Showing posts with label LA Knight. Show all posts
Showing posts with label LA Knight. Show all posts

Tuesday, January 1, 2030

About LA Knight



LA Knight is a young adult and middle-grade fantasy/science-fiction author as well as a book-review dabbler and fairytale scholar. Her short work has been published 3 times and has placed in 8 contests by HarperCollins. LA Knight has written 6 novels: three YA urban fantasy, one YA historical fantasy, one YA high fantasy mystery, and one inspirational romance for adults. Her bibliography can be found here. She knows several phrases in Klingon, lives with four literary cats, suffers acute bibliophilia, and rocks out to music ranging from Disney to Taylor Swift to symphonic metal.

Her online non-profit fanfiction, Once Upon a Time, is the number one most-reviewed piece in its category in the world, at over 1,200 reviews. She is currently working on her 7th and 8th novels, NIGHT-DREAMED ROADS (TO THE SLEEPING CITY) and BLADES OF FIRE AND ICE. For a sneak peak at the visual inspiration for both (and her other upcoming projects, check out her Pinterest. You can also find LA Knight on Facebook, Twitter, Deviant Art, and Fanfiction.net.

Some of her favorite books include: Splintered by AG Howard; Vortex by SJ Kincaid; Neverwhere by Neil Gaiman; The Unbecoming of Mara Dyer by Michelle Hodkin; Mr. Fitzwilliam Darcy: The Last Man in the World by Abigail Reynolds; The Girl Who Circumnavigated Fairyland in a Ship of Her Own Making by Catherynne M. Valente; Cruel Beauty by Rosamund Hodge; Dearly, Departed by Lia Habel; The Guardians of Childhood by William Joyce; The Halloween Tree by Ray Bradbury; Hogfather by Terry Pratchet; The Iron Thorn by Caitlin Kittredge; Delirium by Lauren Oliver; Daughter of Smoke and Bone by Laini Taylor; Matched by Ally Condie; The Once Upon a Time Series from Simon & Schuster; Nevermore by Kelly Creagh; The Black Jewels Series by Anne Bishop; and Hawksong by Amelia Atwater-Rhodes.

Some of her favorite movies include: Coraline, Edward Scissorhands, Rise of the Guardians, The Life & Adventures of Santa Claus, The Nightmare Before Christmas, Mirrormask, The League of Extraordinary Gentlemen, The Hobbit 1 & 2, Batman Returns, The Dark Knight, and The Avengers franchise. Also The Amazing Spider-Man 1 & 2.

Some of her favorite shows include: Sailor Moon, Gotham, Arrow, Tron: Uprising, Avatar: The Last Airbender, Avatar: Legend of Korra, TMNT, Young Justice, Digimon, ABC's Once Upon a Time, Boy Meets World, Girl Meets World, Beyblade, Law and Order: Criminal Intent, Criminal Minds, and Grimm.

LA Knight's Bibliography

Original Novels

EIDOLON - A trio of blue-blooded vigilantes try to prove their monarch was murdered by her successor while also attempting to catch a Ripper-like killer targeting their group in this gaslight fantasy murder mystery inspired by the works of Edgar Allan Poe and Shakespeare's Romeo and Juliet.

HOUSE OF GEARS - Jules Verne meets Tim Burton in this dark historical steampunk fantasy. Juliette must rescue her little sister from a child-snatching monster, and in the process discovers that her parents have erased portions of her memories.

I HEAR THE BONES SINGING - A team of fairytale cops track Bluebeard to Arizona, where they discover he may not be the killer they're looking for. Meanwhile their leader, Bluebeard's ex, finds herself falling for a human with strange ties to the fairytale world.

THE TWILIGHT CHESSBOARD VOL. 1: GLASS - Alyssa Carde finds herself trapped at a school serving as the battleground for two notorious teenage witch queens and has to decide where she stands when the boy she's in love with ends up a target.

THE TWILIGHT CHESSBOARD VOL. 2: OBSIDIAN - Alyssa and Jack have pitted themselves against the witch queens, and Alyssa refuses to back down as the war gets nastier and other students at school start looking to her for help.

THEIR FOREVER FAMILY - A social worker desperately wishing for a job-change is forced to take the young daughter of a down-on-his-luck trucker in this contemporary retelling of Beauty and the Beast.


Short Work

"The Ride" - a sci-fi western short, published in 2008 in Combat Magazine

"The Man at the Gallows" - a poem published in 2008 in Foliate Oak Magazine, then reprinted in The Best of Foliate Oak Magazine 2007-2008
"The Man at the Gallows" (blog version)

"Always Another Girl" - a prose-poem, won 1st place in the Inkpop Challenge #18: High School Love Stories in 2010.
"Always Another Girl" (blog version)

"The Rat Prince" - a tragic fairytale punk mash-up, and my first contest piece; won 2nd place in Inkpop's Weekly Writer's Challenge #8.
"The Rat Prince" (blog version)

"Invitation in the Bag" - a dark vignette; won 1st place in Inkpop's Weekly Writer's Challenge #9: Inspired by Art in 2010.
"Invitation in the Bag" (blog version)

"Calling" - a modern myth-punk story based on part 1 of the legend of Orpheus and Eurydice; won 2nd place in Inkpop's Weekly Writer's Challenge #10: It's All Greek to Me in 2010.
"Calling" (blog version)

"Heart Gear" - a post-apocalyptic clockpunk short story; won 2nd place in Inkpop's Weekly Writer's Challenge #11: Totally Punk'd! in 2010.
"Heart Gear" (blog version)

"Comatose" - a short romantic tragedy; won honorable mention in Inkpop's Weekly Writer's Challenge #12: A Tale of the Heart in 2010.
"Comatose" (blog version)

"Freedom" - a futuristic vampire piece; won honorable mention in Inkpop's Weekly Writer's Challenge #14 in 2010.
"Freedom" (blog version)

"April Fool's" - A Girl Scout troop sleepover on the eve of April Fool's. Based on true events. Placed in the Figment April Fool's Contest in 2014.

