Wintersong: A Novel
“Wintersong is a maze of beauty and darkness, of music and magic and glittering things, all tied together with exquisite writing. This is a world you will want to stay lost in.” —Marie Lu, #1 New York Times bestselling author
Dark, romantic, and unforgettable, Wintersong is an enchanting coming-of-age story for fans of Labyrinth and Beauty and the Beast.
The last night of the year. Now the days of winter begin and the Goblin King rides abroad, searching for his bride…
All her life, Liesl has heard tales of the beautiful, dangerous Goblin King. They’ve enraptured her mind, her spirit, and inspired her musical compositions. Now eighteen and helping to run her family’s inn, Liesl can’t help but feel that her musical dreams and childhood fantasies are slipping away.
But when her own sister is taken by the Goblin King, Liesl has no choice but to journey to the Underground to save her. Drawn to the strange, captivating world she finds—and the mysterious man who rules it—she soon faces an impossible decision. And with time and the old laws working against her, Liesl must discover who she truly is before her fate is sealed.
Rich with music and magic, S. Jae-Jones's Wintersong will sweep you away into a world you won’t soon forget.
"This was Labyrinth by way of Angela Carter. Deliciously romantic, with a nuanced Goblin King and a strong heroine, this story was rife with fairy tales, music, and enchantment." —Roshani Chokshi, New York Times bestselling author of The Star-Touched Queen
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Community Reviews
A Hypnotic Sonata | Review of ‘Wintersong’ (Wintersong #1) (Review originally posted on Cyn's Workshop)
What’s so impeccable about this novel is the idea behind it. This novel has so many elements to it that the reader can connect to. At first glance, readers can see the connection between the novel and the film Labyrinth starring David Bowie. However, then there’s also those elements of Greek mythology, connecting this tale to the story about Hades and Persephone. Those are the underlying elements of the story that the reader can connect to all the while using those elements to weave its own narrative, making it a riveting and delightful to read.
One of the best things about this novel is the language. The reader can grass for language so beautifully because when the goblin came talks he is very concise, and yet the author uses beautiful language to convey more emotion in between those words. There’s a saying that a good writer can write but a better writer can write more with less (or something along those lines). Jones can captivate the reader so beautifully with her use of language, scene structure, and character dynamics. Her writing is masterful as the dialogue limits itself to the barest of details while at the same time conveying such powerful emotion and depth.
All one has to do is look at the opening page that prologue it is three stanzas and it is lyrical, flows and is otherworldly hypnotic. That opening segment by itself is a story on its own. It gives the reader this idea of what the story is going to be about a girl and the Goblin King, about her music and her sacrifices. There is also a loneliness that lingers underneath the lyrical pattern. It is in the language, in the tone, and ultimately sets the perfect stage for the story. Those three stanzas resonate throughout the novel. It is the underlying music of the novel itself haunting the reader haunting the characters hunting everything and making it a deep and dark hypnotic novel.
As a story, it is quite an enchanting story, but there’s so much more to it than just the story. There are characters here in this novel, and they are all richly designed, containing an extra level of depth. Liesl is the oldest sister and with that comes many responsibilities including losing her childhood as well as letting go of her dreams and her passions. She has a younger sister who’s considered the beautiful sister who seems to have everything anyone could want. However, one would think that these two sisters would be resentful of each other however that’s not the case these two girls love each other dearly and do not blame each other for their own their shortcomings and life. That is not only beautiful, but it also strays away from usual cliches involving these types of dynamics. These two sisters are united in their love for one another, making the story stand stronger. Käthe does not want her sister to lose herself, she wants her to be more comfortable in her skin and her dreams, and while this wish of hers for Liesl does come true, it does so with sacrifice.
The underlying story is about Liesl evolving as a person. She lives for everyone else when she should be living for herself as well. The Goblin King’s love offers her this chance to be a new version of herself, a fuller version of herself.
