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A review by cityinkwell
A Fragile Enchantment by Allison Saft
hopeful
inspiring
lighthearted
medium-paced
- Plot- or character-driven? A mix
- Strong character development? It's complicated
- Loveable characters? Yes
- Diverse cast of characters? It's complicated
- Flaws of characters a main focus? Yes
4.0
Thank you for providing me an ARC on Netgalley. I didn't get to it before its time ran out, but I'm glad I read it!
So this book is not for me. Literally. It is an unapologetic teenage-brained story. I still loved it! I'd say there are two major factors for how hard this hits; how appealing you find Romantic Fantasy (the fantasy-historical romance genre popular in Korea), and how compelling you find young adult stories about big teen emotions.
A Fragile Enchantment's setting is an allegory for Ireland and the British empire, where the colonized Machland have fought to earn their freedom from Avaland 35 years ago. The devastation Avaland's colonial oppression and isolation of Machland has wrought - the magical equivalent of the Irish famine included - means that even though they're a free nation, they are pulled into Avaland in search of work to support their families. The main character, Niamh, is one such hopeful, using her divine magic of stitching emotions into her creations to create clothing for the second prince's wedding.
A note: the reason I say this appeals more to Romantic Fantasy SPECIFICALLY than anything else is because in Romantic Fantasy, you do not need to know the rules of this fantasy world, only that it is fantastical and internally consistent. Golden-blooded individuals with magic powers are born sometimes. Anything more is irrelevant to this romantic arc. "It doesn't have enough worldbuilding" is like asking for the hard magic system of a fairy tale.
Best parts: I think the opening and everything after the back half of act 2 is impeccably paced. Everything pulls together very neatly, and when you figure out the actual conflict, it only serves to build tension. Niamh and Kit are adorable and compliment each other wonderfully; Niamh is obviously just attracted to him because he's beautiful, but she puts honest work into understanding Kit, and the origin of Kit's pull towards her is heart-aching. And oh god, oh GOD the sibling drama. I loooooove a good angst about siblings.
Also, surprise! This is a very queer book. The main characters are bi, the supporting characters are gay, and their romantic entanglements colour how they engage with one another and the nobility. It's implied Kit is so attached to Sinclair because they're both interested in men and found solidarity in one another despite not being romantically interested. Genuinely shocked me.
Downsides...
Oh, I cannot go any higher than 4 stars, and I think I'm being a little generous. The plot around 3/4 of the way in has precious little follow-through, paced like a sequence of scenes necessary to make the romance make sense, and otherwise poorly tethered to the rest of the narrative. It's not until the last of these awkwardly paced moments, the latter half of the visit to the Hall, that things kick off and go at a tight pace that doesn't let up. It is...serviceable, I guess.
This book also has a sort of...not therapy-speak, but impatience with its own characters. These characters who met like last week are capable of pinpoint accurate psychoanalysis of people who have dedicated their entire identity to hiding how they feel, because that analysis is necessary to trim the pacing down. Characters will sometimes just narrate their entire character arc too. It's not "show don't tell" - it very much shows that these traits exist before they look directly into the camera and explain their narrative arc - but it feels crude, unrealistic, and patronizing. I felt insulted that the story could not spare even the slightest bit of messiness on any of these character details.
And these characters have big, crazy Romeo and Juliet Twilight New Moon emotions. This aspect isn't bad, it's just young adult. Not for me. Where it gets a problem is the end of act 2, where...like, you know where I said they can't be spared messiness? The whiplash I experienced was unfathomable. These are 2 Big Emotion moments that make sense on their own, but together they just feel ludicrous and unfocused, undermining the impact of both. It didn't help that despite repeatedly telling us Kit used to be violently mercurial, he's mostly just been grumpy, so it came off as deeply silly.
And the way the plot comes together feels as if events just sort of fell in that direction. Things are escalating, but everyone involved struggles with autonomy in the narrative. They do not ruminate or struggle with plans or express themselves clearly; we only have Niamh, where she's miserable and awash with emotion, and not much else. The pacing is good, sure, but it doesn't prioritize the right information as it breezes through and left me unsatisfied.
Less relevant but kind of a summation of these issues; we're introduced early on to the concept of her friend going missing, and that plotline meandered into the background so thoroughly I almost didn't realize that it actually got explained. In fact, there are two explanations, neither of which are the definitive answer because it was backburnered so intensely. Incredible to witness, because this subplot was what drew me into the story.
