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Witch World Series 2: High Hallack Cycle #1
Year of the Unicorn
There is a prequel called Horn Crown,Andre Norton enthralled readers for decades with thrilling tales of people challenged to the limits of their endurance in epic battles of good against evil. None are more memorable than her Witch World novels.Far from the besieged home of Simon and Jaelithe, in peaceful Norsdale, we meet Gillan, who longs to leave her dull life in a secluded country abbey. But when her wish comes true, she finds more than a little adventure. As she ventures out, not only is her life in danger, but also the power that lies within her, waiting to be discovered.
224 pages, Mass Market Paperback
First published January 1, 1965
95 people are currently reading
1137 people want to read
About the author
Andre Norton
693 books1,374 followersAndre Norton, born Alice Mary Norton, was a pioneering American author of science fiction and fantasy, widely regarded as the Grande Dame of those genres. She also wrote historical and contemporary fiction, publishing under the pen names Andre Alice Norton, Andrew North, and Allen Weston. She launched her career in 1934 with The Prince Commands, adopting the name “Andre” to appeal to a male readership. After working for the Cleveland Library System and the Library of Congress, she began publishing science fiction under “Andrew North” and fantasy under her own name. She became a full-time writer in 1958 and was known for her prolific output, including Star Man’s Son, 2250 A.D. and Witch World, the latter spawning a long-running series and shared universe. Norton was a founding member of the Swordsmen and Sorcerers' Guild of America and authored Quag Keep, the first novel based on the Dungeons & Dragons game. She influenced generations of writers, including Lois McMaster Bujold and Mercedes Lackey. Among her many honors were being the first woman named Gandalf Grand Master of Fantasy and SFWA Grand Master. In her later years, she established the High Hallack Library to support research in genre fiction. Her legacy continues with the Andre Norton Award for young adult science fiction and fantasy.
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Displaying 1 - 30 of 110 reviews
February 20, 2015
I read the first three Witch World books in omnibus form (Gate to Witch World), and this was my favorite of the three. It's more of a straight fantasy than the other two - Witch World and Web of the Witch World contained a strong Sci Fi angle this one did not. There are no flying ships or laser guns in Year of the Unicorn. (Don't be fooled, though: there are no unicorns, either.)
I admit it – it's also my favorite in part because of the theme of arranged marriage. There's something about the psychology of a girl being sent off to marriage with a man she doesn't know, and the reasons for it, and whether it ends up tolerable or horrendous or wonderful and how, that – done well and not gratuitously – fascinates me. Here it was amplified: the marriage on which the book is focused is one of thirteen that are the result of a bargain made years ago between the folk of High Hallack and the Were Riders of Arvon. The Riders are … well, no one civilized is quite sure exactly what they are. They are rumored to be sorcerers, shape-shifters; they are indisputably formidable in battle. They are not quite human. And so High Hallack sought the Riders' aid in the wars – and it was granted, in exchange for the promise of brides when it was all over. The time has come: the Riders contributed to victory, and with now thirteen nobly born girls between 18 and 20 with no physical defects are to be delivered at the turn of the Year of the Unicorn.
If the book had been written today the concentration would be on sizzling sexual tension, and said tension would build and build to unbearable levels as the book went along; Herrel would have been more barbaric, probably, though still honorable of course, and there would have been near-rape by the rivals and perhaps by Herrel and eventually garments falling like autumn leaves. (I wonder how many times this exact plot has been lifted and … modernized. That would be another interesting study.)
This, I think, while adhering to the mores of High Fantasy and whatever formal or informal censorship was in place at the time, is actually more realistic. Instead of a gorgeous virgin sacrifice succumbing to the temptations of whatever et cetera, Gillan is a practical, pretty (but not astonishingly so), intelligent young woman who chose this path open-eyed, and faces the consequences head-on, often terrified but never really considering giving up. She does not have emerald green eyes or raven hair. Instead of the shockingly masculine, astonishingly beautiful perfect-except-for-being-attractively-damaged barbarian-with-a-heart-of-gold-and-the-honor-of-a-storybook-knight, Herrel is a young (or young-seeming) man with a good many flaws both real and perceived who is not beautiful ("He was neither handsome nor unhandsome by human standard, merely very different"), though he is honorable. Not happy about it, but honorable. We never hear a word about his muscles, or … organs, and while he does have green eyes, they are very simply green eyes. He never expected a bride from this transaction, and certainly never expected one who was almost immune to the illusions, and this new life is almost as difficult for him as it is for her – especially given the bitter hatred of the other, deprived Rider. They don't fall instantaneously in love, and they don't leap into bed immediately or even soon, and it's altogether awkward for them until they are forced to fight together for a common goal. And even then it isn't instant connubial bliss, but more of a comradeship which could lead to a real marriage that really endures.
I like these two, and I like them together. The plot did kind of continue what I hope isn't an over-arcing theme of sex as a trade-off for women: they give up their virginity and they give up their magic, and their instincts fight it. But it is something of a medieval sensibility in a largely a medieval setting, and as such this is a good, solid, well-told story.
There's a bit more to this on my blog...
I admit it – it's also my favorite in part because of the theme of arranged marriage. There's something about the psychology of a girl being sent off to marriage with a man she doesn't know, and the reasons for it, and whether it ends up tolerable or horrendous or wonderful and how, that – done well and not gratuitously – fascinates me. Here it was amplified: the marriage on which the book is focused is one of thirteen that are the result of a bargain made years ago between the folk of High Hallack and the Were Riders of Arvon. The Riders are … well, no one civilized is quite sure exactly what they are. They are rumored to be sorcerers, shape-shifters; they are indisputably formidable in battle. They are not quite human. And so High Hallack sought the Riders' aid in the wars – and it was granted, in exchange for the promise of brides when it was all over. The time has come: the Riders contributed to victory, and with now thirteen nobly born girls between 18 and 20 with no physical defects are to be delivered at the turn of the Year of the Unicorn.
If the book had been written today the concentration would be on sizzling sexual tension, and said tension would build and build to unbearable levels as the book went along; Herrel would have been more barbaric, probably, though still honorable of course, and there would have been near-rape by the rivals and perhaps by Herrel and eventually garments falling like autumn leaves. (I wonder how many times this exact plot has been lifted and … modernized. That would be another interesting study.)
This, I think, while adhering to the mores of High Fantasy and whatever formal or informal censorship was in place at the time, is actually more realistic. Instead of a gorgeous virgin sacrifice succumbing to the temptations of whatever et cetera, Gillan is a practical, pretty (but not astonishingly so), intelligent young woman who chose this path open-eyed, and faces the consequences head-on, often terrified but never really considering giving up. She does not have emerald green eyes or raven hair. Instead of the shockingly masculine, astonishingly beautiful perfect-except-for-being-attractively-damaged barbarian-with-a-heart-of-gold-and-the-honor-of-a-storybook-knight, Herrel is a young (or young-seeming) man with a good many flaws both real and perceived who is not beautiful ("He was neither handsome nor unhandsome by human standard, merely very different"), though he is honorable. Not happy about it, but honorable. We never hear a word about his muscles, or … organs, and while he does have green eyes, they are very simply green eyes. He never expected a bride from this transaction, and certainly never expected one who was almost immune to the illusions, and this new life is almost as difficult for him as it is for her – especially given the bitter hatred of the other, deprived Rider. They don't fall instantaneously in love, and they don't leap into bed immediately or even soon, and it's altogether awkward for them until they are forced to fight together for a common goal. And even then it isn't instant connubial bliss, but more of a comradeship which could lead to a real marriage that really endures.
