Son of a Witch (Wicked Years Series #2), Wicked Years Series, Gregory Maguire, Book

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Product Details

Pub. Date: September 2005
Publisher: HarperCollins Publishers
Format: Hardcover, 352pp
Sales Rank: 29,890
Lexile: 840L�

Series: Wicked Years Series, #2
ISBN-13: 9780060548933
ISBN: 0060548932

Synopsis

The long-anticipated sequel to the beloved and hugely successful novel Wicked, now Broadway's #1 smash hit musical

When a Witch dies-not as a crone, withered and incapable, but as a woman in her prime, at the height of her passion and prowess-too much is left unsaid. What might have happened had Elphaba lived? Of her campaigns in defense of the Animals, of her appetite for justice, of her talent for magic itself, what good might have come? If every death is a tragedy, the death of a woman in her prime keenly bereaves the whole world. Ten years after the publication of Wicked, bestselling novelist Gregory Maguire returns to the land of Oz to follow the story of Liir, the adolescent boy left hiding in the shadows of the castle when Dorothy did in the Witch.

A decade after the Witch has melted away, the young man Liir is discovered bruised, comatose, and left for dead in a gully. Shattered in spirit as well as in form, he is tended by the mysterious Candle, a
foundling in her own right, until failed campaigns of his childhood bear late, unexpected fruit.

Liir is only one part of the world that Elphaba left behind. As a boy hardly in his teens, he is asked to help the needy in ways in which he may be unskilled. Is he Elphaba's son? Has he power of his own? Can he
liberate Princess Nastoya into a dignified death? Can he locate his supposed half-sister, Nor, last seen in shackles in the Wizard's protection? Can he survive in an Oz little improved since the death of the Wicked Witch of the West? Can he learn to fly?

In Son of a Witch, Gregory Maguire suggests that the magic we locate in distant, improbable places like Oz is no greater than the magic inherent in any hard life lived fully, son of a witch or no.

The Washington Post - Katherine A. Powers

Though Wicked was not simply a reverse image of Baum's book or the famous movie, it depended on their depictions of Oz as a foil for its own maverick reshaping of the narrative. Those for whom potty humor is the acme of wit and foul decay is horror sublime will be happy to know that Son of a Witch is as well-supplied with those articles as the earlier book was. What it has lost, however, is the shaping vigor gained by pushing against a well-known story.

More Reviews and Recommendations

Biography

Spinning fantastical tales for adults and children alike -- from the hit kids' series The Hamlet Chronicles to the decidedly more grown-up adventures played out in Wicked and Mirror, Mirror, Gregory Maguire has cast a potent literary spell on readers of all ages.

More About the Author

Customer Reviews

Reader Rating:
Ratings: 222Reviews: 75
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Follow the boring brick road...by Hisnibs

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February 08, 2010: really dull book, especially in comparison to "Wicked". Sluggish to get through. unconvincing. Unnecessary.

Son of a Witch, the Wicked Years, Book 2by toon_boi

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January 01, 2010: Liir, the assumed son of the Wicked Witch of the West is found near death in the Vinkus, and is nursed by the maunt Sister Candle with a unique ability playing the domingon, guided by the mysterious Mother Yackle, (once again on the sidelines). Liir is a useless, not very bright, kinda plain and mundane boy who follows Dorothy back to Oz from Kiamo Ko, after the murder of the Witch. On their journey back to see the Wizard, Princess Nastoya begs Liir to promise to return to her, so that he may aid her in separating the Animal from the human in her. No matter how much he protests that he has no talent, and although he never admits that it is him doing it, he is able to fly the broom. (Dorothy's cruelty is more apparent in this sequel, as compared to "Wicked". She is mean to Liir, and annoyed by him being a part of their troop. She's kinda a bully to him.)

Liir meets the Scarecrow, Lady Glinda, and Shell in his search for Nor. Liir returns to Kiamo Ko a couple of times, while on his search for Nor. And in his reunion with Nanny and Chistery, I found it hard to accept that Chistery was able to develop a working use of language.

G.M. really touched and disturbed me when Liir witnesses the tragedy to the Piglet in Southstairs. Which was worse to me than what Shell was actually doing down there. I truly experienced the same feelings that Liir was going through.