Overall: I think it's very important that the central relationships in a romance book are functional, and the setting introduces intrigue. Both of these are true, so it is greater than its flaws. It was a nice read.
So this book is not for me. Literally. It is an unapologetic teenage-brained story. I still loved it! I'd say there are two major factors for how hard this hits; how appealing you find Romantic Fantasy (the fantasy-historical romance genre popular in Korea), and how compelling you find young adult stories about big teen emotions.
A Fragile Enchantment's setting is an allegory for Ireland and the British empire, where the colonized Machland have fought to earn their freedom from Avaland 35 years ago. The devastation Avaland's colonial oppression and isolation of Machland has wrought - the magical equivalent of the Irish famine included - means that even though they're a free nation, they are pulled into Avaland in search of work to support their families. The main character, Niamh, is one such hopeful, using her divine magic of stitching emotions into her creations to create clothing for the second prince's wedding.
A note: the reason I say this appeals more to Romantic Fantasy SPECIFICALLY than anything else is because in Romantic Fantasy, you do not need to know the rules of this fantasy world, only that it is fantastical and internally consistent. Golden-blooded individuals with magic powers are born sometimes. Anything more is irrelevant to this romantic arc. "It doesn't have enough worldbuilding" is like asking for the hard magic system of a fairy tale.
Best parts: I think the opening and everything after the back half of act 2 is impeccably paced. Everything pulls together very neatly, and when you figure out the actual conflict, it only serves to build tension. Niamh and Kit are adorable and compliment each other wonderfully; Niamh is obviously just attracted to him because he's beautiful, but she puts honest work into understanding Kit, and the origin of Kit's pull towards her is heart-aching. And oh god, oh GOD the sibling drama. I loooooove a good angst about siblings.
Also, surprise! This is a very queer book. The main characters are bi, the supporting characters are gay, and their romantic entanglements colour how they engage with one another and the nobility. It's implied Kit is so attached to Sinclair because they're both interested in men and found solidarity in one another despite not being romantically interested. Genuinely shocked me.
Downsides...
Oh, I cannot go any higher than 4 stars, and I think I'm being a little generous. The plot around 3/4 of the way in has precious little follow-through, paced like a sequence of scenes necessary to make the romance make sense, and otherwise poorly tethered to the rest of the narrative. It's not until the last of these awkwardly paced moments, the latter half of the visit to the Hall, that things kick off and go at a tight pace that doesn't let up. It is...serviceable, I guess.
This book also has a sort of...not therapy-speak, but impatience with its own characters. These characters who met like last week are capable of pinpoint accurate psychoanalysis of people who have dedicated their entire identity to hiding how they feel, because that analysis is necessary to trim the pacing down. Characters will sometimes just narrate their entire character arc too. It's not "show don't tell" - it very much shows that these traits exist before they look directly into the camera and explain their narrative arc - but it feels crude, unrealistic, and patronizing. I felt insulted that the story could not spare even the slightest bit of messiness on any of these character details.
And these characters have big, crazy Romeo and Juliet Twilight New Moon emotions. This aspect isn't bad, it's just young adult. Not for me. Where it gets a problem is the end of act 2, where...like, you know where I said they can't be spared messiness? The whiplash I experienced was unfathomable. These are 2 Big Emotion moments that make sense on their own, but together they just feel ludicrous and unfocused, undermining the impact of both. It didn't help that despite repeatedly telling us Kit used to be violently mercurial, he's mostly just been grumpy, so it came off as deeply silly.
And the way the plot comes together feels as if events just sort of fell in that direction. Things are escalating, but everyone involved struggles with autonomy in the narrative. They do not ruminate or struggle with plans or express themselves clearly; we only have Niamh, where she's miserable and awash with emotion, and not much else. The pacing is good, sure, but it doesn't prioritize the right information as it breezes through and left me unsatisfied.
Less relevant but kind of a summation of these issues; we're introduced early on to the concept of her friend going missing, and that plotline meandered into the background so thoroughly I almost didn't realize that it actually got explained. In fact, there are two explanations, neither of which are the definitive answer because it was backburnered so intensely. Incredible to witness, because this subplot was what drew me into the story.
Overall: I think it's very important that the central relationships in a romance book are functional, and the setting introduces intrigue. Both of these are true, so it is greater than its flaws. It was a nice read.
Content Warnings
Moderate: Colonisation and Racism
Minor: Addiction