I like these two, and I like them together. The plot did kind of continue what I hope isn't an over-arcing theme of sex as a trade-off for women: they give up their virginity and they give up their magic, and their instincts fight it. But it is something of a medieval sensibility in a largely a medieval setting, and as such this is a good, solid, well-told story.
There's a bit more to this on my blog...
December 28, 2018
Did they look upon these ancient walls as now I did, as a shell which held nothing of warmth or welcome? Or would they abide ever under the spells their Were mates wove, seeing only that which would make them happy and content?Where Witch World and Web of the Witch World shows a culture where women bear explicit, obvious power (with one sharp limitation and those ramifications), this is something the opposite. You can read it as a journey of self-discovery or a series of ordeals for the protagonist to pass through, or even as two parallel paths where both Gillan and Herrel liberate themselves (but only seen through Gillan's viewpoint). But the gender politics slathered on and laced throughout are quite potent. Whatever the attitude of the land of Arvon as a whole, the Were Riders are here to obtain brides, and the more docile and unchallenging the better. It is hard to avoid framing this conflict as something male versus female, more specifically many-experienced-powerful-males versus lone-disadvantaged-female.
I finally recognize the setting of "The Toads of Grimmerdale", which is High Hallack after the long and debilitating conflict with Alizon. The war itself concluded in part due to the defeat of the Kolder, in the original two books. Unlike "Toads", this moves away from that idea-rich setting and into more of a fantasyland and Gillan's personal journey.
August 14, 2013
Year of the Unicorn is a typical Norton set up: An outsider is forced to make a journey where she discovers hidden abilities, overcomes threats to life and personal integrity, and ends up with the promise of a new life.
Unicorn takes us from the Witch World’s original setting in Estcarp/Escore across the seas to High Hallack, inhabited by a fair-haired race of humans who deeply mistrust witchcraft and studiously avoid the sites of magic scattered across their dales. Our hero is Gillan, a young woman who survived shipwreck as an infant and now endures a life immured in Abbey Norstead (it’s not a bad life, but it’s a very limited one). From her physical description – dark haired, fair skinned and thin – readers of Norton’s other Witch World novels will immediately recognize her as one of the Old Race. This means, of course, that she has some measure of Talent and sensitivity to uses of Power.
High Hallack has just thrown back an invasion from Alizon, the kingdom that lies north of Estcarp. But the country suffered greatly and the only way the Dalesmen could defeat their enemies was by allying with the Were Riders of the Wastes. The price was 13 maidens who would become the Riders’ brides. The bridal party passes through Abbey Norstead on its way to the Riders, and though Gillan is not one of the maidens she contrives to take one’s place (with the tacit approval of the nuns, who do not trust her foreignness) and sets out with the party to meet their new husbands.
The Riders have set up a glamor where the girls are attracted to the cloaks of the men best suited to them. Gillian’s senses let her see through the illusion but she’s nevertheless drawn to one particular mantle and so meets Herrel. Like her, Herrel is an outsider amongst the Riders as his mother was a fully human woman and Hyron, his father and leader of the pack, barely acknowledges him. Worse, if anyone else realizes who and what Gillan is, she may very well be killed; the Riders what brides and mothers of future sons, not woman who might rival them in Power.
Gillan’s identity is uncovered eventually; and Halse, the novel’s chief villain and a thoroughly unlikable and vindictive one, puts her soul at risk in an effort to eliminate her threat. (With the willing connivance of the other Riders. While the Riders aren’t corrupted by the Shadow, they are not exemplars of virtue. A fact that makes them one of the more interesting antagonists from a Norton story.)
This is one of the better Witch World novels. For one thing, Gillan is an interesting protagonist and engages the reader’s sympathy. She’s intelligent, resourceful and strong willed. This latter trait is important in Norton’s work. The author always challenges her heroes with threats to their personal integrity – their souls. And the worst thing that anyone in Norton’s moral universe can do is invade someone’s mind and force her to do things against her will. Another plus is that the author manages to create real tension. You know Gillan and Herrel will prevail in the end but you don’t know how far Norton will let Halse go before they do. She can be pretty brutal to her heroes. A third thing I liked about the novel were the Were Riders. As I mentioned above, they’re not evil men but their goals are so far removed from Gillan’s that the two can’t help but clash. Their deceptions anent the brides is inexcusable but they don’t intend to harm the women; they want to keep them pacified and unthreatening.
I’ll wrap up with a recommendation to “read” if Andre Norton is your cup of tea.
Unicorn takes us from the Witch World’s original setting in Estcarp/Escore across the seas to High Hallack, inhabited by a fair-haired race of humans who deeply mistrust witchcraft and studiously avoid the sites of magic scattered across their dales. Our hero is Gillan, a young woman who survived shipwreck as an infant and now endures a life immured in Abbey Norstead (it’s not a bad life, but it’s a very limited one). From her physical description – dark haired, fair skinned and thin – readers of Norton’s other Witch World novels will immediately recognize her as one of the Old Race. This means, of course, that she has some measure of Talent and sensitivity to uses of Power.
High Hallack has just thrown back an invasion from Alizon, the kingdom that lies north of Estcarp. But the country suffered greatly and the only way the Dalesmen could defeat their enemies was by allying with the Were Riders of the Wastes. The price was 13 maidens who would become the Riders’ brides. The bridal party passes through Abbey Norstead on its way to the Riders, and though Gillan is not one of the maidens she contrives to take one’s place (with the tacit approval of the nuns, who do not trust her foreignness) and sets out with the party to meet their new husbands.
The Riders have set up a glamor where the girls are attracted to the cloaks of the men best suited to them. Gillian’s senses let her see through the illusion but she’s nevertheless drawn to one particular mantle and so meets Herrel. Like her, Herrel is an outsider amongst the Riders as his mother was a fully human woman and Hyron, his father and leader of the pack, barely acknowledges him. Worse, if anyone else realizes who and what Gillan is, she may very well be killed; the Riders what brides and mothers of future sons, not woman who might rival them in Power.
Gillan’s identity is uncovered eventually; and Halse, the novel’s chief villain and a thoroughly unlikable and vindictive one, puts her soul at risk in an effort to eliminate her threat. (With the willing connivance of the other Riders. While the Riders aren’t corrupted by the Shadow, they are not exemplars of virtue. A fact that makes them one of the more interesting antagonists from a Norton story.)
