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Sistersong
“A beautiful reimagining of an old British folklore ballad, Sistersong weaves a captivating spell of myth and magic around the reader.” —Jennifer Saint, author of Ariadne
My sister’s heart broke on the river – and the river took it and bore it away.
In the ancient kingdom of Dumnonia, there is old magic to be found in the whisper of the wind, the roots of the trees, the curl of the grass. King Cador knew this once, but now the land has turned from him, calling instead to his three children. Riva can cure others, but can’t seem to heal her own deep scars. Keyne battles to be accepted for who he truly is—the king’s son. And Sinne dreams of seeing the world, of finding adventure.
All three fear a life of confinement within the walls of the hold, their people’s last bastion of strength against the invading Saxons. However, change comes on the day ash falls from the sky. It brings with it Myrdhin, meddler and magician. And Tristan, a warrior whose secrets will tear them apart.
Riva, Keyne and Sinne—three siblings entangled in a web of treachery and heartbreak, who must fight to forge their own paths.
Their story will shape the destiny of Britain.
Praise for Sistersong:
“Sistersong truly reads like a ballad—beautiful and mournful, a melody that sticks in your head. An absolutely stunning book.” —Hannah Whitten, author of For the Wolf
“I was utterly captivated from the beginning to the tragic, bittersweet end.” —Genevieve Gornichec, author of The Witch's Heart
“Magical, beautiful and heartbreaking.” —Greer Macallister, author of Scorpica and The Magician’s Lie
“A marvelous tale, gracefully told in language as beautiful as the song that inspired it.” —Louisa Morgan, author of A Secret History of Witches
“Fans of folkloric fantasy will be spellbound.” —Publishers Weekly
My sister’s heart broke on the river – and the river took it and bore it away.
In the ancient kingdom of Dumnonia, there is old magic to be found in the whisper of the wind, the roots of the trees, the curl of the grass. King Cador knew this once, but now the land has turned from him, calling instead to his three children. Riva can cure others, but can’t seem to heal her own deep scars. Keyne battles to be accepted for who he truly is—the king’s son. And Sinne dreams of seeing the world, of finding adventure.
All three fear a life of confinement within the walls of the hold, their people’s last bastion of strength against the invading Saxons. However, change comes on the day ash falls from the sky. It brings with it Myrdhin, meddler and magician. And Tristan, a warrior whose secrets will tear them apart.
Riva, Keyne and Sinne—three siblings entangled in a web of treachery and heartbreak, who must fight to forge their own paths.
Their story will shape the destiny of Britain.
Praise for Sistersong:
“Sistersong truly reads like a ballad—beautiful and mournful, a melody that sticks in your head. An absolutely stunning book.” —Hannah Whitten, author of For the Wolf
“I was utterly captivated from the beginning to the tragic, bittersweet end.” —Genevieve Gornichec, author of The Witch's Heart
“Magical, beautiful and heartbreaking.” —Greer Macallister, author of Scorpica and The Magician’s Lie
“A marvelous tale, gracefully told in language as beautiful as the song that inspired it.” —Louisa Morgan, author of A Secret History of Witches
“Fans of folkloric fantasy will be spellbound.” —Publishers Weekly
13 pages, Audiobook
First published April 1, 2021
573 people are currently reading
41967 people want to read
About the author
Lucy Holland
2 books549 followersLucy Holland is the bestselling author of SISTERSONG, a reimagining of the folk ballad ‘The Twa Sisters’. The book was a finalist for the Goldsboro Books Glass Bell Award and the British Fantasy Award for Best Novel in 2022. SONG OF THE HUNTRESS, her second historical fantasy novel, is published in 2024.
As Lucy Hounsom, she wrote the Worldmaker Trilogy. Her first book, STARBORN, was shortlisted in the 2016 Gemmell Awards for Best Fantasy Debut. She worked twelve years in corporate account sales for Waterstones Booksellers before becoming a full-time author.
Lucy co-hosts the intersectional feminist podcast ‘Breaking the Glass Slipper’, which combines her passion for elevating the voices of women and marginalised creators with a love of speculative fiction. The podcast won Best Audio in the 2019 British Fantasy Awards.
She holds a BA (Hons) in English & Creative Writing from the University of London and completed the MA in Creative Writing in 2010.
Lucy has given talks, participated in panels and hosted workshops at various events and venues, including the Science Museum London, the British Library, MCM ComicCon, Barcelona Festival 42, and Cymera Festival on topics ranging from myth, folklore and fantasy worldbuilding to public speaking for authors. She has given readings and discussed her work at the universities of Exeter, Bath Spa, and Royal Holloway.
Lucy lives in Devon with a black cat and a bedroom full of books. The landscape of the UK’s West Country is very much a part of her writing.
As Lucy Hounsom, she wrote the Worldmaker Trilogy. Her first book, STARBORN, was shortlisted in the 2016 Gemmell Awards for Best Fantasy Debut. She worked twelve years in corporate account sales for Waterstones Booksellers before becoming a full-time author.
Lucy co-hosts the intersectional feminist podcast ‘Breaking the Glass Slipper’, which combines her passion for elevating the voices of women and marginalised creators with a love of speculative fiction. The podcast won Best Audio in the 2019 British Fantasy Awards.
She holds a BA (Hons) in English & Creative Writing from the University of London and completed the MA in Creative Writing in 2010.
Lucy has given talks, participated in panels and hosted workshops at various events and venues, including the Science Museum London, the British Library, MCM ComicCon, Barcelona Festival 42, and Cymera Festival on topics ranging from myth, folklore and fantasy worldbuilding to public speaking for authors. She has given readings and discussed her work at the universities of Exeter, Bath Spa, and Royal Holloway.
Lucy lives in Devon with a black cat and a bedroom full of books. The landscape of the UK’s West Country is very much a part of her writing.
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Displaying 1 - 30 of 1,881 reviews
December 21, 2025
4.5****
Another re-telling and most anticipated read that has left me crying. This book was beautiful, lyrical and heartbreaking.
Set in Ancient Britain in a time where Saxons battle with individual holdings; a time where paganism,magic and the old Gods vs. Christianity, are three siblings who are trying to survive this, as well as creating their own paths with their own magic.
This is a loose retelling of the Twa Sisters, a old ballad of treachery, betrayal and tragedy between two sisters. The author here has given a voice to these siblings, the story of the ballad, as well as giving an account to the rumour of a third sister.
The three siblings in this are Riva, Keyne and Sinne. Each different to one another in all aspects and with their own magic. This story really focused on the sibling relationships of these three, and the diverging paths they take with tragic consequences.
This book focused on relighting magic in a world where they’re told it’s wrong and women’s roles were seen to be silent and relegated to “unimportant” matters. The author successfully gives each of these siblings a voice and makes them individuals. She successfully explores gender identity and just accepting oneself as they truly are.
This book will stay with me as it was rather haunting and lyrical, it made me angry at parts and so sad too, but also suffused with beauty and a enchanting tale of magic, sisterhood and tragedy.
Another re-telling and most anticipated read that has left me crying. This book was beautiful, lyrical and heartbreaking.
Set in Ancient Britain in a time where Saxons battle with individual holdings; a time where paganism,magic and the old Gods vs. Christianity, are three siblings who are trying to survive this, as well as creating their own paths with their own magic.
This is a loose retelling of the Twa Sisters, a old ballad of treachery, betrayal and tragedy between two sisters. The author here has given a voice to these siblings, the story of the ballad, as well as giving an account to the rumour of a third sister.
The three siblings in this are Riva, Keyne and Sinne. Each different to one another in all aspects and with their own magic. This story really focused on the sibling relationships of these three, and the diverging paths they take with tragic consequences.
This book focused on relighting magic in a world where they’re told it’s wrong and women’s roles were seen to be silent and relegated to “unimportant” matters. The author successfully gives each of these siblings a voice and makes them individuals. She successfully explores gender identity and just accepting oneself as they truly are.
This book will stay with me as it was rather haunting and lyrical, it made me angry at parts and so sad too, but also suffused with beauty and a enchanting tale of magic, sisterhood and tragedy.
October 11, 2021
Loved this book so much I chose it for the Fantastic Strangelings Book Club pick for October. Witches, gods, murder ballads, betrayal. Wonderful and fascinating characters.
March 14, 2021
truly enjoyed this, from its roots in ancient British folklore to the strength of its leading characters and the beauty of the prose. rtc!!
> 4.2/4.5 stars
Thank you to PanMacmillan UK for sending me a proof copy in exchange for an honest review
*
a 'reimagining of a folk ballad [. . .] set in magical ancient Britain' that explores 'gender identity, the bonds between siblings, a changing world and the overwhelming power of stories' - AND IS FOR FANS OF NAOMI NOVIK AND MADELINE MILLER? [x]
I'm fine, absolutely fine.
*
I helped reveal the cover for Sistersong on my Instagram, here!
> 4.2/4.5 stars
Thank you to PanMacmillan UK for sending me a proof copy in exchange for an honest review
*
a 'reimagining of a folk ballad [. . .] set in magical ancient Britain' that explores 'gender identity, the bonds between siblings, a changing world and the overwhelming power of stories' - AND IS FOR FANS OF NAOMI NOVIK AND MADELINE MILLER? [x]
I'm fine, absolutely fine.
*
I helped reveal the cover for Sistersong on my Instagram, here!
November 19, 2024
Quite filmic and quick, and in a sense also rather YA. I liked the dynamic between the distinct sisters and the ambiguously attractive Tristan, but found the time and place as a setting a bit lacking in execution.
You and her need to stop thinking in terms of loss.
A retelling of an original myth I am not familiar with, Sistersong follows three sisters after the retreat of the Roman Empire from England. The sisters are daughters of the king, who tries to ward of encroaching Saxons while in the mean time managing a transition from paganism to Christianity.
There are some magical elements, although this mystic source of power seems to be fading in an overall decline of the realm. The daughters are very much tied to this tradition interestingly enough, most of the time the young are change agents instead of conservatives.
Keyne, the middle sister is most interesting, a trans character portrayed in my view in a well done manner. Also of the children of King Cador probably the most level headed one, since burn victim and eldest Riva and flirty immature youngest Sinne end up vying for the affection of handsome, unknown, gifted and decidedly opportunistic stranger Tristan for most of the book.
In general Sistersongnis a book that every chapter dives right into the action and hence reads in a super smooth way, but also gives the whole a bit of an instrumentalist, very dramatic and overly calibrated to emotions feel.
The magic in this world is a bit convenient with prescience and visions and definitely adds to this impression.
Maybe I also had this experience since the voice actor was overdoing the drawl of priest Gyldis a.k.a Raspoetin and the Druid.
