I have said quite a bit about how much I loved Girls at the Kingfisher Club by Genevieve Valentine when I first read it. I am happy to say that rereading it only added more depth and appreciation for what Valentine is doing here. Jo is one of the most wonderful, heartbreaking characters I can think of, and I’m still amazed by how well the other characters are done, even the most minor ones.

Thanks to a comment from Kate in librarian book club, I really noticed the fairy-tale-ness this time through. Even though Valentine is playing fast and loose with the specifics, she also hearkens back to fairy tales in some really interesting ways. Sometimes this happens in the choice of language, which is deceptively simple and detached while actually full of emotional punches. (“It frightened her how deep her sobs could reach, as if someone was pulling sorrow from her bones.”)

There’s also their father’s detachment and unkindness, which is present in the original fairy tale (you cannot convince me that king was a good parent). It transplants surprisingly well to this setting, because Valentine is partly making a point about rich men who view their daughters as objects that they own. Another one of those devastating sentences: “He was always most terrible when he was trying to seem kind.”

One of the things you notice in fairy tales are the rules that the hero or heroine has to follow to survive. Sometimes these seem arbitrary, but they actually aren’t. In this book, Jo’s the one that sets the rules (which, interestingly, are given their own section as if to highlight their importance):

Never tell a man your name. Never mention where you live, or any place we go. Never let a man take you anywhere; if you take one into the alley to neck, tell one of your sisters, and come back as soon as you can. Never fall for a man so hard you can’t pull your heart back in time. We’ll leave without you if we have to.

The fact that it’s Jo setting the rules is important, I think, because Jo isn’t the usual fairy tale heroine. She’s sharp and angry and distrustful. Unlike her sisters, she’s not quite a Princess; she’s a General. I noticed this partly in a pivotal moment, when Jo is speaking to her father. Valentine’s choice of language underscores both the fairy tale echo and Jo’s liminal place in it: “Then it was silent, and when Jo spoke it gave her words the gravity of a curse. ‘They’re gone,’ she said, ‘and you’ll never see them again.'”

Because the other strand in this book is learning how to be free when you haven’t been, when your soul has grown around something dark and twisted. “I’m my father’s daughter,” Jo thinks at one point, and it’s true–but it’s not all of her. She has to relearn “how people related to each other, and how you met the world when you weren’t trying to hide something from someone.” She has to learn how to be a sister, and not a General. This strand hits me right in every single one of my feels. Her fears and struggles and desires are achingly familiar to me.

What’s interesting is how much of these same themes and feelings are present in Of Mice and Magic. Unlike GATKC, where we’re immersed in Jo’s point of view, OMM is told from an outsider’s perspective. Harriet, a hamster princess and adventurer, is the one who rescues the mouse princesses from their father. But like the Hamilton sisters, the mouse sisters love to dance “more than anything in the world.” And like the Hamilton sisters, the mouse sisters stand together against their father’s rage (“but still none of them said a word”).

I’m fascinated by the fact that Vernon manages to tell a pretty complex story about abusive parents and winning your freedom which is also totally appropriate for its audience, which neither talks down to children nor gives them more than they can handle. The mouse king’s selfishness and anger is shown clearly, but the emphasis is on the bonds between the sisters and Harriet’s resourcefulness in setting them free.

It all pays off when the mouse king is left in the ruins of his castle and the sisters escape to the world and freedom. The scene ends with, “and not a single one of the princesses looked back.” It’s a line that would be equally at home in GATKC, and that also resonates deeply.

I appreciated the way Vernon also shows Harriet, another princess, who rescues them and that the story gives us many different ways to be a princess. It’s not that Harriet’s way is the only right one. The mice will have to learn their own paths. To point out the obvious subtext, we’re not being told that there is one right way to be a girl. We all have to find our ways.

“The Twelve Dancing Princesses” has always been one of my favorite fairy tales, and I’m really pleased to have both of these lovely retellings to recommend. Although they’re certainly different in terms of setting and tone, their strengths and similarities in terms of theme make both books powerful separately and together.

This is the story of twelve sisters, but mostly it is the story of Jo.

This is the story of twelve sisters who escape from their home to go dancing until dawn.

They have to escape, because they’re not allowed out, because their mother is dead and their father’s kindness is more terrifying than anything else.

They can escape because Jo organizes it. She is the General; she never dances; she is her father’s daughter.

This is a story about hard choices, about love, about saving yourself, and about saving each other.

I didn’t think at a certain point that this story could end with any kind of happiness. And it’s true that I’m crying now, because there are parts of it that hurt. But there’s hope, too, and unlikely victories. Halfway through the book, I knew I couldn’t stop reading until the end.

—

One of the things I love is how clearly this is a retelling of The Twelve Dancing Princesses, without being tied to its source. The Twelve Dancing Princesses is one of my favorite fairy tales partly because it is so clearly about sisters; that the relationship between the twelve girls is more important than any of the others. And, in all its prickly, fraught, wonderful glory, that’s exactly what we see here. It’s the center that the book is written around. I recognized sisterhood, which both is and is not friendship.

And I loved Jo. She is also prickly and hard and sometimes even cruel. But she’s completely real and compelling and also heartbreaking. Her loneliness at certain points was almost palpable. I ached for her to have a happy ending, more than any of the other girls, and I didn’t know how she possibly could.

And the voice is pitch-perfect, both the bits of 20s slang and the calm-on-the-surface narration that goes down smoothly and then burns. (“It frightened her how deep her sobs could reach, as if someone was pulling sorrow from her bones.”) There’s just enough distance to keep us worried, to keep us wondering.

There’s a depth and richness to this book that makes me want to talk about it for ages. The settings–the house, the different nightclubs, the way the girls interact with each space. The tension between the freedom the girls find dancing and the careful negotiation of the men they dance with. The blatant corruption of the city and how Jo has to find her way in it. The fact that no one turns into a caricature, even the unkind characters, and so there’s no easy way out.

And I loved that the story isn’t bitter. It’s not a manifesto. It’s too clear-sighted for that, too aware of complexities. Instead it has layers upon layers (the way the girls’ father deals with them (that moment when he realizes he has to face all twelve (that moment when he’s caught in his own trap) and how Jo and Tom maneuver him into that) how all his plans backfire on him because people are stronger and smarter and braver than you expect them to be), and each one adds another shade to the picture.

All of my recent favorite stories, the ones I keep thinking about and thinking about, have these common themes: bravery and resistance. Rose Under Fire (that moments when the lights go out), The Goblin Emperor (Maia choosing kindness again and again), heck, Captain America (when the tech says no, knowing he might get killed). It’s here too: the courage to escape, the choice to go out into the dark night and dance and dance and dance.

Book source: public library
Book information: 2014, Atria Books; pubb’d adult but great YA crossover material

Other reviews:
The Book Smugglers
Ana @ Things Mean A Lot