This is one of the better Witch World novels. For one thing, Gillan is an interesting protagonist and engages the reader’s sympathy. She’s intelligent, resourceful and strong willed. This latter trait is important in Norton’s work. The author always challenges her heroes with threats to their personal integrity – their souls. And the worst thing that anyone in Norton’s moral universe can do is invade someone’s mind and force her to do things against her will. Another plus is that the author manages to create real tension. You know Gillan and Herrel will prevail in the end but you don’t know how far Norton will let Halse go before they do. She can be pretty brutal to her heroes. A third thing I liked about the novel were the Were Riders. As I mentioned above, they’re not evil men but their goals are so far removed from Gillan’s that the two can’t help but clash. Their deceptions anent the brides is inexcusable but they don’t intend to harm the women; they want to keep them pacified and unthreatening.
I’ll wrap up with a recommendation to “read” if Andre Norton is your cup of tea.
November 5, 2022
Andre Norton wrote so many books in her career. I am not planning to read all of them but have chosen two of her series to read through.
The first two books I read begin her Estcarp series: Witch World and Web of the Witchworld. I loved them both, especially the witches!
Year of the Unicorn begins the other series: The High Halleck books. Set in the same invented world but on a different angle. The main character, Gillan, is a witch too. She does not know that yet, being a foundling who was raised in a convent in a High Halleck town.
Gillan has never felt at home there and senses a will within her to be free and somewhere else. She makes her escape only to find herself in great danger, but begins to discover some of her witch powers. Thus the two series become connected and parallel.
That strong will Gillan possesses gets her through the the dangers despite some deep psychological issues. I could not help thinking of my own will and how it has both gotten me into plenty of trouble and out of oppressive situations in my life.
The fantasy elements in these books are so wonderfully rendered. As good as any I have read including Lord of the Rings. Better in some cases because they are written by a female author who had to create a male-sounding pen name to break into publishing in the 1960s.
The first two books I read begin her Estcarp series: Witch World and Web of the Witchworld. I loved them both, especially the witches!
Year of the Unicorn begins the other series: The High Halleck books. Set in the same invented world but on a different angle. The main character, Gillan, is a witch too. She does not know that yet, being a foundling who was raised in a convent in a High Halleck town.
Gillan has never felt at home there and senses a will within her to be free and somewhere else. She makes her escape only to find herself in great danger, but begins to discover some of her witch powers. Thus the two series become connected and parallel.
That strong will Gillan possesses gets her through the the dangers despite some deep psychological issues. I could not help thinking of my own will and how it has both gotten me into plenty of trouble and out of oppressive situations in my life.
The fantasy elements in these books are so wonderfully rendered. As good as any I have read including Lord of the Rings. Better in some cases because they are written by a female author who had to create a male-sounding pen name to break into publishing in the 1960s.
December 24, 2010
ORIGINALLY POSTED AT Fantasy Literature.
Year of the Unicorn, third in Andre Norton’s Witch World saga, is a departure from the first two novels. It’s the story of Gillan, a girl with no family and an unknown heritage who has grown up in an abbey in High Hallack, far from the places we visited with Simon and Jaelithe in the first two Witch World novels. Gillan feels stifled in the abbey and longs for something more. She also feels the stirrings of a strange power within her. She finds a way to escape her meaningless life by volunteering to be one of the 13 maidens that High Hallack has promised to a group of shapeshifters who helped them win a war. This leads her on a terrifying adventure in which she discovers her power and, possibly, love.
Year of the Unicorn has a completely different feel from the previous Witch World novels. It’s written in first person and is, therefore, much more introspective than the action-packed stories about Simon and Jaelithe. The prose, also, has a completely different tone, and is most comparable (in my experience) to Ursula Le Guin’s. This comparison seems especially notable with the audio edition because it feels a lot like the audio version of Le Guin’s Voices — even the voice of the reader (though different) is extremely similar. Kate Rudd reads Year of the Unicorn for Brilliance Audio and she does a great job.
I enjoyed learning more about Andre Norton’s universe. The world-building is extensive and Norton avoids infodumping, so we just get a tantalizing glimpse of the Witch World with each book. The first half of Year of the Unicorn flies by while we learn about High Hallack and get to know Gillan as she makes sneaky plans and moves quickly to implement them. Unfortunately, the magic system, which relies mostly on willpower, is not so intriguing. Basically, supernatural things are accomplished by thinking and willing strongly enough. This is forgivable for a fantasy novel published in 1965, but it’s still boring.
Speaking of fantasy history, according to Wikipedia, Year of the Unicorn marks “the first time in American publishing history that a young woman is the primary protagonist in a fantasy book” (no citation, retrieved on May 12, 2010). I don’t know if that’s really true, but I can say that Gillan is a likable young woman and her characterization is strong. However, this was actually both boon and bane, for Gillan, as she says herself, “speaks little… but she thinks much” and each thought she has is recorded for us. Thus, we are frequently subjected to her inner queries and then her entire cognitive process as she contemplates a catalog of potential answers. This includes frequent exclamations of “I could not... or could I… but how… how could I?” (etc.) and habitual reiterations of her terror. This caused the second half of the story to drag and to become frustrating when it seemed that Gillan had worked out a solution, acted on it, and then discovered that she was wrong and had to start over. I usually enjoy a first-person point-of-view, and I loved the first half of Year of the Unicorn, but by the end, I was quite eager to get out of Gillan’s head.
Those, especially female readers, who enjoy a strong introspective heroine, are likely to enjoy Andre Norton’s Year of the Unicorn. This can be read as a stand-alone novel.
Year of the Unicorn, third in Andre Norton’s Witch World saga, is a departure from the first two novels. It’s the story of Gillan, a girl with no family and an unknown heritage who has grown up in an abbey in High Hallack, far from the places we visited with Simon and Jaelithe in the first two Witch World novels. Gillan feels stifled in the abbey and longs for something more. She also feels the stirrings of a strange power within her. She finds a way to escape her meaningless life by volunteering to be one of the 13 maidens that High Hallack has promised to a group of shapeshifters who helped them win a war. This leads her on a terrifying adventure in which she discovers her power and, possibly, love.
Year of the Unicorn has a completely different feel from the previous Witch World novels. It’s written in first person and is, therefore, much more introspective than the action-packed stories about Simon and Jaelithe. The prose, also, has a completely different tone, and is most comparable (in my experience) to Ursula Le Guin’s. This comparison seems especially notable with the audio edition because it feels a lot like the audio version of Le Guin’s Voices — even the voice of the reader (though different) is extremely similar. Kate Rudd reads Year of the Unicorn for Brilliance Audio and she does a great job.
I enjoyed learning more about Andre Norton’s universe. The world-building is extensive and Norton avoids infodumping, so we just get a tantalizing glimpse of the Witch World with each book. The first half of Year of the Unicorn flies by while we learn about High Hallack and get to know Gillan as she makes sneaky plans and moves quickly to implement them. Unfortunately, the magic system, which relies mostly on willpower, is not so intriguing. Basically, supernatural things are accomplished by thinking and willing strongly enough. This is forgivable for a fantasy novel published in 1965, but it’s still boring.