In general I am not sure if a priest would already have such political power so shortly after the fall of Rome, certainly with a personality befitting Dolores Umbridge and dialogues like:
What do you want?
Only your soul. For my lord.
The druid rightfully forms a counterpoint, despite the doubt I feel about a sixth century person saying something like: The only evil I see here is intolerance.
And wouldn’t people in general be more accustomed to battle, bloodshed and early death?
Like, torture, is also something I can’t imagine people to be too squeamish against in a hunger winter and with the amphitheaters of the Romans scattered across the country.
Still the conflict between sisters is well build up and understandable, with me rooting for both sides.
And the ritual involving one of them at the end is quite harrowing and dark as a conclusion to a gripping book.
Three solid stars for this debut by Lucy Holland.
You and her need to stop thinking in terms of loss.
A retelling of an original myth I am not familiar with, Sistersong follows three sisters after the retreat of the Roman Empire from England. The sisters are daughters of the king, who tries to ward of encroaching Saxons while in the mean time managing a transition from paganism to Christianity.
There are some magical elements, although this mystic source of power seems to be fading in an overall decline of the realm. The daughters are very much tied to this tradition interestingly enough, most of the time the young are change agents instead of conservatives.
Keyne, the middle sister is most interesting, a trans character portrayed in my view in a well done manner. Also of the children of King Cador probably the most level headed one, since burn victim and eldest Riva and flirty immature youngest Sinne end up vying for the affection of handsome, unknown, gifted and decidedly opportunistic stranger Tristan for most of the book.
In general Sistersongnis a book that every chapter dives right into the action and hence reads in a super smooth way, but also gives the whole a bit of an instrumentalist, very dramatic and overly calibrated to emotions feel.
The magic in this world is a bit convenient with prescience and visions and definitely adds to this impression.
Maybe I also had this experience since the voice actor was overdoing the drawl of priest Gyldis a.k.a Raspoetin and the Druid.
In general I am not sure if a priest would already have such political power so shortly after the fall of Rome, certainly with a personality befitting Dolores Umbridge and dialogues like:
What do you want?
Only your soul. For my lord.
The druid rightfully forms a counterpoint, despite the doubt I feel about a sixth century person saying something like: The only evil I see here is intolerance.
And wouldn’t people in general be more accustomed to battle, bloodshed and early death?
Like, torture, is also something I can’t imagine people to be too squeamish against in a hunger winter and with the amphitheaters of the Romans scattered across the country.
Still the conflict between sisters is well build up and understandable, with me rooting for both sides.
And the ritual involving one of them at the end is quite harrowing and dark as a conclusion to a gripping book.
Three solid stars for this debut by Lucy Holland.
August 29, 2021
Ooo, this gave me serious CIRCE vibes, in the best way! This is one of those lovely blends of historical fiction with fantasy/magical elements, and in this case, it also has wonderful character work and great feminist themes woven throughout. I also quite enjoyed the way the different threads of the story resolved itself to have ambiguity but not in a way that felt cheap or "faux deep." All in all, very much enjoyed and would read more from the author
February 3, 2022
I came out of this experience with a new reading rule:
When considering a work of historical fiction, I will, from this day forth, always read the acknowledgments before spending money. If said acknowledgments make no mention of a) a research librarian, b) the chair of a history department, c) a kind friend who put the author up so they could spend a month using a university's archives, or some similar note, then I will put the book down and never look back.
At its best, historical fiction invites us into the minds of people culturally, situationally, maybe spiritually distant from us so that we can, through their eyes, better understand something about our own very different world. One of the only good things I can say about the experience of reading this book, is that it made me appreciate the exceptional work of writers like Lauren Groff and Ken Follet who immerse their reader into not only a physical and political setting, but into the minds of people whose lives are very different than anything we have known.
The goal of historical fiction should NOT be to look back at a past time and give us characters who basically think exactly like us so that we can marvel at how much better things could have been if we could just go back in time and fix things....
Every chapter of this book managed to pull me out of its historical setting, from extremely modern PC dialogue, to cheap descriptions of historical dress, to a teenage girl in 5th century Britain being described as too "bookish" (not that we ever saw her actually read or talk about books).
There was real opportunity here, and I can see why some people were excited by this (A fan of the folk song it's sort of based on, and impatient for the next Madeline Miller book, I was too).
Having a trans protagonist was a fresh take on the oh so tired I'm-an-oppressed-woman-in-an-historical-period-who-hates-sewing-and-I-must-behave-like-a-man-to-show-my-worth trope. Exploring what trans identity may have felt like in world pre-photographs and clear mirrors and with such different ideas about gender is really interesting and I understand quite a tast. But Keyne's struggle is so closely linked to appearance and to power that it felt a bit flat. Likewise, as someone who has spent a lot of time this year learning about historical dress, I was initially very curious about how a trans man would deal with wearing men's clothing in a medieval setting. Women actually wore skirts for very practical sanitation reasons and it would have been cool to explore how Keyne might work around that particular challenge. (On that note, something I DID appriciate, is that Keyne is a capable sewer and he never complains about it being women's work. Of course, his sister complains about that for him....)
I also think the conflict between old Celtic religious practices and Christianity is a fascinating topic to explore. But the priest Gildas, the sole representative of Christianity, was just so ridiculously unlikable, and the religion/magic of the Celtic people is really just soft fantasy with very little resemblance to historically held beliefs so no real dialogue takes place.
If you enjoyed the story, that's cool. I understand that this kind of representation means a lot. I was genuinely moved when people started switching to male pronouns in regard to Keyne, and I can see how a journey like that can be enough for some readers. I just which It had been better researched and that the other two sisters had had better character development.
When considering a work of historical fiction, I will, from this day forth, always read the acknowledgments before spending money. If said acknowledgments make no mention of a) a research librarian, b) the chair of a history department, c) a kind friend who put the author up so they could spend a month using a university's archives, or some similar note, then I will put the book down and never look back.
At its best, historical fiction invites us into the minds of people culturally, situationally, maybe spiritually distant from us so that we can, through their eyes, better understand something about our own very different world. One of the only good things I can say about the experience of reading this book, is that it made me appreciate the exceptional work of writers like Lauren Groff and Ken Follet who immerse their reader into not only a physical and political setting, but into the minds of people whose lives are very different than anything we have known.
The goal of historical fiction should NOT be to look back at a past time and give us characters who basically think exactly like us so that we can marvel at how much better things could have been if we could just go back in time and fix things....
Every chapter of this book managed to pull me out of its historical setting, from extremely modern PC dialogue, to cheap descriptions of historical dress, to a teenage girl in 5th century Britain being described as too "bookish" (not that we ever saw her actually read or talk about books).
There was real opportunity here, and I can see why some people were excited by this (A fan of the folk song it's sort of based on, and impatient for the next Madeline Miller book, I was too).
Having a trans protagonist was a fresh take on the oh so tired I'm-an-oppressed-woman-in-an-historical-period-who-hates-sewing-and-I-must-behave-like-a-man-to-show-my-worth trope. Exploring what trans identity may have felt like in world pre-photographs and clear mirrors and with such different ideas about gender is really interesting and I understand quite a tast. But Keyne's struggle is so closely linked to appearance and to power that it felt a bit flat. Likewise, as someone who has spent a lot of time this year learning about historical dress, I was initially very curious about how a trans man would deal with wearing men's clothing in a medieval setting. Women actually wore skirts for very practical sanitation reasons and it would have been cool to explore how Keyne might work around that particular challenge. (On that note, something I DID appriciate, is that Keyne is a capable sewer and he never complains about it being women's work. Of course, his sister complains about that for him....)
I also think the conflict between old Celtic religious practices and Christianity is a fascinating topic to explore. But the priest Gildas, the sole representative of Christianity, was just so ridiculously unlikable, and the religion/magic of the Celtic people is really just soft fantasy with very little resemblance to historically held beliefs so no real dialogue takes place.
If you enjoyed the story, that's cool. I understand that this kind of representation means a lot. I was genuinely moved when people started switching to male pronouns in regard to Keyne, and I can see how a journey like that can be enough for some readers. I just which It had been better researched and that the other two sisters had had better character development.
October 13, 2023
Well, well, well, what a surprise!
Sistersong starts off as a rather unremarkable fantasy story with a YA-feel to it.
Right when I was starting to get bored, it turned dark. And I mean dark. Being the disturbed individual I am, I rejoiced.
However, that's not the only thing this book's got going for itself; there's also a pretty well developed trans character, lots of folklore and an overall fairy-tale-y vibe.
The story really kept me on my toes and I'm glad I didn't let my first impression discourage me.
Sistersong starts off as a rather unremarkable fantasy story with a YA-feel to it.
Right when I was starting to get bored, it turned dark. And I mean dark. Being the disturbed individual I am, I rejoiced.
However, that's not the only thing this book's got going for itself; there's also a pretty well developed trans character, lots of folklore and an overall fairy-tale-y vibe.
The story really kept me on my toes and I'm glad I didn't let my first impression discourage me.
July 9, 2022
This was an ideal read for me during a period of recuperation, not too demanding but with enough to interest. It is a cross between historical fiction and fantasy, being set in Britain between the departure of the Romans and the arrival of the Saxons. It is very loosely based on an old murder ballad/tale called the Twa Sisters. The setting is in a semi-fictional kingdom called Dumnonia, which is loosely in the Devon/Cornwall area. King Cador is holding out against the Saxons. He has three daughters, Keyne, Riva and Sinne who are all very different. There is another struggle going on, between the old religion and its ways and Christianity, which is spreading in the land.
This tale is steeped in myth and folklore and there is magic available to use against the Saxons, although it is beginning to fade with the onset of Christianity. The magic is sort of based on the elements and each of the three sisters has a different type of magic. Various semi-mythological figures pop up and there are elements of Arthurian legend as well. There is a Merlin figure, here known as Myrdhin/Mori, a gender fluid character and a magician and meddler. Gildas also shows up as a priest as he is in Arthurian tradition and the cultural struggle between the two ways of life is central to the novel.
The three sisters narrate the novel, each with a different perspective. The arrival of a stranger, Tristan, causes tensions between Riva and Sinne. One of the sisters is transgender and for once this doesn’t feel forced. The whole mixture seems to work well. Each sister develops their own particular gifts as the Saxons draw ever nearer. There is plenty of love, betrayal and treachery and another bit of myth, a bone harp (really, don’t ask). Holland explains a bit of her reasoning:
“Tension between the pagan traditions of tribal Britain and incoming Christianity was very real and lasted centuries. I felt a Pagan-inspired magic system would be the strongest way of channelling this conflict. The old magic needed a champion; so just as Christianity has Gildas, the Land has Myrdhin. Like Arthur, the figure of Merlin has some historical basis, but he has become a powerful mythic symbol that I hoped readers would automatically associate with magic, nature and wisdom.”