"The Mark of Bone and Salt" - Persian steampunk story inspired by the Iranian story of Rudaba, the Persian Rapunzel. Currently in submission to Visual Adjectives for their New Legends: Science Fiction anthology.

"The Lioness of Afsana" - sword-and-sandal fantasy short set in the Middle East, drawing on Arabic folklore. Accepted for publication by Visual Adjectives for their New Legends: Fantasy anthology in 2015. Whoohoo!

"The World Ends in Neon-Yellow" - near-future science fiction short set in the world of HP Lovecraft based on the story The King in Yellow. Currently in submission to Broken Eye Books' Tomorrow's Cthulhu anthology.

"Ouroboros" - Genderbent steampunk retelling of Hades and Persephone. Written for Meerkat Press's Love Hurts anthology, but didn't quite make it.

"Broken" - Historical fantasy short detailing what happens to Juliet after Romeo massacres the Capulet family by unleashing a horde of demons and then takes control of Verona. Written for Meerkat Press's Love Hurts anthology, but didn't quite make it.

"Wendigo" - Historical fantasy Red Riding Hood the draws on Slavic and Native American folklore (specifically Tohono and Ojibwe). Currently in submission to World Weaver Press' Frozen Fairytales Anthology.

"Charity Never Faileth" -  Historical magical realism set during the Missouri Mormon War of 1838. Debating whether to submit it to Hidden Youth anthology.

Friday, April 3, 2015

WWC WK10: Calling



Author's Note: this piece, inspired by the first half of the legend of Orpheus and Eurydice, won 2nd place in the HarperCollins/Inkpop Weekly Writer's Challenge #10: It's All Greek to Me. The girl who beat me did a steampunk adaptation about Circe called "All Men Are Pigs." It was actually pretty incredible. I loved it a lot, actually.

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Once there was a king in the Grecian city of Thrace, son of Calliope, goddess of music and poetry, and he they called Orpheus.

But the name Orpheus can never stand alone, for with that name, the story of Eurydice is forever entwined. Eurydice was everything to the king of Thrace—lover, wife, companion, and daughter.

Not his daughter in flesh, for that would be a grave evil. But it was Orpheus's song that called forth the nymph Eurydice from her tree, giving her true life.

That is how it happened to a king of the ancient days. And this is how it happens to a boy with a musician's heart...in our time...

§

Orpheus stared at his room, seeing the glossy rock gods on the walls. He drank in the vision of the people on his music posters.

He looked at his poster of Jimmy Hendrix, in skinny jeans and leather jacket; the Viking guitarist from Nightwish with his braided beard and the lion's mane of gold dreadlocks; the lead singer of Queen of Night in her ragged, green velvet dress and brown leather jacket, her leaf-green boots and fingerless gloves.

He wanted to be them. He hated being himself.

Somewhere outside his room, glass shattered. Orpheus jumped. Sighed. His mother. She'd either tripped and dropped her glass, or thrown it at Oeugrus.

Someone roared. His mother, Calliope, threw another glass at his father.

Orpheus got up and grabbed his guitar from where he'd left it, leaning against his bedside table, carrying it into the bathroom. He often sang in the bathtub – great acoustics, but no chance his parents would hear him. The walls were too thick.

The sixteen-year-old settled into the white marble tub and draped the guitar across his chest, cradled by his legs. He deliberately pulled his hair in front of his face. The boy wore it slicked back in public because his father wanted it that way, but he despised it. He wanted it in his face, hiding his expression from everyone who always stared at him because he was so pale and thin, practically albino with his white hair and colorless, washed-out eyes. He felt like a puddle, or an almost-empty glass of water.

The black slacks and white button-down shirt his father forced him to wear didn't lend themselves to the punk-rocker image, but that wasn't really what he wanted, and he could make do with what he had.

Damn it. His head was hurting again.

Plastic hit nylon. The strings twanged. Notes hit the walls, bounced around like happy children, tugging at his hands. Where had he been? Why had he stayed away so long? That's what the music wanted to know.

He ignored it, and played, just let his fingers wander along the strings. After awhile, he began to sing, toying with lyrics he'd been working on the night before.

Like nothing burns in front of a cold sun,
Wanna go round and round, round and round.
Fighting through empty spaces and we're done.
Just wanna go round and round, round and round

Can't hear through tinkling chimes of glass breaking,
As we go around and round, always around.
Can't see past the masks everyone keeps faking,
As they go round and round, round and round...”

Something wet touched Orpheus's hand, but he ignored it. Another wet thing splashed his wrist, wetting the skin over his pulse. It was transparent as glass, and hotter than blood. His head was pounding. He wished it would rain, so he could go outside and walk in it, instead of the sun beating down like it did in the summer, baking the sand and pavement until your sneakers melted to everything.

But wishes weren't horses, and beggars didn't ride. So the boy ignored the weather. Instead, he kept mumbling half-lyrics, adjusting here, tweaking there, listening to his heart hurting in his chest.