Speaking of fantasy history, according to Wikipedia, Year of the Unicorn marks “the first time in American publishing history that a young woman is the primary protagonist in a fantasy book” (no citation, retrieved on May 12, 2010). I don’t know if that’s really true, but I can say that Gillan is a likable young woman and her characterization is strong. However, this was actually both boon and bane, for Gillan, as she says herself, “speaks little… but she thinks much” and each thought she has is recorded for us. Thus, we are frequently subjected to her inner queries and then her entire cognitive process as she contemplates a catalog of potential answers. This includes frequent exclamations of “I could not... or could I… but how… how could I?” (etc.) and habitual reiterations of her terror. This caused the second half of the story to drag and to become frustrating when it seemed that Gillan had worked out a solution, acted on it, and then discovered that she was wrong and had to start over. I usually enjoy a first-person point-of-view, and I loved the first half of Year of the Unicorn, but by the end, I was quite eager to get out of Gillan’s head.
Those, especially female readers, who enjoy a strong introspective heroine, are likely to enjoy Andre Norton’s Year of the Unicorn. This can be read as a stand-alone novel.
November 26, 2019
I grew up reading Andre Norton's fantasies, particularly the YA Magic series, but this will always be my favorite of all her books. It is weird and beautiful, and the prose is oddly archaic--it's definitely from an earlier era of fantasy storytelling--but the story of Gillan and her search for a place for herself in the world still captivates me.
It struck me this time as I don't think it ever did before how very much a man's world High Hallack is. The premise here is simple and very familiar: the men of the Dales, desperate for help in fighting a war, made a bargain with the mysterious Were Riders, and what did they promise to give? Land? Gold? Of course not. They offered thirteen young women as wives. Women as currency--again, a very familiar story. And yet Norton offers up a different story in showing why a woman like Gillan, nameless, homeless, without inheritance, might see in this bargain a future where she didn't have one before. As horrible as the story of women often has been throughout history, women have still found power even in the most hopeless of circumstances.
In this book, of course, Gillan's power is literal: she's one of the Witches of Estcarp, with the innate ability to see through illusions, move things with her mind, etc. But she has no idea who she is and, being completely untrained, might almost as well not have those powers at all. The most obvious thing her powers do for her is show her the truth behind the Were Riders illusions, which leads to her choosing Herrel as her husband. Herrel, being only half-Were, is as broken as she is--and the story returns to this coincidence over and over again.
I do sort of wish Norton hadn't used the style she did, because I think it gets in the way of the story. Her language is beautiful, but possibly too ornate, given how complex the narrative is and how difficult the landscape is to picture. But there's a wonderful blending of different types of magic, between Gillan's rather utilitarian powers and the magic of the Were Riders' homeland. I love the tension Gillan and Herrel face, between her presence (she wasn't meant to be one of the thirteen brides) and Herrel's position within the troop of Were Riders. And it's a very sweet romance, as the two end up not so much falling in love as discovering they are each essential to the other.
My copy is in great shape for as old as it is; I bought it used when I was in high school and it's endured who knows how many re-reads. On a whim, I went looking for a replacement copy and found not only that it's hard to find, but all the other covers are incredibly ugly. So I'll take even better care of it than I already do.
It struck me this time as I don't think it ever did before how very much a man's world High Hallack is. The premise here is simple and very familiar: the men of the Dales, desperate for help in fighting a war, made a bargain with the mysterious Were Riders, and what did they promise to give? Land? Gold? Of course not. They offered thirteen young women as wives. Women as currency--again, a very familiar story. And yet Norton offers up a different story in showing why a woman like Gillan, nameless, homeless, without inheritance, might see in this bargain a future where she didn't have one before. As horrible as the story of women often has been throughout history, women have still found power even in the most hopeless of circumstances.
In this book, of course, Gillan's power is literal: she's one of the Witches of Estcarp, with the innate ability to see through illusions, move things with her mind, etc. But she has no idea who she is and, being completely untrained, might almost as well not have those powers at all. The most obvious thing her powers do for her is show her the truth behind the Were Riders illusions, which leads to her choosing Herrel as her husband. Herrel, being only half-Were, is as broken as she is--and the story returns to this coincidence over and over again.
I do sort of wish Norton hadn't used the style she did, because I think it gets in the way of the story. Her language is beautiful, but possibly too ornate, given how complex the narrative is and how difficult the landscape is to picture. But there's a wonderful blending of different types of magic, between Gillan's rather utilitarian powers and the magic of the Were Riders' homeland. I love the tension Gillan and Herrel face, between her presence (she wasn't meant to be one of the thirteen brides) and Herrel's position within the troop of Were Riders. And it's a very sweet romance, as the two end up not so much falling in love as discovering they are each essential to the other.
My copy is in great shape for as old as it is; I bought it used when I was in high school and it's endured who knows how many re-reads. On a whim, I went looking for a replacement copy and found not only that it's hard to find, but all the other covers are incredibly ugly. So I'll take even better care of it than I already do.
October 29, 2018
Another re-read of a Witch World novel, this time the first book of those set in or originating in High Hallack, a place of dales abuting onto the Waste or moorlands. This is told from the viewpoint of a young woman called Gillan, who has been raised in the local version of a nunnery and apprenticed to the healer. Gillan is a misfit as she was rescued from a ship of the invading Hounds of Alizon (originally seen as aggressive invaders in the earlier Witch World stories set in the land of Estcarp) and any knowledge of her origins was lost when her rescuer was killed in the war against the Hounds. Although about 8 years old at the time she remembers nothing of her original life, but her physical description - dark hair whereas the High Hallack women are all blondes - is a clue to any reader of the earlier volumes that she most likely originated in Estcarp and therefore may have "witchy" powers. Sure enough, Gillan has always had hunches and other psychic sensations and this witch self is a strong part of her identity.
Gillan finds life in the nunnery stultifying and has no real friends, as the other girls view her as an oddity. So when opportunity offers itself to escape into the unknown on a perilous adventure, she seizes it with both hands. The folk of the dales have had to make a pact with a group of men known as the Were Riders, who are reputed to be shape shifting sorcerors but are also doughty fighters and played a major role in driving off the Hounds. As payment, the Riders requested "twelve and one" brides - young women between the ages of 18 and 20. Gillan contrives with the help of another woman - and the tacit connivance of the abbess - to change places with a girl who is hysterical at the thought of being married off to one of these odd men.
Their reputation proves to be justified when the allocation of brides - there are more Riders than 13 - is settled by ensorcelled cloaks. Only Gillan can see the reality which underlies the glamour spell cast by the Riders, but she is neverthless drawn to the cloak of a rider, Herrel, who is also a misfit, for he is of mixed heritage. This earns the enmity of one Rider in particular and so develops the threat to the pair as first Halse and then other Riders begin to gang up against them.
The story is rather proto feminist - even the independent heroine chooses escape through marriage - but the issue of choice is also paramount. Gillan instinctively avoids a physical relationship although she has never been told she is from Estcarp and that the witch women are reputed to lose their powers with their virginity (although the earlier stories would suggest this is at least in part psychological considering that Jaelle's returned after her marriage). Possibly this suggests a changed premise. The Were Riders are controlling: they ensure the placid conformity of the brides through ensorcelement and they are ruthless in their attempts to crush Gillan, unable to accept her as an equal who is able to see through their illusions.
I enjoyed the story - and wasn't put off by the rather stately and ornate prose, also found in other Witch World books and part of the charm - though I did find the ending slightly weak and for that reason I would rate this at 4 stars.