There is also a touch of the YA about this. Most of all it’s a good story, which is precisely what I needed at the moment. Holland plays with the myth and folklore in a pleasing way and the story held my attention.
This tale is steeped in myth and folklore and there is magic available to use against the Saxons, although it is beginning to fade with the onset of Christianity. The magic is sort of based on the elements and each of the three sisters has a different type of magic. Various semi-mythological figures pop up and there are elements of Arthurian legend as well. There is a Merlin figure, here known as Myrdhin/Mori, a gender fluid character and a magician and meddler. Gildas also shows up as a priest as he is in Arthurian tradition and the cultural struggle between the two ways of life is central to the novel.
The three sisters narrate the novel, each with a different perspective. The arrival of a stranger, Tristan, causes tensions between Riva and Sinne. One of the sisters is transgender and for once this doesn’t feel forced. The whole mixture seems to work well. Each sister develops their own particular gifts as the Saxons draw ever nearer. There is plenty of love, betrayal and treachery and another bit of myth, a bone harp (really, don’t ask). Holland explains a bit of her reasoning:
“Tension between the pagan traditions of tribal Britain and incoming Christianity was very real and lasted centuries. I felt a Pagan-inspired magic system would be the strongest way of channelling this conflict. The old magic needed a champion; so just as Christianity has Gildas, the Land has Myrdhin. Like Arthur, the figure of Merlin has some historical basis, but he has become a powerful mythic symbol that I hoped readers would automatically associate with magic, nature and wisdom.”
There is also a touch of the YA about this. Most of all it’s a good story, which is precisely what I needed at the moment. Holland plays with the myth and folklore in a pleasing way and the story held my attention.
February 20, 2021
There was a time when Britain was filled with magic. Now it is failing, pushed out by the Christian God and his acolytes. Three sisters stand at the precipice of this new world, their stories interwoven throughout the book, each fighting for their own future, and for their right to choose it. In this it feels like a very modern retelling, exploring gender and identity in a confident and compelling way. For me, Keyne was the highlight and could easily have held the story alone. At times, I wished that were the case. The other two had much younger voices and their romance storylines held less appeal. Overall, an enjoyable read, if one with more of a YA feel than I hoped.
ARC via Netgalley
ARC via Netgalley
May 19, 2022
I DON’T KNOW WHAT I THINK ABOUT THIS BOOK
I have had Sistersong on my tbr for more than a year, and I even own the beautiful Goldsboro edition. However, I have finally gotten around to reading it, and my feelings about this book are all over the place. Let’s talk about Sistersong.
Firstly, Holland’s writing is beautiful! In some ways, this book reminded me of The Invisible Life of Addie Larue, which is high praise. Sistersong is a very atmospheric and fairytale-like story that will feel you with a sense of wonder. I also enjoyed following the three sisters, Riva, Keyne and Sinne, as they struggle with the radical changes in the kingdom and their lives. My favourite part of this book is the first half, where we get introduced to the sisters, the history behind the kingdom and the looming conflict. The first half of Sistersong truly felt like a fairytale!
One of the most fascinating aspects of Sistersong is the discussion surrounding religion. The kingdom is losing its magic because of the rise of Christianity. I feel like I could write a 3,000-word essay about how religion and faith are handled in this book, but all I will say is that I have never seen religion analysed in this way in a fantasy book before. I am still trying to evaluate how I feel about how the theme of religion was handled and will therefore not be saying more about it. Sistersong also analyses themes about identity, family, loyalty and friendships. In some ways, this book feels like it would be a perfect novel to analyse in detail since there are so many layers to this story.
However, some aspects of this book didn’t work for me. Firstly, Sistersong is set in Britain, making this a historical fantasy. This is very much a personal preference, but I prefer settings in fantasy books to be placed in fictional worlds. Secondly, Holland raises the stake significantly in the second half of this book, where a large conflict is introduced. While I understand why Holland raised the stakes, I didn’t find the conflict interesting. It felt like the book suddenly became a bit too serious. While the first half of the book felt like a magical fairytale, the second half was more focused on warfare and battles and the larger conflict.
I am still trying to process my feelings about this book. On the one hand, I loved Holland’s beautiful writing and how she analyses so many fascinating themes in a historical fantasy setting. On the other hand. I didn’t particularly love the second half of the book. However, I am glad I finally read it, and I will be keeping an eye on what Holland will write next!
3.5 / 5 star rating.
A special thanks to my Patreons DentTheArtair, Erin, Blake and Mel!
I have had Sistersong on my tbr for more than a year, and I even own the beautiful Goldsboro edition. However, I have finally gotten around to reading it, and my feelings about this book are all over the place. Let’s talk about Sistersong.
Firstly, Holland’s writing is beautiful! In some ways, this book reminded me of The Invisible Life of Addie Larue, which is high praise. Sistersong is a very atmospheric and fairytale-like story that will feel you with a sense of wonder. I also enjoyed following the three sisters, Riva, Keyne and Sinne, as they struggle with the radical changes in the kingdom and their lives. My favourite part of this book is the first half, where we get introduced to the sisters, the history behind the kingdom and the looming conflict. The first half of Sistersong truly felt like a fairytale!
One of the most fascinating aspects of Sistersong is the discussion surrounding religion. The kingdom is losing its magic because of the rise of Christianity. I feel like I could write a 3,000-word essay about how religion and faith are handled in this book, but all I will say is that I have never seen religion analysed in this way in a fantasy book before. I am still trying to evaluate how I feel about how the theme of religion was handled and will therefore not be saying more about it. Sistersong also analyses themes about identity, family, loyalty and friendships. In some ways, this book feels like it would be a perfect novel to analyse in detail since there are so many layers to this story.
However, some aspects of this book didn’t work for me. Firstly, Sistersong is set in Britain, making this a historical fantasy. This is very much a personal preference, but I prefer settings in fantasy books to be placed in fictional worlds. Secondly, Holland raises the stake significantly in the second half of this book, where a large conflict is introduced. While I understand why Holland raised the stakes, I didn’t find the conflict interesting. It felt like the book suddenly became a bit too serious. While the first half of the book felt like a magical fairytale, the second half was more focused on warfare and battles and the larger conflict.
I am still trying to process my feelings about this book. On the one hand, I loved Holland’s beautiful writing and how she analyses so many fascinating themes in a historical fantasy setting. On the other hand. I didn’t particularly love the second half of the book. However, I am glad I finally read it, and I will be keeping an eye on what Holland will write next!
3.5 / 5 star rating.
A special thanks to my Patreons DentTheArtair, Erin, Blake and Mel!
September 2, 2021
Daaaamn, things got real weird for a hot minute there. I LIKE.
Three sisters: Keyne, who would prefer to have been born a son; Riva, scarred and self-conscious after a fire many years ago; and Sinne, the young, precocious child who dreams of love and adventure. There's also a magician, a priest and a handsome stranger, so these girls are in for some interesting times.
I loved the relationship between the sisters, because there's a really strong bond there with lots of surface bickering. Mori and Myrdhin were a lot of fun, too, though a little bit cliche - the wise wizard who acts as a mentor for the girls, speaks in riddles and only interferes when necessary; the witch who lives in the woods and makes magic with herbs and potions.
The story is a little slow to unravel, though I was never bored - the characters were great to learn about, and the magic system was a curious thing. It was a long, sprawling story, but I never felt the pace - particularly as things get rather bizarre towards the end and the action comes hard and fast so it compensates for the length.
There were some rather frustrating moments that made things easily predictable, but all in all it was a story I followed without too many complaints. I was swept up in the Dwarf King story, too, which was a beautiful moment.
An easy read with plenty of action, diverse characters and some unpredictable moments. I found it rather addictive and definitely recommend it for those interested in YA, twisted fairytales and/or historical fiction with a touch of magic sprinkled in.
With thanks to Macmillan for an ARC
Three sisters: Keyne, who would prefer to have been born a son; Riva, scarred and self-conscious after a fire many years ago; and Sinne, the young, precocious child who dreams of love and adventure. There's also a magician, a priest and a handsome stranger, so these girls are in for some interesting times.
I loved the relationship between the sisters, because there's a really strong bond there with lots of surface bickering. Mori and Myrdhin were a lot of fun, too, though a little bit cliche - the wise wizard who acts as a mentor for the girls, speaks in riddles and only interferes when necessary; the witch who lives in the woods and makes magic with herbs and potions.
The story is a little slow to unravel, though I was never bored - the characters were great to learn about, and the magic system was a curious thing. It was a long, sprawling story, but I never felt the pace - particularly as things get rather bizarre towards the end and the action comes hard and fast so it compensates for the length.
There were some rather frustrating moments that made things easily predictable, but all in all it was a story I followed without too many complaints. I was swept up in the Dwarf King story, too, which was a beautiful moment.
An easy read with plenty of action, diverse characters and some unpredictable moments. I found it rather addictive and definitely recommend it for those interested in YA, twisted fairytales and/or historical fiction with a touch of magic sprinkled in.
With thanks to Macmillan for an ARC
March 11, 2023
Okay, I absolutely loved this! It actually reminds me a lot of The Queens of Innis Lear by Tessa Gratton. Similar time period, setting, and themes with beautiful writing and a very character driven story about siblings.
The character work is excellent and this handles several delicate issues with grace and nuance, including the journey of the middle sibling with his transmasculinity. Seriously, I teared up with how beautiful his character arc was. The eldest sister longs for love and marriage, but believes herself undesirable because of a bad injury from fire that left her without the use of a hand. (again, I really liked the way this ultimately handled the issue of disability, especially for a fantasy novel) The youngest sister gives me strong Lydia Bennett vibes from Pride and Prejudice. And the novel centers on these siblings, and on a time caught between the old rituals of pagan magic and the new encroachment of the Christian church. Also there is a very creepy priest. This was a beautiful, if sometimes harrowing novel and I adored it.
The character work is excellent and this handles several delicate issues with grace and nuance, including the journey of the middle sibling with his transmasculinity. Seriously, I teared up with how beautiful his character arc was. The eldest sister longs for love and marriage, but believes herself undesirable because of a bad injury from fire that left her without the use of a hand. (again, I really liked the way this ultimately handled the issue of disability, especially for a fantasy novel) The youngest sister gives me strong Lydia Bennett vibes from Pride and Prejudice. And the novel centers on these siblings, and on a time caught between the old rituals of pagan magic and the new encroachment of the Christian church. Also there is a very creepy priest. This was a beautiful, if sometimes harrowing novel and I adored it.
June 20, 2021
the way it invokes dark ages britain is just! a lot!
