Holder's colonial "captured-by-Indians" romance is thoroughly
dispiriting. She bills it as an homage to Last of the Mohicans (the
book and the movie), and as a retelling of Beauty and the Beast,
suggesting that the hero's "Indianess" is a disfiguring spell. (Of
course, the heroine finds that "His profile was rather . . . noble,
actually.") Replete with "dark eyes" that "gleam" and women who
scream a lot, the story sticks consistently to the bestial theme.
Holder has combined cultural elements of several Indian nations,
ending up with an unrecognizable mishmash. Her Makiawisug ("Little
People" of Mohegan stories) are Shakespearean Tinkerbells, and her
"shaman" is a cross between an ER doctor and a Unitarian minister
leading a seance. In presenting such a blind, backward and
degrading view of a culture, Holder undermines all other elements
of her story, which include a predictable and slow-moving romance
with ridiculous dialogue and a startling magical theme that crops
up at the end. Readers may well experience this effort as the
heroine experiences battle: "She couldn't believe what she was
seeing-the cruelty, the barbarism. She was screaming, " 'Stop!
Stop! but no one did.' " (Fiction. 12-16) (Kirkus Reviews)
War. Rage. Magic. Love.
In May 1756 war is formally declared between the British and the
French. During this highly dangerous time, Isabella Sevens is
travelling with her father to the British stronghold Fort William
Henry.
In the forest, Wusamequin, the young and handsome medicine man,
looks to avenge the death of his wife and child at the hands of
British soldiers. When Wusamequin spots Isabella and her father, he
alerts his warriors to capture them. But Wusamequin is quite taken
with how bravely Isabella battles. He orders the warriors to spare
her and her tfather, and they are dragged back to their village.
However, many members of the Mohican tribe still want them to be
killed. In a desperate plea to Wusamequin, Isabella vows to stay as
his hostage if he lets her father go.
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