Liir is more suited to take orders and not question them. That is why he excels so well in the military. Commander Cherrystone attempts to be a father figure to Liir, (failing to raise him properly in my opinion, by putting orders ahead of doing the right thing).

People's faces are being scraped off in the Vinkus, were the reader, (for Liir is not smart enough to figure this out for himself, he has everything told to him, always), discovers the result of the Wizard obtaining the torn page of the Grimmerie.

Graffiti-ed in the Emerald City of Oz is "Elphaba Lives!" It raises the question, is the Wicked Witch of the West dead? The answer to this, and to whether or not Liir is the son of Elphaba, and does Liir possess the same talents as Auntie, is finally answered in the last 6 pages. (I'm very glad I revisited/read again this fantastic story!)

I Also Recommend: Wicked, A Lion Among Men (Wicked Years Series #3).

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Fact File

Name:
Gregory Maguire

Current Home:
Boston, Massachusetts

Date of Birth:
June 09, 1954

Place of Birth:
Albany, New York

Education:
B.A., SUNY at Albany, 1976; M.A., Simmons College, 1978; Ph.D., Tufts University, 1990

* Gregory Maguire's official web site

Biography

Raised in a family of writers (his father was a journalist and his stepmother a poet), Gregory Maguire grew up with a great love of books, especially fairy tales and fantasy fiction. He composed his own stories from an early age and released his first book for children, The Lightning Time, in 1978, just two years after graduating from the State University of New York at Albany.

Several other children's book followed, but major recognition eluded Maguire. Then, in 1995, he published his first adult novel. A bold, revisionist view of Frank L. Baum's classic Oz stories, Wicked: The Life and Times of the Wicked Witch of the West places one of literature's most reviled characters at the center of a dark dystopian fantasy and raises provocative questions about the very nature of good and evil. Purists criticized Maguire for tampering with a beloved juvenile classic, but the book received generally good reviews (John Updike, writing in The New Yorker, proclaimed it "an amazing novel.") and the enthusiasm of readers catapulted it to the top of the bestseller charts. (Maguire's currency increased even further when the book was turned into the Tony Award-winning Broadway musical Wicked in 2003.)

In the wake of his breakthrough novel, Maguire has made something of a specialty out of turning classic children's tales on their heads. He retold the legends of Cinderella and Snow White in Confessions of an Ugly Stepsister (1999) and Mirror, Mirror (2003); he raised the ghost of Ebenezer Scrooge in Lost (2001); and, in 2005, he returned to Oz for Son of a Witch, the long-awaited sequel to Wicked. He has reviewed fantasy fiction for the Sunday New York Times Book Review and has contributed his own articles, essays, and stories to publications like Ploughshares, The Boston Review, the Christian Science Monitor, and The Horn Book Magazine.

In addition, Maguire has never lost his interest in -- or enthusiasm for -- children's literature. He is the author of The Hamlet Chronicles, a bestselling seven-book series of high-camp mystery-adventures with silly count-down titles like Seven Spiders Spinning and Three Rotten Eggs. He has taught at the Center for the Study of Children's Literature at Simmons College and is a founding member of Children's Literature New England (CLNE), a nonprofit organization that focuses attention on the significance of literature in the lives of children.

Good to Know

In our interview, Maguire shared some fun facts with us about his life:

"While I pride myself on trying to be creative in all areas of my life, I have occasionally gone overboard, like the time I decided to bring to a party a salad that I constructed, on a huge rattan platter, to look like a miniature scale model of the Gardens of Babylon. I built terraces with chunks of Monterey jack, had a forest of broccoli florets and a lagoon of Seven Seas salad dressing spooned into a half a honeydew melon. I made reed patches out of scallion tips and walkways out of sesame seeds lined with raisin borders. Driving to the party, I had to brake to avoid a taxi, and by the time the police flagged me down for poor driving skills I was nearly weeping. �But Officer, I have a quickly decomposing Hanging Gardens of Babylon to deliver....' Everything had slopped and fallen over and it looked like a tray of vegetable garbage."

"My first job was scooping ice cream at Friendly's in Albany, New York. I hated the work, most of my colleagues, and the uniform, and I more or less lost my taste for ice cream permanently."

