It's a lot of images: a chestnut unicorn in snow, fiercely itself, and a girl who angrily aches about a lack she doesn't want to be angry about; grandparents turned youthful, quite literally, and the changes that does and doesn't bring; a family cottage in snow, with well-used details of bucket and stable and harness and stool, and the love and silences through it all; golden rope and bright carpets and magic woven and unwoven.
Written that way, it sounds splendid. I will find it and check it out.
But Outlaws of Sherwood may be my favorite Robin Hood retelling in the world -- and Robin Hood was formative to me, from pop-up books in infancy onward -- and I love Aerin and Harry despite the later awkwardness of thinking about colonialism in relation to Harimad-sol. Not all of early McKinley mattered to me, but what did, I still love.
Outlaws of Sherwood was the one early McKinley I bounced off, although I am planning to give it a try once I am in the same place as my books again. I worry sometimes about re-reading The Blue Sword, but The Hero and the Crown gave me some very important concepts. I really appreciated the double transformation in Beauty once I noticed it.
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Written that way, it sounds splendid. I will find it and check it out.
But Outlaws of Sherwood may be my favorite Robin Hood retelling in the world -- and Robin Hood was formative to me, from pop-up books in infancy onward -- and I love Aerin and Harry despite the later awkwardness of thinking about colonialism in relation to Harimad-sol. Not all of early McKinley mattered to me, but what did, I still love.
Outlaws of Sherwood was the one early McKinley I bounced off, although I am planning to give it a try once I am in the same place as my books again. I worry sometimes about re-reading The Blue Sword, but The Hero and the Crown gave me some very important concepts. I really appreciated the double transformation in Beauty once I noticed it.