Gillan finds life in the nunnery stultifying and has no real friends, as the other girls view her as an oddity. So when opportunity offers itself to escape into the unknown on a perilous adventure, she seizes it with both hands. The folk of the dales have had to make a pact with a group of men known as the Were Riders, who are reputed to be shape shifting sorcerors but are also doughty fighters and played a major role in driving off the Hounds. As payment, the Riders requested "twelve and one" brides - young women between the ages of 18 and 20. Gillan contrives with the help of another woman - and the tacit connivance of the abbess - to change places with a girl who is hysterical at the thought of being married off to one of these odd men.
Their reputation proves to be justified when the allocation of brides - there are more Riders than 13 - is settled by ensorcelled cloaks. Only Gillan can see the reality which underlies the glamour spell cast by the Riders, but she is neverthless drawn to the cloak of a rider, Herrel, who is also a misfit, for he is of mixed heritage. This earns the enmity of one Rider in particular and so develops the threat to the pair as first Halse and then other Riders begin to gang up against them.
The story is rather proto feminist - even the independent heroine chooses escape through marriage - but the issue of choice is also paramount. Gillan instinctively avoids a physical relationship although she has never been told she is from Estcarp and that the witch women are reputed to lose their powers with their virginity (although the earlier stories would suggest this is at least in part psychological considering that Jaelle's returned after her marriage). Possibly this suggests a changed premise. The Were Riders are controlling: they ensure the placid conformity of the brides through ensorcelement and they are ruthless in their attempts to crush Gillan, unable to accept her as an equal who is able to see through their illusions.
I enjoyed the story - and wasn't put off by the rather stately and ornate prose, also found in other Witch World books and part of the charm - though I did find the ending slightly weak and for that reason I would rate this at 4 stars.
January 23, 2025
2025: Sometimes, you just need to get back to your roots. I spent a lot of my youth "hiding" in Ms. Norton's Witch World. Now in my semi-twilight, it's a place I want to visit again.2021 AUDIO! Color me delighted!!! Kate Rudd hits all the right notes with Gillan's voice and does well with Herrel. I fervently wish more of the entire series will release in audio. This book was a defining moment in my imagination. Wereriders! And that's when my life-long love affair with shifters began. A woman with no ties, a wererider told he was lesser. A pact made between the wereriders and the Lords of High Hallack: 12 and 1 brides, all maids, all of good birth. Gillan knows not where she came from and dispairs of the life stretching before her. Through subtrefuge, she becomes the one of the 12 and 1. And thus the adventure begins...
Original Kindle Review: I was reminded of this book by a post on Smart Bitches/Trashy Books. A reader posted a guest squee and I immediately headed to Amazon to grab it--to discover that it was available for a free read on Kindle Unlimited. I own an original copy of this book. I loved it the first time I read it, and I love it now. Andre Norton was my gateway to SciFi (The Beastmaster, The Sioux Spaceman) and fantasy (The Witch World). I own all of Ms. Norton's original Witch World books and a few of the later books, co-written with others. I now want to do a massive Witch World reread but will do so digitally because those 50 year old books are fragile now. First published in 1965, YotU held up beautifully. You don't have to have a point of reference in the Witch World to enjoy this book. The lyricism of the writing, the world-building, and the gentle love story between a woman who doesn't fit in her world and the man who's been told his whole life that he was less than his peers prove that they fit together.
July 6, 2020
This story was so fascinating I read all 281 pages in one sitting, so I was basically reading steady for about a bit over five hours. Right from the first page the story pulled me right in and it kept my attention until the last page. And I don't think I ever read any of her Witch World books before...I'm not sure why as this one was a superb story and possessed a great first person perspective. And I think that's one reason why I loved it so much: the story uses the pronouns "me" and "I" throughout the fast moving tale, which brings the action closer to the reader. And everything is well described too.
This is a fantasy adventure story with lots of action, magic, strange creatures, different environments and even fights...so basically everything one loves in a fantasy story. But one thing that IS missing is a unicorn. The year the story takes place is called the Year of the Unicorn. But there are horses in here. And the story builds nicely to a climax where you are left unsure of the characters fates.
This is the story of Herrel and Gillan. Gillan is a maid learning the craft of healing when she hears about a deal that had been made to send thirteen brides to these shapeshifters. Since she feels like an outcast where she's living she decides to take ths place of one of the brides. And that's how she meets Herrel. He may look human but he's not. In fact he can turn into a huge beast with sharp claws and big teeth. But then she's not exactly normal either. During the course of the story the two deal with many enemies as they find out who they really are.
I really had fun reading this!
This is a fantasy adventure story with lots of action, magic, strange creatures, different environments and even fights...so basically everything one loves in a fantasy story. But one thing that IS missing is a unicorn. The year the story takes place is called the Year of the Unicorn. But there are horses in here. And the story builds nicely to a climax where you are left unsure of the characters fates.
This is the story of Herrel and Gillan. Gillan is a maid learning the craft of healing when she hears about a deal that had been made to send thirteen brides to these shapeshifters. Since she feels like an outcast where she's living she decides to take ths place of one of the brides. And that's how she meets Herrel. He may look human but he's not. In fact he can turn into a huge beast with sharp claws and big teeth. But then she's not exactly normal either. During the course of the story the two deal with many enemies as they find out who they really are.
I really had fun reading this!
December 23, 2021
This is one of my favorite books of all time. In the past I have had to read it two or three times in a row because I cannot be finished with it in such.a short number of pages. It it just magical to me.
This time I have a copy in my Audible account so I know I can listen any time I wish. I do not have to destroy my ancient paperback coy with the pages falling out. This is a good feeling.
Yes, there are things about it that seem a bit childish to me now. Is that a bad thing? I do not think so.
I have large passages memorized and the whole story makes me smile. I cannot give it enough stars.
A wonderful way to end the year of reading - revisiting an old favorite.
This time I have a copy in my Audible account so I know I can listen any time I wish. I do not have to destroy my ancient paperback coy with the pages falling out. This is a good feeling.
Yes, there are things about it that seem a bit childish to me now. Is that a bad thing? I do not think so.
I have large passages memorized and the whole story makes me smile. I cannot give it enough stars.
A wonderful way to end the year of reading - revisiting an old favorite.
April 28, 2019
This is a re-read of a favourite book. I've loved this book since I read it (more than once) in my twenties, along with every other Witch World book I could lay my hands on. (Before the advent of the internet, Amazon and Abe Books getting SF/Fantasy published in the USA was not always easy, however a few Witch World books came out in the UK as YA titles.) There are two strands, the Estcarp books, with the witches of Estcarp, Simon Tregarth, Jaelithe and their offspring, and the High Hallack books. They are set at the same time and the Hounds of Alizon are bad guys in both. This is labelled as Witch World #3 but I think It's really High Hallack #1.
Maybe going back is not always a good idea. Did it stand up to my memories? Yes and no. I loved the characters, Gillan and Herrel, she a witch and he a were-rider (shape-changer), but the prose is chewy and the dialogue mannered in the extreme. There are times when it's almost Yodaspeak.