Rep: trans mc, genderfluid side character
CWs: misgendering, transphobia, violence
Rep: trans mc, genderfluid side character
CWs: misgendering, transphobia, violence
December 31, 2020
4.5 stars
Not being familiar with the folk ballad mentioned in the book description for Sistersong, I googled it:
The Twa Sisters, or Two Sisters, is a traditional murder ballad dating as far back as the mid-17th century. The song recounts the tale of a girl pushed into the river by her jealous older sister, both of whom are in love with the same man. When the murdered girl's body floats ashore, someone makes a musical instrument out of her body, usually a harp or a fiddle, with a frame of bone and her long blonde hair for strings. The instrument then plays itself and sings about the murder to anyone who will listen. In some variants of the ballad, a third sister is mentioned in passing, but she typically doesn’t play a significant role in the tale.
A feminist retelling, Sistersong beautifully intertwines myth and magic with historical figures and places to create a rich, wondrous, truly unique novel. It has everything you want in a good yarn—secrets and betrayal, love and loss, complex characters and a gripping plot.
It’s so much more than a simple reimagining of a ballad I had, frankly, never heard of before reading this book. Sistersong breathes new life into Celtic Briton mythology and legend for the modern reader, turning familiar tropes from Arthurian literature on their head. This can be seen most prominently in the character of Myrddhin, a magician and healer who could easily be a stand-in for Merlin. But while these winks and nods are nice touches for those familiar with the genre, they’re not integral in terms of understanding or appreciating the novel. What sets Sistersong apart is that it not only challenges traditional gender roles—which would have been painfully rigid in the 6th century when this novel is set—it also explores gender identity and nonconformity through the characters of Keyne/Constantine, a transgender man assigned female at birth, and Myrddhin/Mori, a non-binary, gender-fluid character.
Now for some background & plot:
It’s the mid-6th century in the kingdom of Dumononia (a real place, which encompassed what is now modern-day Cornwall, Devon, and parts of West Somerset). The Romans have retreated from the land, leaving King Cador and his people susceptible to attack from invading Saxons coming from the West. Christianity has spread to the kingdom via a sanctimonious priest named Gildas (loosely based on a real person) who is respected by some, feared by all. His presence and monotheist sermonizing has caused the people to lose their sacred connection with the land and the magic it holds, leaving the kingdom all the more vulnerable.
Sistersong is told from the alternating perspectives of King Cador’s children—Riva, the eldest, who is a natural healer, but was terribly burned in a tragic accident she cannot remember; Keyne, the middle child, who was assigned a woman at birth, but has never felt that way in his heart; and the youngest, Sinne, who is beautiful and flighty, dreaming of love and adventure. Though the siblings have been growing apart for some time, they are torn asunder when a handsome stranger suddenly arrives and the threat of a Saxon invasion looms. Tristan is an emissary from a neighboring kingdom, seeking the counsel of the priest Gildas. Yet, for Riva and Sinne, he represents so much more—their chance for love, adventure and marriage outside of their tight-knit community. Meanwhile, Keyne is training covertly under the watchful direction of the magician Myrddhin, learning the secrets and magic of the land, while also training to fight like a warrior. Both Tristan and Myrddhin will turn the siblings’ worlds upside down. And when the King is wounded in battle and the kingdom besieged by Saxons, which of the siblings will step in to save the land and their people?
While incredibly gripping and pacey, particularly towards the end when the stakes are highest, Sistersong is a lyrical, character-driven narrative about duty, identity, familial love and sibling rivalry. The world-building is phenomenal and immersive, I truly cannot imagine how much time & effort was put into the historical research needed to make this book what it is: a wonderful blend of literary fiction and historical fantasy.
Not being familiar with the folk ballad mentioned in the book description for Sistersong, I googled it:
The Twa Sisters, or Two Sisters, is a traditional murder ballad dating as far back as the mid-17th century. The song recounts the tale of a girl pushed into the river by her jealous older sister, both of whom are in love with the same man. When the murdered girl's body floats ashore, someone makes a musical instrument out of her body, usually a harp or a fiddle, with a frame of bone and her long blonde hair for strings. The instrument then plays itself and sings about the murder to anyone who will listen. In some variants of the ballad, a third sister is mentioned in passing, but she typically doesn’t play a significant role in the tale.
A feminist retelling, Sistersong beautifully intertwines myth and magic with historical figures and places to create a rich, wondrous, truly unique novel. It has everything you want in a good yarn—secrets and betrayal, love and loss, complex characters and a gripping plot.
It’s so much more than a simple reimagining of a ballad I had, frankly, never heard of before reading this book. Sistersong breathes new life into Celtic Briton mythology and legend for the modern reader, turning familiar tropes from Arthurian literature on their head. This can be seen most prominently in the character of Myrddhin, a magician and healer who could easily be a stand-in for Merlin. But while these winks and nods are nice touches for those familiar with the genre, they’re not integral in terms of understanding or appreciating the novel. What sets Sistersong apart is that it not only challenges traditional gender roles—which would have been painfully rigid in the 6th century when this novel is set—it also explores gender identity and nonconformity through the characters of Keyne/Constantine, a transgender man assigned female at birth, and Myrddhin/Mori, a non-binary, gender-fluid character.
Now for some background & plot:
It’s the mid-6th century in the kingdom of Dumononia (a real place, which encompassed what is now modern-day Cornwall, Devon, and parts of West Somerset). The Romans have retreated from the land, leaving King Cador and his people susceptible to attack from invading Saxons coming from the West. Christianity has spread to the kingdom via a sanctimonious priest named Gildas (loosely based on a real person) who is respected by some, feared by all. His presence and monotheist sermonizing has caused the people to lose their sacred connection with the land and the magic it holds, leaving the kingdom all the more vulnerable.
Sistersong is told from the alternating perspectives of King Cador’s children—Riva, the eldest, who is a natural healer, but was terribly burned in a tragic accident she cannot remember; Keyne, the middle child, who was assigned a woman at birth, but has never felt that way in his heart; and the youngest, Sinne, who is beautiful and flighty, dreaming of love and adventure. Though the siblings have been growing apart for some time, they are torn asunder when a handsome stranger suddenly arrives and the threat of a Saxon invasion looms. Tristan is an emissary from a neighboring kingdom, seeking the counsel of the priest Gildas. Yet, for Riva and Sinne, he represents so much more—their chance for love, adventure and marriage outside of their tight-knit community. Meanwhile, Keyne is training covertly under the watchful direction of the magician Myrddhin, learning the secrets and magic of the land, while also training to fight like a warrior. Both Tristan and Myrddhin will turn the siblings’ worlds upside down. And when the King is wounded in battle and the kingdom besieged by Saxons, which of the siblings will step in to save the land and their people?
While incredibly gripping and pacey, particularly towards the end when the stakes are highest, Sistersong is a lyrical, character-driven narrative about duty, identity, familial love and sibling rivalry. The world-building is phenomenal and immersive, I truly cannot imagine how much time & effort was put into the historical research needed to make this book what it is: a wonderful blend of literary fiction and historical fantasy.
April 8, 2022
2.5 Aw man. I have got to stop reading books that are marketed as being ‘like’ Madeline Miller’s work. It never is and this ones no exception. Damn. I’ll write a fuller review tomorrow but right now I’m just a little bummed. :(
So, it’s been a few weeks since I’ve finished this book and I guess I’m finally ready to write a proper review. This was a fail for me. Keyne’s character is well written and a thoroughly engaging and sympathetic character but she is written for another time, namely our own, speaking in 2021 speak about gender that didn’t feel authentic to the time and setting. It was jarring to read about a thoroughly modern take on a prevalent subject of our culture set at a time when it seemed unlikely that the character would think and respond as a person of today would. I’ve been reading a fair amount of historical fiction recently and one element that’s important for it to be successful is to get place and setting authentic and that just didn’t happen here.
This book being marketed as being like Madeline Miller’s work is like saying a shrub is like a mighty oak. Not comparable and I swear the next book that markets itself as her work I’m going to just pass on because I’m learning that marketers idea of ‘being like’ and mine are miles apart.
So, it’s been a few weeks since I’ve finished this book and I guess I’m finally ready to write a proper review. This was a fail for me. Keyne’s character is well written and a thoroughly engaging and sympathetic character but she is written for another time, namely our own, speaking in 2021 speak about gender that didn’t feel authentic to the time and setting. It was jarring to read about a thoroughly modern take on a prevalent subject of our culture set at a time when it seemed unlikely that the character would think and respond as a person of today would. I’ve been reading a fair amount of historical fiction recently and one element that’s important for it to be successful is to get place and setting authentic and that just didn’t happen here.
This book being marketed as being like Madeline Miller’s work is like saying a shrub is like a mighty oak. Not comparable and I swear the next book that markets itself as her work I’m going to just pass on because I’m learning that marketers idea of ‘being like’ and mine are miles apart.
June 20, 2021
“Someone once told me that the only names that matter are the ones we take for ourselves.”
Sistersong is a retelling of a folk ballad, set in ancient Britain and combines magic, old traditions, sisterhood, gender identity, betrayal and tragedy. The story is character-driven and told from 3 POVs: Keyne, Riva and Sinne. Keyne's POV was my favorite and I loved how she developed through the story, discovering herself and finding her true identity. I also loved the worldbuilding and the writing style, which was lyrical and captivating. The ending was unexpected but fitting, and wrapped up perfectly the story.
“This is your story, no matter what history will claim or what songs people sing. And it's no one's place to stop you from telling it.”
Sistersong is a retelling of a folk ballad, set in ancient Britain and combines magic, old traditions, sisterhood, gender identity, betrayal and tragedy. The story is character-driven and told from 3 POVs: Keyne, Riva and Sinne. Keyne's POV was my favorite and I loved how she developed through the story, discovering herself and finding her true identity. I also loved the worldbuilding and the writing style, which was lyrical and captivating. The ending was unexpected but fitting, and wrapped up perfectly the story.
“This is your story, no matter what history will claim or what songs people sing. And it's no one's place to stop you from telling it.”
October 25, 2021
Reminiscent of Ariadne, the Witch’s Heart, and the Bear and the Nightingale. Enjoyable, but not a favorite.
May 30, 2022
Si, pero no.
Esta frase tan ambigua y simplista es la que define la impresión que este libro me ha dejado. Me ha gustado, no voy a decir que no, pero al mismo tiempo ha resultado una gran decepción. Lo tenía todo para ser una de esas lecturas que resultan inolvidables, y yo estaba convencida de que iba a encantarme. Pero no ha sido así para nada, en muchos momentos me ha costado totalmente conectar con lo que estaba leyendo, y estoy prácticamente convencida de que para mi va a acabar siendo una lectura totalmente olvidable por varios aspectos. Creo que tenía con ella las expectativas demasiado altas y eso, al final, me la ha jugado. Una pena, la verdad, porque para nada ha sido una mala experiencia, hay en esta lectura muchos aspectos salvables.