All in all, it is a beautiful story that has fantasy and romance woven together like a beautiful sonata. The writing is lyrical, it is haunting and masterfully written, conveying so much emotion within the limited dialogue and character descriptions. (★★★★☆ | A)
See more reviews at Cyn's Workshop and follow me on Facebook | Instagram | Twitter | Tumblr | Google+ | LinkedIn
What’s so impeccable about this novel is the idea behind it. This novel has so many elements to it that the reader can connect to. At first glance, readers can see the connection between the novel and the film Labyrinth starring David Bowie. However, then there’s also those elements of Greek mythology, connecting this tale to the story about Hades and Persephone. Those are the underlying elements of the story that the reader can connect to all the while using those elements to weave its own narrative, making it a riveting and delightful to read.
One of the best things about this novel is the language. The reader can grass for language so beautifully because when the goblin came talks he is very concise, and yet the author uses beautiful language to convey more emotion in between those words. There’s a saying that a good writer can write but a better writer can write more with less (or something along those lines). Jones can captivate the reader so beautifully with her use of language, scene structure, and character dynamics. Her writing is masterful as the dialogue limits itself to the barest of details while at the same time conveying such powerful emotion and depth.
All one has to do is look at the opening page that prologue it is three stanzas and it is lyrical, flows and is otherworldly hypnotic. That opening segment by itself is a story on its own. It gives the reader this idea of what the story is going to be about a girl and the Goblin King, about her music and her sacrifices. There is also a loneliness that lingers underneath the lyrical pattern. It is in the language, in the tone, and ultimately sets the perfect stage for the story. Those three stanzas resonate throughout the novel. It is the underlying music of the novel itself haunting the reader haunting the characters hunting everything and making it a deep and dark hypnotic novel.
As a story, it is quite an enchanting story, but there’s so much more to it than just the story. There are characters here in this novel, and they are all richly designed, containing an extra level of depth. Liesl is the oldest sister and with that comes many responsibilities including losing her childhood as well as letting go of her dreams and her passions. She has a younger sister who’s considered the beautiful sister who seems to have everything anyone could want. However, one would think that these two sisters would be resentful of each other however that’s not the case these two girls love each other dearly and do not blame each other for their own their shortcomings and life. That is not only beautiful, but it also strays away from usual cliches involving these types of dynamics. These two sisters are united in their love for one another, making the story stand stronger. Käthe does not want her sister to lose herself, she wants her to be more comfortable in her skin and her dreams, and while this wish of hers for Liesl does come true, it does so with sacrifice.
The underlying story is about Liesl evolving as a person. She lives for everyone else when she should be living for herself as well. The Goblin King’s love offers her this chance to be a new version of herself, a fuller version of herself.
All in all, it is a beautiful story that has fantasy and romance woven together like a beautiful sonata. The writing is lyrical, it is haunting and masterfully written, conveying so much emotion within the limited dialogue and character descriptions. (★★★★☆ | A)
See more reviews at Cyn's Workshop and follow me on Facebook | Instagram | Twitter | Tumblr | Google+ | LinkedIn
I received this free digital ARC from the publisher via Netgalley in exchange for my honest review.
Beautiful Writing
The writing is beautiful. The work is eloquent and offers a variety of descriptions for the world. There is an aesthetic quality to the diction that adds a very elegant feel to the writing and the story.
Abstract Concepts
I love music, and to have this story so very rooted in music thrilled me. I felt I could relate to the story because I played music and understood music and… knew absolutely nothing about what was going on in this book. *sigh* The problem with music is that it is a sound. Sure the notes are written on paper, but at the end of the day, it’s a sound and how one feels about said sound. Thus, it doesn’t translate well into literature. For that reason, much of the basis of this book just felt very abstract and unattainable, making it difficult to really get a feel for what was going on in the story.
Lack of Character Interaction
I was quite disappointed with this book in the regard that there was a severe lack of character interaction between our MC, Liesl, and the Goblin King. Yes, they interacted, but the interactions were either so subtle that I must be completely oblivious to them or non-existent in the story. Thus, the story kind of boiled down to little more than world-building and abstract musical qualities.
Sex
I’m not a prude, guys, and I fully support there being sex in young adult literature, but when the characters end up being unable to communicate with each other and simply end up having sex four+ times in the book, I kind of lose interest. I already commented on the lack of character interaction. And then you drive home the number of times the characters have sex with each other and I’m left wondering: ‘where is the substance behind their relationship or do they even have one at all?’
