3.5. It's interesting how highly rated this one is compared to Candlelight and Shadows duology (yes, my copy says book three, but Goodreads says otherwise... and GR knows all, so...). I loved the difference in tone/atmosphere as well the characters/love interests from the first two: this is primarily set in a forest, full of creatures (were deer, wolves, and even cats), accompanied by witches and wizards sitting down to dinner, akin to council. But, while I did feel for Brielle and Dire's predicaments, I feel like the length of this book hindered true connection/romantic development. Every problem/its solution, as well as character fate/backstory was info-dumped quickly (Dire/Eadmund's human life/eventual servitude to Granny is stated very clinically-and yes, you could read this as version of "show, don't tell" due to Eadmund's past as a medical student), but then we saw the same tactic with Mother Ula, as well as Brielle realizing what could lift Dire's curse (turns out, Granny made it so "his heartsblood has to mingle with hers. And at first, Brielle is rightfully wierded out because it makes it sound like Granny and Dire have to conceive. But then, like, mid-battle with Granny, Brielle realizes "she" wasn't specified, so our girl opens a wound and mingles their blood. Pretty sure she even says "It's a mad idea, but what if...". Just came off as clunky). Also, I kind of felt like the quests and B/D's eventual destinations, as well as the emotional backstory with Dire and Omylia (his first love who was apprenticed/turned were deer by Granny) were kind just... there? Not that I didn't feel for the HEA (given Brielle's own backstory, she deserves a wedding that's 100% her: a tunic for a gown and a common pig farmer as one of the witnesses). But, it was three stars so... (BTW, did this bit read like I was running out of breath? Imagine reading a book that's 75% that. Let's drink some water, folks. Catch our collective breath).
Pros
-Setting
*I love a good glamoured Fae/witchy wood, complete with killer trees, and demons dealing temptation in flowy dresses
-Push/Pull of the Curse
1.Brielle: despite wielding a bow and arrow, our girl's conflicted about Granny's bidding (killing Granny's recently "freed" servants"), she's not a hardened bounty hunter; there's disgust in what she must do to these creatures, and given her history of familial disappearance/death as well as childhood ties to the Whispering Woods themselves, it just brings on even more heartbreak.
2.Dire/Eadmund: the little glimpses of humanity/logic (i.e. almost remembering his human name, keeping himself from inflicting harm on Brielle/attempting to see his surroundings for more than just primal needs) being cut short via curse, was hard to hear, esspciecally after learning how much logic/humanity/respect for human life must have meant to him given his would-be doctor career (Yeah, I'm playing devil's advocate for myself. Who else want a turn?), as well as the spontaneity of the attacks (he could kind of time them, but was still a slave to time/animal nature),and the after- effects/look of the attacks had him even more lost to Granny's curse.
-After-Attacks (strange con, I know, but bear with me)
*Both Brielle and Dire awake from their were natures in various states of undress (cloth, not even clothes at this point "covering" their bodies), with no recollection of what pleasure or pain they might've caused. Their state of undress brings an added sad vulnerability, as if to say their curse is denying them true dignity.
-The Fae Dance
*I know how it ends (Eadmund being tricked by Granny disguised as Brielle in what he believes to be a moment of passion), but the build-up to their real-life kiss being shattered by Eadmund's need to go werewolf mode/almost killing Brielle... near *chef's kiss*… and it harkens back to Brielle's wish for a kiss in order to gain the fae witch's info. Monkey's paw, ya'll.
-The fact that these two appear to do-the-do (it is fade to black, but still). Swoon worthy!
-Brielle is not only still looking for Valera, but take's a page from her sister's "I'll give you my word" playbook. Although, this witch wasn't as easily swayed.
-Eadmund realizing that in order to feel fully free, he has to let go of what could've been with Omylia in order to embrace the love of now (Brielle). Also, the fact that Brielle doesn't do the whole "remind of him of his lost love" bit. No shade on Dark Shadows, but I love that Eadmund relishes in his loves differences and doesn't place their different attributes at odds with each other, but rather marvels in the women he attracted.
-The fact that Granny's victims will always be that: victims of her bargain. Once they're servitude is over, she sends a henchman of the moment to kill them.
Homages? References?
-All of Granny's glamour could be seen as an extended metaphor for the OG RRH wolf wearing Grandmother's clothing. But there's a particular scene where Brielle returns home and finds Granny embroidering/sipping "tea" on her sofa. Granny is oddly soft with Brielle, even gently urging her to leave her weapons outside. Reminded me of OG RRH being beckoned by "Grandmother" to snuggle into bed with her, leave the basket/cloak at the foot of the bed, leaving her defenseless.
-Dire/Eadmund being turned out by Granny only to send Conrad the monster hunter on him=Evil Queen ordering her own Huntsman to kill Snow White away from the castle grounds.
-Dire/Eadmund knocking on the bedroom door with a tray of food for an invalid Brielle going "who is it?" "It's me"=RRH arriving at Grandmother's, calling out "Grandmother it's me. Open the door" with "Grandmother" answering "Oh, it's unlocked, come on through. I'm too tired to get up".
-Granny turning from "Brielle" into herself mid-make out with Eadmund gave me Pennywise tricking Ben in Beverly's hotel room (IT 1990).
-Brielle and Eadmund licking/rubbing against each other/enjoying a run across the woods in their were forms (hers a cat, his a wolf) reminded me of the ending of "The Tiger's Bride" from Angela Carter's, The Bloody Chamber. Much like these two reveling in their primal forms, that story ends with The Beast licking away at his human bride's skin, revealing tiger fur beneath it, thus making her his ideal match.
-Eadmund explaining to Mother Ula "I'm a werewolf. I spend my life between two states of existence, sometimes more of one, sometimes more of the other" (Mercedes, 328), felt like a rushed version of a scene from Neil Jordan's film, The Company of Wolves (1984), (another Angela Carter tale, btw) where after attempting to injure the werewolf, Rosaleen asks said werewolf "Are you our kind or their kind?" and he sadly says "Not one nor the other. Both. My home is nowhere."
Was it perfect? No. But three out five ain't bad.