Hace tiempo, en el reino de Dumnonia, en la antigua Britannia, la magia estaba por doquier para proteger y favorecer al lugar y a sus habitantes, gracias al vinculo del rey Cador con los antiguos dioses y la tierra. Ahora, dicha relación se ha destrozado con la interrupción del cristianismo a esos lares de las manos de un sibilino cura, Gildas, figura contrapuesta a la del mago Myrdhin, druida y cuentacuentos, un hombre lleno de secretos que ha asesorado por años a la familia del rey. Este conflicto religioso va de la mano con el acercamiento de las hordas sajonas al último reducto del reino en el que se ha parapetado la familia real con sus súbditos. La tierra, ha dado la espalda al rey y buscara, en su lugar, a sus descendientes, tres jóvenes con circunstancias muy difíciles y relaciones muy complejas entre ellos, que han sido elegidos por la magia para salvar a los suyos. Por un lado tenemos a Keyne, quien no se siente a gusto con el rol de género que la tradición y la costumbre le ha impuesto, y busca su lugar en el mundo y su verdadera identidad. Su hermana Riva tiene el poder de la curación, y vive atormentada y reprimida por un accidente que sufrió hace años, y que la dejó mutilada. La más joven de la familia es la princesa Sinne, coqueta y vivaz, que tiene el don de la visión y la capacidad de encantar a las personas a su alrededor. El mundo de los hermanos está amenazado, y se vendrá abajo con la llegada de Tristán, un misterioso guerrero de un pueblo aliado, que traerá la discordia entre los hermanos y la guerra para su hogar.
Como he señalado más arriba, esta lectura lo tenía todo para encantarme. La trama tenia una pinta increíble, las criticas que había leído sobre ella eran más que positivas. Había magia, historia, sororidad femenina, personajes femeninos fuertes y empoderados, mitología celta, conflictos religiosos y luchas bélicas y políticas. Creo que el gran problema ha sido que este libro, para mi, ha tenido momentos muy, muy buenos mezclado con otros que no me han dicho nada o se me han quedado muy a medio gas.Y estos, por desgracia, se notan desde el mismísimo inicio, el cual es demasiado lento y pausado y, a veces, muy descriptivo. Por eso, el gran pero que le puedo poner, en general, a este título, y que es lo que más me ha disgustado de su lectura, es que he sentido que no he podido conectarte realmente con él hasta el último cuarto de la obra, que es cuando los acontecimientos se precipitan y cuando la tensión podía cortarse con un cuchillo.
No obstante, tengo que reconocerle a la autora que esto es más que necesario, para meter al lector en el contexto histórico y religioso de la Britania de los tiempos posteriores a los romanos, y para conocer bien cual es la situación y la forma de ser de cada uno de los protagonistas. La prosa de Holland me ha sorprendido para bien, me parece muy directa y a la vez llena de matices, es muy efectista y crea momentos muy hermosos y potentes. Y además, casa muy bien con el ambiente céltico y misterioso, casi brumoso, que impregna toda su obra. Pero al principio me chocó un poco, ya que su pluma me parecía demasiado lineal, en el sentido que sentía que era exactamente igual en cada uno de los capítulos contados desde un punto de vista de cada uno de los hijos del rey. Esto impidió que, al principio, me fuera muy difícil distinguir quién era cada uno de ellos y cuál era su auténtica personalidad. Por suerte, cuando el libro empieza despegar, también lo hacen sus protagonistas. El lector no tardará mucho en diferenciar a unos de otros, y en ver las particularidades que tiene cada uno a nivel emocional y personal y en conectar, para bien o para mal, con ellos.
Tengo que decir que aunque a veces la narración es muy pausada, estos momentos se compensan con otros muy trepidantes y en los que no paran de pasar cosas. No obstante, noto que le falta algo al argumento en si mismo, cierta fuerza en varias partes. Hay algunos giros de guion que me han parecido muy poco interesantes, básicamente porque me olía que iban a darse así desde mucho antes de que ocurriesen sobre el papel, y por eso no me llegaron a sorprender o a impactar. Pero al igual que con la narración, hubo otros giros que si me dejaron helada y me sorprendieron, por qué no me los esperaba para nada. Así que como veis, se ha tratado de una lectura muy desigual, y creo que eso es lo que más me ha escamado y por la que he tardado mucho en conectar con ella y en terminármela, porque la prosa no es difícil para nada y está muy conseguida.
Pero con esto no quiero decir que haya sido una lectura desastrosa, ni mucho menos. “Sistersong: La Balada del Arpa de Hueso” tiene varios puntos fuertes que no se pueden negar y que hay que tener muy en cuenta, con los cuales he disfrutado mucho en su momento. Como ya he dicho antes, cuando se deja reposar la novela, el lector puede ver como va conociendo mejor a cada uno de los hermanos, hasta que al final se alzan ante él como personajes muy vivos, llenos de matices que resultan muy realistas por los humanos que son. Keyne, Rivia y Sienne tienen algo arraigadamente verídico y atemporal, lo que los hace muy cercanos y facilita que se pueda empatizar con ellos, aunque no se comparta lo que van a hacer o lo que piensan. Los tres personajes principales tienen una evolución individual muy marcada y muy bien llevada, lo que hace posible todo lo contado anteriormente.En ningún momento, he sentido que ninguno quedase deslucido por alguna de sus hermanas, lo que demuestra que este quizá sea el punto fuerte de la historia. Creo que quizás me falte que se trabaje más la relación y la vida de las tres hermanas en conjunto, ya que el foco se centra más en las luchas, amor y complejidad de sus relaciones individuales entre ellas. Pero aún así, insisto: esta hermandad es el principal motor de este libro y su principal seña de identidad.
Keyne quizás haya sido el carácter que más me ha gustado por la fuerza que desprende desde el inicio y como lucha por encontrar su voz y su lugar en el mundo.Con sus hermanas he tenido un problema, y es que a veces las entendía muy bien y otras me daban ganas de tirar las de los pelos por lo que hacian, o como se comportaban.
Para mí, el otro gran punto a favor de esta lectura ha sido la manera en que una ambientación política y religiosa muy creíble históricamente exacta ha ido de la mano con los mitos y las historias de la cultura celta y la magia. Las dos partes han existido de una forma muy armónica y han dado lugar a una historia en la que todo esto está muy bien llevado y no hay nada que parezca estar de mas o de menos.
Algo que es una de las cuestiones que más me ha llamado la atención para bien ha sido la forma en que se ha metido el tema de la inclusión sexual en la trama de la novela. Al principio, según iba leyendo, estaba convencida de que la autora lo iba a meter con calzador y de que esa trama iba a desentonar totalmente en el conjunto del libro. Y que va, para nada. El tema es muy importante ya no solo para el desarrollo del Keyne como personaje (que, obviamente,también), sino para la totalidad de la novela y del argumento. Está trato con muy nitidez y sensibilidad, resulta comprensible, y no desentona para nada con todas las demás cosas que suceden en la historia. Desde el inicio está muy bien llevado, tanto para Keyne como para lo que se supone para lo que le rodean. Hay que tener en cuanta que anacrónico no me ha resultado, gente transexual ha existido siempre en todas partes y en todos los siglos y culturas. Simplemente era algo que quedaba silenciado, de ahí que sepamos poco al respecto, y que hasta hace poco no se ha estudiado con cierta profundidad. Por eso, quizás, el único pero que se puede poner a esta parte es que se le da a personajes como Keyne tiene una voz que en su época a una persona trans no se le hubiera ni ocurrido que pudiera tener, es decir, se trata del asunto con una perspectiva un tanto moderna. Quizás esto no me ha chirriado porque nunca me he tomado esta novela como algo estrictamente histórico, más bien como fantasía en un contexto histórico. De ahí que haya quedado muy satisfecha en cómo se ha llevado el tema.
Mención especial, por supuesto, para el punto que más me llamó la atención cuando decidí emprender la aventura de leer este libro, la ambientación. Está realmente conseguida, Holland logra transportar al lector a la Britania céltica con todas sus particularidades y costumbres, colocándole en medio de las invasiones sajones y del devastador y sangriento conflicto que debió de ser la llegada del cristianismo y su lucha contra la antigua religión pagana que por generaciones domino en ese lugar, unas luchas arduas y agotadoras que destruyeron una forma de vida para transformarla en otra, y que Holland representa con un pulso firme pero sensible, lleno de fuerza, horror y belleza a partes iguales. Puede que me haya parecido que le falte profundizar más en las costumbres y menos en las diversas festividades que jalonan la narración, pero aún así este aspecto me ha gustado también mucho. Por cierto, no sé si será porque la ambientación me recuerda a uno de mis libros preferidos de toda la vida, “Las Nieblas de Avalon” de Marion Zimmer Bradley, o por el uso de ciertos nombres propios, pero no he dejado de ver algunas reminiscencias al ciclo artúrico que para mi han aportado interés a todo,
En definitiva, “Sistersong: La Balada del Arpa de Hueso” es una novela llena de altibajos, pero que a grandes rasgos se mantiene estable. Lucy Holland nos regala un debut literario más que meritorio, en el que se trabajan las relaciones entre hermanas, con sus luces y sombras, y la búsqueda de la identidad de uno mismo y de la necesidad de forjar tu propio cuento. Pero por desgracia, en eso se queda, más no puedo decir. El libro cumple, entretiene y a veces emociona. Pero le falta algo para despegar totalmente. Y tengo que reconocer que, sobre todo, lo que le ha fallado es que yo no tuviera en él expectativas tan altas. Si no, de fijo lo hubiera disfrutado más.
Esta frase tan ambigua y simplista es la que define la impresión que este libro me ha dejado. Me ha gustado, no voy a decir que no, pero al mismo tiempo ha resultado una gran decepción. Lo tenía todo para ser una de esas lecturas que resultan inolvidables, y yo estaba convencida de que iba a encantarme. Pero no ha sido así para nada, en muchos momentos me ha costado totalmente conectar con lo que estaba leyendo, y estoy prácticamente convencida de que para mi va a acabar siendo una lectura totalmente olvidable por varios aspectos. Creo que tenía con ella las expectativas demasiado altas y eso, al final, me la ha jugado. Una pena, la verdad, porque para nada ha sido una mala experiencia, hay en esta lectura muchos aspectos salvables.