"If I hadn't been a writer, I would have tried to be one of the following: An artist (watercolors), a singer/songwriter like Paul Simon (taller but not very much more), an architect (domestic), a teacher. Actually, in one way or another I have done all of the above, but learned pretty quickly that my skills needed more honing for me to charge for my services, and I'd always rather write fiction than hone skills."

"I steal a bit from one of my favorite writers to say, simply, that I enjoy, most of all, old friends and new places. I love to travel. Having small children at home now impedes my efforts a great deal, but I have managed in my time to get to Asia, Africa, most of Europe, and Central America. My wish list of places not yet visited includes India, Denmark, Brazil, and New Zealand, and my wish for friends not yet made includes, in a sense, readers who are about to discover my work, either now or even when I'm no longer among the living. In a sense, in anticipation, I value those friends in a special way."

Feature Interview

In the fall of 2003, Gregory Maguire took some time out to talk with us about some of his favorite books, authors, and interests.

What was the book that most influenced your life or your career as a writer?
While I didn't know it at the time, eventually I have come to believe that T. H. White's The Once and Future King was the most influential book. I observed in it several admirable attributes that I try to make hallmarks of my own work. First, the book is derived from a popular set of myths and commonly held stories that form part of our Western foundation myth (the King Arthur stories). Second, the book is by turns profound, endearing, and comical. Third, the story is unwieldy in a way that seems organic and special.

What are your favorite books, and what makes them special to you?

Unleaving by Jill Paton Walsh -- This award-winning novel for young adults comes closer to being a true "novel of ideas" than any other book for the young I've ever read, including A Separate Peace and The Catcher in the Rye (neither of which were published for the young originally, it must be admitted). The novel is sensuous, moral, dramatic, and makes a great case for the excitement of intellectual inquiry. It also is brisk, gloriously written, and evocative of Virginia Woolf (the author spent her formative years, during the Blitz, living a quarter mile down the hill from where Woolf, as a young child, had spent summers, gazing out at the lighthouse at Godrevy in Cornwall).

The Towers of the Trebizond by Rose Macaulay -- My stepmother recommended this book and I tried it three times, revising my estimate of my stepmother's taste in literature with each abandoned attempt I made. The fourth time I was old enough to apprehend the humor in the tone, and then the story rolled with furious comedy to its startling conclusion. I have never reread this book, but I have meant to for 20 years, and I hold it fondly in memory.

The Diamond in the Window by Jane Langton -- This is a children's fantasy first published in the middle 1960s. The wry line drawings by Erik Blegvad add to the story's depth and humanity as two orphaned children pursue their missing relatives through a series of dreams that enlarge their transcendental sensibilities and coalesce their family.

Human Voices by Penelope Fitzgerald -- I'd read one novel by Fitzgerald and found it rather damp and dispiriting, but when I came to this I was rewarded. Though it takes a while to digest the use of acronyms for two of the main characters (they go by the initials associated with their business titles) that small effort is worth it. The novel takes place during the Blitz in London, as members of the BBC struggle to broadcast under trying circumstances.

Morality Play by Barry Unsworth -- This novel takes place in the 13th century, as I remember, and brilliantly imagines nothing less than the birth of the novel, happening more or less simultaneously with the end of feudalism and the growth of the understanding of particular character, one person at a time.

Howards End by E. M. Forster -- I selected this book only because I had to select something. Indeed, I'm a fan of all of Forster's work, no matter what can (and often is) said about his lack of sympathy or ability to portray real female characters. In general his sensitivity to the small but urgent moral questions of his day, especially relating to individual moral choice in the context of wider social pressures, continues to delight and inform me. His prose style is understated and affectionately comic most of the time, too, which I admire.

To the Lighthouse by Virginia Woolf -- Likewise, I might have chosen Mrs. Dalloway, or The Waves, or even Between the Acts as my favorite, but To the Lighthouse is my selection mostly because it was in reading this novel (not my first Woolf experience) that I first realized the range and nature of her genius.

Harriet the Spy by Louise Fitzhugh -- A children's novel by someone who might well have written for The New Yorker in the '60s, given her mildly acid tone and her keen eye for the telling moment. This novel of a precocious sixth-grade girl and the diary she keeps (and loses to her friends) made me roar with laughter as a child but also inspired in me what is, by now, a 33-year habit of keeping my own journal. And keeping a childhood journal was a vast part of my own development as a writer.

