All her life, Liesl has heard tales of the beautiful, dangerous Goblin King. They’ve enraptured her mind, her spirit, and inspired her musical compositions. Now eighteen and helping to run her family’s inn, Liesl can’t help but feel that her musical dreams and childhood fantasies are slipping away.
But when her own sister is taken by the Goblin King, Liesl has no choice but to journey to the Underground to save her. Drawn to the strange, captivating world she finds―and the mysterious man who rules it―she soon faces an impossible decision. And with time and the old laws working against her, Liesl must discover who she truly is before her fate is sealed.
Dark, romantic, and powerful, S. Jae-Jones’s Wintersong will sweep you away into a world you won’t soon forget.
Wintersong is one of those books that is getting hype all over the place, in part I suspect because of the way its plot (and indeed aesthetic) recalls the cult classic film Labyrinth, starring David Bowie as Jareth the Goblin King. So, does it stand up to the comparison…?
In some ways, Wintersong is very much in the shadow of its inspirational predecessor. S. Jae-Jones has drawn strongly on the aesthetics of Jim Henson’s puppets and Ellis Flyte and Brian Froud’s costuming of both Jareth and Sarah, such that the Goblin King of the novel very strongly resembles the striking portrayal by David Bowie, including hair and slight androgyny. Similarly, the goblins strike the reader as rather Hensonesque, with the way they are described not recalling specific puppets from the film, but the whole aesthetic of the film. The big difference is in the setting; the late 18th century Bavarian setting of the real world and the very much more subterranean, earthy and claustrophobic setting of the Underground world are new to Wintersong, and Jae-Jones recalls them very clearly to the reader’s eye, not necessarily with precise strokes but with broad, evocative ones.
The other key aesthetic difference is the way Jae-Jones uses music in Wintersong. Music is the driving force of the novel, from Liesl’s music with her brother to the strange interest in her music of the Goblin King; music, its playing, its composition, its style and its quality run as themes throughout the novel, in a very explicit way. The problem here is that evoking something so auditory as music on the page is virtually impossible; different media manage different approaches, from only showing its effects, to putting in the notation in a comic, but describing it with a mix of specific (such as key and tempo) and general really doesn’t work. Instead, what the reader is left with is the sense of missing out on something, instead of Jae-Jones having achieved something.
The plot is a neat little thing of twists and turns, in five sections, each with its own way of turning what came before on its head; Wintersong diverges increasingly far from the Labyrinth template as you get deeper into the book, with an interesting approach to developing romance and love, and what those things can mean, explored by Jae-Jones. The different permutations of relationships in each movement are really well explored, and the relationship between Liesl and the Goblin King isn’t a simple, one-dimensional one, it’s a complex, changing thing, that develops alongside their characters across the course of the novel.
That character development is the core of Wintersong; it’s Liesl’s bildungsroman, and also to some extent Josef’s (happily queer!) bildungsroman in the background and enabled by Liesl. The way Jae-Jones handles that character development is subtle and never made explicit, very carefully; the whole book, being told in third person from Liesl’s point of view, shows the development in everything from the narrative voice to what it focuses on, but no one ever talks about growing up. We also see different ways of growing up and accepting oneself, dealt with very neatly.
In the end, Wintersong is let down by itself; if S. Jae-Jones had stuck to the emotional and visual-aesthetic story, this would be a brilliant fairy tale. As it is, she tried to deal with turning the purely auditory into text, and there, she failed, and in doing so, let the whole book down.
DISCLOSURE: This review is based on a copy of the final novel provided by the publisher, Titan Books.
If you found this review useful, please support my ability to write these reviews by contributing to my Patreon.