Series
Collection
Publication
Tor Books, Kindle Edition, 304 pages
Description
"Jane Eliot wears an iron mask. It's the only way to contain the fey curse that scars her cheek. The Great War is five years gone, but its scattered victims remain--the ironskin. When a carefully worded listing appears for a governess to assist with a "delicate situation"--a child born during the Great War--Jane is certain the child is fey-cursed, and that she can help. Teaching the unruly Dorie to suppress her curse is hard enough; she certainly didn't expect to fall for the girl's father, the enigmatic artist Edward Rochart. But her blossoming crush is stifled by her scars and by his parade of women. Ugly women, who enter his closed studio...and come out as beautiful as the fey. Jane knows Rochart cannot love her, just as she knows that she must wear iron for the rest of her life. But what if neither of these things are true? Step by step Jane unlocks the secrets of a new life--and discovers just how far she will go to become whole again. "--… (more)
User reviews
LibraryThing member msjessie
It's easily apparent from the very start of this deceptively good novel that Ironskin is a story loosely based on Charlotte Brontë's beloved classic Jane Eyre. Fortunately for me, I have never read the original, and that's one of the reasons I think I was free to enjoy this supernaturalized
A debut novel, Ironskin comes loaded with great characters, a compelling storyline, and with a unique, new interpretation of steampunk. The ideas and fey-punk (bluepacks, etc.) that Connolly has envisioned for her alternate world of fey, dwarvven, and more work well for the frame of the plot, but are not truly steampunk. There's more of a supernatural feel to Ironskin as well - from Rochart to his daughter, magic is alive and unwell at Silver Birch. Despite its clear homages to Jane Eyre that even a reader almost wholly unfamiliar with that story could pick out, this is a fantasy tale obviously flavored with Connolly's original spin on the Victorian genre of literature. The well-handled themes of love, betrayal, acceptance, and atonement are subtly interwoven into the storyline of protagonist and governess Jane's attempts to reconcile a fey-talented child into a fey-hating world.
The characters took a bit longer to gel than the rest of the novel. I was easily enraptured by Connolly's lovely and often very visual writing to the benefit of the atmosphere, but her characters were a different story. With a slower-paced novel like this one, it's more difficult to get a grip on personalities, ambitions, and more. Jane, for the fiirst hundred or so pages, can be hard to empathize with, or relate to. She wasn't as astute as could be hoped for, but in the end, her journey to self-realization makes up for it. Thankfully with this author and engaging novel, the time spent building Jane, Dorie, and Rochart into distinct beings all payout in the end. The romance between the two adults is many things: expected, tumultuous, well-handled, and slow-building. No headlong rush into instalove here! The conflicts and complications that frequently spring up between Rochart and his damaged employee are part and parcel to the up-and-down relationship the two endure as they struggle to trust one another and protect Dorie. There isn't a ton of chemistry between the two for the first 200 pages, but Connolly manages to rectify that in time with some chance meetings and subtle conversations to build their relationship into something more believable than it started out as.
With the Gothic edge one would expect of something based on a Brontë sisters work, the world and technology of Ironskin is one of the most alluring concepts; both interesting and creepy. The unsettling setting, the unknown details of Jane's life at Silver Birch, the tension between the ironskins and the rest of the populace and more make for an encompassing, suspense-filled atmosphere. Ironskin is a well-written novel where the slightly creepy ambiance is as much of a part of the novel as the plot itself or the characters that grow from outlines into fully fleshed and three-dimensional people. The world, full of history and war and curses is a complex and imaginative more. Connolly is thankfully one of those few authors that don't inundate their audience with all the details immediately in an infodump, but one that parses out small, pertinent pieces of information slowly as the novel progresses along, creating an informative, large worldview of the time and place Jane lives in.
Ambitious and impressive, Ironskin wraps up the main plotline/mystery neatly and succinctly in those 302 pages. With a few open-ended plotlines obviously leading up the next book in this series, Connolly is a writer who knows how to hook her readers. I certainly eagerly awaiting to see what new struggles and battles Jane will encounter as well as gaining more knowledge about the Great War that lead up to the current conflict. With a strong ending, an intriguing and original interpretation of a beloved classic, realistic characters with human (and otherwise..) flaws, and mysteries a plenty, Ironskin is a rewarding and fun read.
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version as much as I did. I had no predispositions or favorites or even opinions going in - Connolly was free to do whatever she wanted with any of the characters, or with the plot, and it all worked out amazingly for me. Ironskin was a creative outlet of steam (really more fey-)punk, that managed to be both entertaining, and full of surprises. A few twists were expected, but Tina Connolly managed to pull the rug out from under my feet more than once before this short-ish novel was over. With a solidly built world, and a strong protagonist who changes and develops as the pages progress, I found a lot to recommend about this novel.A debut novel, Ironskin comes loaded with great characters, a compelling storyline, and with a unique, new interpretation of steampunk. The ideas and fey-punk (bluepacks, etc.) that Connolly has envisioned for her alternate world of fey, dwarvven, and more work well for the frame of the plot, but are not truly steampunk. There's more of a supernatural feel to Ironskin as well - from Rochart to his daughter, magic is alive and unwell at Silver Birch. Despite its clear homages to Jane Eyre that even a reader almost wholly unfamiliar with that story could pick out, this is a fantasy tale obviously flavored with Connolly's original spin on the Victorian genre of literature. The well-handled themes of love, betrayal, acceptance, and atonement are subtly interwoven into the storyline of protagonist and governess Jane's attempts to reconcile a fey-talented child into a fey-hating world.
The characters took a bit longer to gel than the rest of the novel. I was easily enraptured by Connolly's lovely and often very visual writing to the benefit of the atmosphere, but her characters were a different story. With a slower-paced novel like this one, it's more difficult to get a grip on personalities, ambitions, and more. Jane, for the fiirst hundred or so pages, can be hard to empathize with, or relate to. She wasn't as astute as could be hoped for, but in the end, her journey to self-realization makes up for it. Thankfully with this author and engaging novel, the time spent building Jane, Dorie, and Rochart into distinct beings all payout in the end. The romance between the two adults is many things: expected, tumultuous, well-handled, and slow-building. No headlong rush into instalove here! The conflicts and complications that frequently spring up between Rochart and his damaged employee are part and parcel to the up-and-down relationship the two endure as they struggle to trust one another and protect Dorie. There isn't a ton of chemistry between the two for the first 200 pages, but Connolly manages to rectify that in time with some chance meetings and subtle conversations to build their relationship into something more believable than it started out as.
With the Gothic edge one would expect of something based on a Brontë sisters work, the world and technology of Ironskin is one of the most alluring concepts; both interesting and creepy. The unsettling setting, the unknown details of Jane's life at Silver Birch, the tension between the ironskins and the rest of the populace and more make for an encompassing, suspense-filled atmosphere. Ironskin is a well-written novel where the slightly creepy ambiance is as much of a part of the novel as the plot itself or the characters that grow from outlines into fully fleshed and three-dimensional people. The world, full of history and war and curses is a complex and imaginative more. Connolly is thankfully one of those few authors that don't inundate their audience with all the details immediately in an infodump, but one that parses out small, pertinent pieces of information slowly as the novel progresses along, creating an informative, large worldview of the time and place Jane lives in.
Ambitious and impressive, Ironskin wraps up the main plotline/mystery neatly and succinctly in those 302 pages. With a few open-ended plotlines obviously leading up the next book in this series, Connolly is a writer who knows how to hook her readers. I certainly eagerly awaiting to see what new struggles and battles Jane will encounter as well as gaining more knowledge about the Great War that lead up to the current conflict. With a strong ending, an intriguing and original interpretation of a beloved classic, realistic characters with human (and otherwise..) flaws, and mysteries a plenty, Ironskin is a rewarding and fun read.
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LibraryThing member A_Reader_of_Fictions
Originally posted on A Reader of Fictions.
An alternate history set in the era around WWI plus paranormal elements? Umm, yes! At least, that's my first thought, though The Sweetest Dark made me cautious, as it totally failed the wonderful premise. Ironskin has those things plus Jane Eyre. Be still
As a retelling, I found Ironskin incredibly powerful. Though there are many things that are quite different from Jane Eyre, even some of the major, integral moments, the story and the characters maintain the precise feel and mood that I've always felt on readings of Jane Eyre. I do find it curious, though, that Connolly apparently didn't originally think this was a retelling at all. Or so Unabridged Chick said. Assuming that's true, and I don't think Audra would lie to me, I wonder whether the story was changed greatly by an editor who saw possibility or if the author just did not see the influence.
Jane Eliot has much in common with Jane Eyre, though they are not one hundred percent the same. Both are intelligent, artistic, snarky and unimpressed with high society. And, like her classic counterpart, Jane Eliot does not care for her visage. Not only is she plain, but she also wears Ironskin, a mask of iron which keeps the fairy curse of rage on her cheek from leaking out and infecting others. This mask marks her as damaged, lesser, cursed.
You see, in this world, WWI was fought against the fey. Though the fey lack physical bodies, they had the power to infect humans and then take over the bodies when the person was killed. Yup, they basically made themselves into a zombie army. They created bombs that would curse people to this fate. Those that survived wear iron over the infected area, like Jane does, to prevent the leaking of whatever terrible emotion they bear. The fey are weak only to iron, thus the iron for dampening. This whole conflict is so completely mind-bogglingly cool that I just can't even.
The humans won WWI, but they struggle now, having grown used to using fey technology for pretty much everything: lights, cars, etc. Now, without the fey, they have to start back over from scratch. There remains a deep-seated fear of the fey, of their possible return, and a mistrust of the ironskin. Also, this right here is totally how you make a statement about something without being preachy. Connolly totally used this as a metaphor for first world countries getting everything from overseas, and it's so much more effective than the book I'm reading now that just tells you this and that are bad.
