Dry legalese: I received a copy of this book through the LibraryThing Members Giveaways program in exchange for an honest review.
This book won me over, despite the sometimes awkward prose. The protagonist’s internal monologue intrudes in many cases when her thoughts are already “shown” by the action, and it feels like Varley is just trying to give Katrina the last word. There are also a handful of awkward typos, and *literally* is used figuratively at one point—which, wherever you stand on the debate in modern times, seems like an anachronism. The dialogue, however, is flawless, to the point that I could hear the characters speaking in my head. This only made it more jarring when I pulled back from the story and read lines like “the state of my condition” and “I looked a question at him”. Also, there are no chapter breaks—only some scene markers—so while this story was hard to put down anyway, it was a little more difficult than it needed to be on that point. I hope Varley considers adding chapters in her future stories.
Because the dialogue and imagery are strong, while the narration and inner monologue less so, I wound up approaching this like a screenplay. And it would make an awesome movie. Speaking of which, while at first I felt there were some similarities with Tim Burton’s Sleepy Hollow movie, it turns out most of those are rooted in the original Sleepy Hollow tale (except possibly Ichabod’s connection to witchcraft—but frankly, I think Dax Varley did an even better job than the movie with that by adding a clever twist…a twist of the knife in my heart, that is). Varley adds an air of conspiracy to Sleepy Hollow with the town’s ruling Council and its politics, and makes us care about a cast of fully-developed characters and a squee-out-loud adorkable romance between Ichabod and Katrina. Not to mention, by telling this story from Katrina’s point of view she gives voice at last to a female character who appears often in Sleepy Hollow retellings, but rarely gets to show it her way.
I fell for Ichabod Crane the second he started cracking jokes about the “tales of debauchery” he wrote back Hartford to pay his way through university. And I don’t usually like writer characters, so that says something. Varley’s choice to show excerpts from Ichabod’s writing didn’t pay off, I don’t think, because his style as written doesn’t fit with actual 18th century literature as I've read it (another case where the prose doesn’t live up to the story), but I like the way the man’s mind works, his insight into the female gender (refreshing in a historical male character) and his silly sense of humor. Plus he’s a cutie. I rooted for Katrina as she became desperate to save him and damn, did I want to crawl between the pages and give the poor guy a hug, between what was revealed of his past and the awful way he has to face not just the Horseman hunting him, but also the lynch mob the town turns into. The advice they give writers—“take the worst thing that can happen to your characters and do it”—is followed here.
Even more minor characters, like Katrina’s friends (male and female) and Brom, the anti-love interest, were fully developed and had their sympathetic moments as well as moments of very human screwing up. The Horseman had plenty of creepy imagery surrounding him—the details of his sword were a nice touch and, without spoilers, gave atmosphere to an already tense scene—although not scary enough to cause nightmares. Although there was one scene with a wrecked ship…
Compassion for the characters and keen suspense kept me reading as the story made plenty of twists and turns, all the way to a really twisted ending…so twisted I had to take a walk to clear my head after reading it. There are some lingering questions about the rules the Horseman operates on and the fate of minor characters, especially at Katrina’s plantation, enough to make me hope for a sequel (all the surviving characters deserve some happiness)!
Wrapping up with a few issues the story touched on: Katrina’s father owns a plantation in 18th century New York, when slavery was legal (the author’s done her research! Although I should note one nagging historical detail: many Hessians, rather than being greedy mercenaries, were often hired out by their feudal lords to fight in stranger’s wars. The Horseman may have a more tragic backstory than we realize). Ichabod is an abolitionist, proud of the emancipation laws already being passed in Connecticut (again, research is shown! But not in a dull doing-the-homework sort of way) and convinces Katrina’s father to let him teach the slave children to read and do sums. I was worried this may make Ichabod and Katrina White Savior types and the enslaved people into caricatures, and to be honest I’m uneasy with how often the slave characters get used as narrative devices and/or pushed to the side more often than the white minor characters, although this is partially because that’s how the society of Sleepy Hollow operates—enslaved people are there to be used and pushed aside. Katrina does show gratitude for what her servants do for her, and individuals like Leta and Isaiah show gumption and a sense of humor, although Simon’s giving Katrina a magical charm falls a bit too near the Magical Negro trope for my tastes. I’m also not clear on Katrina’s motivations with regards to the slaves—is she an abolitionist, even though slave labor is what her inheritance is built on? Clearly she’s motivated later by her relationship with abolitionist Ichabod, but it may have been more interesting to see more of her feelings and opinions developing. Another reason why I want a sequel, in which Katrina inherits the farm and frees the enslaved characters. Educated by Ichabod, they go on to start in their own stories and are all far too smart to ever run afoul of ghosts (Leta could become a monster hunter, she’s that genre savvy). That’s what happens and no-one can convince me otherwise.
The threatened sexual assault of female characters is a sore spot for me, so I pay attention when it crops up. Katrina is menaced by some truly despicable villains, but can clearly handle it. While it’s very unpleasant for her, I felt safe as a reader that I wouldn’t have to actually read about her being hurt, and there was some catharsis in how she takes revenge on the scum in question. From the feminist point of view, there’s also a nice throwaway line where Katrina and a girlfriend talk about the copy of 1001 Arabian Nights Ichabod lends them, and Katrina calls out the king/sultan on his virgin-murdering ways. She’s not going to quietly accept a happy ending for him with the final princess! And of course, Katrina’s own Ichabod is not at all despicable. As I may have mentioned, I like these characters a lot and would really love to read more about them. ;D