His fingers danced, and he tried to ignore the sound of breaking dishes, his father roaring, his mother shrieking. Orpheus wished he were older, just by a few months. Wished that it was later in the year, closer to August. Then he'd just leave for real, back to school, instead of only leaving in his mind.

Leave for real... he'd get to that point, one day very, very soon.

§

In fact, he reached it the next day. As soon as he heard Calliope spew a rapid stream of obscenities, he picked up his guitar, stuffed his shoes on his feet, and left.

Through the dust of the desert, he walked until his house was lost amidst a tiny suburban sea at the base of the mountain. Higher and higher he climbed. Cholla and paddle cactus thorns snagged his jeans. Scorpions and tarantulas scurried out of the way, terrified of being crushed under the thick soles of his boots.

And when he reached the top of the hill at the base of the Catalina Mountains, he sat on one of the near-searing red stones, under a Joshua tree. Orpheus set his guitar on his lap, and played.
He lost himself in the hum of nylon strings, the melancholy song that seemed to pour out of him. He played the sun beating down on his skin, burning him raw. He plucked out the rapid-fire chitter of cicadas, the leaping song of coyotes as the sun begins to sink, the chirping of cactus wrens and the rustling of pack rats in their tumbleweed nests.

Orpheus played it all: the music of the desert, the soul of the world.

Then the girl sneezed. His fingers stilled. Whirling around, he saw her standing behind him, eyes wide in her dusty face.

Fairy, his mind whispered.

It was her eyes; eyes so bright, they held the late autumn sun. That's what Orpheus saw at first, because somehow he hadn't noticed the girl until she was right on him. Her hair, sun-streaked brown and tipped green, streamed down her back and out like a banner, catching and playing with the light. Blue jeans with rips in the knees, a thin green sweater so worn it was almost gray and had thready holes in the elbows showed off her spiky bones. She wore brown Vans with green and no socks. Her ankles were just as spiky as the rest of her.

Now Orpheus understood why he'd first thought fairy. She was as close to one as humanly possible, this green-eyed girl.

He slowly rose to his feet, never taking his eyes off her face.

"W-w-what's...what's your name?" He whispered. Shyness suddenly surged up through him, and he ducked his head, hiding behind his silvery hair. His face burned.

"Dice," she murmured. Her voice was the tawny wind after a dust storm through the branches of green mesquite, warm as baking creosote in spring. "My name...Dice."

"Where did you come from?" He asked, because he had no idea. Somehow she had simply appeared, a desert mirage.

Her sunshine eyes flickered to the Joshua tree, then back to him. She bit her lip and gestured almost helplessly to his guitar. "You call me," she said, "from...from Joshua tree. You...you need me. Orpheus. You...Orpheus. You need me." Confusion clouded her features. "Why? Why do you need me?"

Something sharp and hot lanced his chest when her eyes finally found his. His mouth went dry. He did, he realized dazedly, eyes stinging. He didn’t even know this girl, and he needed her. Orpheus could see an answering need in her eyes, eyes as green as sahauro, in the expression on her slender face.

And not only did he need her, but somehow, without understanding how, without ever having met her before, he knew her.

As soon as he understood the fierce yearning for this too-familiar girl, he ran. Oh, how he ran.
Heart thundering, his ribs spasmed; lungs burned and legs ached. Still, he ran, on and on and on, skidding down the hillside, oblivious to thorns and stones and rattler holes. The thin, whippy branches of mesquite trees cut his face, tried to drag him back, force him to return to that girl watching his dust and calling his name.

Eyes streaming with tears, every step rattling his bones, the sobs burst from him. All around him, the desert yipped and chattered and howled, calling to him, Coward. Coward. Coward.
Orpheus would've clapped his hands to his ears, but if he did, he would pitch forward and fall. But he didn't want to hear. He couldn't let himself hear the voices of the mesquite and the Joshua trees. They accused him. They rebuked him.

He kept running. Overhead, the sky split open on the heels of a crack of thunder and the first drops of monsoon rain began plunging towards the earth.

Orpheus ran away from that girl, ran from her familiar, hungry eyes like the sun on the green blood of the sahauro, putting the sheeting rain between them. He hadn't meant to look into her eyes and see the sunshine behind her face. As soon as their eyes locked, his chest had begun to burn with an overwhelming sadness.

Tears poured like rain as he booked it down the path through the raging monsoon rains. The trail back to Houghton Road was only a river of mud now. Orpheus slipped in it, fell, soaking his jeans. He tasted grit in his mouth. Lunging to his feet, the running went on.

When he got home, drenched and mud-streaked, crying tears that tasted of acid, he realized he'd left his guitar on the hill.

§

She picked up the guitar, clutched it to her chest as she huddled under the spiky branches of her tree. The rain pelted down, soaking her to the skin. Dice didn’t mind.

She understood why Orpheus had run. She knew about freedom, about chains, about needing and depending on something so violent and furious as what had arced between them when their eyes met. She wasn’t angry.

Leaning against the rigid skin of the Joshua tree, she drew in a breath that carried the scent of wet earth and green life. Then she faded into the tree.

Dice could wait.

§

That night, he dreamed of her, dreamed of cool water and hot desert sand, the shimmer of blistering summer air and a heart that beat in time with his. He woke in a sweat, the sheets so hot they stuck to his skin like melted wax. Her name was heat and raindrops on his lips.

"Dice...."