"Well do you speak in the terms of war and battle, Gillan. You are shield mate and sword companion as good as any man could wish. This then is what I would do—"
And that's by no means the chewiest section.
You do, however, get used to it, and Andre Norton has always been able to tell a good story. The style is very dated, now (written in the 1960s) but if you can forgive it that then it's still worth reading.
When the Hounds of Alizon attack the Dales of High Hallack the lords make a pact with the were riders: Help us beat back the enemy and afterwards we will send thirteen virgin brides to the were riders. The war is won, the thirteen brides must go, but not all of them ar happy about it. The were riders are little better than monsters as far as they are concerned. Gillan has grown up a refugee in the Abbey at Norstead, escaped from the Hounds some years ago with no knowledge of her heritage. Partly to save a terrified bride, and partly because she can't face the rest of her life cloistered in the Abbey, Gillan takes the place of the thirteenth bride and rides out for better or worse, to marry a were rider. On the way she discovers that she has powers (and may be of Escarp witch blood) but she doesn't have the training. When she picks Herrel, she unlocks a world of trouble. Herrel is a half blood and this counts as least in the pack, so the fact that he's snagged a bride when other 'more worthy' riders haven't sets the pack against them.
Is it still one of my favourite books? Hmm, maybe I wouldn't read it again, but it's still fondly remembered.
Maybe going back is not always a good idea. Did it stand up to my memories? Yes and no. I loved the characters, Gillan and Herrel, she a witch and he a were-rider (shape-changer), but the prose is chewy and the dialogue mannered in the extreme. There are times when it's almost Yodaspeak.
"Well do you speak in the terms of war and battle, Gillan. You are shield mate and sword companion as good as any man could wish. This then is what I would do—"
And that's by no means the chewiest section.
You do, however, get used to it, and Andre Norton has always been able to tell a good story. The style is very dated, now (written in the 1960s) but if you can forgive it that then it's still worth reading.
When the Hounds of Alizon attack the Dales of High Hallack the lords make a pact with the were riders: Help us beat back the enemy and afterwards we will send thirteen virgin brides to the were riders. The war is won, the thirteen brides must go, but not all of them ar happy about it. The were riders are little better than monsters as far as they are concerned. Gillan has grown up a refugee in the Abbey at Norstead, escaped from the Hounds some years ago with no knowledge of her heritage. Partly to save a terrified bride, and partly because she can't face the rest of her life cloistered in the Abbey, Gillan takes the place of the thirteenth bride and rides out for better or worse, to marry a were rider. On the way she discovers that she has powers (and may be of Escarp witch blood) but she doesn't have the training. When she picks Herrel, she unlocks a world of trouble. Herrel is a half blood and this counts as least in the pack, so the fact that he's snagged a bride when other 'more worthy' riders haven't sets the pack against them.
Is it still one of my favourite books? Hmm, maybe I wouldn't read it again, but it's still fondly remembered.
September 26, 2012
My favorite Andre Norton book so far. I think I read it my senior year in college and I definitely loved it. Great High Fantasy with a female character I actually liked (most of the time female protagonists are either too silly or too brilliant in my opinion, but she is likable-y normal in a fantasy way.)
March 1, 2010
With Andre Norton it is hard to decide which of her books is my favorite. This happens to be in the top two, with The Mirror of Destiny a close second.
I'm a sucker for a fantasy, and I'm a sucker for a true, if only mild, romance (clean). Put the two together and you have Year of the Unicorn.
I'm a sucker for a fantasy, and I'm a sucker for a true, if only mild, romance (clean). Put the two together and you have Year of the Unicorn.
April 25, 2011
Didn't like this book much at all. An endless quest, unclear motivations, questions about the land the Were Riders were from unanswered. I thought it was boring and predictable.
March 28, 2023
This entertaining and I am enjoying it. The female lead is a very strong person, so that’s a good thing. This is a confusing series as everyone seems to have a different opinion on the reading order. I just had this available and went for it. Apparently this is the first book of the High Hallack series and 4 th book of the combined Witch World books. It’s a little dated but not too much.
October 6, 2017
I'm honestly not sure if I would've read this one right now if not for it being in the Witch World omnibus I picked up. While this story is set in Witch World, it doesn't really have any direct ties to the two books published before it. Goodreads tells me that this in fact marks the beginning of the second series of Witch World novels, and maybe I would've liked it better when I got it it then. Part of my issue is that Simon and Jaelithe are lacking, but more than that, I just didn't find this to be a very interesting story. Gillan has wound up in an abbey in High Hallack after being rescued from raiders from the continent the previous two novels took place on. While it takes her a while to work it out, it's obvious to me immediately that she's an untrained Witch of Estcarp. For some reason, upon hearing that a number of women are being married off to werecreatures, Gillan decides to join them, and from there one silly decision after another drives the plot. I never get a strong sense of why Gillan chooses this method of escape from the abbey rather than literally any other option, and once she's married her werecat, I never really felt like there was a true love between them. He's a boring character, as are the rest of the weres - even the villain is generic and dull. A big thing that bugs me is a lot of the stuff that happens in this story feels like it contradicts the rules of magic and state of the world that had been established in Witch World and Web, and I never enjoy that sort of thing. Plus I'm just not in the mood for a "let's get hitched to a monster" plot, and while I get the feeling that Norton may have been trying to riff on East of the Sun West of the Moon it's done quite poorly. Even the part where Gillan is split into two and looses her shadow feels like it was handled much better in the first Earthsea novel. Thus I'm left feeling that the High Hallack saga is one I have little to no interest in, and while the next Estcarp book sounds like it may also be somewhat silly, I'd rather have had that round out the first omnibus. This may have been published right after the first two, but it detracts from the experience of the other novels rather than adding to it, and I wish I'd skipped it.
December 1, 2014
For a YA readership, this is an excellent story. It's got the lot : a heroine who has a "what are my origins?" mystique about her, a hero who is likewise a misfit among his group of exiles, a romance between the two, one person split into two people who has to try and reunite the two halves, magic and sorcery, deeper magic, 'double sight'. For the average teenager who likes fantasy novels, this is way up there.
But oh dear! It is let down badly by its awful awful awful Victorian-faux-medieval-pseudo-Arthurian-ersatz-chivalric style of prose and dialogue. It grates to the extent that I've seriously toyed with the idea of rewriting the book in normal English, so good is the actual story. Just to give one typical flavour:
Then once more I put will to the task of seeing as the Riders would have me see. Why couldn't she simply have written Once again I forced myself to try and see what the Riders expected me to see?
There's also not a shred of humour anywhere in the story, but that's standard for Andre Norton, so I'm not going to hold that against this particular book.
The story itself is summarised expertly in other reviews so I won't go into it here. Suffice to say that the other 5 Witch World books hang together as a connected narrative, while this - the 6th - only has tenuous links with the Witch World itself, and is a self-contained tale on its own account. It was easily my favourite of the series.
But oh dear! It is let down badly by its awful awful awful Victorian-faux-medieval-pseudo-Arthurian-ersatz-chivalric style of prose and dialogue. It grates to the extent that I've seriously toyed with the idea of rewriting the book in normal English, so good is the actual story. Just to give one typical flavour:
Then once more I put will to the task of seeing as the Riders would have me see. Why couldn't she simply have written Once again I forced myself to try and see what the Riders expected me to see?