The Children of Knowe by L. M. Boston -- This is the first "chapter" book I ever read. I was in second grade (I was a precocious reader myself). The book has rather little by way of plot, but was my introduction to literary atmosphere and also, I suppose, the seeding of a lifelong love of literature written by English writers. (Seven of these ten recommendations are by English writers.) I also eventually went to live in London, and -- memorably -- had tea with the author at her home in Cambridgeshire. The manor house in which she lived, and about which she wrote in this book and its sequels, is the oldest continually occupied domestic dwelling in England.

What are some of your favorite films, and what makes them unforgettable to you?
I'm not as much of a film buff as I am a reader, but, with apologies for my perhaps less than startling choices:

The Wizard of Oz -- Naturally!

The Sixth Sense For its deft plotting.

The Crying Game -- For the same reason.

Babette's Feast -- The only movie I can watch repeatedly and tear up at the end, without fail.

The Sound of Music -- Because it made being Catholic and being musical synonymous, which my experience as an altar boy in a Catholic church had not revealed to me.

Franco Zeffirelli's Romeo and Juliet -- I'm not sure what I'd think of it now, but I loved it as a teenage boy and have never forgotten many scenes of it.

Topsy Turvy -- Mike Leigh's Gilbert and Sullivan homage.

What types of music do you like? Is there any particular kind you like to listen to when you're writing?
I like classical music of the late 19th and early 20th centuries, and I adore Bach above all. The late Beethoven string quartets satisfy through their modernity, and they make the symphonies look like the work of a very talented adolescent. I listen to jazz (on the radio) and to Portuguese fado and, when on long trips in the car alone, to original-cast recordings of Broadway musicals. I listen to nothing when I write.

If you had a book club, what would it be reading?
I would force the book club to read all of Dorothy Sayers, as I have read almost nothing of her and I am eager to be well educated enough to read Jill Paton Walsh's continuation of the Peter Wimsey stories.

What are your favorite kinds of books to give -- and get -- as gifts? Increasingly I like books of reference, to get, especially older dictionaries and lists of place names and common surnames etc. Such tomes are helpful in constructing a story with verisimilitude. I like to give autographed novels as presents.

Do you have any special writing rituals? For example, what do you have on your desk when you're writing?
I have too much on my desk while writing. Usually file folders having to do with household repairs (the air conditioning is broken at the moment). I sit under a 1950s-era reproduction calendar portraying a Punchinello character eating a huge plate of pasta, and the instruction below in orangey letters is "MANGIA!" So this reminds me that I write, in part, to eat. With three small children at home, I have no ritual except to write when I can, when they're looking the other way.

Many writers are hardly "overnight success" stories. How long did it take for you to get where you are today? Any rejection-slip horror stories or inspirational anecdotes? I rather shockingly sold my first manuscript to Farrar Straus, and it was published -- a chapter book for the 12-to-15 set -- a quarter of a century ago. However it took me 17 years to write a book that would make me any money or earn me any attention as a writer. That was Wicked, which was written while I lived in London in the early 1990s. I had had the idea some years earlier -- to invent a whole life for a very famous and hugely unexplored character -- and when what the English call "financial embarrassment" set in, I decided it was now or never.

What tips or advice do you have for writers still looking to be discovered?
I believe hugely in the value of a journal to keep oneself honest as well as in practice. I also think, though, when the well runs dry for a while you oughtn't berate yourself.

--------------------------------------------------------------------------

In the summer of 2004, we asked authors featured in Meet the Writers to give us a list of their all-time favorite summer reads, and tell us what makes them just right for the season. Here's what Gregory Maguire had to say:

Unleaving by Jill Paton Walsh -- This is a novel published originally for teenagers but reissued (in England anyway) as part of a two-novella volume for adult readers. Teens and adults alike will take much from it. It is set between the wars in England, at a summer home in St. Ives, Cornwall. A party of young students in the last summer before going up to Oxford gathers in a holiday venue to read, discuss, and to witness a tragedy of extraordinary moment. The final few pages of the novel (no fair skipping head, they won't work the same magic if excised!) are among my favorite words in all of English literature. It is a sober book, but sun-drenched and memorable, like the best of vacations.

