I read the original 1980 English language translation of Suzanne Martel's 1974 young adult and French Canadian themed Jeanne, fille du Roy in 1981 when I was going through a historical romance as a favourite genre phase as a teenager (a reading preference I fortunately outgrew decades ago). And thus, while I absolutely adored The King's Daughter as a fifteen year old, reading the novel in 2025 (and yes, the revised 1998 edition, but more on that later), this has actually been not really all that nostalgic and fun for me, but more like a bit of a reading chore, like a frustrating and sometimes even infuriating slog.
And well, there are two main reasons why The King's Daughter has rather majorly lost its textual shine for me in 2025. For one (and first and foremost), albeit that Suzanne Martel (who also seems to be the translator of her own work, of Jeanne, fille du Roy into English) certainly manages to textually capture an authentic and realistic feeling sense of geographical and physical time and place with The King's Daughter and provides an interesting and fascinating look at the daily life of French settlers in 17th century New France (in what is now the Canadian province of Quebec), main protagonist Jeanne's (the King's Daughter of the book title) unfolding relationship with her new husband, with Simon, it basically (and in my humble opinion) follows pretty much every lame romance novel cliché there is. For yes (and woefully predictably) Jeanne majorly despises Simon when she first agrees to marry him in place of her friend Marie, Simon is physically attractive but massively haughty, annoyingly distant and of course that even when Jeanne and Simon finally begin to fall in love, they are throughout much of The King's Daughter kept apart by various emotional obstacles and barriers, including Jeanne’s jealousy of Simon’s deceased wife Aimeé (all of which I admit to textually having devoured and loved at the age of fifteen, but which at the age almost fifty-nine and with me not having at all enjoyed historical romances since my early 20s now mostly making me groan and making me shake my head in and with annoyance and boredom). And for two, while for fifteen year old me, Jeanne was a totally wonderful and strong heroine in The King's Daughter, during my rereading, sorry, but I do now consider Jeanne as being depicted by Suzanne Martel as just too freakingly competent (and to the point of reading irritation), since she transforms herself at pretty much break-neck speed from a rather helpless and pathetic fille du Roy recently arrived in New France to being amazingly good at almost everything she, Jeanne, attempts to do, as Simon's wife, as mother to Simon's children, as a dedicated healer full of knowledge and of unlimited bravery (a heroine so perfect and so perfectly suited to and for Quebec frontier life that basically Jeanne equally cannot at all be a kindred spirit anymore, since she is basically above and beyond everything and everyone, leaving at least for me now, at this point in time, The King's Daughter as a tale that certainly has a huge caesura and dichotomy between how I would have rated Martel's presented narrative as a teenager and what I think of The King's Daughter and of main protagonist Jeanne now).
Finally, but for me of much significance and importance, the only reason for my rating for The King's Daughter being not two but three stars is that I do think it absolutely ridiculous how in 1993 the 1980 incarnation of The King's Daughter was pulled from the shelves of a Regina, Saskatchewan public school after questions were raised about the language used to describe the First Nations populations encountered in the novel and main protagonist Jeanne's reactions to and feelings about them (and that this in turn caused the publisher, caused Turtleback Books to censor and to change a rather goodly number of passengers, to publish a revised edition of The King's Daughter in 1998 and this all without even notifying and consulting with Suzanne Martel). But honestly and truly, that in Jeanne, fille du Roy and in the 1980 translation, the Huron and the Iroquois are called "savages" (les sauvages) and that the settlers newly arrived from France fear and often even actively despise and consider them less than human, while in the 20th century, this is of course unacceptable, inappropriate and majorly racially intolerant, for its 17th century New France setting, this is all historically accurate and authentic (and what really was actually mostly the case), and sadly, the 1998 revised and censored edition of The King's Daughter is thus very much less historically realistic (and that is truly a shame and something that Suzanne Martel certainly does not in any manner deserve).
Also, some reviews of The King's Daughter seem to consider fille du Roy Jeanne as a literary character Suzanne Martel's equivalent to Lucy Maud Montgomery's Anne Shirley (with Martel's The King's Daughter of course set in New France and Montgomery's Anne of Green Gables series in Prince Edward Island), an assessment with which I absolutely and strongly disagree. For Suzanne Martel's Jeanne is much too clichéd and too much without faults and foibles to be favourably compared to Montgomery's delightful, error prone and imaginative Anne Shirley, and Anne's slowly developing relationship with Gilbert Blythe is equally much more interesting and nuanced than Jeanne's full of romance novel stereotyping relationship with Simon.