He got up, threw on a pair of worn jeans and his thick hiking boots. In the hallway, he glanced towards the door of his parents' bedroom. His father's snores nearly rattled the windows. Smiling a little, Orpheus walked out of his house and into the moonlit night without looking back.

He made it to the hill at the foot of the Santa Rita Mountains, where the lone Joshua tree stood by the flat, red stone where he'd sat earlier that day. Leaning against the skin of the tree, gleaming in the light of the full, white moon, was his guitar.

Orpheus lifted it, strummed the strings experimentally to make sure it was in tune. With the monsoon, you just never knew. Sometimes the humidity soaked into the strings and the wood, fattening them up until they could only screech. But each of his string thrummed beautifully, and the wood wasn't even damp. So he bent his head, mentally crossed his fingers, and began to play.

Everything he'd ever dreamed or thought or hoped for or needed flowed into his song.
Dragons and roses, ocean waves, ships and stars, stories told by the hum of nylon string over varnished wood: princesses in towers, boys with wings who fell and boys with wings who flew, fairies dancing, a girl riding on the back of a reindeer, two children in a cradle like a little boat, a woman with snakes for hair in the arms of a lion-faced man.

Girls who rode on fish, boys in towers made of ice, cities melting into oceans and skyscrapers turning into mountains, skeletons and dresses like cakes: he played everything, calling to her, calling to Dice, calling to the girl in the Joshua tree. He played until his fingers bled, and then a cool hand was pulling his from the strings.

"Orpheus," she said, softly, her head tilted to the side. She looked so modern, in her jeans and sweater, her spiked hair and her electric green makeup. She hadn’t been wearing makeup before, but she looked beautiful either way.

"Dice. You... you're a"

"Nymph."

"A nymph. They're Greek, right? Aren't you supposed to...I dunno...be in a toga or something?" He asked, feeling foolish. Her rich laugh made him smile.

"Toga?" She whispered, and blinked once. The sweater and hip huggers melted into a shimmering drape of silk the color of clouded jade and dark honey. She shook her head and the short, spiked hair suddenly tumbled down around her shoulders like a cascade of thick, viridian curls. "Like this?"

His brain shut down when she tilted her head and the moonlight touched on the shadow of her body beneath the silk. He drew in a breath, choked on his own saliva. Coughing, clearing his throat, he fought his blush. Could a guy trip over his own feet when he wasn't moving? He almost managed it.

"You like?" Her voice was the night wind.

"Um...um...yes. No! Maybe...yes! Yes? Definitely..."

She tilted her head the other way, curiosity dancing across her face in the moonlight. Pale silver light brushed against the column of her throat, the slope of her skin where it touched bronze silk.

"Jeans are fine," he practically yelped, trying to focus on her eyes, on the safe warmth flowing from her gaze, and not stare at the skin washed silver. He swallowed hard. "I like jeans."

She laughed, but her voice was cool as spring water and soothed the burning in his face. He closed his eyes, counted to five, peeked. Dice was once again in holey sweater and jeans.

"Better?" She asked. He nodded, blushing hot.

"Are you... are you a goddess or something?"

"No," she said. "I am nymph... but not common nymph." Her words were slow as time and halting, but he could have listened to her voice forever. "Not epimeliad, or hamadryad, or meliae or leuce—"

"Well, good,” he said, trying to smooth away the distress in her eyes. “'Cause I don't know what any of those things are. It's all Greek to me, dude."

She laughed again, put her hand on his arm. Smiling with her autumn sunshine eyes, she leaned in and whispered, "Orpheus." Her breath was the heat of high summer on red stone and desert sand, but sweet as the cool breezes of monsoon.

And then she kissed him, and it was like the music of the desert.

Tuesday, March 24, 2015

Hope (A Tool of Coercion in Totalitarian Governments - Part 4/4)

In many dystopian novels—indeed, in many novels with any sort of totalitarian or dictatorial government, and even some novels that don't have that in there—there are those oppressed individuals known as the masses. The repressed populace. They suffer the indignities of cruel governments and/or rulers, undergo horrific things in the name of "the greater good." But what about their good? What about the welfare of the individual? What stops people from rising up against these terrible things?

I'm going to use six different dystopian series, as well as references from history, as my examples when answering these questions, but it really all boils down to four very simple things: apathy, fear, blame, and hope. This blog will actually be broken up into four separate posts to prevent having to scroll through a lengthy research-paper-length post if anyone wants to look for something specific.


Hope



The fourth factor is hope. According to the dictionary, hope is aspiration, anticipation, optimism, faith, possibility—something good that people wish and strive for. But what does this, of all things, have to do with corrupt governments?

In The Hunger Games film, President Snow (one of the bad guys) sums it up fairly nicely. He explains that one way to redirect fear and resentment is with hope. Give the people something to hope for. And that is a useful tactic in any corrupt government.

The most obvious example of this I've ever seen is in the BBC Robin Hood series. Almost everyone knows the story of Robin Hood, how he robbed from the rich to give to the poor and how the Sheriff was so horrible and taxed the peasants into starvation and blah-blah-blah. Well, there's an episode in this particular series where the Sheriff does something completely off the wall, something no one would expect. When Robin's right-hand guy, Much, gets captured, instead of executing or torturing him, the Sheriff makes Much a lord.