The Once and Future King by T. H. White -- Perhaps you read this when younger. It holds up. Look in again. What you may forget is how very smart it is about human nature. The deft shift of tones from comic to tragic, intellectual to romantic, fantastic to historic, has rarely been done better. You come away with a sense that no effort has been spared. This book, more than any other, was the prototype I used when conceiving how to write my novel, Wicked.

Morality Play by Barry Unsworth -- I first read this five or six years ago. I got about a third of the way through, thinking "oh, a pleasant Brother Cadfael-type entertainment," when the book suddenly began to raise big issues in a big way. I thought: "Holy moley. I was wrong. This isn't an entertainment. This is a serious novel. I don't want to miss a thing." So I went back to the beginning and started over. Yes, it is entertaining (though I hear the movie based on it, with a different title, is less than wonderful), but it is also riveting morally and intellectually. It is about nothing so much as the birth of the individual consciousness and the birth of the novel--the idea that everyone's got a story, not just the ennobled or the sainted.

Mariette in Ecstasy by Ron Hansen -- I was in Cambodia adopting my second son, and to still him I wandered up and down the halls of the Sunway Hotel in Phnom Penh, and murmured the soft lines of Hansen's elliptical, poetic prose to calm the baby. The book is about an early twentieth-century young novice experiencing stigmata and having devotional hot flashes. It is about passion, but is neither lewd nor dismissive of piety. The only problem with this book is that it will ruin the next four or five novels for you. It is that good.

Magic by the Lake by Edward Eager -- A children's fantasy -- not the most famous of the Edward Eager books (that would be Half Magic). This is Half Magic's sequel. Good summer reading because it takes place at a summer cabin in some cheesy peduncle resort, probably the 1920's though readers young and old won't get stuck in antique vernacular. It is, I think, the funniest of this very funny writer's books, and what could be better to read under a layer of Coppertone than Magic by the Lake? Isn't that why we go on holidays anyway? Remember to use the high-strength sunblock, by the way.

The Swing in the Summerhouse by Jane Langton -- Another children's fantasy, and another one that takes place over a summer. Pay especial attention to the crisp line drawings by that underrated master of the type, Erik Blegvad. The story is by Concord's quirky apologist, Jane Langton, perhaps better known to the world at large as the author of the Homer Kelly mysteries for adults. This story takes two loosely guarded siblings through a series of fantastic episodes that point up the virtues and the perils of growing up -- something that in summer we all try to forget we're still doing.

The Hounds of the Morrigan by Pat O'Shea -- I suppose my hand is being shown here. I love fantasy, and fantasy for children seems somehow more convincing than most fantasy for adults. The Hounds of the Morrigan is a grand comic tapestry of a novel, set in Ireland. Two siblings set out across Ireland in some rosily-remembered summer past, and the cast of characters they meet will have you laughing out loud and drowning out Howard Stern on the radio on the blanket next door.

Bat 6 by Virginia Euwer Wolff -- Want something less frolicy, but still fast-moving and summer-tinged? Baseball will serve. This is a novel about girls' baseball teams in the mid-century, the cost of war, the cost of apology. Loan this to your teenage reader and then grab it back again as soon as he or she is done. The author has laser-sharp control of her characters and the questions raised will be revisited around the dying coals of the hibachi well into the evening.

Senseless by Stona Fitch -- All right, this is not for everyone. I'll be up front about that. But if you, like me, want your vacation to be a time in which you remember what the world is like and come to terms with it better -- rather than flinching at the headlines all year long and looking away -- Senseless is for you. It is about the kidnapping and torture of a mid-level American businessman in Europe. It is graphic and it is violent, but it is not excessive. Not for the weak-stomached nor for the sentimental. But you won't forget it. It may be the best book you read this summer.

The Keeping-Room by Betty Levin -- For a change of pace, try this: get it from the library if your local bookstore hasn't got it in paperback. The Keeping-Room is a mystery for teenagers; adults will be riveted too, because of the understated and sympathetic characterizations. It involves a kidnapped child and a century-old mystery unearthed during a high school boy's local history project. The atmosphere of trendy New England suburbia is cuttingly evoked, and the pace is fast and the payoff worth it.