Back to Jane. Her sister, Helen (a change!), has gotten engaged and Jane, unwilling to sit around and live off her brother-in-law's kindness, finds herself a position at Silver Birch Hall as a governess. Immediately, the oddness of Silver Birch Hall becomes apparent. Mr. Rochart has an odd sense of humor and is oft-absent and the servants are strange. The Hall itself is half-destroyed, wreckage from the war unfixed. Weirdest of all, though, is Dorie, Edward Rochart's daughter. She has a touch of the fey, to such an extent that she can move things with her mind. This would likely see her killed were it known, which is why Mr. Rochart has trouble finding non-kooky servants and why he needs a governess. Jane's job is to try to convince Dorie to act normally, to use her hands, clumsy and awkward though they are from disuse, rather than her fey talents.
While most of Ironskin feels like Jane Eyre, deliciously moody and mysterious, Connolly adds some straight up horror. There's a scene at the end that literally makes me twitch to think about. I wish I could say more about that, because it is so COOL and GROSS and AHHHH, but I will leave you to be horrified when you read this yourselves.
Much as I completely adored the writing and the storyline, I never really connected with the characters. They were well done, in that they fit the retelling perfectly, but I just didn't get particularly caught up in them. Jane was the only one I really cared about, and, though I suppose I like this guy better than Rochester, it's not by much. The one character I really did not like was Helen. She completely lacked depth, and just didn't feel right, since Jane supposedly loves her so. I didn't get any of that affection spilling over to me at all. This wasn't a huge drawback, since everything else kept me highly engaged, but kept the book from being perfect for me.
Ironskin has a gorgeous, somewhat creepy, cover and I can tell you right now that it perfectly matches the book's contents. Jane does even wear a dress like that at one point in the book. I am so excited to find out what the next book will be like! Go forth and procure this book, you lovely fans of gothic and retellings, for it is not a trap.
An alternate history set in the era around WWI plus paranormal elements? Umm, yes! At least, that's my first thought, though The Sweetest Dark made me cautious, as it totally failed the wonderful premise. Ironskin has those things plus Jane Eyre. Be still
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my heart, I think I'm in love. Of course, these things can be a let down, not coming close to living up to possibility. Not this one, though. Ironskin is masterfully crafted, a truly impressive retelling with a sublimely unique paranormal twist.As a retelling, I found Ironskin incredibly powerful. Though there are many things that are quite different from Jane Eyre, even some of the major, integral moments, the story and the characters maintain the precise feel and mood that I've always felt on readings of Jane Eyre. I do find it curious, though, that Connolly apparently didn't originally think this was a retelling at all. Or so Unabridged Chick said. Assuming that's true, and I don't think Audra would lie to me, I wonder whether the story was changed greatly by an editor who saw possibility or if the author just did not see the influence.
Jane Eliot has much in common with Jane Eyre, though they are not one hundred percent the same. Both are intelligent, artistic, snarky and unimpressed with high society. And, like her classic counterpart, Jane Eliot does not care for her visage. Not only is she plain, but she also wears Ironskin, a mask of iron which keeps the fairy curse of rage on her cheek from leaking out and infecting others. This mask marks her as damaged, lesser, cursed.
You see, in this world, WWI was fought against the fey. Though the fey lack physical bodies, they had the power to infect humans and then take over the bodies when the person was killed. Yup, they basically made themselves into a zombie army. They created bombs that would curse people to this fate. Those that survived wear iron over the infected area, like Jane does, to prevent the leaking of whatever terrible emotion they bear. The fey are weak only to iron, thus the iron for dampening. This whole conflict is so completely mind-bogglingly cool that I just can't even.
The humans won WWI, but they struggle now, having grown used to using fey technology for pretty much everything: lights, cars, etc. Now, without the fey, they have to start back over from scratch. There remains a deep-seated fear of the fey, of their possible return, and a mistrust of the ironskin. Also, this right here is totally how you make a statement about something without being preachy. Connolly totally used this as a metaphor for first world countries getting everything from overseas, and it's so much more effective than the book I'm reading now that just tells you this and that are bad.
Back to Jane. Her sister, Helen (a change!), has gotten engaged and Jane, unwilling to sit around and live off her brother-in-law's kindness, finds herself a position at Silver Birch Hall as a governess. Immediately, the oddness of Silver Birch Hall becomes apparent. Mr. Rochart has an odd sense of humor and is oft-absent and the servants are strange. The Hall itself is half-destroyed, wreckage from the war unfixed. Weirdest of all, though, is Dorie, Edward Rochart's daughter. She has a touch of the fey, to such an extent that she can move things with her mind. This would likely see her killed were it known, which is why Mr. Rochart has trouble finding non-kooky servants and why he needs a governess. Jane's job is to try to convince Dorie to act normally, to use her hands, clumsy and awkward though they are from disuse, rather than her fey talents.
While most of Ironskin feels like Jane Eyre, deliciously moody and mysterious, Connolly adds some straight up horror. There's a scene at the end that literally makes me twitch to think about. I wish I could say more about that, because it is so COOL and GROSS and AHHHH, but I will leave you to be horrified when you read this yourselves.
Much as I completely adored the writing and the storyline, I never really connected with the characters. They were well done, in that they fit the retelling perfectly, but I just didn't get particularly caught up in them. Jane was the only one I really cared about, and, though I suppose I like this guy better than Rochester, it's not by much. The one character I really did not like was Helen. She completely lacked depth, and just didn't feel right, since Jane supposedly loves her so. I didn't get any of that affection spilling over to me at all. This wasn't a huge drawback, since everything else kept me highly engaged, but kept the book from being perfect for me.
Ironskin has a gorgeous, somewhat creepy, cover and I can tell you right now that it perfectly matches the book's contents. Jane does even wear a dress like that at one point in the book. I am so excited to find out what the next book will be like! Go forth and procure this book, you lovely fans of gothic and retellings, for it is not a trap.
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LibraryThing member paperloverevolution
SPOILERS AHEAD
Ironskin has a moderately interesting premise, but suffers from pretty poor character building - not a lot of continuity, not enough dialogue, lots of inexplicable action. Least favorite part, hands down, is the cop-out ending, which finds Jane (SPLIT FOR SPOILERS)
- who spends most
Ironskin has a moderately interesting premise, but suffers from pretty poor character building - not a lot of continuity, not enough dialogue, lots of inexplicable action. Least favorite part, hands down, is the cop-out ending, which finds Jane (SPLIT FOR SPOILERS)
- who spends most
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of the book coming to terms with her scarred face - getting a perfect new face AND built in fancy fey face superpowers. The 17 year old girl in my house was also profoundly disappointed in this ending, so it's not just crabby pants me. Pretty sad when Jane Eyre manages to be more radically feminist than the 21st century retelling. My verdict: don't bother. Show Less
LibraryThing member AG314
The Great War fought against the fey left its marks on everyone, including Jane Eliot. Like anyone else hit with fey shrapnel, Jane was cursed. Hers is the curse of rage, and it can only be prevented from affecting others around her by the iron mask she wears on her face. Jane goes to work as a
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governess at a mysterious house in the countryside. Dorie, a fey-cursed little girl, lives there, and Jane is determined to help Dorie deal with her curse. But the house holds many secrets, and Jane will discover that many of them connect to her past in ways she doesn't expect. This reworking of Jane Eyre posits an alternate world falling into disrepair from fey technological advances; when the fey disappeared after the Great War, their magic-run machines slowly crumbled and stopped working, unable to be repaired. The worldbuilding is detailed and thorough, and makes the mysteries of the plot more mysterious even for the most devoted Bronte fan, who will eagerly await the sequel. Show Less
LibraryThing member bookczuk
Steampunk fantasy in a world that has echos of Regency times -- right up my alley it would seem. With Ironskin, the reader enters a world just after a war between humans and fey. While humans appeared to have won, there are wounds left in the world, humans hideously scarred by fey blasts, now
Jane Eliot was wounded in the war that killed all of her family, except her sister Helen. While Helen has found a place in society and is to be wedded soon, Jane (definitely less flighty and frivolous, and considerably smarter than her sister) heads off to take a position as the governess for a child who also bears a fey curse.
Here's where it got a little confusing: I thought we might be headed towards a steampunk Jane Eyre (which would have been great, only sadly, the author states in her acknowledgements that when someone compared the novel to Jane Eyre, her response was, "Who's that.") Then there were Beauty and the Beast elements that got added in, the only question being who was the beauty and who was the beast. Next, came The Snow Queen bits, only this one was the Fey Queen. While it all worked, I think my love of the other stories got in the way for this one. In the end, though, it's all up to Jane (as it often seems to be for main characters who bear that name.
While there were some wonderful bits in this book that crossed all my t's and dotted all my i's, there were other times when my mind strayed from the plot. However, the world-building here was really well done. It's not a retelling of a story with another element added in, but a nicely crafted tale. The disappointments I had were probably because of my own expectations which I set myself (though a cover blurb also alludes to a reverse Beauty and the Beast). I will look for other works by this author.
Sent to me by the kindness of Tor books.
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outcast, or else wearing iron coverings to stop the fey curses from leaking through and tainting the world.Jane Eliot was wounded in the war that killed all of her family, except her sister Helen. While Helen has found a place in society and is to be wedded soon, Jane (definitely less flighty and frivolous, and considerably smarter than her sister) heads off to take a position as the governess for a child who also bears a fey curse.
Here's where it got a little confusing: I thought we might be headed towards a steampunk Jane Eyre (which would have been great, only sadly, the author states in her acknowledgements that when someone compared the novel to Jane Eyre, her response was, "Who's that.") Then there were Beauty and the Beast elements that got added in, the only question being who was the beauty and who was the beast. Next, came The Snow Queen bits, only this one was the Fey Queen. While it all worked, I think my love of the other stories got in the way for this one. In the end, though, it's all up to Jane (as it often seems to be for main characters who bear that name.
