs perhaps suggests this may not be a losing game. 

Haelewise can be an annoying character at times, ignoring what seems like good advice not only form Hildegard but also from aged witch Kunegunde and indeed at times from her mother too. (If somebody tells you not to venture outside the charmed circle of stones because it it VERY DANGEROUS and then you do, what do you expect to happen?) However throughout her adventures, she is an active, bold and determined young woman. Her understanding of the situation shifts and her goals alter accordingly. perhaps becoming more attainable, but she never gives up on her determination to be safe with a family - and she is a formidable enemy to those who would stand in her way.

There are only a couple of aspects where I wanted a little more.

The first is the insistence in the publicity - and this is reflected in the cover image - that this is the story behind the witch in Rapunzel (the woman who shuts Rapunzel in the tower). While that may well be true, the main events of Rapunzel take place later than the period covered by this book. They are certainly mentioned but are not at all central to The Book of Gothel. (I would love to see McMyne write that story, but it would definitely be a Part II of Haelewise's story). The other is that I hoped that a little more of Prof. Eisenberg's discovery, which bookends the story. I anticipated that things might jump off from what she learns, with consequences in the modern world. But perhaps that, too, may be written one day?

Those reservations are perhaps a bit unfair ("this book doesn't contain what it doesn't contain!") because the story that IS here is a taut and well-written fantasy novel with some real moral and theological weight. It isn't, in the end, a retelling of a particular fairytale - though you may spot echoes of one or two apart from Rapunzel - but actually I think that's a good thing. The Book of Gothel is its own story, at the same time perfectly comfortable being both set in a recognisable part of the medieval period and on the borders of fantasy, and it is a cracking story at that.

For more information about The Book of Gothel, see the publisher's website here.

Review - Brightfall by Jaime Lee Moyer

Brightfall
Jaime Lee Moyer
Jo Fletcher Books, 5 September 2019
HB, 308pp

I'm grateful to the publisher for an advance reading copy of Brightfall to consider for review.

Reimaginings of classic themes, subjects and even stories are definitely a Thing right now, especially new treatments of the fantastical - just think of all the Alices out there - and the story of Robin Hood is very suitable for such treatment: the subject stirs the imagination, but the source material is relatively slim, giving plenty of scope for reinvention, addition and reworking.

In keeping with that, Jaime Lee Moyer approaches her subject from a refreshingly different angle. This isn't just more adventures for the Merry men. Instead she sets the story twelve years after the 'end' of the outlaw band and focusses on Maid Marian, rather than making her, as in many versions, simply a hanger on. Indeed, Brightfall is narrated by Marian, but an older Marian who has spent years caring for her children after being abandoned by Robin.

Now the surviving outlaws are being struck down by a curse, and Marian - in this retelling, a witch who is in tune with the ancient magics of Sherwood and who has regular dealings with the Fae - leaves the safety of her cottage to investigate. Falling in with a Fae Lord who she refers to as 'Bert' (real names have power, you see!) and, inevitably, with Robin, she travels though the forest looking up old friends and making new enemies.

I enjoyed the presentation of a Merry England where most people are not religious fanatics, with the Church by and large a friend; where life is an effort, with time needing to be spent on craft and trade; and especially one that is recognisably rooted in real places and geography. I think the story gains a lot from this (it would have been possible to leave it all frustratingly vague, or even, of course, to set the whole thing in some made-up fantasy land). It's also fun to see things from Marian's point of view (and she points out that those ballads, mostly written by Alan à Dale, were selective with the truth and did tend to big up Robin a lot).

The plot is essentially a chase with a mystery - who is causing the deaths and why? - at its heart and Marian is very capable, fighting off magical attacks, treating injuries and wounds and sparring verbally with her ex (when he will reply: Robin is often in a sulk). I must admit, though, I did find it frustrating at times that Marian, the viewpoint character, was so very competent and her motives and actions so very clear (protect her children, who are also threatened by the curse) while in contrast, Robin, comes and goes, is tormented, wracked by guilt and religion - but we are not privy to his thoughts and he is very selective in what he tells Marian. In other words the life in this story still seems to be with Robin (even if he's very unlikeable) despite the pains taken to give Marian a voice and agency.

Perhaps the most obvious example of this is that while Robin is still Robin of Locksley (and often referred to as such) we have no backstory for Marian herself Beyond references to her part with Robin and his band). I think that in giving her the opportunity to tell her own story, there could have been more story to tell, rather than one in which she is effectively still subject to Robin's whims and notions.

I don't mean to sound too critical here - this is a cracking story once it gets moving. Marian brings a lot to it in terms of knowledge, courage and sheer grit, and the book ends in a tense and moving action sequence. There is also romance. But I felt I could have got into it more quickly if there had been more (from Marian) about Marian and less about Robin.

On the other hand perhaps that's a subtle reflection of the effect on a woman's life of falling in with a dashing and unstable rogue... which he certainly is.

Great fun, with a convincing atmosphere of medieval England and a nicely grafted on magical realm (complete with the impact on that realm of human encroachment and interference). I think there may be more stories to be told exploring the life of Marian of Sherwood and I look forward to reading them.

For more about Brightfall, including links to buy the book, see the publisher's webpage here.