This is particularly impressive given how little source material there is to work with, which speaks greatly of Holland’s imagination and creativity. Holland did a fabulous job bringing the ballad to life, managing to make the story her own while also bringing in bigger themes of identity with Keyne. Sistersong marched to a different beat than I’m used to, and while I was ready to charge ahead, others may enjoy this change of pace. Overall the book has a mellow, straightforward air about it and at times seemed like a slice of life following three children in ancient Britain. From the moment you meet him, Tristan is sketchy and the benefit of the doubt never appears so every word and action just further cements his character. Tristan is the one character that is painted with shades of grey but does little to earn that reputation. It’s established early on whether a character will be good or bad and they stay within the lines of that role throughout the entire story. The story also doesn’t contain many surprises because the characters are black and white and very one-dimensional. There is an active plot and the characters are engaged, but it all seems to be happening at a distance.
It is a fitting end because the storytelling is soft and unassuming, like reading an account of events in a history book. Instead of ending with a big flashy conclusion, the story wraps up in a uniquely quiet way.
They may have the starring role in “The Two Sisters” ballad, but I consider them supporting characters to Keyne’s larger story in the book. Both certainly have hurdles of their own to overcome, but neither had progression and fell quickly to the background. Riva and Sinne didn’t progress or shine in the way Keyne did, and their stories feel stagnant in comparison.
The other sisters had a part to play but their stories sound too quiet next to Keyne’s full melody. He’s an amazing character and has a thoughtful, full-fledged arc. Keyne identifies as a man and his struggles in this pre-modern world led by kings is a force that drives the plot forward. The future of their kingdom will be determined by three young siblings, each called to a different path that will honor the old ways or usher in a new era.Įven though the ballad of the two sisters sets the stage for the book, Sistersong feels more like Keyne’s story. Riva, Keyne, and Sinne as the King’s daughters begin to see the old ways clash with the new first hand and each discovers they may possess a magic of their own. As a result, the kingdom begins to experience longer winters, failing crops, and the threat of Saxons approaching their territory. However, when Christianity begins to spread, the King turns his back on gods and magic, and in turn, loses his connection with the land. King Cador’s connection with the land granted him immense power as he ruled over the ancient kingdom of Dumnonia.
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