While there were some wonderful bits in this book that crossed all my t's and dotted all my i's, there were other times when my mind strayed from the plot. However, the world-building here was really well done. It's not a retelling of a story with another element added in, but a nicely crafted tale. The disappointments I had were probably because of my own expectations which I set myself (though a cover blurb also alludes to a reverse Beauty and the Beast). I will look for other works by this author.
Sent to me by the kindness of Tor books.
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LibraryThing member Jen7waters
Ironskin is a retelling of the classic Jane Eyre mixed with a couple of fantastic elements—mainly fairies and fairy magic—and being a hardcore Jane Eyre and fantasy in general fan I was *extremely* excited to read it; needless to say I did the happy dance when my request on NetGalley for an
The book follows the basic steps of the classic, starting off with the heroine, Jane Eliot, arriving at Mr. Rochart’s house seeking for employment as a governess for his young daughter Dorie. I remained optimistic during the first 100 pages or so, mostly because I was enjoying the worldbuilding, which I think is the strong point of Ironskin, but also because even though I know the original tale by heart, I still managed to get caught up in the mysterious, obscure and sometimes creepy essence of the storyline.
Unfortunately the optimism didn’t last and by page 200 I was bored to death. Why? Well, the heroine’s main concern since the beginning is her charge, Dorie—the girl is different from everyone around her, she’s exceedingly disobedient, she sees things that aren’t there, she has magical powers, she gives the creeps to people around her, and her father can’t keep a governess for too long.
Being Jane different from other people herself, with a scarred face and an iron mask to cover it up, she’s determined to be the governess Dorie needs. This would have been fine, had it not taken hold of almost the entire story, like, the first half of this book is all about Jane trying to get Dorie to use her hands to eat and to pick up things, because she does everything using her powers.
The other half of the book is still about Dorie, plus there are a couple of episodes in which Jane tries to find out what Mr. Rochart does for a living. I kept waiting to fall in love with these characters and to care about their personal tragedies but as the pages flew slowly by I just got more and more bored.
Other thing that bothered me was the lack of solid interaction between Jane and Rochart throughout the story, and yet they still fall in love with each other.
The final twists and events were mildly surprising, but overall I was not happy with the way the story comes together in the end.
There’s also something quite wrong with the beauty concept in this story, as if all beautiful people are possessed by evil beings and in grave need of salvation…
I honestly wanted to love this book but it wasn’t possible.
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advance copy of Ironskin was approved. (Many thanks to Macmillan-Tor/Forge!)The book follows the basic steps of the classic, starting off with the heroine, Jane Eliot, arriving at Mr. Rochart’s house seeking for employment as a governess for his young daughter Dorie. I remained optimistic during the first 100 pages or so, mostly because I was enjoying the worldbuilding, which I think is the strong point of Ironskin, but also because even though I know the original tale by heart, I still managed to get caught up in the mysterious, obscure and sometimes creepy essence of the storyline.
Unfortunately the optimism didn’t last and by page 200 I was bored to death. Why? Well, the heroine’s main concern since the beginning is her charge, Dorie—the girl is different from everyone around her, she’s exceedingly disobedient, she sees things that aren’t there, she has magical powers, she gives the creeps to people around her, and her father can’t keep a governess for too long.
Being Jane different from other people herself, with a scarred face and an iron mask to cover it up, she’s determined to be the governess Dorie needs. This would have been fine, had it not taken hold of almost the entire story, like, the first half of this book is all about Jane trying to get Dorie to use her hands to eat and to pick up things, because she does everything using her powers.
The other half of the book is still about Dorie, plus there are a couple of episodes in which Jane tries to find out what Mr. Rochart does for a living. I kept waiting to fall in love with these characters and to care about their personal tragedies but as the pages flew slowly by I just got more and more bored.
Other thing that bothered me was the lack of solid interaction between Jane and Rochart throughout the story, and yet they still fall in love with each other.
The final twists and events were mildly surprising, but overall I was not happy with the way the story comes together in the end.
There’s also something quite wrong with the beauty concept in this story, as if all beautiful people are possessed by evil beings and in grave need of salvation…
I honestly wanted to love this book but it wasn’t possible.
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LibraryThing member cheerfulbuttons
* 3.5 *
~ Thank you Tor Books for sending me a copy in return for an honest review! ~
I have very mixed feelings about this book right now.. I loved it, then I hated it, and then I loved it- and agh! I am going to have such a hard time writing a review on this one, so bear with me!
Our main character
This book was a roller-coaster for me. In the beginning I was very intrigued by the book and found myself loving Connolly's writing. She writes so descriptive and beautifully and I sometimes felt like I was right there with Jane the entire time. Also, the fact that it was pretty much a retelling of Jane Eyre only with Steampunk and faeries was a plus! But some parts of the book just didn't do it for me..
I loved Jane as a character. I really enjoyed following her and learning more about her as a person. But the thing is, she is the only character I felt attached to. Dorie was okay, she annoyed me quite a bit but I felt myself growing to like her a little bit more as time went on. Mr. Rochart though, I didn't connect with him at all. He wasn't anything really special, and I expected him and Jane to have all these heart-wrenching beautiful moments- but that never happened. The romance was very mild and there were very few moments with Jane and Mr. Rochart that didn't really go anywhere.
This book was very entertaining, even though there were dull moments in there. I loved the storyline of it and enjoyed Jane as a character. The other characters didn't do much for me, but maybe in future books they will grow some more on me! There was very little romance which was kind of a disappointment, but that might just be me because I just love romance in anything! But I definitely think this book was enjoyable and definitely worth a go if you are a fan of Jane Eyre or like faeries and steampunk!
~ Thank you Tor Books for sending me a copy in return for an honest review! ~
I have very mixed feelings about this book right now.. I loved it, then I hated it, and then I loved it- and agh! I am going to have such a hard time writing a review on this one, so bear with me!
Our main character
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is Jane, who is one of the victims of the fey curse from the Great War 5 years ago. To keep the curse contained she must wear an iron mask, that blocks it's abilities. After losing her job, she applied to the Silver Birch Hall to be a governess and a teacher to a child named Dorie, who was born during the time of the Great War. Soon after she arrived she notices that Dorie is also cursed- but in a way that Jane has never seen before. While teaching Dorie how to control her curse, Jane also begins to get closer to her father- Mr. Rochart- Who seems to have many secrets hidden of his own.This book was a roller-coaster for me. In the beginning I was very intrigued by the book and found myself loving Connolly's writing. She writes so descriptive and beautifully and I sometimes felt like I was right there with Jane the entire time. Also, the fact that it was pretty much a retelling of Jane Eyre only with Steampunk and faeries was a plus! But some parts of the book just didn't do it for me..
I loved Jane as a character. I really enjoyed following her and learning more about her as a person. But the thing is, she is the only character I felt attached to. Dorie was okay, she annoyed me quite a bit but I felt myself growing to like her a little bit more as time went on. Mr. Rochart though, I didn't connect with him at all. He wasn't anything really special, and I expected him and Jane to have all these heart-wrenching beautiful moments- but that never happened. The romance was very mild and there were very few moments with Jane and Mr. Rochart that didn't really go anywhere.
This book was very entertaining, even though there were dull moments in there. I loved the storyline of it and enjoyed Jane as a character. The other characters didn't do much for me, but maybe in future books they will grow some more on me! There was very little romance which was kind of a disappointment, but that might just be me because I just love romance in anything! But I definitely think this book was enjoyable and definitely worth a go if you are a fan of Jane Eyre or like faeries and steampunk!
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LibraryThing member Cats57
Ironskin by Tina Connolly
This book is a melding of Jane Eyre, Steampunk, Regency romance and Speculative fiction, and I think that trying to mix all of these together has made for a fairly murky read. While this is a unique and interesting world, the bleakness of the story and characters left me
Jane Elliot had been damaged with a Fey curse during the Fey War. Now she has to spend 16 out of 24 hours a day wearing and Iron mask to contain her curse. Edward Rochart, an artist, is looking for a person who is able to work with his daughter Dorie who is a “special needs” child. Jane finds herself with a crush on Edward who entertains many women who stay on with him for quite a while-they go in plain and come out lovely. Jane is dealing with her crush while at the same time she is dealing with Edwards recalcitrant and magic wielding child
The despair and misery that these two main characters are living with may rival anything that Charlotte Bronte wrote in her telling of the original Jane Eyre. I just can’t get beyond it. I need to read, it is a passion with me, but when I read I need to be entertained when I read I don’t want to be thrust into a deep depression. I went into this book with no expectations other than the premise sounded interesting. I didn’t delve too deeply into researching the book so I had no idea what I was in for. Now I know better and before accepting a book at its face value I know to do research…a lot of research.
*ARC SUPPLIED BY PUBLISHER*
This book is a melding of Jane Eyre, Steampunk, Regency romance and Speculative fiction, and I think that trying to mix all of these together has made for a fairly murky read. While this is a unique and interesting world, the bleakness of the story and characters left me
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feeling depressed instead of entertained.Jane Elliot had been damaged with a Fey curse during the Fey War. Now she has to spend 16 out of 24 hours a day wearing and Iron mask to contain her curse. Edward Rochart, an artist, is looking for a person who is able to work with his daughter Dorie who is a “special needs” child. Jane finds herself with a crush on Edward who entertains many women who stay on with him for quite a while-they go in plain and come out lovely. Jane is dealing with her crush while at the same time she is dealing with Edwards recalcitrant and magic wielding child
The despair and misery that these two main characters are living with may rival anything that Charlotte Bronte wrote in her telling of the original Jane Eyre. I just can’t get beyond it. I need to read, it is a passion with me, but when I read I need to be entertained when I read I don’t want to be thrust into a deep depression. I went into this book with no expectations other than the premise sounded interesting. I didn’t delve too deeply into researching the book so I had no idea what I was in for. Now I know better and before accepting a book at its face value I know to do research…a lot of research.