Yeah, I didn’t see that one coming either. Gave him a nice house, some land, pretty servant girls, wealth, good clothes, etc. Now why would a bad guy do that? The Sheriff explains it to his right-hand man, Guy of Gisbourne—because of what it does to the peasants. "Look at that," they say. "That could be us," they say. "That could've been me. It still could be me if I play my cards right. We could go from cruddy poverty to that." Now because this is a TV show, Much of course is still allied to Robin and helps him out and so because of this loses all of his nice stuff, but that's not the point.


It was only after I'd seen that episode that I realized how this applied to what President Snow is talking about in The Hunger Games. That hope, that sense of "that could be me" is one of the things that helps promote the Games. The victor of the Games gets a super nice house, never has to worry about food again, gets nice clothes, a very generous stipend from the Capitol for the rest of their lives…and this applies to their family, as well. So Katniss winning the Games? All that good stuff goes to her mom and sister, too, whom she's been struggling to support for the last four or five years. The kids from Districts 1-4 actually volunteer (which is why they are almost always either seventeen or eighteen) in order to have the chance to get all of that.


Basically, when despair is rampant, people want to cling to hope, to the long odds in their favor—so long as the reward/outcome of those odds is kept fresh in their minds. Each district has a Victor's Square with lovely houses smack in the middle of it. Each district has a victor living in one of those houses. This only reinforces the idea, "Hey…that could be me someday, if I play my cards right." The slogan for the Games reinforces this too: may the odds be ever in your favor.
 

We see a similar—though far less deadly—version of this "that could be me" ideology in The Selection, by Kiera Cass. In The Selection, there's a competition similar to The Bachelor television show, except the guy up for grabs is one of the princes of the royal family, and the girl selected will marry him, thus improving her lot in life as well as her family's lot. In a culture where social class is a rigorously upheld way of doing things, that's a pretty big deal. Of course, it might not seem like that if—like the main character, America Singer (I know, it's like the only major flaw in the book so far, but really?)—you have a boyfriend already and then get selected for the competition, since the hopes and dreams of your family will be riding on your shoulders. But again, this is a good example of the system-that-isn't-really-fair offering the-thing-you-really-really-want in order to keep the populace from exploding.

Sometimes, it's not even the prize in a competition. Sometimes it's just the hope or dream that you've wanted all your life, and the system can help you get it. In Caitlin Kittredge's The Iron Thorn, Aoife wants to be an engineer more than anything else in the world. It is her fondest, most desperate dream. And in order to get that dream, she has got to be careful, she has got to walk the line, and she has got to stay out of trouble, or that dream will go poof.

The same thing is in Matched, by Ally Condie. A lot of the adults, Cassia discovers as she goes through the plot of the book, have made the conscious decision to sacrifice certain things in order to hold onto what matters most to them. Cassia is exposed to the hope that if you play by the rules, you get rewarded with the thing you want the most—even during those times when the rules may or may not be fair. Cassia wants to be a sorter, a particular job she loves; that aspiration is threatened when she tries to flout the rules. She backs down (at first) in order to hold onto that dream.

"Eyes on the prize" is a technique used by a lot of totalitarian governments, but in small doses, to help maintain the status quo. Basically the corrupt ruling institution, whatever it is, continually reinforces the idea that "this thing you want could happen to you! As long as you don't screw up." By itself, it's a weak and ineffective tool. But combined with the other three…hey, it works.

Saturday, February 28, 2015

Entwined - Heather Dixon (4.5 Stars)


Come and mend your broken hearts here.


Just when Azalea should feel that everything is before her — beautiful gowns, dashing suitors, balls filled with dancing — it's taken away. All of it. And Azalea is trapped. The Keeper understands. He's trapped, too, held for centuries within the walls of the palace. So he extends an invitation.

Every night, Azalea and her eleven sisters may step through the enchanted passage in their room to dance in his silver forest, but there is a cost. The Keeper likes to keep things. Azalea may not realize how tangled she is in his web until it is too late.

So, Heather Dixon wrote this book called Entwined, which is an adaptation of the fairytale "The Twelve Dancing Princesses." So basically Ms. Dixon said, "Hey, would you like to dance?" And me, fool that I am, said, "Sure." And she dragged me out on the dance floor and sucked me into this brilliant, beautiful, fun, and uplifting novel that has no sequel! How am I supposed to live in a world where Entwined has no sequel? I don't care if everybody got their happily ever after, there should be more to this book! Evil, evil woman…I think she enjoys the pain of her fans.

For the record, I own four novels (have read five) and own/have read various short story adaptations (and the Barbie movie) of this fairytale. Entwined is absolutely the best (followed by The Midnight Dancers by Regina Doman and Barbie in the Twelve Dancing Princesses, which are tied for second place). The brilliance of Entwined is that it has the best reasons for pretty much everything:

— why the girls are dancing in this enchanted space to begin with
— why they refuse to tell anyone where they're going
— why the girls are dancing in secret instead of out in the open
— why the king offers the princess's hand in exchange for discovering the secret

The other thing I like: all the princesses have their own distinct personalities, which makes it a lot easier to tell them apart. This is the only version of this story where I've seen that, except in the Faerie Tale Theatre episode, but there were only six princesses and I could never tell the twins apart. In Entwined, we have from eldest to youngest (and yes, they're all named after plants; their family has a thing for gardens—they have an aunt named Mugwort):