Beautiful Writing
The writing is beautiful. The work is eloquent and offers a variety of descriptions for the world. There is an aesthetic quality to the diction that adds a very elegant feel to the writing and the story.
Abstract Concepts
I love music, and to have this story so very rooted in music thrilled me. I felt I could relate to the story because I played music and understood music and… knew absolutely nothing about what was going on in this book. *sigh* The problem with music is that it is a sound. Sure the notes are written on paper, but at the end of the day, it’s a sound and how one feels about said sound. Thus, it doesn’t translate well into literature. For that reason, much of the basis of this book just felt very abstract and unattainable, making it difficult to really get a feel for what was going on in the story.
Lack of Character Interaction
I was quite disappointed with this book in the regard that there was a severe lack of character interaction between our MC, Liesl, and the Goblin King. Yes, they interacted, but the interactions were either so subtle that I must be completely oblivious to them or non-existent in the story. Thus, the story kind of boiled down to little more than world-building and abstract musical qualities.
Sex
I’m not a prude, guys, and I fully support there being sex in young adult literature, but when the characters end up being unable to communicate with each other and simply end up having sex four+ times in the book, I kind of lose interest. I already commented on the lack of character interaction. And then you drive home the number of times the characters have sex with each other and I’m left wondering: ‘where is the substance behind their relationship or do they even have one at all?’
( 3.5 / 5 )
The source materials for this tale were promising, as was the author’s extensive knowledge (and accurate use!) of music, but the whole of the story did not move me in the ways I had hoped it would. I still enjoyed the overall experience of this book! However, mention of Lorelei, allusion to Persephone, and devotion to Labyrinth—by extension an homage to my favorite childhood book Outside Over There—all proved more interesting still in ideal than in practice for this book. I really did want to love it! Instead, I appreciated it for the effort it was, but was left with a lacking impression.
I must give the author my respect for her eloquent writing and fluid incorporation of German/Greek/other lore and mythology. Additionally, this book had the most cleverly utilized references to music; she did not shy away from the inclusion of musical terms and ideas that further colored her story! I enjoyed the references to “Der Erlkönig”, “Death and the Maiden”, Mozart (Maurice Sendak’s favorite composer, who is covertly depicted in his OOT illustrations!) and the beautifully captured experiences of both composing and performing.
{I was disappointed to find two typos in the text: one on page 170, the other on page 269.}
The love story was an interesting one... I was begrudgingly reminded of Twilight at times (“I am a monster”/”you are the monster I claim”, “crooked smile”), but by the final pages was on board with their love story... It just took some time!
I think I will still venture to read the next book, out of curiosity and, “the worst of all mortal emotions”, hope.
The source materials for this tale were promising, as was the author’s extensive knowledge (and accurate use!) of music, but the whole of the story did not move me in the ways I had hoped it would. I still enjoyed the overall experience of this book! However, mention of Lorelei, allusion to Persephone, and devotion to Labyrinth—by extension an homage to my favorite childhood book Outside Over There—all proved more interesting still in ideal than in practice for this book. I really did want to love it! Instead, I appreciated it for the effort it was, but was left with a lacking impression.
I must give the author my respect for her eloquent writing and fluid incorporation of German/Greek/other lore and mythology. Additionally, this book had the most cleverly utilized references to music; she did not shy away from the inclusion of musical terms and ideas that further colored her story! I enjoyed the references to “Der Erlkönig”, “Death and the Maiden”, Mozart (Maurice Sendak’s favorite composer, who is covertly depicted in his OOT illustrations!) and the beautifully captured experiences of both composing and performing.
{I was disappointed to find two typos in the text: one on page 170, the other on page 269.}
The love story was an interesting one... I was begrudgingly reminded of Twilight at times (“I am a monster”/”you are the monster I claim”, “crooked smile”), but by the final pages was on board with their love story... It just took some time!
I think I will still venture to read the next book, out of curiosity and, “the worst of all mortal emotions”, hope.