*ARC SUPPLIED BY PUBLISHER*
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LibraryThing member ladycato
I know the author from an online writers' group, but I am still approaching this book in a balanced way.
Ironskin is a unique take on Jane Eyre, taking place in an alternate version of Earth where a human versus fey war recently ended. The world-building is fascinating in that regard. Humans relied
The book stays true to its gothic roots. This isn't a fast-paced novel that can be easily recommended to fans of The Hunger Games, and I imagine that slowness will turn off some readers. Instead, the book develops at a creepy pace, and the household, moors, and woods are as remote and moody as requisite for the genre. Jane does have a YA feel, and at times I became frustrated at her angst. She falls in love with Edward Rochart very fast, and I didn't really feel the chemistry between them until the end.
As far as chemistry goes, though, I loved the character of Dorie. The strange, fey-like child was one of the major hooks for me as I read. I wanted to find out if Jane could ever reach Dorie and help the little girl utilize her humanity, and why Dorie was the way she was. For me, Dorie is what really made the book.
Some of the plot elements felt far too predictable to me, and the reliance on the Jane Eyre source material added to that. However, some nice twists developed near the end, and it was fascinating to see how Connolly overlapped magic into Bronte's world. This could work well as a sort of bridge book for teens who loves fantasy to read more of the classics.
Ironskin is a unique take on Jane Eyre, taking place in an alternate version of Earth where a human versus fey war recently ended. The world-building is fascinating in that regard. Humans relied
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on fey technology for centuries, utilizing their magic to power vehicles, household lights, and most everything else. In the aftermath of the war, the nation struggles to industrialize, giving it a mild steampunk feel.The book stays true to its gothic roots. This isn't a fast-paced novel that can be easily recommended to fans of The Hunger Games, and I imagine that slowness will turn off some readers. Instead, the book develops at a creepy pace, and the household, moors, and woods are as remote and moody as requisite for the genre. Jane does have a YA feel, and at times I became frustrated at her angst. She falls in love with Edward Rochart very fast, and I didn't really feel the chemistry between them until the end.
As far as chemistry goes, though, I loved the character of Dorie. The strange, fey-like child was one of the major hooks for me as I read. I wanted to find out if Jane could ever reach Dorie and help the little girl utilize her humanity, and why Dorie was the way she was. For me, Dorie is what really made the book.
Some of the plot elements felt far too predictable to me, and the reliance on the Jane Eyre source material added to that. However, some nice twists developed near the end, and it was fascinating to see how Connolly overlapped magic into Bronte's world. This could work well as a sort of bridge book for teens who loves fantasy to read more of the classics.
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LibraryThing member asgwilli
This book was quite unique.. I couldn't decide if it was more dystopian or steampunk, but none the less it was good. I wish the romance aspect would have been a bit more involved.
I kept thinking of the story of Hellen Keller while reading this.. Jane has to teach Dorie, an unruly 5 year old, how
I kept thinking of the story of Hellen Keller while reading this.. Jane has to teach Dorie, an unruly 5 year old, how
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to manage her curse, more specifically how to use her hands. In the meantime Jane starts to fall for the girl's father Richard. He seems interested sometimes, but theres no way that can be true because he is always surrounded by gorgeous women. There are so many things for young Jane to learn.. Show Less
LibraryThing member TheLostEntwife
If ever there is a case of book cover lust, it definitely would strike hard for a book like Ironskin. The first time I saw this cover I knew... I had to read this book - I didn't even care that it was described as a "Steampunk Beauty and the Beast" novel. I didn't care that, once I began reading,
Quite frankly, I was more excited by the cover than I was by the story. I was interested, but it didn't grab me. I was curious, but not burning up with curiosity. More than once, I put the book down, confused, because the story seemed to me like a bunch of puzzle pieces that all just didn't quite fit.
So while I will probably keep this book on my shelf for the sheer pretty factor, I don't know that I'll steer anyone toward it - unless they, like me, wish to give it a shot and see if it can hold up its end of the bargain.
I've been trying to figure out over the last few days what could have made this work more. I think different name choices (there's no need to beat your readers over the head with the fact that you are writing a Jane Eyre spin-off) would help. A more developed relationship between Jane and her sister would have worked well as well as more development of the relationships in the manor. And Connolly's version of Mr. Rochester had me all sorts of confused - was he a good guy? a bad guy? And what about these Fae wars? What went on there. In short, I felt as if I was thrown into the middle of a story that had me turned around and completely confused by the time I was two chapters in.
So, in short - great cover, interesting premise, and a failure to follow through for this one.
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that Tina Connolly had openly ripped off Charlotte Bronte's Jane Eyre (even to the point of giving her characters remarkably similar names) and just infused the story with magic and fae and dwarves. But soon, I couldn't ignore those very things.Quite frankly, I was more excited by the cover than I was by the story. I was interested, but it didn't grab me. I was curious, but not burning up with curiosity. More than once, I put the book down, confused, because the story seemed to me like a bunch of puzzle pieces that all just didn't quite fit.
So while I will probably keep this book on my shelf for the sheer pretty factor, I don't know that I'll steer anyone toward it - unless they, like me, wish to give it a shot and see if it can hold up its end of the bargain.
I've been trying to figure out over the last few days what could have made this work more. I think different name choices (there's no need to beat your readers over the head with the fact that you are writing a Jane Eyre spin-off) would help. A more developed relationship between Jane and her sister would have worked well as well as more development of the relationships in the manor. And Connolly's version of Mr. Rochester had me all sorts of confused - was he a good guy? a bad guy? And what about these Fae wars? What went on there. In short, I felt as if I was thrown into the middle of a story that had me turned around and completely confused by the time I was two chapters in.
So, in short - great cover, interesting premise, and a failure to follow through for this one.
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LibraryThing member Krumbs
A great story. The world-building was well done and the story moved briskly. I would be interested in a follow-up focused on the main character's sister. I think she could be a very interesting character if the author went more in-depth with her.
I do want to kick the person who told the author
I do want to kick the person who told the author
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"this is trying to be Jane Eyre--so make it Jane Eyre!" I loved Jane Eyre, but personally would have enjoyed this much better as its own separate work. The paralells between the two are insignificant enough to make it jarring when the characters have names that are juuuuuust close enough to "Rochester", etc., but the story goes in completely different directions. Show Less
LibraryThing member arbjames
I usually don't give bad reviews. I can usually always find something to like that offsets what I don't like. However, in this case, I was extremely disappointed by this novel, both because of its poor quality in general and because of its horrible attempt at retelling Charlotte Bronte's Jane Eyre.
Set on the moors five years after a horrible war with the Fey, Ironskin tells the story of governess Jane Eliot (Jane Eyre); Edward Rochart (Edward Rochester), the master of Silver Birch Hall; Dorie (Adele), his daughter; and a host of other minor characters. Jane wears an iron mask because of an injury sustained at the hands of the Fey during the war. Anyone injured by the Fay carries a curse for the rest of their lives that only iron can control. Jane answers an advertisement for a governess for a child who apparently also suffers some kind of Fey curse, only Jane discovers that Dorie's curse is quite different from her own. While trying to help Dorie control her curse, Jane falls in love with Edward, but she discovers that he has terrible secrets. Can she love him despite what he has done?
All of that sounds very promising as a story line. However, the novel just doesn't deliver. Now let me explain why I disliked this book so much. There may be spoilers below.
The dialogue is awful. One minute the characters are speaking in a manner consistent with the 19th century setting of Jane Eyre. The next minute they're saying "um." (And "um" is about the most riveting thing they say.)
The characters in this novel are not likable, perhaps with the exception of Dorie. Everyone seems very immature, Edward most of all. Why on earth anyone would fall in love with him is beyond my understanding, and his total lack of real remorse or acceptance of any responsibility for what he has done (which goes WAY beyond Edward Rochester's keeping of Bertha in the attic!) makes him extremely reprehensible and outright weak. His only excuse seems to be that he had a bad childhood. Really?
Jane herself is also very immature, nothing like Jane Eyre. While Jane Eyre was naive at times, she was not a whiny brat and never went on and on about how she wants to be "normal." Jane Eliot admittedly did not have a terrible childhood--she taught at a poor children's school but never had to endure attendance at one herself as Jane Eyre had done. Jane Eliot is not without home or family. The only reason she decided to accept the governess position is because her sister Helen (who is even a worse whiner than Jane!) is getting married. The only redeeming quality of Jane's character is that she truly does want to help Dorie, and when she realizes that her methods are actually killing the child's spirit instead of helping her, she does try to alter her approach.
Everyone in the novel is so worried about appearances--they are vain and shallow. The idea is for the hero and heroine to rise above this. They do not. The only reason that Edward wanted a governess for Dorie was so that Jane could get her under control enough to appear normal and be paraded around amongst Edward's potential clients so that the rumors about him keeping her locked up in the attic could be dispelled. He's concerned about his reputation and his wallet, not his daughter. As for Edward's clients, can you feel sorry for them? They (including Jane's sister, Helen) come to him to be transformed through his art, made perfectly beautiful, without any consideration of consequences, and if that includes a little time with the Edward in the bedroom, too, hey, more bang for their buck.
There is one point in the novel when you think that Jane is going to come through as a true heroine--she is going to take off her mask, show her true face, and quit trying to be something she's not, and at the same, quit trying to force Dorie to be something she is not. That lasts all of about five seconds. Then she's all about getting Edward to do to her what he had done to at least 100 others. What's even worse is that in the end, when Edward's hands are ruined, she gets Dorie--who is 5 years old--to carry on with his work.
It was an overall awful experience. If you have any love for Jane Eyre at all, don't read this novel. If you want a well-written novel with characters that you can actually like and feel for, this one is not for you.