— Azalea, crown princess, has a bit of a temper, but brave and loyal and loving
— Bramble, brave but also impulsive, bit of a tomboy, a little too proud, but really funny
— Clover, the prettiest but also the shyest of the twelve
— Delphinium, the girly-girl, the romantic, who can be a bit melodramatic
— Evening Primrose (called Eve), who loves to read
— Flora, one of the twins, very studious and not much of a rule-breaker
— Goldenrod, the other twin, a relative rule-breaker compared to Flora
— Hollyhock, who lisps and loves oranges and asks a bazillion questions
— Ivy, who loves food in general
— Jessamine, doesn't talk very much and is a bit shy
— Kale, who's not talking yet but screams a lot when upset
— Lily, the new baby princess

I'll admit, the beginning of the book is a little sad (and right here is my SPOILERSPOILERSPOILERSPOILERSPOILERSPOILERSPOILERSPOILERSPOILERSPOILERSPOILERSPOILERSPOILERSPOILERSPOILERSPOILERSPOILERSPOILERSPOILERSPOILERSPOILERSPOILERSPOILERSPOILERSPOILERSPOILERSPOILERSPOILERSPOILERSPOILERSPOILERSPOILERSPOILERSPOILERSPOILERSPOILERSPOILERSPOILERSPOILERSPOILERSPOILERSPOILERSPOILERSPOILERSPOILERSPOILERSPOILERSPOILER! warning).

Anyway, the book starts out a little funny but morphs quickly into some serious sadness. It's Christmas Eve, the queen is pregnant with her twelfth child, and she's very sick — so sick, in fact, that when she gives birth to the youngest princess, Lily, the queen dies. The book spans the required year of mourning that takes place after the queen's death. And because the royal family is in mourning, they have to follow the rules of mourning: no visitors or visiting except on royal business or to church; wearing all black; no celebrations or parties; no courting; and absolutely no dancing.

But the princesses want to dance. It's the thing that makes them feel closest to their mother, who loved dancing with all her heart, and it's something they can do together as a family. They all love to dance. But their father, King Harold, doesn't want them to because a) it's against the rules of mourning and he's very strict about rules, is the king, and b) it reminds him too much of the queen, whom he loved very much. In fact there's a scene where the third-eldest princess, Clover, is trying to explain to the king that dancing reminds them of the queen and makes them feel close to her and his expression is like someone just stabbed him because it hurts him just to hear people talk about her.

So here's the basic plot of the book is: princesses dance in magical pavilion which turns out to be a trap laid by an evil sorcerer in order to free himself and kill the king, and because of a magical oath the girls took called Swearing on Silver they literally cannot tell the king or anyone else what they're up to (very sneaky, Ms. Dixon, giving them a good reason like that), and they have to find a way around the oath in order to protect themselves, the king, and their kingdom. This all takes place against the backdrop of the twelve of them and the king mourning the death of the queen, and how they heal from that loss is a big thread of the story.

Now, the king is kind of a jerk in the first half of the book, and part of that's because he's in mourning and really misses his wife, but the other reason is because of something that as the reader kind of makes you gasp in sympathetic agony for the poor guy but that the girls don't really process (they just shove it into the mental box labeled "Dad's Being a Jerk, Don't Listen") — he thinks his daughters wish that he had died instead of the queen.

You don't find this out until a little more than midway through the story, when he and the girls are having an argument, and he shouts, "You shall have to come to the reckoning that it is I who you have, and not your mother, and so it is. Nothing can help that. Despise me for it, as I know you all do…" I read that and was just like, "Well, jeez…no wonder he's so stiff and distant all the time. He thinks they hate him. That's a horrible thing for a parent to feel."

But dancing is what the girls love, so their attitude is basically, "Screw off, Dad, we're doing it." I can admire that, having been in that position about things I liked when I was young. Only one problem — the strangely compelling and very handsome Mr. Keeper, trapped within the walls of the castle, offers them a place to dance. And they don't know anything about this guy.

Of course, this is set in like, Victorian times, sort of, and children weren’t taught to beware of serial killers, pedophiles, white slave traffickers, and other bad types back then. So the girls are relatively trusting, and they feel bad for Mr. Keeper, who's trapped in the castle in the same way the girls feel trapped. So they dance at his magical pavilion, and all he asks in return is that they find a way to break the curse holding him to the pavilion and preventing him from walking around in the real world.

I have to admire girls who stick to their guns, though. When their dad finds out they've been dancing even though he expressly forbids it ("Mourning is meant to show the grief inside us. Dancing [and other such things forbidden by mourning] dishonor your mother's memory…How can you all treat your mother's memory in such an appalling way?"), he takes their dancing slippers, so they dance in regular shoes, even though it really tears up their feet. As in, blood staining their stockings after a couple days.

What I like about that is that the king gives in when he sees how much it matters to them. At first he's ticked that they'd hurt themselves just to disobey him, but then Clover explains it to him — which is brave of her because she's painfully shy — and at first he's like, "Well, it won't help," but when it becomes clear he's really hurt them with his attitude, he not only gives in, he has new slippers made for them, and he's willing to replace them when they wear out, as long as the girls make it to their lessons on time every morning and they don't flaunt the fact that he's letting them break mourning.

But the secret of the dancing has to come out because the king has a problem — Azalea is of marriageable age, but because of mourning, can't meet any potential gentlemen (either lords or landed gentry) who might want to be her suitors. So the king uses the mystery of where the girls go dancing at night as a means of bringing guys over to the castle.

Officially, it's Royal Business, which is allowed during mourning. Unofficially, it's an opportunity for two things: the girls get to go outside for fun, which is also prohibited by mourning, and Azalea gets to meet some guys. The thing I like about this is that the suitors aren't promised Azalea's hand in marriage — they just get to spend time with the princesses. The king's official rule about his daughters' marriages is that they'll never be forced to marry someone they don't like. Which I love.