From Barnes & Noble

Ten years after his tour de force Wicked, Gregory Maguire returns to the Land of Oz. Son of a Witch unspools the story of Liir, an adolescent boy who is discovered battered and comatose a decade after Elphaba melted into oblivion. Nursed back to health by the enigmatic Candle, this mysterious foundling is soon confronted by urgent questions: Is he Elphaba's son? Does he himself possess magical powers? And where is Nor, the girl who is rumored to be his half sister? A literate witchery well done.

From the Publisher

The long-anticipated sequel to the beloved and hugely successful novel Wicked, now Broadway's #1 smash hit musical

When a Witch dies-not as a crone, withered and incapable, but as a woman in her prime, at the height of her passion and prowess-too much is left unsaid. What might have happened had Elphaba lived? Of her campaigns in defense of the Animals, of her appetite for justice, of her talent for magic itself, what good might have come? If every death is a tragedy, the death of a woman in her prime keenly bereaves the whole world. Ten years after the publication of Wicked, bestselling novelist Gregory Maguire returns to the land of Oz to follow the story of Liir, the adolescent boy left hiding in the shadows of the castle when Dorothy did in the Witch.

A decade after the Witch has melted away, the young man Liir is discovered bruised, comatose, and left for dead in a gully. Shattered in spirit as well as in form, he is tended by the mysterious Candle, a
foundling in her own right, until failed campaigns of his childhood bear late, unexpected fruit.

Liir is only one part of the world that Elphaba left behind. As a boy hardly in his teens, he is asked to help the needy in ways in which he may be unskilled. Is he Elphaba's son? Has he power of his own? Can he
liberate Princess Nastoya into a dignified death? Can he locate his supposed half-sister, Nor, last seen in shackles in the Wizard's protection? Can he survive in an Oz little improved since the death of the Wicked Witch of the West? Can he learn to fly?

In Son of a Witch, Gregory Maguire suggests that the magic we locate in distant, improbable places like Oz is no greater than the magic inherent in any hard life lived fully, son of a witch or no.

The Washington Post - Katherine A. Powers

Though Wicked was not simply a reverse image of Baum's book or the famous movie, it depended on their depictions of Oz as a foil for its own maverick reshaping of the narrative. Those for whom potty humor is the acme of wit and foul decay is horror sublime will be happy to know that Son of a Witch is as well-supplied with those articles as the earlier book was. What it has lost, however, is the shaping vigor gained by pushing against a well-known story.

The New York Times Book Review - Sophie Harrison

Maguire clearly feels most comfortable when inventing freehand, and most of his novel is set after the original Oz story ends. Dorothy's presence in the text causes difficulties. She belongs too frankly in someone else's fairy tale; her arrival strains Maguire's own confident production in an unhappy way…Once he's freed himself from Baum's tenacious apron strings, Maguire begins to enjoy himself, and the story picks up.

Publishers Weekly

With a voice that sounds a bit like Richard Dreyfuss on helium, Maguire does a solid if somewhat unconventional job of narrating his own novel. His pace, like his prose, is deliberate and thoughtful. His creativity and imagination shine in his ability to provide his strange characters (not a human among them) with equally unusual voices. It is not the tonal range that makes his delivery interesting, though; it's the cadence and timbre of the voices that win the listener over. Liir, who may or may not be the son of the Wicked Witch of the West, is read with a detached, depressed air, an adolescent with ennui looking for his lost half-sister, Nor. Candle, the Munchkin girl who becomes his sweetheart, has a voice that sounds almost like backwards masking. A short interview with Maguire is an added value on the final disc; he says he enjoys the recording process and that the inspiration for the book was twofold: the many letters from young fans asking what happened to Nor, last seen as a chained political prisoner, and seeing the Abu Ghraib torture photographs. This one-two punch left an itch that could only be scratched by writing Son of a Witch. Simultaneous release with the Regan Books hardcover (Reviews, July 18). (Oct.) Copyright 2006 Reed Business Information.