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Jane Eyre is my favorite book ever, so that may bias my opinion somewhat, but I have been kinder to other adaptations even when they have strayed far from the original. I feel bad about writing a negative review, but hey, I can't like everything. :-)Set on the moors five years after a horrible war with the Fey, Ironskin tells the story of governess Jane Eliot (Jane Eyre); Edward Rochart (Edward Rochester), the master of Silver Birch Hall; Dorie (Adele), his daughter; and a host of other minor characters. Jane wears an iron mask because of an injury sustained at the hands of the Fey during the war. Anyone injured by the Fay carries a curse for the rest of their lives that only iron can control. Jane answers an advertisement for a governess for a child who apparently also suffers some kind of Fey curse, only Jane discovers that Dorie's curse is quite different from her own. While trying to help Dorie control her curse, Jane falls in love with Edward, but she discovers that he has terrible secrets. Can she love him despite what he has done?
All of that sounds very promising as a story line. However, the novel just doesn't deliver. Now let me explain why I disliked this book so much. There may be spoilers below.
The dialogue is awful. One minute the characters are speaking in a manner consistent with the 19th century setting of Jane Eyre. The next minute they're saying "um." (And "um" is about the most riveting thing they say.)
The characters in this novel are not likable, perhaps with the exception of Dorie. Everyone seems very immature, Edward most of all. Why on earth anyone would fall in love with him is beyond my understanding, and his total lack of real remorse or acceptance of any responsibility for what he has done (which goes WAY beyond Edward Rochester's keeping of Bertha in the attic!) makes him extremely reprehensible and outright weak. His only excuse seems to be that he had a bad childhood. Really?
Jane herself is also very immature, nothing like Jane Eyre. While Jane Eyre was naive at times, she was not a whiny brat and never went on and on about how she wants to be "normal." Jane Eliot admittedly did not have a terrible childhood--she taught at a poor children's school but never had to endure attendance at one herself as Jane Eyre had done. Jane Eliot is not without home or family. The only reason she decided to accept the governess position is because her sister Helen (who is even a worse whiner than Jane!) is getting married. The only redeeming quality of Jane's character is that she truly does want to help Dorie, and when she realizes that her methods are actually killing the child's spirit instead of helping her, she does try to alter her approach.
Everyone in the novel is so worried about appearances--they are vain and shallow. The idea is for the hero and heroine to rise above this. They do not. The only reason that Edward wanted a governess for Dorie was so that Jane could get her under control enough to appear normal and be paraded around amongst Edward's potential clients so that the rumors about him keeping her locked up in the attic could be dispelled. He's concerned about his reputation and his wallet, not his daughter. As for Edward's clients, can you feel sorry for them? They (including Jane's sister, Helen) come to him to be transformed through his art, made perfectly beautiful, without any consideration of consequences, and if that includes a little time with the Edward in the bedroom, too, hey, more bang for their buck.
There is one point in the novel when you think that Jane is going to come through as a true heroine--she is going to take off her mask, show her true face, and quit trying to be something she's not, and at the same, quit trying to force Dorie to be something she is not. That lasts all of about five seconds. Then she's all about getting Edward to do to her what he had done to at least 100 others. What's even worse is that in the end, when Edward's hands are ruined, she gets Dorie--who is 5 years old--to carry on with his work.
It was an overall awful experience. If you have any love for Jane Eyre at all, don't read this novel. If you want a well-written novel with characters that you can actually like and feel for, this one is not for you.
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LibraryThing member DarkFaerieTales
Review courtesy of Dark Faerie Tales.
Quick & Dirty: Two classics, married together with a unique twist.
Opening Sentence: The moor was grey, battlefield grey.
The Review:
“Jane Eliot wears an iron mask.” Ironskin by Tina Connolly captivated me just by those few words. Steampunk, the world of fae,
Jane Eliot is living post-war. The Great War affected everyone dearly. The faeries came with their magic, taking souls, ruining lives, and terrorizing the masses. But it has been five years since anyone has seen the fae. As a constant reminder of the war, Jane wears an iron mask, covering half of her face. Like it was in historical times, beauty and social stature is everything. Because of Jane’s physical shortcomings, she has sought out a life as a governess, which brings her to the Rocherts. Edward Rochert seeks a governess for his daughter, Dorie; not just for regular schoolings, but primarily to control something special that only Jane would understand.
I was excited when I first picked this up. It isn’t every day that I come across a historical steampunk with elements from two classics: Jane Eyre and The Man in the Iron Mask. It’s often difficult to please the masses when it comes to comparisons, so I’ll leave that out of this review. What I will talk about is the actual plot and content. Some I liked, some not so much, and others it just was not for me.
I appreciated how Jane was written. She, in every sense of the word, is a survivor. She survived the war and is still surviving society. It isn’t easy to write a heroine with a flaw. While many authors do so, I always think that it’s difficult to find that fine line of adoration while respecting the realistic humanity that they have. For Jane, I connected with her personality. She was tenacious and smart. I didn’t always agree with her approach. Maybe it was the events that led up to these moments, but there were a handful of times that I disconnected with her.
The supporting cast was eclectic, as is a majority of this book. I feel that the character traits, abilities, even the personalities are going to be something that not everyone understands. The characters added to the effect of the post-war world that Connolly built. Without them, I wouldn’t have understood exactly how dire things were. Well, maybe not dire, but you get what I mean.
Connolly’s world was gothic, building on dark imagery and horrifying scenes. But it was clear to me that Connolly’s world in Ironskin was her own. Sure, she may have used elements of Jane Eyre or even Iron Mask, but this story is still hers. I may not have fully understood each aspect, but I respected where she was going. I appreciated it enough to enjoy it for what it was: fiction written by an author.
Ironskin’s plot was unique. Connolly showcased society at its best and at its worst. She also used this parallel towards the beauty of fae and the ugliness of their evil. It was entertaining at a simple glance, before I began to dissect it.
I urge you to read Ironskin for its unique ability to bring elements of classics and turn them into its own.
Notable Scene:
And now here she was, in a black hallway, and no dinner in sight. Her jaw set, her teeth ground anger out as she willed herself calm. This was not the end of the world, just the end of a very long and trying day.
A small touch on her skirt made her gasp, almost shriek. In the dim light she saw a tiny figure with blond curls stretch out a hand.
At the other end of the hallway.
No smile crossed that doll-like face, but Jane’s skirt tugged again by that invisible hand, and Dorie turned and set off around the corner.
Patience, Jane counseled herself. Patience.
She followed the invisible tug on her skirt all the way back to a hot dinner.
FTC Advisory: Tor/Macmillan provided me with a copy of Ironskin. No goody bags, sponsorships, “material connections,” or bribes were exchanged for my review.
Quick & Dirty: Two classics, married together with a unique twist.
Opening Sentence: The moor was grey, battlefield grey.
The Review:
“Jane Eliot wears an iron mask.” Ironskin by Tina Connolly captivated me just by those few words. Steampunk, the world of fae,
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told with hints of a couple classics. I couldn’t wait to dive in to this one. There are many elements that drew me in, but the main fact that essentially Jane Eyre wears an iron mask? Definitely count me in.Jane Eliot is living post-war. The Great War affected everyone dearly. The faeries came with their magic, taking souls, ruining lives, and terrorizing the masses. But it has been five years since anyone has seen the fae. As a constant reminder of the war, Jane wears an iron mask, covering half of her face. Like it was in historical times, beauty and social stature is everything. Because of Jane’s physical shortcomings, she has sought out a life as a governess, which brings her to the Rocherts. Edward Rochert seeks a governess for his daughter, Dorie; not just for regular schoolings, but primarily to control something special that only Jane would understand.
I was excited when I first picked this up. It isn’t every day that I come across a historical steampunk with elements from two classics: Jane Eyre and The Man in the Iron Mask. It’s often difficult to please the masses when it comes to comparisons, so I’ll leave that out of this review. What I will talk about is the actual plot and content. Some I liked, some not so much, and others it just was not for me.
I appreciated how Jane was written. She, in every sense of the word, is a survivor. She survived the war and is still surviving society. It isn’t easy to write a heroine with a flaw. While many authors do so, I always think that it’s difficult to find that fine line of adoration while respecting the realistic humanity that they have. For Jane, I connected with her personality. She was tenacious and smart. I didn’t always agree with her approach. Maybe it was the events that led up to these moments, but there were a handful of times that I disconnected with her.
The supporting cast was eclectic, as is a majority of this book. I feel that the character traits, abilities, even the personalities are going to be something that not everyone understands. The characters added to the effect of the post-war world that Connolly built. Without them, I wouldn’t have understood exactly how dire things were. Well, maybe not dire, but you get what I mean.
Connolly’s world was gothic, building on dark imagery and horrifying scenes. But it was clear to me that Connolly’s world in Ironskin was her own. Sure, she may have used elements of Jane Eyre or even Iron Mask, but this story is still hers. I may not have fully understood each aspect, but I respected where she was going. I appreciated it enough to enjoy it for what it was: fiction written by an author.
Ironskin’s plot was unique. Connolly showcased society at its best and at its worst. She also used this parallel towards the beauty of fae and the ugliness of their evil. It was entertaining at a simple glance, before I began to dissect it.
I urge you to read Ironskin for its unique ability to bring elements of classics and turn them into its own.
Notable Scene:
And now here she was, in a black hallway, and no dinner in sight. Her jaw set, her teeth ground anger out as she willed herself calm. This was not the end of the world, just the end of a very long and trying day.
A small touch on her skirt made her gasp, almost shriek. In the dim light she saw a tiny figure with blond curls stretch out a hand.
At the other end of the hallway.
No smile crossed that doll-like face, but Jane’s skirt tugged again by that invisible hand, and Dorie turned and set off around the corner.
Patience, Jane counseled herself. Patience.
She followed the invisible tug on her skirt all the way back to a hot dinner.