And this brings me to three of the suitors! Now, for the record, some of these guys who show up are pretty smarmy. The first guy to arrive, Mr. Hyette, gets thrown out of the palace because he dared to peek at the girls when they weren’t wearing shoes or stockings (which back then was like peeking at a girl in her underpants) and then had the audacity to laugh about it. What a moron. And then there were certain nice guys who came because they knew the king wanted a chance to let his daughters of the house and so they're just there to help, not because they want anything. Unfortunately they're the minority.

BUT!

Three of the suitors are wonderful boys! Well, one of them is a man, but the other two are boys. Lord John Bradford, Lord Edward Haftenravenscher, and Prime Minister Fairweller (whose first name we never learn…hmmm…) are the three favorites among the "suitors."

Lord John Bradford, whose father was the former prime minister, is obviously madly in love with Azalea, and he can dance! He's not great at it, but he's got this talent for compensating for Azalea's rare weak points, and he leads very well. He's just a sweet guy, and he puts up with a lot of chuff from Azalea's sisters. He also risks his life several times to help the princesses deal with the evil magics unleashed on the palace.

What I like about him is that, while he's very much an adorable young man, he can step up and be a warrior when it's needed. You see him do that in the second-to-last battle when he literally comes charging in on a horse (along with the other two suitors, Sir John the Royal Physician, and Mr. Pudding the Royal Steward, who's actually kind of old, so that was pretty impressive of him) to fight the bad guy and the bad guy's evil magic in order to save the princesses.

And he uses words like "stupendous." I love him!

Lord Edward Haftenravenscher (what a mouthful), also called Lord Teddie, is a total doll. I adore him to distraction. Very much a clown, he's also sweet and generous, and he puts up with a lot from Bramble, whom he is very much in love with. She loves him but thinks he's only there because he feels sorry for her, and that turns into a complicated little subplot that thankfully gets solved by the end of the book when Teddy confesses his love in the most adorable way ever (here: "And you, Bramble! I love you!...I love you so much my fingers hurt!" and before that he told the king that Bramble was "the raspberry jam on his toast, the cadmium red in his paint-set!")!

And he only loses his temper (because he's depressed about Bramble) twice in the whole book, and both times it's because she's basically like, "I don't want your charity, I hate you, go away." Poor guy. But it gets resolved!

He's just fantastic. He makes a point to spend time with all the girls, not just Bramble, and he's a lot of fun. He's calls Azalea "Princess A" and Hollyhock "Hollyhocky," which she just loves. Unfortunately he wears this horrendous lime-green bowtie, but the rest of him is so adorable I don't even care. And even though he's a bit of a goof, he joins in on the charging-into-battle-on-the-horse thing along with Lord Bradford, which shows he can be serious when needed.

The third and most unlikely of the three suitors is Lord Fairweller, who's actually a marvelous dancer ("To [Azalea's] surprise, he was a masterful dancer. He swept her along the dance floor, guiding her about the corners and between skirts, flowing perfectly with the music. In fact, the only thing wrong with dancing with Fairweller was…well, dancing with Fairweller.") and it turns out a wonderful man, though at first he seems very stern and standoffish. You find out all kinds of wonderful things about him from the girl he's in love — Princess Clover.

She's a bit young for him (he's actually considered really young for a Prime Minister; I think he's in his twenties, and she's fifteen, which would be gross except she went after him; took her over a year to get him to agree to marry her despite the age-gap, and at fifteen she's considered an adult) but they're actually very sweet together and he's the perfect gentleman. The king was all like, "Not happening," but Clover can be very stubborn when she puts her mind to it and under the incredible power of the sweet-and-shy-but-strong princess, he buckled. Of course he did. You go, girl!

Let it be noted that Fairweller is also one of the men who rode in to save the princesses from the magical bad guys when he has no magic of his own. Just his sword and I think a pistol, but this is set during the time when pistols only had a single shot before you had to reload, so fat lot of good it would do him.

Let it also be noted that Fairweller volunteers to take the girls out for breakfast in the gardens (which they wanted) when it was horribly cold, and they made him carry everything because they don't like him much (food basket, blanket, etc.), and then when they finally got to where they were gonna eat, because there was no room on the blanket, he had to crouch on wet, frosted pine needles. The man deserves some props.

Yet another reason the man deserves props: when Ivy, who was like four at the time, got lost in the gardens (which are huge), the only reason she turned up safe was that Fairweller went looking for her, searching the little wooded park with his scent-hound for hours! And then he brought Ivy back and didn’t even complain when she threw up on him. The man deserves a medal.

So pretty much I adore this book. It's got lovable characters, it's hilarious (especially Bramble and Teddie, although Clover was pretty surprising at times, too), and I love the transformation of the king as he learns to loosen up and let go of the past. The healing process is very deftly woven into the story, as well. It's just a wonderful, uplifting book and I love it sooo much!

I only have three problems with this book, and they're all rather small. One, no sequel. Two, the king never really comes to grips with the whole Clover/Fairweller thing. I mean, he doesn’t make Fairweller resign as Prime Minister (he was going to) or anything like that, but he's like, "Azalea, we have to get her to fall in love with someone else before she and Fairweller marry in a year." Although when Azalea's like, "But they're so cute together," he just sighs and goes, "Traitor." So it's not terrible, but if things are tense between them later, I want to see it because it's probably going to be funny.