There's also not a shred of humour anywhere in the story, but that's standard for Andre Norton, so I'm not going to hold that against this particular book.
The story itself is summarised expertly in other reviews so I won't go into it here. Suffice to say that the other 5 Witch World books hang together as a connected narrative, while this - the 6th - only has tenuous links with the Witch World itself, and is a self-contained tale on its own account. It was easily my favourite of the series.
August 23, 2022
Norton had me in the first half. Interesting world building; I liked Gillan as a main character, Herrel was likewise interesting to follow. But the writing quickly became confusing. By the end of the book, I had no idea what had happened for the last third of book. I finished the book foolishly hoping that it would become clear to me. It didn't. Norton's style of prose doesn't work well with dream-like sequences, and her descriptions of the magic, witchcraft, and sorcery she employs in her narrative is confusing to say the least. I have no idea what I just read.
January 31, 2013
Oh, dear. This series is going downhill. Gillan's journey meanders so badly it's a miracle that the book ever ended.
Fortunately I've been reading them in story-internal chronology, rather than publication order, so I know that it's not just a matter of getting worse as time goes on - there are later-published books I enjoyed more.
January 24, 2011
My favorite in the Witch World series. Rich and full of memorable detail. Romantic underdogs, beautiful.
September 18, 2017
I loved this book dearly and read it in two sittings--if I remember correctly! Magical and captivating!
October 20, 2023
It's been decades since I read any Andre Norton, but I came across some I hadn't read but was hesitant. Popping online, as one does, I came across Judith Tarr's epic Andre Norton re-read, and decided to go back to one I recalled, if only vaguely, armed with Juith Tarr's insights. Year of the Unicorn.
This book encapsulates everything I loved and that frustrated me about her books, the Witch World books in particular. The first third or so of the book is a gem. The voice of the main character is diamond sharp. The world itself is concrete, it lives and breathes. We see only a small slice of it, but that slice let's us know this is a real place. This is the part of the book I love.
Somewhere after that third of the way marker more and more of the action, if you can call it that, takes place in a misty dream world. Our connection to the reality of the Witch World is broken. The lack of agency in the characters takes a greater toll on the the readers, or at least this particular readers patience.
So many of her books are, at their core, romances. Those heterosexual couples pair off, this is a pattern and many of the books are explicitly heading in that direction. But we don't get to see the work, there is no passion. The romance is understated to the point of being unnecessary for all the room in takes up. I would much rather see these two characters come to terms with each other and build a true partnership than watch our heroine crawl around a dreamscape not interacting with other characters or real world problems.
There is human evil in these books, but it takes a back seat to a Lovecraftean impersonal Evil that feels, well, impersonal. As impersonal as the powers lurking behind the scenes pulling the characters strings so they go where the plot tells them to go.
All in all, I love this setup. I love the groundedness of the first part of the novel, and become less and less interested as the action builds. The very limited POV doesn't help. I would love to get int he heads of at least the other main character to get another view of this story. I will probably take a run at a few more of these, because those parts that are good are very, very good. Those parts live in my head from reading them years ago, but the reason I forgot huge swaths of them is obvious now.
This book encapsulates everything I loved and that frustrated me about her books, the Witch World books in particular. The first third or so of the book is a gem. The voice of the main character is diamond sharp. The world itself is concrete, it lives and breathes. We see only a small slice of it, but that slice let's us know this is a real place. This is the part of the book I love.
Somewhere after that third of the way marker more and more of the action, if you can call it that, takes place in a misty dream world. Our connection to the reality of the Witch World is broken. The lack of agency in the characters takes a greater toll on the the readers, or at least this particular readers patience.
So many of her books are, at their core, romances. Those heterosexual couples pair off, this is a pattern and many of the books are explicitly heading in that direction. But we don't get to see the work, there is no passion. The romance is understated to the point of being unnecessary for all the room in takes up. I would much rather see these two characters come to terms with each other and build a true partnership than watch our heroine crawl around a dreamscape not interacting with other characters or real world problems.
There is human evil in these books, but it takes a back seat to a Lovecraftean impersonal Evil that feels, well, impersonal. As impersonal as the powers lurking behind the scenes pulling the characters strings so they go where the plot tells them to go.
All in all, I love this setup. I love the groundedness of the first part of the novel, and become less and less interested as the action builds. The very limited POV doesn't help. I would love to get int he heads of at least the other main character to get another view of this story. I will probably take a run at a few more of these, because those parts that are good are very, very good. Those parts live in my head from reading them years ago, but the reason I forgot huge swaths of them is obvious now.
July 17, 2024
This would be a five star novel if it were better written but unfortunately Norton is still working out how to present a first person perspective in a compelling way and takes too many chances here that just don't pay off, ultimately creating a narrative and worldview that's at times far more confusing than it is compelling. It's a real shame because at its core this book is absolutely marvellous and Gillan is the prototype, first feminist fantasy heroine and there are zero fucks given by Norton about her audience here, or the fact that it's the damn 60s, this is a book about a young women discovering her identity, negotiating her autonomy and even consent in relationships (I love Game of Thrones but it's the opposite of Game of Thrones. And let's be clear again, it's the 60s so that's the standard narrative of how this kind of writing developed overturned, right there.) and taking control when her life is ultimately threatened. Outside of this - if that isn't enough - there are lots of fine ideas that complete the blend from sci-fi into full-blown fantasy. The gate from Web of the Witch World is back but now we're zeroed in on a group of shape-shifters who came through a long time ago and hope to get back (and don't mind stealing a few brides along the way). Although this is part-fairy tale, par hero's journey, I continue to love how every Witch World novel opens out the mythology just a little bit more, zeroing in on one aspect and using it to tell a story (as opposed to info-dumping lore). I just hope the incredible writing style we saw in Three Against the Witch World makes a comeback in the next one.
December 14, 2024
The best thing about this novel is the unique main character. Gillian is not what I expected for the 1960s main character in a fantasy - first of all, she’s a woman! Second, she reads like a woman today, so much so that I almost forgot at times that she was written 60 years ago. The story is almost a romantasy, as we have a woman in an arranged marriage with a sorcerer, shape-shifter dude. Of course, their relationship develops into something deeper. One thing about Gillian is that she’s not forced into this (something which I always find gross) - she willingly enters into this arrangement because she wants an exciting life.
Now, the worldbuilding is a little light and the magic often works in a bit of a deux ex machina fashion, but this book moves considerably quicker than more well-known classic fantasy novels and it’s engaging and interesting. Gillilan carries the story 100% though a lot of the book is her wandering around on her own (those parts, I will admit, are a little dry).
The book might be hard to get into if you aren’t prepared for the writing style. It’s very archaic in its prose and while the dialogue is generally more modern, there is some repetition and I could have used a bit more sexual tension between the leads.
Overall, this is a short little story that is great if you’re a reader who likes classic fantasy but want one with women who aren’t damsels, has bit of a love story, and is less about battles than a woman coming into her own power. I really enjoyed it.