FTC Advisory: Tor/Macmillan provided me with a copy of Ironskin. No goody bags, sponsorships, “material connections,” or bribes were exchanged for my review.
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LibraryThing member Bookswithbite
Picking up a different kind I read, I enjoyed this book far more than I expected.
1. Historical. I love the way the historical history of the book weaves in the plot. It gives the book a feel of a different world that you simply can’t resist entering.
2. Iron Mask. The fact that this girl had to
3. Secrets. A large mansion, lots of rooms and one man that is a mystery. It totally captured me and I let my mind wander throughout the dark halls, letting myself be submerse in what Jane uncovers. I love creeping around the corners and especially loved it when Jane got brave and ask questions! Squee!
4. Fae. Yup. They are somehow involved and I love this part of the plot unfold. It seemed to have flowed well with the plot bringing more elements in the book out. The build up toward the end is very well done and fascinating.
5. Insta-Love. Well not exactly. They had moments of flirtation but nothing to set in motion the romance. Only after continuous flirting did they realize their feelings for each other. And while, I’m okay with that, I prefer that they had more time to come to love each other, instead of the going back and forth with flirting.
In the end, the story is quite good! A fine mix of historical and fantasy, Ironskin is memorable.
1. Historical. I love the way the historical history of the book weaves in the plot. It gives the book a feel of a different world that you simply can’t resist entering.
2. Iron Mask. The fact that this girl had to
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wear an iron mask to hide the scars beneath, and always being shunned drew me in like a moth. I wanted nothing more for this your girl to find love, despite her face. I wanted her to be able to find herself and have peace.3. Secrets. A large mansion, lots of rooms and one man that is a mystery. It totally captured me and I let my mind wander throughout the dark halls, letting myself be submerse in what Jane uncovers. I love creeping around the corners and especially loved it when Jane got brave and ask questions! Squee!
4. Fae. Yup. They are somehow involved and I love this part of the plot unfold. It seemed to have flowed well with the plot bringing more elements in the book out. The build up toward the end is very well done and fascinating.
5. Insta-Love. Well not exactly. They had moments of flirtation but nothing to set in motion the romance. Only after continuous flirting did they realize their feelings for each other. And while, I’m okay with that, I prefer that they had more time to come to love each other, instead of the going back and forth with flirting.
In the end, the story is quite good! A fine mix of historical and fantasy, Ironskin is memorable.
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LibraryThing member NCDonnas
Set in a alternate-history Britain, Jane Eliot, the MC, wears an iron mask over half of her face to protect others from the curse she holds there. In the last fey war she had been hit with shrapnel from exploding fey magic, like many others, but unfortunately her injury is much more visible which
Apparently Ironskin is based on Jane Eyre, which I haven't read, so I don't know how it compares but from the very beginning, Ironskin had my attention with the unique way fey magic was presented. The fact that Jane carried this curse on her face that, without the iron mask, would seriously affect those she came into contact with was fascinating to me. That magic also affected her moods and she had to consciously try to tamp down the emotions stirred up by the fey curse.
The way Dorie used magic was interesting as well. This small child had never learned to properly use her hands to care for herself, using magic instead. I felt so sorry for her at times, she seemed so lonely and desperate for her father's love and attention. Edward, however, remains distant and locked away in his room of masks.
While the unique way magic and the fey were presented was what I enjoyed most about Ironskin, the alternate history and straightforward writing style also worked for me. The relationships between the characters were very subtle and at times puzzling. The slight romance between Jane and Edward felt a bit stilted but I enjoyed the way Jane interacted with Dorie, as well as the rest of the background characters. The dialog felt authentic and I enjoyed the whole gothic feel to the story as a whole. I would definitely recommend it to fans of gothic romance, alternate history fantasy, and steampunk.
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causes her some social awkwardness and makes it difficult for her to find and keep a job. Jane finally finds employment with the mysterious and reclusive Edward Rochart caring for his daughter Dorie who seems to have fey magic in abundance, which is frowned upon in society. She needs to help Dorie learn how to do simple things like eat, drink, and play without using that magic. At the same time, she seems to be drawn to the secretive Edward.Apparently Ironskin is based on Jane Eyre, which I haven't read, so I don't know how it compares but from the very beginning, Ironskin had my attention with the unique way fey magic was presented. The fact that Jane carried this curse on her face that, without the iron mask, would seriously affect those she came into contact with was fascinating to me. That magic also affected her moods and she had to consciously try to tamp down the emotions stirred up by the fey curse.
The way Dorie used magic was interesting as well. This small child had never learned to properly use her hands to care for herself, using magic instead. I felt so sorry for her at times, she seemed so lonely and desperate for her father's love and attention. Edward, however, remains distant and locked away in his room of masks.
While the unique way magic and the fey were presented was what I enjoyed most about Ironskin, the alternate history and straightforward writing style also worked for me. The relationships between the characters were very subtle and at times puzzling. The slight romance between Jane and Edward felt a bit stilted but I enjoyed the way Jane interacted with Dorie, as well as the rest of the background characters. The dialog felt authentic and I enjoyed the whole gothic feel to the story as a whole. I would definitely recommend it to fans of gothic romance, alternate history fantasy, and steampunk.
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LibraryThing member stephxsu
Jane Eliot is an Ironskin: she wears an iron mask to cover the fey scar on her cheek, a physical remnant of the recent Great War between fey and humans, in order to prevent her curse from affecting others. Jane takes a job as governess/nanny to the unusual fey-touched child of the artist Edward
Jane wants nothing more than to have a normal, unscarred face. But, as she gets more and more entangled in Rochart’s doings, she must learn to see the gift that the fey curse has also given her…especially in the face of an ominous adversity.
IRONSKIN took an…interesting approach to retelling Jane Eyre with fantastical elements. Inconsistent with everything from its plot to its characterization, IRONSKIN will probably be a temporarily intriguing but ultimately forgettable entry in the category of classic retellings.
Readers who love Jane Eyre will probably find fewer things objectionable in IRONSKIN. I, however, was never a fan of the bland heroine, brooding, self-deprecating hero, and the melodramatic secrets unveiled at the end of the story. IRONSKIN actually does quite a good job of sticking to the original and necessary elements of JE. Mr. Rochart channels all of Edward Rochester’s self-deprecating comments and tortured moodiness. Which, you know, if you like that sort of self-pitying thing is all well and good. The setting of the house and the mysterious woods and moor surrounding it are played up and given dark life of their own. Surface-wise, things look good for IRONSKIN to be a great, loyal retelling.
It’s when the fantastical elements are added in that IRONSKIN loses some of its credibility with me. The tricky thing about retellings is that the progression of the characters’ decisions and actions has to make sense independent of the story it’s retelling. This is why superficial retellings of Pride and Prejudice have always bothered me: one can’t just “conveniently” bring up the existence of an impending high school “ball” in order to bring the separated lovers back together, or have one if the characters arbitrarily do something inconsistent to his or her character, just to set them back onto the path of the original story. IRONSKIN suffers from this in some regard too: little happens in the first half of the book besides for Jane struggling to teach Dorie and having cryptic encounters with the moody Mr. Rochart, which means that the book had to make lots of dramatic events happen in order to bring everything to its proper, dramatic conclusion in time. The pacing was clumsy, which resulted in some of the characters’ decisions feeling contrived for the sake of sticking to the original. It really took me out of the story, the constant awareness that IRONSKIN was adhering to the plot of Jane Eyre at its every twist and turn, and kind of smushed the original JE elements and new steampunk fantasy elements together when necessary.
I realize that I talked about a lot of my critiques of this book in my review, but really, IRONSKIN wasn’t a bad read…except for that I was a bit confused about some messages regarding beauty and “normalcy” that this book seemed to be sending. The trajectory of characters’ outcomes seems to suggest that it’s okay for women to base their worth upon their physical looks. Or something. I don’t know. I couldn’t quite put my finger on the implications. IRONSKIN was an interesting steampunk fantasy take on Jane Eyre, but I think I won’t be picking up the next book, because I felt myself skimming, my eyes wandering, too often for me to feel emotionally connected enough to the characters and their story.
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Rochart. But Rochart is no ordinary artist, for the rich women he lets into his studio come out looking stunningly, inhumanly beautiful.Jane wants nothing more than to have a normal, unscarred face. But, as she gets more and more entangled in Rochart’s doings, she must learn to see the gift that the fey curse has also given her…especially in the face of an ominous adversity.
IRONSKIN took an…interesting approach to retelling Jane Eyre with fantastical elements. Inconsistent with everything from its plot to its characterization, IRONSKIN will probably be a temporarily intriguing but ultimately forgettable entry in the category of classic retellings.
Readers who love Jane Eyre will probably find fewer things objectionable in IRONSKIN. I, however, was never a fan of the bland heroine, brooding, self-deprecating hero, and the melodramatic secrets unveiled at the end of the story. IRONSKIN actually does quite a good job of sticking to the original and necessary elements of JE. Mr. Rochart channels all of Edward Rochester’s self-deprecating comments and tortured moodiness. Which, you know, if you like that sort of self-pitying thing is all well and good. The setting of the house and the mysterious woods and moor surrounding it are played up and given dark life of their own. Surface-wise, things look good for IRONSKIN to be a great, loyal retelling.
It’s when the fantastical elements are added in that IRONSKIN loses some of its credibility with me. The tricky thing about retellings is that the progression of the characters’ decisions and actions has to make sense independent of the story it’s retelling. This is why superficial retellings of Pride and Prejudice have always bothered me: one can’t just “conveniently” bring up the existence of an impending high school “ball” in order to bring the separated lovers back together, or have one if the characters arbitrarily do something inconsistent to his or her character, just to set them back onto the path of the original story. IRONSKIN suffers from this in some regard too: little happens in the first half of the book besides for Jane struggling to teach Dorie and having cryptic encounters with the moody Mr. Rochart, which means that the book had to make lots of dramatic events happen in order to bring everything to its proper, dramatic conclusion in time. The pacing was clumsy, which resulted in some of the characters’ decisions feeling contrived for the sake of sticking to the original. It really took me out of the story, the constant awareness that IRONSKIN was adhering to the plot of Jane Eyre at its every twist and turn, and kind of smushed the original JE elements and new steampunk fantasy elements together when necessary.