And third, the plot was a little predictable. Only a little bit, though. Part of that was Azalea's temper. Some of the issues created in the storyline were because she needed to learn to control her anger, but what I like about that is that she actually did learn to get a handle on her temper because of the problems it caused. So I both like and don't like that part because I kinda wanted to shake her sometimes but at the same time I totally understood because of all the stress she was under. A very well-fleshed character, honestly. But it did lend some predictability to the plot.

Because of that predictability, this book gets a 4.5/5 stars. It really does have a great father-transformation, though, and it's a very creative and realistic book. I love it; it's sitting on my shelf. Everyone should go read it.

Sincerely,

LA Knight


Some Great Bits from Entwined!


"Down with tyranny! Aristocracy! Autocracy! Monocracy! Other ocracy things! You are outnumbered, sir!

 Surrender!" — Bramble
---

"What happened?" said Clover, wetting a cloth in the basin, and dabbing Azalea's face.

"She had a sort of fit," said the King. "I think her underthings may be laced too tightly."

All the girls, including Azalea, blushed brilliantly.

"Sir," said Eve. "You're not suppose to know about the U word!"

"Am I not? Forgive me."
 
---

In a billow of skirts, Bramble leaped. It was a
grand jete worthy of the Delchastrian prima ballerina. She landed right on Lord Teddie, who had no choice but to catch her, and threw her arms around his neck. Then, to everyone's shock, she pressed her lips full on his.

"Oh...my," said Clover.

No one seemed more surprised than Lord Teddie who stumbled back under Bramble's assault."
 
---

"I can be agreeable," said Fairweller. "If the other party is."

"Oh, well," said Bramble. "There goes that, then."
 
---

"Honestly, we don't kick or bite or throw potatoes at all our guests."

A crooked smile touched Lord Bradford's lips.

"Your family has spirit," he said, taking his hat from Azalea. "I enjoyed the evening."

"Well, yes, you've just come from a war," said Azalea."

---
"What did Fairweller say? When you delivered the [love] note [from Lady Caversham]?"

"Oh," said Clover, calming a little. "Well...nothing, actually. I sort of...accidentally...tore it to pieces."

"Accidentally," Azalea echoed.

"And threw it into the fire," said Clover.

"Oh."
 
---

"She looked at him, his soft brown eyes and tall form, and contemplated raising herself on her toes and kissing his ear, or his cheek...

Instead, impulsively before leaving, she reached up and smoothed his mussed hair.

Mr. Bradford beamed."
 

---

"He was shockingly easy to follow. The pressure of his hand, the step of his foot, the angle of his frame... it was like reading his mind. When he leaned right, they turned in perfect unison. He swept her across the gallery in a quick three, a dizzying pace. Gilded frames and glass cases and the window blurred in her vision, and Azalea spun out, her skirts pulling and poofing around her, before he caught her and brought her back into dance position. She could almost hear music playing, swelling inside of her.

Mother had once told her about this perfect twining into one. She called it interweave, and said it was hard to do, for it took the perfect matching of the partners’ strengths to overshadow each other’s weaknesses, meshing into one glorious dance. Azalea felt the giddiness of being locked in not a pairing, but a dance…Now, spinning from Mr. Bradford’s hand, her eyes closed, spinning back and feeling him catch her, she felt the thrill of the dance, of being matched, flow through her."

--- (and one of my favorites, the King as outraged dad) ---

"The King emerged from the library, paperwork in hand, eyebrows furrowed.

"Well, what is it, what is it?" he said crossly. "Can you not let me work for five minutes at a time?"

The girls burst into angry cries. Kale let out another piercing shriek.

"Him-him-him-" said Delphinium, pointing a shaking finger at Mr. Hyette, who laughed still. "He-he-him!"

"He-he-he was spying on us!"

"And we weren't even wearing our boots!"

"Or even our stockings!"

Thunpfwhap. The King threw Mr. Hyette up against the paneling. Mr. Hyette's head slammed against the wainscot.

Kale stopped mid-scream, hiccupped, and giggled.

"Mr. Hyette!" said the King.

Mr. Hyette struggled against the King's steel grip.

"Ow," he said. "I say, ow!"

The King yanked Mr. Hyette from the wall and grabbed him by the scruff of his fluffy cravat. He handled Mr. Hyette out the entrance hall doors, slamming them behind him. Outside, gravel scuffled.

"I say," said Bramble, in an impeccable impersonation of Mr. Hyette. "I say, I say! I say—this Royal Business could actually be quite a lot of
 fun!" 

--- (and one of my other favorites, the birthday scene) ---
"It was my coming-of birthday last January," said Bramble, gripping the handle of her glass, "and you forgot that, too. You weren’t even here."
"I turnt eight last spring," said Hollyhock, "'n I didn' even get any present at all!"
All the girls joined in.
"I was thirteen last April and it
rained on my birthday and I didn’t even get to wear anything special—"

"We turned ten—just two months ago—"
"I usually get a book for my birthday—but—this year—"
"You forgot my birthday, too."

"And mine."

The girls looked miserable. The King opened his mouth, then shut it.

"Sir!" whined Lord Teddie. "You forgot
 my birthday, too!"

Bramble gave a surprised laugh, then slapped her hand over her mouth, as though shocked at letting it out. The tension broke. The girls laughed sheepishly, and Lord Teddie beamed. He probably did not have many ladies think him funny. In fact, he probably got slapped by a lot of them."