At this point, readers are likely to feel suddenly left behind, as, thanks to summary deus ex machina resolutions, everything turns out swell(ish). This leads up to a vicious climactic fight that sees Good and Evil repeatedly switching sides. Growing into their true natures amid revelations and marked physical changes, the two spark escalating rivalry between the wings of the school. Gradually-too gradually, as the author strings out hundreds of pages of Hogwarts-style pranks, classroom mishaps and competitions both academic and romantic-it becomes clear that the placement wasn’t a mistake at all. When it happens to sweet, Disney princess–like Sophie and her friend Agatha, plain of features, sour of disposition and low of self-esteem, they are both horrified to discover that they’ve been dropped not where they expect but at Evil and at Good respectively. Those who survive to graduate become major or minor characters in fairy tales. Still, Riddell fans, Gaiman completists, and general readers fond of the similarly formatted The Sleeper and the Spindle (2015) will pick it up.Ī rare tale that values brains over brawn-light, bright, and handsomely tricked out.Ĭhainani works an elaborate sea change akin to Gregory Maguire’s Wicked (1995), though he leaves the waters muddied.Įvery four years, two children, one regarded as particularly nice and the other particularly nasty, are snatched from the village of Gavaldon by the shadowy School Master to attend the divided titular school. As far as the text is concerned, there is nothing to choose between this and the earlier edition. These are all rendered in pen and ink with microscopic precision and are generally placed within broad, shiny, decorated borders.
Posed at start and finish in a flowing cape with a thin braid hanging stylishly past one ear, the white lad cuts an intrepid figure in the pictures amid sundry gods transformed into animals, lissome maidens and goddesses, huge and hairy giants with truly heroic schnozzes, and magnificent Nordic battlements. The whimsical story remains as it was: a crushed leg banishes half-Scottish Odd from his Viking village but proves no handicap to freeing Asgard from an aggrieved Frost Giant’s siege and enchantments. Lavish use of black and silver ink, plus Riddell’s larger-than-life figures, adds swash aplenty to this new edition of Gaiman’s 2009 spin on a Norse myth, originally illustrated by Brett Helquist.
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