Hace tiempo, en el reino de Dumnonia, en la antigua Britannia, la magia estaba por doquier para proteger y favorecer al lugar y a sus habitantes, gracias al vinculo del rey Cador con los antiguos dioses y la tierra. Ahora, dicha relación se ha destrozado con la interrupción del cristianismo a esos lares de las manos de un sibilino cura, Gildas, figura contrapuesta a la del mago Myrdhin, druida y cuentacuentos, un hombre lleno de secretos que ha asesorado por años a la familia del rey. Este conflicto religioso va de la mano con el acercamiento de las hordas sajonas al último reducto del reino en el que se ha parapetado la familia real con sus súbditos. La tierra, ha dado la espalda al rey y buscara, en su lugar, a sus descendientes, tres jóvenes con circunstancias muy difíciles y relaciones muy complejas entre ellos, que han sido elegidos por la magia para salvar a los suyos. Por un lado tenemos a Keyne, quien no se siente a gusto con el rol de género que la tradición y la costumbre le ha impuesto, y busca su lugar en el mundo y su verdadera identidad. Su hermana Riva tiene el poder de la curación, y vive atormentada y reprimida por un accidente que sufrió hace años, y que la dejó mutilada. La más joven de la familia es la princesa Sinne, coqueta y vivaz, que tiene el don de la visión y la capacidad de encantar a las personas a su alrededor. El mundo de los hermanos está amenazado, y se vendrá abajo con la llegada de Tristán, un misterioso guerrero de un pueblo aliado, que traerá la discordia entre los hermanos y la guerra para su hogar.
Como he señalado más arriba, esta lectura lo tenía todo para encantarme. La trama tenia una pinta increíble, las criticas que había leído sobre ella eran más que positivas. Había magia, historia, sororidad femenina, personajes femeninos fuertes y empoderados, mitología celta, conflictos religiosos y luchas bélicas y políticas. Creo que el gran problema ha sido que este libro, para mi, ha tenido momentos muy, muy buenos mezclado con otros que no me han dicho nada o se me han quedado muy a medio gas.Y estos, por desgracia, se notan desde el mismísimo inicio, el cual es demasiado lento y pausado y, a veces, muy descriptivo. Por eso, el gran pero que le puedo poner, en general, a este título, y que es lo que más me ha disgustado de su lectura, es que he sentido que no he podido conectarte realmente con él hasta el último cuarto de la obra, que es cuando los acontecimientos se precipitan y cuando la tensión podía cortarse con un cuchillo.
No obstante, tengo que reconocerle a la autora que esto es más que necesario, para meter al lector en el contexto histórico y religioso de la Britania de los tiempos posteriores a los romanos, y para conocer bien cual es la situación y la forma de ser de cada uno de los protagonistas. La prosa de Holland me ha sorprendido para bien, me parece muy directa y a la vez llena de matices, es muy efectista y crea momentos muy hermosos y potentes. Y además, casa muy bien con el ambiente céltico y misterioso, casi brumoso, que impregna toda su obra. Pero al principio me chocó un poco, ya que su pluma me parecía demasiado lineal, en el sentido que sentía que era exactamente igual en cada uno de los capítulos contados desde un punto de vista de cada uno de los hijos del rey. Esto impidió que, al principio, me fuera muy difícil distinguir quién era cada uno de ellos y cuál era su auténtica personalidad. Por suerte, cuando el libro empieza despegar, también lo hacen sus protagonistas. El lector no tardará mucho en diferenciar a unos de otros, y en ver las particularidades que tiene cada uno a nivel emocional y personal y en conectar, para bien o para mal, con ellos.
Tengo que decir que aunque a veces la narración es muy pausada, estos momentos se compensan con otros muy trepidantes y en los que no paran de pasar cosas. No obstante, noto que le falta algo al argumento en si mismo, cierta fuerza en varias partes. Hay algunos giros de guion que me han parecido muy poco interesantes, básicamente porque me olía que iban a darse así desde mucho antes de que ocurriesen sobre el papel, y por eso no me llegaron a sorprender o a impactar. Pero al igual que con la narración, hubo otros giros que si me dejaron helada y me sorprendieron, por qué no me los esperaba para nada. Así que como veis, se ha tratado de una lectura muy desigual, y creo que eso es lo que más me ha escamado y por la que he tardado mucho en conectar con ella y en terminármela, porque la prosa no es difícil para nada y está muy conseguida.
Pero con esto no quiero decir que haya sido una lectura desastrosa, ni mucho menos. “Sistersong: La Balada del Arpa de Hueso” tiene varios puntos fuertes que no se pueden negar y que hay que tener muy en cuenta, con los cuales he disfrutado mucho en su momento. Como ya he dicho antes, cuando se deja reposar la novela, el lector puede ver como va conociendo mejor a cada uno de los hermanos, hasta que al final se alzan ante él como personajes muy vivos, llenos de matices que resultan muy realistas por los humanos que son. Keyne, Rivia y Sienne tienen algo arraigadamente verídico y atemporal, lo que los hace muy cercanos y facilita que se pueda empatizar con ellos, aunque no se comparta lo que van a hacer o lo que piensan. Los tres personajes principales tienen una evolución individual muy marcada y muy bien llevada, lo que hace posible todo lo contado anteriormente.En ningún momento, he sentido que ninguno quedase deslucido por alguna de sus hermanas, lo que demuestra que este quizá sea el punto fuerte de la historia. Creo que quizás me falte que se trabaje más la relación y la vida de las tres hermanas en conjunto, ya que el foco se centra más en las luchas, amor y complejidad de sus relaciones individuales entre ellas. Pero aún así, insisto: esta hermandad es el principal motor de este libro y su principal seña de identidad.
Keyne quizás haya sido el carácter que más me ha gustado por la fuerza que desprende desde el inicio y como lucha por encontrar su voz y su lugar en el mundo.Con sus hermanas he tenido un problema, y es que a veces las entendía muy bien y otras me daban ganas de tirar las de los pelos por lo que hacian, o como se comportaban.
Para mí, el otro gran punto a favor de esta lectura ha sido la manera en que una ambientación política y religiosa muy creíble históricamente exacta ha ido de la mano con los mitos y las historias de la cultura celta y la magia. Las dos partes han existido de una forma muy armónica y han dado lugar a una historia en la que todo esto está muy bien llevado y no hay nada que parezca estar de mas o de menos.
Algo que es una de las cuestiones que más me ha llamado la atención para bien ha sido la forma en que se ha metido el tema de la inclusión sexual en la trama de la novela. Al principio, según iba leyendo, estaba convencida de que la autora lo iba a meter con calzador y de que esa trama iba a desentonar totalmente en el conjunto del libro. Y que va, para nada. El tema es muy importante ya no solo para el desarrollo del Keyne como personaje (que, obviamente,también), sino para la totalidad de la novela y del argumento. Está trato con muy nitidez y sensibilidad, resulta comprensible, y no desentona para nada con todas las demás cosas que suceden en la historia. Desde el inicio está muy bien llevado, tanto para Keyne como para lo que se supone para lo que le rodean. Hay que tener en cuanta que anacrónico no me ha resultado, gente transexual ha existido siempre en todas partes y en todos los siglos y culturas. Simplemente era algo que quedaba silenciado, de ahí que sepamos poco al respecto, y que hasta hace poco no se ha estudiado con cierta profundidad. Por eso, quizás, el único pero que se puede poner a esta parte es que se le da a personajes como Keyne tiene una voz que en su época a una persona trans no se le hubiera ni ocurrido que pudiera tener, es decir, se trata del asunto con una perspectiva un tanto moderna. Quizás esto no me ha chirriado porque nunca me he tomado esta novela como algo estrictamente histórico, más bien como fantasía en un contexto histórico. De ahí que haya quedado muy satisfecha en cómo se ha llevado el tema.
Mención especial, por supuesto, para el punto que más me llamó la atención cuando decidí emprender la aventura de leer este libro, la ambientación. Está realmente conseguida, Holland logra transportar al lector a la Britania céltica con todas sus particularidades y costumbres, colocándole en medio de las invasiones sajones y del devastador y sangriento conflicto que debió de ser la llegada del cristianismo y su lucha contra la antigua religión pagana que por generaciones domino en ese lugar, unas luchas arduas y agotadoras que destruyeron una forma de vida para transformarla en otra, y que Holland representa con un pulso firme pero sensible, lleno de fuerza, horror y belleza a partes iguales. Puede que me haya parecido que le falte profundizar más en las costumbres y menos en las diversas festividades que jalonan la narración, pero aún así este aspecto me ha gustado también mucho. Por cierto, no sé si será porque la ambientación me recuerda a uno de mis libros preferidos de toda la vida, “Las Nieblas de Avalon” de Marion Zimmer Bradley, o por el uso de ciertos nombres propios, pero no he dejado de ver algunas reminiscencias al ciclo artúrico que para mi han aportado interés a todo,
En definitiva, “Sistersong: La Balada del Arpa de Hueso” es una novela llena de altibajos, pero que a grandes rasgos se mantiene estable. Lucy Holland nos regala un debut literario más que meritorio, en el que se trabajan las relaciones entre hermanas, con sus luces y sombras, y la búsqueda de la identidad de uno mismo y de la necesidad de forjar tu propio cuento. Pero por desgracia, en eso se queda, más no puedo decir. El libro cumple, entretiene y a veces emociona. Pero le falta algo para despegar totalmente. Y tengo que reconocer que, sobre todo, lo que le ha fallado es que yo no tuviera en él expectativas tan altas. Si no, de fijo lo hubiera disfrutado más.
June 30, 2021
wow wow! M I S O G Y N Y M U C H wow wow!
Does this author really distort the already misogynistic folk tale to further glorify being a man?
According to this book, there are women driven with greed, jealousy, emotional decisions to fall pregnant by some dude, to argue over the affection of a man, quarrel to kill, cry over sewing or something and then there are women who smartly become men by wearing trousers and change their name to a boy’s name to do sensible manly stuff and become the king.
I wonder if a woman, maybe one of the princesses as they are could really not have bequeathed the crown and become the queen? I guess not! Everybody knows, boys rule and bitch girls do stupidnesses!
Furthermore, the book is so lesbophobic that if two women fancy each other, one of them must become or be a man because girls don’t kiss each other like that.
Fuck yous all the backward misogynists who will jump on the misogynistic bandwagon and rate this book more than one star and the one who regurgitated all the dualist, essentialist rubbish into it!
Does this author really distort the already misogynistic folk tale to further glorify being a man?
According to this book, there are women driven with greed, jealousy, emotional decisions to fall pregnant by some dude, to argue over the affection of a man, quarrel to kill, cry over sewing or something and then there are women who smartly become men by wearing trousers and change their name to a boy’s name to do sensible manly stuff and become the king.
I wonder if a woman, maybe one of the princesses as they are could really not have bequeathed the crown and become the queen? I guess not! Everybody knows, boys rule and bitch girls do stupidnesses!
