WE SHALL BE MONSTERS

The woods call to three generations of mothers and daughters in this dual-timeline modern fairy tale.

In a Michigan tourist town, Virginia Cassata and her daughter, Gemma, live above an antique shop bordering the woods. Every day, Gemma is drawn to wander the fairies’ forest, and every night Virginia steals away her memories with an enchanted hairbrush. Desperate to protect her daughter while also thwarting a witch’s curse, Virginia will let this selfish magic rip her apart if it means keeping Gemma close. Fifteen years prior, Clarice and her daughter, Virginia, live above an antique shop bordering the woods. Every day, Virginia is drawn to wander the fairies’ forest, but rather than erase her recollections, Clarice scares her into staying away—until Virginia falls in love. The consequences of this human-fairy coupling ripple forward and backward in time, reflecting Clarice’s own unrequited desires and enticing the Slit Witch, who curses the family with ruin by Gemma’s 15th birthday. When the witch captures Virginia, Gemma must follow half-remembered steps to embrace her fey heritage. “It’s an old story, isn’t it?” Virginia, perennially caught in the middle as both daughter and mother, muses. “The sins of the mother, repeated, because the daughter tricks herself into believing that she can save her own daughter from the ache of regret.” Wees’ contemporary fairy-tale language favors layered repetition of motifs over narrative plot twists, which lessens the emotional impact of Gemma discovering these secrets and lies by omission. Inspired worldbuilding details, like Clarice offering up human-wrought antiques to be enchanted by the fascinated fairies, are sorely underutilized, especially for a story that tracks three generations in the same setting. While the epic quest transforms all three by the end, the reader may feel unfulfilled.

Despite compelling explorations of monstrous impulses in women, this dark bedtime story cannot see the forest for the trees.