When a writer of fiction chooses to integrate folklore into their work, they risk two potential pitfalls. If they adhere too strongly to the source material, the story becomes simply a repetition of material most likely already known to the reader. If they completely alienate the source material by covering it almost completely with their own ideas, they risk both confusing the reader, and defeating the original purpose of their goal. Melissa Marr’s debut novel, Wicked Lovely, effortlessly avoids both of these potential flaws, seamlessly integrating the ancient folklore of Great Britain with the chaos of contemporary adolescence, in addition to being a stirring commentary on the conflicting nature of choice.
Wicked Lovely introduces Aislinn, a seventeen-year-old girl with the unique ability to see faeries, whether or not they wish to be seen. At the beginning, Aislinn is skittish and afraid. In the very first chapter, we see her run from a pool hall in order to escape a small group of faeries that has entered the establishment. As she continues to narrate, we realize that she has allowed faeries, and her ability to see them, dictate the way she runs her life. Where she goes to school, how she lives, and even the fact that she befriends Seth, who lives in a converted train car made of steel, something deadly to faeries, all of these are influenced by her fear. Therefore, when Keenan, the ruler of the fey Summer Court, approaches Aislinn she does everything in her power to avoid him, unable to understand why he has chosen, now, to seek her out.
As the story progresses, however, Aislinn comes to terms with her fear of the fey, and with the devastating choice that she finds herself confronted with. Characterization in this book is impeccable – each character has a distinct voice, varying in levels of control and formality. In addition, the characters are both likeable, and easy to relate to, including Keenan, who wavers between conflicting roles as antagonist and protagonist, as both the narrator, and therefore the current perception of his character, constantly changes. The alternating points of view add a interesting flavor to the story, as information known to one narrator, but not to another, adds an extra layer of complexity to the structure of Wicked Lovely’s already intricate plot.
Furthermore, Melissa Marr’s own imagination is increasingly prevalent, as her characterization of the fey as volatile, arrogant, and fatal creatures tastes both of realism, and of traditional folklore’s influence. From the Winter Queen’s cold mockery and determination, to Keenan’s moodiness and entitlement, and the bitterness and confliction evident in Donia, Keenan’s former mortal lover now transformed into a cold fey of the Winter Court, the fey seem to spring straight from the pages of this book to the reader’s own need for something beyond this world. With its wonderfully flawed characters, unpredictable and complex plot, and dark yet gorgeous portrayal of the magical world hidden within our own, Wicked Lovely is an instant favorite, unique amongst the recent crop of contemporary fantasy.
If you enjoy Wicked Lovely, I recommend War for the Oaks by Emma Bull, Tithe by Holly Black, and The Blue Girl by Charles De Lint.