KLIATT

To quote the review of the audiobook in KLIATT, January 2006: Landing at the beginning of Son of a Witch without traveling through the previous novel, Wicked, is like unexpectedly arriving in a foreign country without a guidebook or a translator. One feels a little like Dorothy, who must figure out where she is and how to get back. There are enough references to the familiar characters and events of The Wizard of Oz to comfort the traveler, but it takes a while to get one's bearings. In this novel, we are quickly introduced to Liir, who may be the son of the witch, Elphaba, an important character in Wicked. Liir has been left for dead and is now being nursed back to life. Oz is currently wizardless and if Liir is going to regain his rightful position, he must face many adventures and find his maybe half-sister, Nor. Maquire is a superb storyteller, capable of reeling off detail after detail so his fantasy seems real and his story becomes a parable about our own world, but the reader will miss much of the richness of this tale without reading the first novel.

Library Journal

This sequel to the adult fairy tale Wicked (1995)-later adapted as the hit musical of the same name-begins ten years after the destruction of Elphaba, a.k.a. the Wicked Witch of the West. In Maguire's dark version of the Land of Oz, there's not much to ring the bells for in the Emerald City, despite the tyrannical Wizard's departure. Corruption is rife, political factions compete for power, and radicals proclaim "Elphaba lives!" Elsewhere, a horribly injured young man called Liir wakes in the religious House of Saint Glinda to many puzzles. Who tried to kill Liir? How did an enigmatic Quadling girl revive him? Why is he expected to take up a quest on behalf of sentient Animals? Above all, was Elphaba his mother? These and other questions drive a tale that adroitly mixes drama, humor, and political satire into a well-knit examination of good and evil-and leaves several doors open for future journeys over the rainbow into this cleverly constructed dystopia. Recommended for most fantasy collections.-Starr E. Smith, Fairfax Cty. P.L., VA Copyright 2005 Reed Business Information.

School Library Journal

Adult/High School-Son picks up where Maguire's highly successful Wicked (HarperCollins, 1995) left off, with the death of Elphaba the Wicked Witch of the West. She left behind a daughter, Nor, and Liir, who may or may not be her son. After her death, he enters into a decade of listless soul searching. He travels for a time and then joins the military, enjoying the structure it provides his life. But eventually his rearing by the Witch as well as his possible heritage catch up to him and he finds himself in demand to start a new revolution against the tyranny of Emerald City. An odd series of disfiguring murders starts occurring all across Oz. Liir discovers that the new Emperor sits behind the machinations and uses the strange killings to spread distrust among the various races of the land. Wielding Elphaba's flying broom and donning her magical cape, Liir makes some small but bold gestures that help the populace of Oz and replants the seeds of hope that Elphaba spread a generation before. Son is a tighter work than Wicked, making deft use of flashbacks and varying viewpoints to create a quicker pace. And Liir's quest-both to find himself and to save the people of Oz-is easier to believe than the motivations that drove the bitter yet heroic Elphaba. A well-written, well-crafted fantasy that can stand on its own.-Matthew L. Moffett, Northern Virginia Community College, Annandale Copyright 2006 Reed Business Information.

Kirkus Reviews

Animals talk, attack dragons prowl the skies and political unrest afflicts the land of Oz in this richly detailed sequel to Maguire's contemporary fantasy classic Wicked (1996). Its protagonist is Liir, the probable offspring of Elphaba Thropp, the late, mostly unlamented Wicked Witch of the West (unless Liir's birth mother was actually Elphaba's unfortunate sibling Nessarose; it's complicated). We meet Liir as he lies near death in one of Oz's outlying lands and is taken to the Mauntery of Saint Glinda, where the venerable Superior Maunt entrusts his care to beautiful gypsy girl Candle. Parallel flashbacks mix with subsequent action to describe Liir's boyhood adventures with Dorothy Gale (even if she has murdered his mother) and her nonhuman companions, various ordeals in an embattled Oz riven with rebellion (from which the Wizard has long since fled), as Liir seeks his missing childhood friend Nor as well as Elphaba's notorious book of spells, joins the Emerald City's Home Guard defense force and-aloft on Elphaba's flying broomstick-challenges the forces of both disorder and incumbency, makes peace with his past and envisions a future in which even changelings may assume their full humanity. The book works too hard to dazzle us; it's considerably more cluttered and strained than Wicked. But, like L. Frank Baum's magical land itself, it's filled with wonderful things: the neurotic kvetching of the Cowardly Lion (who disappears, alas, much too soon); a brilliant subplot involving the half-human, half-elephant Princess Nastoya; a Conference of Birds; and the political ascendancy of the Scarecrow, a puppet ruler serving a cabal of bankers. Best of all is Liir's arduous pilgrimage towardbecoming what he was meant to be. Too long, but few readers will fail to stay its magical course. Once again, the myth of Oz proves its enduring power.

