When it comes to empowered heroines, Ella is the last word–except, really, she’s the first word. When I first started the CLW reviews, it was to exhibit books with protagonists like her. That said, bear with me for this review because I love the book and spent a good part of last semester writing a paper about why it is an effective feminist text while the movie adaptation loosely based on the novel totally sucks.
Feminists often denounce traditional fairy tales because they perpetuate the ideals of a patriarchal society by encouraging girls to behave like proper princesses and wait for charming princes to take charge and save the day. In response to these traditional fairy tales, many authors have tried to reclaim the realm of fairy tales for girls. These retellings feature active protagonists who are not scared of taking charge and do not need princes to save them. One example of this new fairy tale genre is the 1998 children’s novel Ella Enchanted by Gail Carson Levine, which takes an untraditional approach to retelling the story of Cinderella. The novel addresses several specific feminist issues, specifically negotiating and fighting the burden of obedience, the importance of female friendships and, of course, learning to save yourself.
The story is set in an imaginary, medieval-esque kingdom called Frell. A roaming fairy named Lucinda gives Ella the gift/curse of obedience at Ella’s birth. As a result, Ella has to do everything she is told, no matter what harm it might cause to herself or others. (In the novel, the severity of Ella’s curse in constantly underscored with passages explaining how little control Ella has over her own life: “If someone told me to hop on one foot for a day and a half, I’d have to do it. And hopping on one foot wasn’t the worst order I could be given. If you commanded me to cut off my own head, I’d have to do it.”) As the plot moves forward Ella is compelled to leave home to try and find Lucinda and ask her to lift the curse. Along the way she also falls in love with Prince Char. For varying reasons, depending on the version, Lucinda refuses to lift the curse. Further difficulties arise as Ella continues her quest.
That’s the main body of the story. The Cinderella element is relevant mainly to the last quarter of the novel where actual elements from that story (the slipper, the ball) appear in the story, although the evil step-sisters and fairy godmother are present throughout the narrative.
There are several reasons that I love this novel and recommend it to everyone. The first is that it’s an imaginative retelling of Cinderella which makes the story exciting for readers familiar with the original version without making it too abtruse for readers who have never heard of Cinderella. Also, the book is full of great role models for girls. All of the female characters are strong, self-aware women–things seen far too rarely in the fairy tale genre. The novel is narrated in Ella’s voice. This makes it easy to see how strong Ella is as a character (especially at the end of the novel).
The other great thing about this book is that it all seems authentic, never over the top or under-written. In addition to creating immensely likable main characters, Levine creates a compelling world within the pages of Ella Enchanted vivid with details ranging from Elvish and Gnomish languages to customs at a Giant’s wedding. The story is an immensely entertaining page-turner that will (even better) leave readers feeling satisfied when they reach the final scene where Levine ties everything together, artfully blending empowerment with a happy-ever-after ending fit for a traditional fairy tale.
This review is excerpted from a scholarly paper I wrote comparing the book version of Ella Enchanted to its movie adaptation. You can read the full article here: http://digitalcommons.pace.edu/research_awards/1/
Possible Pairings: Brightly Woven by Alexandra Bracken, Princess of the Midnight Ball by Jessica Day George, Just Ella by Margaret Peterson Haddix, Princess Academy by Shannon Hale, The Hero’s Guide to Saving Your Kingdom by Christopher Healy, Princess of Thorns by Stacey Jay, Howl’s Moving Castle by Diana Wynne Jones, Enchanted by Alethea Kontis, Winterspell by Claire Legrand, Song of the Sparrow by Lisa Ann Sandell, The Perilous Gard by Elizabeth Marie Pope, The Accidental Highwayman by Ben Tripp, A Well-Timed Enchantment by Vivian Vande Velde, Dealing with Dragons by Patricia C. Wrede