Furthermore, the book is so lesbophobic that if two women fancy each other, one of them must become or be a man because girls don’t kiss each other like that.
Fuck yous all the backward misogynists who will jump on the misogynistic bandwagon and rate this book more than one star and the one who regurgitated all the dualist, essentialist rubbish into it!
May 10, 2021
This review was originally published over at The Fantasy Hive, one of the greatest bloody sites for SFF reviews around...so, go stalk it, you weirdo!
In Sistersong, Lucy Holland tackles themes ranging from gender identity in an increasingly binary world to family, loyalty, and love, to the encroachment of a religion whose values are at odds with those of the majority of Brittons. What I didn’t know (and learned from fellow contributor Jonathan Thornton’s review) is that elements of Sistersong are also based on a ballad, “The Twa Sisters”. That Holland does justice to all these themes while incorporating the narrative thread of the ballad is commendable. The spirit of this older tale lives on in Sistersong, its elements seamlessly interwoven with the structure of a compelling tale about identity denied and reaffirmed.
I cannot speak to the veracity of the world from a historical perspective—unfortunately, my knowledge of sixth century Britain and Dumnonia in particular is not up to snuff. The big strokes, I’m familiar with—Saxons encroaching on Briton lands, pillaging and raping and making themselves at home; as an aside, if you want to entertain yourselves, you’re welcome to look at the way older English history textbooks talk about this settlement process as opposed to newer ones, there’s quite the linguistic difference. Back to Sistersong: What I can attest to is that this text offers the reader a feeling of verisimilitude in the way the world is portrayed, as well as in the dual conflicts at display here.
The siblings’ relationship is at the core of the emotional impact this book will have on you. This is the story mainly of Keyne, whose struggle to be seen as a man despite being born in a woman’s body is a rewarding tale of hardship, growth, and self-assertion. Keyne is the middle sibling to Riva and Sinne, who each struggle with the changing world around them in their own way. Riva’s natural abilities as healer are great; but when she falls in love with a handsome stranger, her loyalties are tested to the breaking point. Sinne, the youngest of the three, has talents of her own—and finds a friend unlike any she thought she would. The dynamics between the three make for some excellent twists, especially in the last third of the novel. I wasn’t as emotionally entangled in this story as I would have liked – the characters, though I enjoyed the writing behind them, did not connect with me the way those in, say, A Wind from the Wilderness did (another great historical fantasy). That’s a purely subjective issue, however, and it should not take away from your willingness to give Sistersong a chance—it’s a remarkable novel whose multitude of moving parts takes the breath away.
Without introducing spoilers, I’ll say also, I find the choice of the name “Constantine” to be of particular interest, as it was Constantine the Great who officially adopted Christianity as state religion. To have another Constantine to stand in the path of a Christian priest is a stroke of irony I appreciate. There’s plenty more I appreciate about Sistersong, despite my inability to connect with the main characters; I thought the pacing was very well done, and the stakes were at just the right level through the different parts of the novel, going from the intimate and personal to the overarching theme of a socio-cultural encroachment. It’s well-worth reading for yourselves!
Edit: As Jay pointed out in the comments below, Holland is drawing from recorded history in her use of the name 'Constantine': "Constantine was one of the Five Kings the priest Gildas wrote a diatribe against in the 6th century."
In Sistersong, Lucy Holland tackles themes ranging from gender identity in an increasingly binary world to family, loyalty, and love, to the encroachment of a religion whose values are at odds with those of the majority of Brittons. What I didn’t know (and learned from fellow contributor Jonathan Thornton’s review) is that elements of Sistersong are also based on a ballad, “The Twa Sisters”. That Holland does justice to all these themes while incorporating the narrative thread of the ballad is commendable. The spirit of this older tale lives on in Sistersong, its elements seamlessly interwoven with the structure of a compelling tale about identity denied and reaffirmed.
I cannot speak to the veracity of the world from a historical perspective—unfortunately, my knowledge of sixth century Britain and Dumnonia in particular is not up to snuff. The big strokes, I’m familiar with—Saxons encroaching on Briton lands, pillaging and raping and making themselves at home; as an aside, if you want to entertain yourselves, you’re welcome to look at the way older English history textbooks talk about this settlement process as opposed to newer ones, there’s quite the linguistic difference. Back to Sistersong: What I can attest to is that this text offers the reader a feeling of verisimilitude in the way the world is portrayed, as well as in the dual conflicts at display here.
The siblings’ relationship is at the core of the emotional impact this book will have on you. This is the story mainly of Keyne, whose struggle to be seen as a man despite being born in a woman’s body is a rewarding tale of hardship, growth, and self-assertion. Keyne is the middle sibling to Riva and Sinne, who each struggle with the changing world around them in their own way. Riva’s natural abilities as healer are great; but when she falls in love with a handsome stranger, her loyalties are tested to the breaking point. Sinne, the youngest of the three, has talents of her own—and finds a friend unlike any she thought she would. The dynamics between the three make for some excellent twists, especially in the last third of the novel. I wasn’t as emotionally entangled in this story as I would have liked – the characters, though I enjoyed the writing behind them, did not connect with me the way those in, say, A Wind from the Wilderness did (another great historical fantasy). That’s a purely subjective issue, however, and it should not take away from your willingness to give Sistersong a chance—it’s a remarkable novel whose multitude of moving parts takes the breath away.
Without introducing spoilers, I’ll say also, I find the choice of the name “Constantine” to be of particular interest, as it was Constantine the Great who officially adopted Christianity as state religion. To have another Constantine to stand in the path of a Christian priest is a stroke of irony I appreciate. There’s plenty more I appreciate about Sistersong, despite my inability to connect with the main characters; I thought the pacing was very well done, and the stakes were at just the right level through the different parts of the novel, going from the intimate and personal to the overarching theme of a socio-cultural encroachment. It’s well-worth reading for yourselves!
Edit: As Jay pointed out in the comments below, Holland is drawing from recorded history in her use of the name 'Constantine': "Constantine was one of the Five Kings the priest Gildas wrote a diatribe against in the 6th century."
December 20, 2022
“we belong together. there have always been three of us. there always will be.”
sistersong reimagines the traditional british murder ballad “the twa sisters” as a haunting historical fantasy about bonds—the bonds between siblings and the bond between a people and their land.
set in ancient britain during the saxon invasion, sistersong follows the children of the king of dumnonia: riva, keyne, and sinne. the siblings grow up confined to the hold, where—as in much of britain—the transition from paganism to christianity is well underway. though even the king and queen have abandoned the old ways, all three siblings are still tied to their traditions. these ties, along with their ties to each other, will be tested by the rapidly changing world around them.
while i thought lucy holland’s writing was lovely and emotive and really captured both the harsh realities and the joys of the time period, i hated the heavy-handed, anachronistic handling of the paganism vs. christianity theme. on one hand you have myrdhin the magician spouting jarringly contemporary opinions on religion, tolerance, and the church; on the other you have gildas the priest, who is so cartoonishly unpleasant that it’s difficult to view him as a threat.
the actual retelling of the ballad was intriguing, and i enjoyed watching those events unfold alongside keyne’s storyline. while riva and sinne are the sisters from the ballad, keyne takes the role of the uninvolved third sister who appears in a few versions. he has a truly compelling arc about discovering himself and his connection to the land.
i’m torn on my rating of this book. i loved certain aspects, but i also came very close to dnf’ing on a couple of occasions. it’s definitely a rocky read, but i think it’s worthwhile for keyne’s storyline, the sibling relationships, and the conclusion.
i received an arc from netgalley in exchange for an honest review.
rating: 3.0/5.0 stars
May 16, 2022
It’s not a bad book, but the storytelling isn’t very sophisticated which lends it to coming across as very YA rather than adult, and I’m surprised it’s not YA to be honest.
Everything is very on the nose, a very tell rather than show which comes across as patronising, as if the audience doesn’t understand very outdated concepts of woman’s empowerment and patriarchal social norms (the whole “weaving is women’s work, I want more from life” degree of feminism which we learn from Disney films before the age of five).
There are so few consequences and everything wraps up so easily for the characters — don’t even get me started on the ending with a truce that occurs within the blink of an eye. The pacing and narrative storytelling is childlike — the reader is seen as too undereducated to understand sociology-political rights of people without the characters spelling it out for us, the historical nature of the novel is surface level and the magic is too neat and can solve all the problems so yay, it’s fine.
It reads like teenage fiction which is spoon feeding very introductory and surface level discussions of socio-political concepts for those under the age of 16, but I think that’s sadly down to rather unsophisticated writing.
Everything is very on the nose, a very tell rather than show which comes across as patronising, as if the audience doesn’t understand very outdated concepts of woman’s empowerment and patriarchal social norms (the whole “weaving is women’s work, I want more from life” degree of feminism which we learn from Disney films before the age of five).
There are so few consequences and everything wraps up so easily for the characters — don’t even get me started on the ending with a truce that occurs within the blink of an eye. The pacing and narrative storytelling is childlike — the reader is seen as too undereducated to understand sociology-political rights of people without the characters spelling it out for us, the historical nature of the novel is surface level and the magic is too neat and can solve all the problems so yay, it’s fine.
It reads like teenage fiction which is spoon feeding very introductory and surface level discussions of socio-political concepts for those under the age of 16, but I think that’s sadly down to rather unsophisticated writing.
dnf
August 8, 2021DNF @ 11%.
This was the last book I ever thought I'd DNF. Immediately-post-Roman-Britain covers a multitude of sins, except:
Usually I consider myself a pretty worldview-flexible reader. I know not everyone understands the world the same as I do, and I don't believe reading about magic is anything but an exercise of God-given imagination. Most of the time.
A literal reversal of everything true in the context of a historical time that really existed, though, makes me draw the line. And honestly, I think I should have drawn it a lot earlier.
This was the last book I ever thought I'd DNF. Immediately-post-Roman-Britain covers a multitude of sins, except:
• Love triangle dynamics.
• Jesus is the evil antagonist, paganism is the true, vibrant, native faith.
Usually I consider myself a pretty worldview-flexible reader. I know not everyone understands the world the same as I do, and I don't believe reading about magic is anything but an exercise of God-given imagination. Most of the time.
A literal reversal of everything true in the context of a historical time that really existed, though, makes me draw the line. And honestly, I think I should have drawn it a lot earlier.
September 1, 2021
3.5 stars
Headlines:
Three siblings, three povs
Detailed
Twisty
This fantasy-esque historical story was very different to my expectations and not in a bad way. The story starts with three sisters and ends with three siblings, that detail was core to this story. As such, I favoured Keyne's evolving story to that of Riva and Sinne. I did sometimes wish for more time in each POV before they switched.
