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Holland (Starborn, 2016, as Lucy Hounsom) uses a trio of sibling voices to weave an enthralling fantasy combining British folklore and the historical ascendance of Christianity. Riva is a healer, dark and fair of face but scarred physically and psychologically due to a fire. Sinne is fair, vivacious, and a seer but immature and often envious of others. Then there is Keyne, who is transgender and has always been uncomfortable in her body, wishing to be accepted as someone else even in defiance of her parents and accepted customs. Their father, King Cador, has abandoned the old gods and assumed Christian practices. The magic he once wielded in being one with the land has begun to wither, leaving the people unprotected against storms, poor crops, and hunger and at risk of war with a relentless foe. Into this turmoil a handsome stranger will come leading to jealousy and murder, leaving one sister to try and wield the magic forsaken by the King. Fans of reimagined folklore and mythology like Christina Henry’s The Horseman and Genevieve Gornichec’s The Witch’s Heart will be enchanted.

Library Journal
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In Holland's (The Wild Hunt) folkloric fantasy, three royal siblings face epic changes as the Saxons encroach on their father's territory in sub-Roman Britain. The magic of their home is declining under the thumb of the monk Gildas and his Christian teachings, and each of the siblings tries to protect what means most to them. The eldest is Keyne, who struggles to grow into the man he is becoming, after being assigned female at birth. Middle sister Riva is blessed with healing powers but cannot heal herself from the trauma and physical and mental scars she sustained in a fire. The youngest, Senne, dreams of finding love, even at the expense of others' happiness. Each of the siblings must make choices that will test their loyalties and love for each other and will affect not only their futures but those of the entire kingdom. The novel ably references medieval Britain, pagan and Christian religions, and the murder ballad "The Twa Sisters," and the transmasculine protagonist Keyne fits into his time period well. VERDICT Holland crafts a tale tied to folklore, history, and song, bringing rich detail and imagination to characters and setting. Give it to readers who have enjoyed Arthurian retellings or Madeline Miller's Circe.—Kristi Chadwick, Massachusetts Lib. Syst., Northampton

Publishers Weekly
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Holland (Firestorm) delivers an enchanting queer retelling of the English murder ballad “The Twa Sisters.” King Cador of the kingdom of Dumnonia in ancient Britain has turned his back on magic in favor of Christianity. His lands retaliate by yielding a poor harvest, and without magic, Dumnonia is vulnerable to invasion by the Saxon army. Cador’s children, Riva, Sinne, and Keyne, are the only hope to restore the kingdom’s vigor, but each struggles with their own inner battles: Riva blames herself for her childhood scars, Sinne fancies a fairy-tale love, and Keyne fights against his parents’ preconceptions of his gender and struggles to get them to accept him identifying as a man. The sudden arrival of a mysterious warrior named Tristan upends the lives of all three siblings. Holland seamlessly weaves magic and folklore into the mystery around Tristan’s identity, but as the hints about his true nature increase halfway through the novel, the conclusion becomes disappointingly predictable. Still, Holland’s fast-paced plot and fresh, inventive take on a little-known classic make for a stirring experience. Fans of folkloric fantasy will be spellbound. Agent: Veronique Baxter, David Higham Assoc. (U.K.). (Oct.)