Now, the worldbuilding is a little light and the magic often works in a bit of a deux ex machina fashion, but this book moves considerably quicker than more well-known classic fantasy novels and it’s engaging and interesting. Gillilan carries the story 100% though a lot of the book is her wandering around on her own (those parts, I will admit, are a little dry).
The book might be hard to get into if you aren’t prepared for the writing style. It’s very archaic in its prose and while the dialogue is generally more modern, there is some repetition and I could have used a bit more sexual tension between the leads.
Overall, this is a short little story that is great if you’re a reader who likes classic fantasy but want one with women who aren’t damsels, has bit of a love story, and is less about battles than a woman coming into her own power. I really enjoyed it.
January 9, 2017
Who is Gillan? This tale is the search to answer that question. She is an orphan with an unknown origin who never feels like she belongs. With a safe but limited future, she makes her "escape" from the abbey by being one of the "twelve and one" brides needed for a treaty with the Were Riders. The uncertainty of leaving has more appeal to her as a chance to better her situation. She meets Herrel through the selection process the Were Riders use to pair off with the brides. His origin is mixed, he is not a valued member of the pack, and the fact that he was selected by her causes hard feelings that drive the under currents of the story. If she was to be a witch, I wish we could have had a stronger manifestation of her powers at the end. The story was imaginative, stood on its own from the series, and was a great read.
Kindle e-book. Bought on sale.
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Year Of the Unicorn returns to Andre Norton’s Witch World with a tale of adventure and magic. The orphan Gillan grew up in an abbey in High Hallack, always knowing she was different and never feeling at home. When the lords of High Hallack pledge twelve brides to the Were Riders in exchange for their protection, Gillan is faced with an opportunity few would consider: to take the place of one of the twelve chosen women and go off to parts unknown to marry one of these strange wild men. But Gillan leaps at the chance to leave the only home she has ever known in the hopes of finding something she was meant to do. And her rare gift to see through illusions that fool others will prove vital in a journey where nothing is as it seems.
Kindle e-book. Bought on sale.
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Year Of the Unicorn returns to Andre Norton’s Witch World with a tale of adventure and magic. The orphan Gillan grew up in an abbey in High Hallack, always knowing she was different and never feeling at home. When the lords of High Hallack pledge twelve brides to the Were Riders in exchange for their protection, Gillan is faced with an opportunity few would consider: to take the place of one of the twelve chosen women and go off to parts unknown to marry one of these strange wild men. But Gillan leaps at the chance to leave the only home she has ever known in the hopes of finding something she was meant to do. And her rare gift to see through illusions that fool others will prove vital in a journey where nothing is as it seems.
This entire review has been hidden because of spoilers.
May 5, 2017
I really like Andre Norton. I started reading her in high school and never stopped. I even remember the first book by her I ever read—Time Traders. I reread that recently and found it held up pretty well. Today my favorites are stories of High Hallack. They feature heroines who have agency, intelligence and courage. This book is no exception. Gillan opts for adventure over security and nearly loses her life when she trades places with a young women, one of twelve plus one promised to men who came to the aid of her country in time of war. Their bargain is women for wives in exchange for their help. Gillan sees the distress of the young women, and offers to take her place. She finds more than she bargained for in the man she she is matched with.
If I had one complaint, it would be that the book finished too soon. Since it is part of a series, I hope to meet Gillan and Herrel again.
If I had one complaint, it would be that the book finished too soon. Since it is part of a series, I hope to meet Gillan and Herrel again.
June 22, 2019
This was Norton's first novel with a female protagonist (which I remember she said in an interview was quite a challenge). It's across the sea from the setting of the first two Witch World books, in a land that struck a bargain years earlier: in return for the Were-Riders fighting in the local war, the riders would receive thirteen brides in the Year of the Unicorn to take home. Gillan, an orphan (and one of the Estcarp witches), contrives to be one of the thirteen and bonds with the were-rider Herrel. Some of the riders who don't get brides resent this (Herrel's mixed-race), magically clone Gillan and go off with the clone, leaving her to die. Can her latent magic save her?
I can see why I didn't like this as a teen: long stretches of Gillan alone with no dialog, and the brides plot didn't grab me. Reading it now, it's enjoyably strange and eerie.
I can see why I didn't like this as a teen: long stretches of Gillan alone with no dialog, and the brides plot didn't grab me. Reading it now, it's enjoyably strange and eerie.
February 13, 2021
Some women can see that men turn into beasts, and that they have no real true form. These women have to pretend that everything about the men’s performance is beautiful; if women reveal for even a moment that they can see things as they really are then they will be in terrible danger. This danger involves a kind of violence that not only separates a woman’s soul from her body, it can split her into so many personalities that she no longer knows which her is the real her. She might find herself in a swampy forest of the dead with no one but a telepathic leathery duck to help her.
I would have given this 5 stars but every sentence that begins with “that which is” makes me flinch and I felt like the last two or three chapters were a bit repetitive. Generally though, whatever this book is saying about patriarchy, domestic violence and human-animal relations, felt deep.
I would have given this 5 stars but every sentence that begins with “that which is” makes me flinch and I felt like the last two or three chapters were a bit repetitive. Generally though, whatever this book is saying about patriarchy, domestic violence and human-animal relations, felt deep.
September 11, 2023
THIS is a book I think about when considering just what the blast makes a REAL fantasy story?
Here is a heroine's quest for a life of her own; there is romance, and a dark journey to free the power hidden within her. In the background is a world of prosaic customs, forever bordering dreamy vales, bandit-haunted wastelands and forests of nightmare.
'Unicorn' is proper Worldbuilding; one of a series in Norton's vast and endlessly imaginable Witch World. Presenting characters neither cookie-cutter cliche nor pastiches of random quirks. Neither powerless pawns of destiny nor super-folk swaggering through the crowd of mundane peasantry.
A glorious romance, an exciting adventure, a moving spiritual journey that ties into earlier and later works. But standing entirely alone.
Definitely one of the REAL classics of fantasy.
Here is a heroine's quest for a life of her own; there is romance, and a dark journey to free the power hidden within her. In the background is a world of prosaic customs, forever bordering dreamy vales, bandit-haunted wastelands and forests of nightmare.
'Unicorn' is proper Worldbuilding; one of a series in Norton's vast and endlessly imaginable Witch World. Presenting characters neither cookie-cutter cliche nor pastiches of random quirks. Neither powerless pawns of destiny nor super-folk swaggering through the crowd of mundane peasantry.
A glorious romance, an exciting adventure, a moving spiritual journey that ties into earlier and later works. But standing entirely alone.
Definitely one of the REAL classics of fantasy.
October 22, 2025
To escape a future with little adventure, Gillan uses deception to become one of the thirteen brides pledged to the shape-changing Were Riders. She choses the robe of Herrel, who is considered one of the weakest of them. Using powers she hardly knows she has, she can see through the illusions created by the strange warriors. She is soon branded by the others as a witch and she and Herrel are caught in repeated efforts of the pack to destroy them. Their adventures in survival and fighting to gain a rightful place involve a series of fantastic and at times, mysterious adventures. This is a well-written fantasy tale. My only real complaint is that the title has little to nothing to do with the tale. The only unicorn in the story is in the title.
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