This was a deep and detailed story that slowly gathered pace and plot. Set in a time post-Roman rule and at a time of expectation of Saxon invasion, the sense of impeding war was ever present. The story pitched a convincing battle alongside this of old magical ways versus newer Christian beliefs.
Most of the characters in this story were rather complex, none more than Keyne, Mori and Tristan. There were plenty of characters to be suspicicious of and some to really dislike. The context of this English land during this time conjured a dark and barren place in my mind. Freedoms even for the King's children were minimal and there was a sense of oppression from numerous directions.
The plot was clever, twists a-plenty with deep, historical research apparent. Overall, this was an immersive read.
Thank you to Pan Macmillan/Black Crow PR for the early review copy.
Find this review at A Take From Two Cities Blog.
Headlines:
Three siblings, three povs
Detailed
Twisty
This fantasy-esque historical story was very different to my expectations and not in a bad way. The story starts with three sisters and ends with three siblings, that detail was core to this story. As such, I favoured Keyne's evolving story to that of Riva and Sinne. I did sometimes wish for more time in each POV before they switched.
This was a deep and detailed story that slowly gathered pace and plot. Set in a time post-Roman rule and at a time of expectation of Saxon invasion, the sense of impeding war was ever present. The story pitched a convincing battle alongside this of old magical ways versus newer Christian beliefs.
Most of the characters in this story were rather complex, none more than Keyne, Mori and Tristan. There were plenty of characters to be suspicicious of and some to really dislike. The context of this English land during this time conjured a dark and barren place in my mind. Freedoms even for the King's children were minimal and there was a sense of oppression from numerous directions.
The plot was clever, twists a-plenty with deep, historical research apparent. Overall, this was an immersive read.
Thank you to Pan Macmillan/Black Crow PR for the early review copy.
Find this review at A Take From Two Cities Blog.
September 16, 2021
➸ Trigger warnings for .
▷ Representation: Constantine (mc) transmasc; bigender & mute scs.
Blog • Trigger Warning Database • Twitter • Instagram
▷ Representation: Constantine (mc) transmasc; bigender & mute scs.
Blog • Trigger Warning Database • Twitter • Instagram
May 14, 2021
I can’t pinpoint exactly why I disliked this book so much. The writing was fine and I quite liked the development of Keyne as a character but the whole time I was disinterested in what was going on and just wanted it to end. The only reason I finished was because I listened to it as an audiobook.
I felt like nothing much really happened until the last third and it was way too predictable. The only twist I didn’t seem coming was just weird too.
Riva was also just the sort of girl I dislike - that only cares about what the guy thinks, betrays others for him and is so blinded by her love to see what he really is.
I would still read another of the author’s books if the pace was a bit faster and the events were less predictable.
I felt like nothing much really happened until the last third and it was way too predictable. The only twist I didn’t seem coming was just weird too.
Riva was also just the sort of girl I dislike - that only cares about what the guy thinks, betrays others for him and is so blinded by her love to see what he really is.
I would still read another of the author’s books if the pace was a bit faster and the events were less predictable.
October 13, 2023
A beautifully written book about three sisters, three daughters of a king: Riva, a self-conscious healer who craves love; Keyne, who wants to become a warrior, and Sinne, a self-absorbed girl with her head filled with dreams. The story shifts between their POVs, with strong voices and well-developed characters. Once Tristan - a mysterious stranger who saved Riva in the forest - arrives and the events are set in motion, the tragedy caused by the rift between the sisters becomes inevitable.
I really loved the dreamy, poetic tone of the book, the underlying sadness and sense of loss, the atmosphere of a disappearing world.
I really loved the dreamy, poetic tone of the book, the underlying sadness and sense of loss, the atmosphere of a disappearing world.
November 3, 2022
4.5/5
¿Es necesario que el mundo se desmorone antes de que se me permita cambiarlo?
Sistersong nos cuenta la historia de tres hermanos, hijos del Rey de Dumnonia, un lugar donde antes la magia florecía, pero ahora se desvanece, dejándolos desprotegidos a todos. En tiempos donde la guerra amenaza y la hambruna se apodera del pueblo, los hermanos tendrán que enfrentar sus propios desafíos, aún cuando sus lazos se rompan y sus caminos tomen rumbos inesperados.
Este libro está inspirado en un antiguo mito inglés, pero lo que hace la autora es darle una historia muy bien elaborada a los personajes alrededor de esta trama. Me ha encantado ver la manera en que se retratan los lazos familiares, la conexión entre los hermanos, aún cuando son muy distintos entre ellos. Tenemos una vista muy completa de todo lo que tuvieron que enfrentar, dándoles una voz a cada uno, permitiéndonos conocer sus pensamientos y emociones. La autora logra que cada punto de vista sea diferente, que puedas identificarlos muy fácilmente. Además de que el libro se lee bastante rápido, porque es imposible no quedarte cautivado con todo lo que va pasando y querer saber más.
El tema de la magia y la ambientación se me hicieron muy bonitos y bien elaborados. Me encanta cómo la magia se va desarrollando poco a poco y se muestra su conexión con los hermanos y con la tierra. También tenemos un contraste entre la tradición y la religión, y cómo la fuerza de la magia yace en que siempre exista una persona que crea en ella.
A la vez, es una historia de guerra, de traiciones y de decisiones que lo pueden cambiar todo. Esa tensión está muy presente en la historia, te hace sospechar todo el rato de todos los personajes que se cruzan, y de hecho logra transmitirte todas esas sensaciones de rabia, frustración y tristeza que un conflicto puede traer.
Sobre los personajes, debo admitir que Riva y Sinne me estresaban muchísimo por momentos. Aunque entiendes las decisiones que toman, definitivamente quería meterme al libro y decirles que RAZONEN por momentos. Pero quien para mí se roba el reflector de esta historia es Keyne, con su historia de auto aceptación, de entenderte y de creer en ti mismo, a la vez que explora la identidad de género frente a una sociedad que no acepta lo que él es realmente. Me encantaba leer su camino, sus decisiones, y el impacto en su vida que tenía cada momento, cada vez que enfrentaba a alguien o cada vez que una persona lo reconocía y aceptaba. Me hizo muy feliz y a la vez me conmovió hasta las lágrimas. Es un personaje muy bien desarrollado, y hace que la historia completa valga totalmente la pena solo por haberlo conocido.
El libro no es completamente impredecible, pero está tan bien elaborado, tiene personajes muy bien hechos, y la historia de Keyne es tan cautivadora, que definitivamente vale la pena. Es una historia cautivante y poética, que te hará enojar y sentirte triste, pero que a la vez tiene muchas cosas bellas, y entre sus páginas está llena de magia, hermandad y tragedia.
Gracias a Ediciones Urano Perú por hacerme llegar este libro.
¿Es necesario que el mundo se desmorone antes de que se me permita cambiarlo?
Sistersong nos cuenta la historia de tres hermanos, hijos del Rey de Dumnonia, un lugar donde antes la magia florecía, pero ahora se desvanece, dejándolos desprotegidos a todos. En tiempos donde la guerra amenaza y la hambruna se apodera del pueblo, los hermanos tendrán que enfrentar sus propios desafíos, aún cuando sus lazos se rompan y sus caminos tomen rumbos inesperados.
Este libro está inspirado en un antiguo mito inglés, pero lo que hace la autora es darle una historia muy bien elaborada a los personajes alrededor de esta trama. Me ha encantado ver la manera en que se retratan los lazos familiares, la conexión entre los hermanos, aún cuando son muy distintos entre ellos. Tenemos una vista muy completa de todo lo que tuvieron que enfrentar, dándoles una voz a cada uno, permitiéndonos conocer sus pensamientos y emociones. La autora logra que cada punto de vista sea diferente, que puedas identificarlos muy fácilmente. Además de que el libro se lee bastante rápido, porque es imposible no quedarte cautivado con todo lo que va pasando y querer saber más.
El tema de la magia y la ambientación se me hicieron muy bonitos y bien elaborados. Me encanta cómo la magia se va desarrollando poco a poco y se muestra su conexión con los hermanos y con la tierra. También tenemos un contraste entre la tradición y la religión, y cómo la fuerza de la magia yace en que siempre exista una persona que crea en ella.
A la vez, es una historia de guerra, de traiciones y de decisiones que lo pueden cambiar todo. Esa tensión está muy presente en la historia, te hace sospechar todo el rato de todos los personajes que se cruzan, y de hecho logra transmitirte todas esas sensaciones de rabia, frustración y tristeza que un conflicto puede traer.
Sobre los personajes, debo admitir que Riva y Sinne me estresaban muchísimo por momentos. Aunque entiendes las decisiones que toman, definitivamente quería meterme al libro y decirles que RAZONEN por momentos. Pero quien para mí se roba el reflector de esta historia es Keyne, con su historia de auto aceptación, de entenderte y de creer en ti mismo, a la vez que explora la identidad de género frente a una sociedad que no acepta lo que él es realmente. Me encantaba leer su camino, sus decisiones, y el impacto en su vida que tenía cada momento, cada vez que enfrentaba a alguien o cada vez que una persona lo reconocía y aceptaba. Me hizo muy feliz y a la vez me conmovió hasta las lágrimas. Es un personaje muy bien desarrollado, y hace que la historia completa valga totalmente la pena solo por haberlo conocido.
El libro no es completamente impredecible, pero está tan bien elaborado, tiene personajes muy bien hechos, y la historia de Keyne es tan cautivadora, que definitivamente vale la pena. Es una historia cautivante y poética, que te hará enojar y sentirte triste, pero que a la vez tiene muchas cosas bellas, y entre sus páginas está llena de magia, hermandad y tragedia.
Gracias a Ediciones Urano Perú por hacerme llegar este libro.
March 22, 2021
Set in 535AD and following three children of the King, we watch events unfold as the siblings find their magic and wait for the Saxons to invade...
This was beautifully written, thoughtful and included both trans and disability rep, which was really interesting and pleasing to see in this setting.
It’s quite a slow moving character study and I could have done with slightly more context (I had to do some Googling as I read!) but overall, it was beautifully done and I will look for more from this author!
Huge thanks to Book Break for sending it to me in exchange for an honest review!
Content warning for injury description, war and death of a family member.
This was beautifully written, thoughtful and included both trans and disability rep, which was really interesting and pleasing to see in this setting.
It’s quite a slow moving character study and I could have done with slightly more context (I had to do some Googling as I read!) but overall, it was beautifully done and I will look for more from this author!
Huge thanks to Book Break for sending it to me in exchange for an honest review!
Content warning for injury description, war and death of a family member.
September 14, 2022
Retelling of a song based on the battles and conflict between Britons and Saxons in the dark ages through 3 sisters, enjoyed some of it
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