I realize that I talked about a lot of my critiques of this book in my review, but really, IRONSKIN wasn’t a bad read…except for that I was a bit confused about some messages regarding beauty and “normalcy” that this book seemed to be sending. The trajectory of characters’ outcomes seems to suggest that it’s okay for women to base their worth upon their physical looks. Or something. I don’t know. I couldn’t quite put my finger on the implications. IRONSKIN was an interesting steampunk fantasy take on Jane Eyre, but I think I won’t be picking up the next book, because I felt myself skimming, my eyes wandering, too often for me to feel emotionally connected enough to the characters and their story.
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LibraryThing member foggidawn
Jane is ironskin -- one of the scarred survivors of the Great War. She was hit in the face by a blast of fey magic, and without the iron mask that she wears, everyone around her would be affected by rage seeping from her wound. When Jane sees an advertisement for a governess position to Dorie, a
For someone who is not really much of a Jane Eyre fan, I sure do seem to read a lot of retellings of that story lately -- this makes the third in the past few years. I like the original well enough, but I never loved it the way some people do. On the other hand, that might enable me to appreciate retellings without constantly comparing them to the original. Then again, that's exactly what I'm about to do, at least a little bit.
First of all, this isn't a straight-up retelling, so don't expect it to match up on every point. In some ways, this is a good thing. For instance, this is the first Jane Eyre retelling that I've read that actually makes the child into a fully-fledged character, rather than a vehicle to get Jane and Rochester in the same general area. I thought Dorie was interesting and realistic, and I was truly interested to see if Jane would be able to help Dorie control her unique abilities. In other cases, however, it is not such a good thing. For instance, in this story Jane has a flighty sister named Helen, who bears absolutely no resemblance to Helen in the original. This took me out of the story more than once as I tried to find some connection between the two Helens.
As for the story itself, I thought it started out with a nice blend of action and exposition, though it dragged a bit in the last half of the book. And I had a little trouble buying the romance -- it suffered at the expense of Jane's character development, which is not necessarily something to complain about. It appears that there will be a sequel to this story, and while I'm not sure if I will pursue it or not, I thought the author did a good job of tying up enough loose ends to make a satisfying conclusion, while still leaving open possibilities for future plot developments.
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little girl born during the Great War, worded in a way that makes it clear that the child is somehow different, Jane thinks she knows what to expect. When she arrives at the half-ruined manor house on the moor, however, both Dorie and her father are much more enigmatic than Jane could ever have expected. Her life there will prove challenging, but ultimately, it might just set her free.For someone who is not really much of a Jane Eyre fan, I sure do seem to read a lot of retellings of that story lately -- this makes the third in the past few years. I like the original well enough, but I never loved it the way some people do. On the other hand, that might enable me to appreciate retellings without constantly comparing them to the original. Then again, that's exactly what I'm about to do, at least a little bit.
First of all, this isn't a straight-up retelling, so don't expect it to match up on every point. In some ways, this is a good thing. For instance, this is the first Jane Eyre retelling that I've read that actually makes the child into a fully-fledged character, rather than a vehicle to get Jane and Rochester in the same general area. I thought Dorie was interesting and realistic, and I was truly interested to see if Jane would be able to help Dorie control her unique abilities. In other cases, however, it is not such a good thing. For instance, in this story Jane has a flighty sister named Helen, who bears absolutely no resemblance to Helen in the original. This took me out of the story more than once as I tried to find some connection between the two Helens.
As for the story itself, I thought it started out with a nice blend of action and exposition, though it dragged a bit in the last half of the book. And I had a little trouble buying the romance -- it suffered at the expense of Jane's character development, which is not necessarily something to complain about. It appears that there will be a sequel to this story, and while I'm not sure if I will pursue it or not, I thought the author did a good job of tying up enough loose ends to make a satisfying conclusion, while still leaving open possibilities for future plot developments.
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LibraryThing member ahappybooker
Set in a alternate-history Britain, Jane Eliot, the MC, wears an iron mask over half of her face to protect others from the curse she holds there. In the last fey war she had been hit with shrapnel from exploding fey magic, like many others, but unfortunately her injury is much more visible which
Apparently Ironskin is based on Jane Eyre, which I haven't read, so I don't know how it compares but from the very beginning, Ironskin had my attention with the unique way fey magic was presented. The fact that Jane carried this curse on her face that, without the iron mask, would seriously affect those she came into contact with was fascinating to me. That magic also affected her moods and she had to consciously try to tamp down the emotions stirred up by the fey curse.
The way Dorie used magic was interesting as well. This small child had never learned to properly use her hands to care for herself, using magic instead. I felt so sorry for her at times, she seemed so lonely and desperate for her father's love and attention. Edward, however, remains distant and locked away in his room of masks.
While the unique way magic and the fey were presented was what I enjoyed most about Ironskin, the alternate history and straightforward writing style also worked for me. The relationships between the characters were very subtle and at times puzzling. The slight romance between Jane and Edward felt a bit stilted but I enjoyed the way Jane interacted with Dorie, as well as the rest of the background characters. The dialog felt authentic and I enjoyed the whole gothic feel to the story as a whole. I would definitely recommend it to fans of gothic romance, alternate history fantasy, and steampunk.
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causes her some social awkwardness and makes it difficult for her to find and keep a job. Jane finally finds employment with the mysterious and reclusive Edward Rochart caring for his daughter Dorie who seems to have fey magic in abundance, which is frowned upon in society. She needs to help Dorie learn how to do simple things like eat, drink, and play without using that magic. At the same time, she seems to be drawn to the secretive Edward.Apparently Ironskin is based on Jane Eyre, which I haven't read, so I don't know how it compares but from the very beginning, Ironskin had my attention with the unique way fey magic was presented. The fact that Jane carried this curse on her face that, without the iron mask, would seriously affect those she came into contact with was fascinating to me. That magic also affected her moods and she had to consciously try to tamp down the emotions stirred up by the fey curse.
The way Dorie used magic was interesting as well. This small child had never learned to properly use her hands to care for herself, using magic instead. I felt so sorry for her at times, she seemed so lonely and desperate for her father's love and attention. Edward, however, remains distant and locked away in his room of masks.
While the unique way magic and the fey were presented was what I enjoyed most about Ironskin, the alternate history and straightforward writing style also worked for me. The relationships between the characters were very subtle and at times puzzling. The slight romance between Jane and Edward felt a bit stilted but I enjoyed the way Jane interacted with Dorie, as well as the rest of the background characters. The dialog felt authentic and I enjoyed the whole gothic feel to the story as a whole. I would definitely recommend it to fans of gothic romance, alternate history fantasy, and steampunk.
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LibraryThing member lquilter
I enjoyed this riff on Jane Eyre, crossed with Tam Lin and a dash of Bluebeward and Beauty & the Beast. It did make me mortally curious (so to speak) about what era, exactly, this was? I'm guessing roughly 1925.
Anyway, good agency in the lead, and nice character development generally. I liked the
Anyway, good agency in the lead, and nice character development generally. I liked the
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world-building and the understated mysteries of their world. It did leave the motivations of the Fae rather oblique, which pretty much undermined the political espionage plot. That was the major weakness of the book. But I will pick up the sequel for my world building and deft characterizations of complex people. Show Less
LibraryThing member Ralphd00d
The book description above drew me into reading this book. The vague mention of Fey, a Great War (in capital letters no less), and a curses? Ohhhh, what have the Fey done now? Well, in short, the story really drew me in with what felt was a slow start. By the time I was about a third through, it
Overall it was a good stand-alone story, and I see there are at least two additional books in this series. Unfortunately, though I enjoyed it, I just can't quite "get into" the series.
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felt like it was turning into a romance story, with not much action. I thought that was okay, since I do occasionally enjoy a good romance. The story line and characters developed in a decent amount of time, though some bits I feel were still kind of unclear - more of Rochart's past seemed muddied, but cleared somewhat towards the end.Overall it was a good stand-alone story, and I see there are at least two additional books in this series. Unfortunately, though I enjoyed it, I just can't quite "get into" the series.
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LibraryThing member treehorse
While the novel is competent, and the worldbuilding exquisite... now I really want to re-read Jane Eyre. Ironskin was a quick, fun read, but it was not Jane Eyre.
LibraryThing member Stewartry
I received this book from Netgalley – thanks to them and the publisher.
I admit, I'm a little disappointed. This started off at a gallop, and I was happy to cling to it for the ride. About halfway through I thought I had an inkling of where it was going – I was almost sure of it, in fact –
I was totally wrong about the direction. I don't think that was why I didn't enjoy the second half as much as I expected to, but it might have factored in.
This was not, apparently, intended as a take-off on the story of Jane Eyre. From the author's notes, a beta reader picked up on the existing similarities and commented on it, and Tina Connolly ran with it. And it was well done, I think, as far as it went. The main character is Jane (not Eyre); she becomes governess to Dorie, the daughter of Edward Rochart, in a secluded fey-built and fey-damaged mansion; and that's about as far as it goes. I thought the plot was going to adhere more closely, and quite honestly I was a bit excited about that. It didn't.
(Yes, I know – had it followed Jane Eyre point for point I probably would have gotten cranky. What I expected, though, based on the first half, was a sort of nodding acquaintance with Charlotte Brontë, a fond and knowledgeable sort of flirtation with the book; an homage. And I maintain that that would have been great.)
