Ever is slower to save the princess who still have a chance of being rescued.
Five years ago, a young witch named Reagan cursed all of Ever’s princesses with the Spell of Without. Jane has not been able to eat anything since that day. Her sister’s curses all began on their thirteenth birthdays. Nora can’t love, Alice cannot sleep, Grace can’t remember and soon, on her birthday, Eden will be without hope.
Ever is as it always was with the royals on their side of the mote and their subjects at a safe distance, their queen trapped in a glass box, and their princesses suffering. When Reagan forces the girls out of the castle for their one chance to break the Spell of Without, Jane begins to wonder if the way things are is really the way things have to be–for either the princesses or their subjects.
A princess without a curse on her is an ordinary girl. And no one cares about an ordinary girl. A witch without her spells is just a girl alone in the woods. And no one wants to be a girl alone in the woods. But as Jane and Reagan come closer to unraveling the spell before it becomes True, both girls will realize there is much more to Ever, its secrets, and themselves than either of them realized in Ever Cursed (2020) by Corey Ann Haydu.
Ever Cursed is a standalone fantasy. Despite the relatively short length, there’s a lot to unpack with this one particularly in the context of the political climate (post 2016 US election) that may have helped to inspire it. Alternating chapters focus on Jane and Reagan’s first person narrations. It’s not a spoiler to say that something is rotten in Ever and Haydu, throughout the story, confronts the deep-seated misogyny and rape culture in the kingdom including discussions of sexual assault and a scene of attempted assault.
Jane’s narration is, appropriately, very focused on her mortality. The Spell of Without has carved her down to nothing and, should the spell become True, will have fatal consequences for herself and for Alice who is physically incapable of sleep. Readers with a history of disordered eating should pick this one up with caution and read the content warning Haydu includes at the beginning of the book before proceeding.
Ever Cursed is an interesting examination of what it means to be an ally and to be complicit. Both Jane and Reagan have to unpack the privilege they’ve had in being able to look away from the day-to-day problems in Ever while focusing on their own (more personally pressing) problems of being royals and witches. Jane in particular unpacks what it means to benefit from years of her family being in power and abusing that power even when she herself is not complicit.
These conversations about privilege are important ones to have while dismantling white supremacy and male privilege however combining them with a fantasy setting where the consequences are very real instead of allegorical doesn’t always lead to ideal handling of the material. Because of how the Spell of Without works, the idea of complicit privilege distills to children being punished in a very literal way for their father’s transgressions. That another young girl (Reagan) is the one meting out this punishment in order to see the king suffer in retaliation for her own mother’s pain adds even more complexity to this conversation and exposes the deeply internalized misogyny at Ever’s center.
As a feminist allegory disguised as a fairy tale, Ever Cursed is very successful. As a feminist fairy tale it is less so. The world building is thinly sketched and sometimes haphazard with fantastic imagery (witches wearing cumbersome skirts for ever spell they cast so that they always carry the consequences) that doesn’t hold up to any internal logic.
Ever Cursed has the bones of a truly sensational story that ultimately would have benefited from a bit more length to give proper space to both the world building and its characters; a fascinating if sometimes underdeveloped picture. Recommended for readers with an equal interest in feminism (or feminist theory) and fairy tales.
Possible Pairings: Children of Blood and Bone by Tomi Adeyemi, Damsel by Elana K. Arnold, Girl, Serpent, Thorn by Melissa Bashardoust, Pet by Akwaeke Emezi, Raybearer by Jordan Ifueko, The Midnight Lie by Marie Rutkoski