“For so it had been throughout his people’s memory, that a dragon and a damsel made a king.”
Emory is quick to tell Ama about his bravery and cunning when he conquered the dragon. He is eager to describe her beauty and the way their destinies are now tied together. He cannot, or will not, help Ama understand her life before the dragon and her rescue.
Coming to the kingdom of Harding is supposed to be the end of the story. But as Ama begins to explore this new kingdom and poke at the old legends of the damsels and the dragons, she begins to realize that her rescue is only the beginning of this tale in Damsel (2018) by Elana K. Arnold.
Arnold’s latest standalone novel is part fantasy and part feminist manifesto. Most of the story plays out in the kingdom of Harding–a grim little world filled with casual violence and brutality including graphic hunting scenes as well as a rape scene that leaves nothing to the imagination. The sense of danger is only further amplified by Arnold’s carefully restrained prose.
Damsel‘s plot is not always subtle as Ama tries to understand her past as well as her future. Her agency is systematically stripped away throughout the novel until it feels to readers, and to Ama herself, as if there is nothing left to lose.
Ama’s limited point of view and flat world building reminiscent of a fairy tale create a stark backdrop for this exploration of female agency and toxic masculinity. Damsel is a sparse, character-driven story with a very firm focus on its heroine. Arnold’s prose is deliberate as the novel works toward a logical if abrupt conclusion.
Damsel is not for the faint of heart. Recommended for readers who sympathize more with the dragon than the knight.
Possible Pairings: The Last Namsara by Kristen Ciccarelli, Strange Grace by Tessa Gratton, The Smoke Thieves by Sally Green, Seraphina by Rachel Hartman, Grave Mercy by Robin LaFevers, Sawkill Girls by Claire Legrand, The Wren Hunt by Mary Watson