The war against the fey is over, but Jane Eliot still bears the scars. No: she bears the wound; it won't heal to become a scar, because it is a cursed wound which remains forever open. Fey weapons often caused such, leaving black and terrifying holes in their victims which radiate a terrible emotion which can overwhelm not only the wounded but anyone nearby: ravenous hunger, or terror, or – in Jane's case – rage. The only way those cursed so can even begin to try to find normal post-war lives is to wear iron, anathema to the fey and fey work, fitted to cover the wounds (in Jane's case, the left side of her face): ironskins. Of course, having to make your way with an iron mask covering half your face isn't going to be conducive to a normal life. But Jane is hopeful that in this lonely place she might be able to find a rhythm again, and do some good with the extraordinary child she has come to tend.
It's a great idea. But when it was introduced that Dorie's father is an artist who makes grotesque masks, I had a flashback to the Twilight Zone episode "The Masks" - it seemed as though the obvious way for the story to go was that same route. And, unfortunately, that's pretty much what it did. I still can't help but sigh a little for my idea … Also, I have to say that the basic facts of it (young woman isolated in big house with small child, a couple of servants, and the child's father who disappears for lengthy and unexplained periods, with a forest near the house which is very, very dangerous) are much too similar to Galen Beckett's The Magicians and Mrs. Quent. That book much more consciously derived … shall we say inspiration? - from Bronte (and Austen). It was pretty good. I can't help mourning the possibility that Ironskin could have been amazing.
I admit, I'm a little disappointed. This started off at a gallop, and I was happy to cling to it for the ride. About halfway through I thought I had an inkling of where it was going – I was almost sure of it, in fact –
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and it was awesome. At that moment I expected the story to continue to run hard and fast and wonderful and cross the finish line with banners flying and five gold stars trailing. I was totally wrong about the direction. I don't think that was why I didn't enjoy the second half as much as I expected to, but it might have factored in.
This was not, apparently, intended as a take-off on the story of Jane Eyre. From the author's notes, a beta reader picked up on the existing similarities and commented on it, and Tina Connolly ran with it. And it was well done, I think, as far as it went. The main character is Jane (not Eyre); she becomes governess to Dorie, the daughter of Edward Rochart, in a secluded fey-built and fey-damaged mansion; and that's about as far as it goes. I thought the plot was going to adhere more closely, and quite honestly I was a bit excited about that. It didn't.
(Yes, I know – had it followed Jane Eyre point for point I probably would have gotten cranky. What I expected, though, based on the first half, was a sort of nodding acquaintance with Charlotte Brontë, a fond and knowledgeable sort of flirtation with the book; an homage. And I maintain that that would have been great.)
The war against the fey is over, but Jane Eliot still bears the scars. No: she bears the wound; it won't heal to become a scar, because it is a cursed wound which remains forever open. Fey weapons often caused such, leaving black and terrifying holes in their victims which radiate a terrible emotion which can overwhelm not only the wounded but anyone nearby: ravenous hunger, or terror, or – in Jane's case – rage. The only way those cursed so can even begin to try to find normal post-war lives is to wear iron, anathema to the fey and fey work, fitted to cover the wounds (in Jane's case, the left side of her face): ironskins. Of course, having to make your way with an iron mask covering half your face isn't going to be conducive to a normal life. But Jane is hopeful that in this lonely place she might be able to find a rhythm again, and do some good with the extraordinary child she has come to tend.
It's a great idea. But when it was introduced that Dorie's father is an artist who makes grotesque masks, I had a flashback to the Twilight Zone episode "The Masks" - it seemed as though the obvious way for the story to go was that same route. And, unfortunately, that's pretty much what it did. I still can't help but sigh a little for my idea … Also, I have to say that the basic facts of it (young woman isolated in big house with small child, a couple of servants, and the child's father who disappears for lengthy and unexplained periods, with a forest near the house which is very, very dangerous) are much too similar to Galen Beckett's The Magicians and Mrs. Quent. That book much more consciously derived … shall we say inspiration? - from Bronte (and Austen). It was pretty good. I can't help mourning the possibility that Ironskin could have been amazing.
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LibraryThing member cissa
First of all, this NOT a retelling of "Jane Eyre", unless one considers every gothic novel to be such.
This is a classic gothic romance, albeit with fey elements. Here, Jane has a sister, and traumatic experience as a warrior; there is no mad wife in the attic; and the child Jane is hired to look
The fey element was essential to the plot(s), and very well thought out. Most of the novel kept a considered pace and revealed things to Jane- and us- at a well-measured rate. If that had continued to the end, I would have given this 5 stars; as it is, the ending seemed chaotic and rushed. While it didn't end on a cliffhanger, it's pretty obvious by the end that there are more books in the series.
I did enjoy most of the book, including the development of the various primary characters. However, the hasty ending detracted from my enjoyment, and I likely will not read more in the series.
That being said, this was a pretty good modern novel in the gothic tradition.
This is a classic gothic romance, albeit with fey elements. Here, Jane has a sister, and traumatic experience as a warrior; there is no mad wife in the attic; and the child Jane is hired to look
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after is central to the plot and not peripheral. The main thing that differentiates this from most gothics- including "Jane Eyre"- is that here the heroine has a Past with secrets just like the hero does.The fey element was essential to the plot(s), and very well thought out. Most of the novel kept a considered pace and revealed things to Jane- and us- at a well-measured rate. If that had continued to the end, I would have given this 5 stars; as it is, the ending seemed chaotic and rushed. While it didn't end on a cliffhanger, it's pretty obvious by the end that there are more books in the series.
I did enjoy most of the book, including the development of the various primary characters. However, the hasty ending detracted from my enjoyment, and I likely will not read more in the series.
That being said, this was a pretty good modern novel in the gothic tradition.
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LibraryThing member Herenya
I was left feeling very undecided about Ironskin, which surprised me. I tend to have strong opinions about Jane Eyre retellings. Love or hate, not indecision.
Ironskin is set in the aftermath of a war with the fey, who have retreated back into the forests. It's an intriguing post-war, vaguely early
Jane, somewhat socially outcast due to an injury sustained during the war, accepts a post as governess to a young girl who has strange fey-like abilities.
Ironskin doesn't try to follow Jane Eyre too closely, which is mostly a strength. Jane's relationship with Dorie is given much more focus than Jane's relationship relationship with Rochart - understandably, since Dorie is a challenge and an enigma. Moreso than her father.
I was delighted when I realised that Jane's sister Helen is actually not the Helen from Jane Eyre but rather from a different Victorian novel. I appreciated it when events equivalent to those in Jane Eyre occurred but for different reasons, or when a different event had similar outcome to one from Jane Eyre.
There was a moment when I wondered if Ironskin would not even try to cover all of Jane Eyre in one book. There was potential for its fantasy-plot to satisfactorily conclude and have the Jane Eyre plot still well and truly unresolved. Which would have meant that the later parts of the Jane Eyre plot needn't be so rushed or abridged.
Alas, this did not happen!
(I think that would be the ideal approach to retelling Jane Eye, if you want to have other things going on in the story. By making Jane Eyre the subplot that unfolds over two or three books, there is enough space to develop the original elements and the Jane/Rochester relationship, without losing Jane's fiery independence... or any of the other strengths of Jane Eyre, really.
Not that I think Ironskin made a mess of those aspects. They weren't as strong as I would have liked, but part of that was because Ironskin had other priorities.)
If the library ever get the other books in this series, I might check them out.
The manor had been darkly beautiful once, full of odd minarets, fanciful gargoyles, and carved birds and beasts. [...] The frothy structures were still perfect on the south end of the building, on the carriage house. On the north the house had war damage. It had been bombed, and now only the skeleton remained, the scraggly black structure sharp and jagged, mocking its former grace and charm.
Just like me, thought Jane. Just like me.
Ironskin is set in the aftermath of a war with the fey, who have retreated back into the forests. It's an intriguing post-war, vaguely early
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20th century, steampunk setting and the relationship between humans and fey is unlike anything else I've come across before. A smart choice, I think, when other parts of the plot are so very intentionally familiar.Jane, somewhat socially outcast due to an injury sustained during the war, accepts a post as governess to a young girl who has strange fey-like abilities.
Ironskin doesn't try to follow Jane Eyre too closely, which is mostly a strength. Jane's relationship with Dorie is given much more focus than Jane's relationship relationship with Rochart - understandably, since Dorie is a challenge and an enigma. Moreso than her father.
I was delighted when I realised that Jane's sister Helen is actually not the Helen from Jane Eyre but rather from a different Victorian novel. I appreciated it when events equivalent to those in Jane Eyre occurred but for different reasons, or when a different event had similar outcome to one from Jane Eyre.
There was a moment when I wondered if Ironskin would not even try to cover all of Jane Eyre in one book. There was potential for its fantasy-plot to satisfactorily conclude and have the Jane Eyre plot still well and truly unresolved. Which would have meant that the later parts of the Jane Eyre plot needn't be so rushed or abridged.
Alas, this did not happen!
(I think that would be the ideal approach to retelling Jane Eye, if you want to have other things going on in the story. By making Jane Eyre the subplot that unfolds over two or three books, there is enough space to develop the original elements and the Jane/Rochester relationship, without losing Jane's fiery independence... or any of the other strengths of Jane Eyre, really.
Not that I think Ironskin made a mess of those aspects. They weren't as strong as I would have liked, but part of that was because Ironskin had other priorities.)
If the library ever get the other books in this series, I might check them out.
The manor had been darkly beautiful once, full of odd minarets, fanciful gargoyles, and carved birds and beasts. [...] The frothy structures were still perfect on the south end of the building, on the carriage house. On the north the house had war damage. It had been bombed, and now only the skeleton remained, the scraggly black structure sharp and jagged, mocking its former grace and charm.
Just like me, thought Jane. Just like me.
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Awards
Nebula Award (Nominee — Novel — 2012)
Original publication date
2012
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Pages
304