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Product Details

Pub. Date: September 2005
Publisher: HarperCollins Publishers
Format: Hardcover, 352pp
Sales Rank: 29,890
Lexile: 840L�

Series: Wicked Years Series, #2
ISBN-13: 9780060548933
ISBN: 0060548932

Table of Contents
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Son of a Witch
A Novel

Chapter One

The House of Saint Glinda

So the talk of random brutality wasn't just talk. At noontime they discovered the bodies of three young women, out on some mission of conversion that appeared to have gone awry. The novice maunts had been strangled by their ropes of holy beads, and their faces removed.

Her nerve being shaken at last, Oatsie Manglehand now caved in to the demands of her paying customers. She told the team drivers they'd pause only long enough to dig some shallow graves while the horses slaked their thirst. Then the caravan would press on across the scrubby flats known, for the failed farmsteads abandoned here and there, as the Disappointments.

Moving by night, at least they wouldn't make a sitting target, though they might as easily wander into trouble as sidestep it. Still, Oatsie's party was antsy. Hunker down all night and wait for horse hoofs, spears? Too hard on everyone. Oatsie consoled herself: If the caravan kept moving, she could sit forward with her eyes peeled, out of range of the carping, the second-guessing, the worrying.

With the benefit of height, therefore, Oatsie spotted the gully before anyone else did. The cloudburst at sunset had fed a small trackside rivulet that flowed around a flank of skin, water-lacquered in the new moonlight. An island, she feared, of human flesh.

I ought to turn aside before the others notice, she thought; how much more can they take? There is nothing I can do for that human soul. The digging of another trench would require an hour, minimum. An additional few moments for prayers. The project would only further agitatethese clients as they obsess about their own precious mortality.

Upon the knee of the horizon balanced the head of a jackal moon, so-called because, once every generation or so, a smear of celestial flotsam converged behind the crescent moon of early autumn. The impact was creepy, a look of a brow and a snout. As the moon rounded out over a period of weeks, the starveling would turn into a successful hunter, its cheeks bulging.

Always a fearsome sight, the jackal moon tonight spooked Oatsie Manglehand further. Don't stop for this next casualty. Get through the Disappointments, deliver these paying customers to the gates of the Emerald City.But she resisted giving in to superstition. Be scared of the real jackals, she reminded herself, not frets and nocturnal portents.

In any case, the light of the constellation alleviated some of the color blindness that sets in at night. The body was pale, almost luminous. Oatsie might divert the Grasstrail Train and give the corpse a wide berth before anyone else noticed it, but the slope of the person's shoulders, the unnatural twist of legs—the jackal moon made her read the figure too well, as too clearly human, for her to be able to turn aside.

"Nubb," she barked to her second, "rein in. We'll pull into flank formation up that rise. There's another fatality, there in the runoff."

Cries of alarm as the news passed back, and another mutter of mutiny: Why should they stop?—were they to bear witness to every fresh atrocity? Oatsie didn't listen. She yanked the reins of her team of horses, to halt them, and she lowered herself gingerly. She stumped, her hand on her sore hip, until she stood a few feet over the body.

Face down and genitals hidden, he appeared to have been a young man. A few scraps of fabric were still knotted about his waist, and a boot some yards distant, but he was otherwise naked, and no sign of his clothes.

Curious: no evidence of the assassins. Neither had there been about the bodies of the maunts, but that was on rockier ground, in a drier hour. Oatsie couldn't see any sign of scuffle here, and in the mud of the gulch one might have expected . . . something. The body wasn't bloody, nor decayed yet; the murder was recent. Perhaps this evening, perhaps only an hour ago.

"Nubb, let's heave him up and see if they've taken his face," she said.

"No blood," said Nubb.

"Blood may have run off in that cloudburst. Steel yourself, now."

They got on either side of the body and bit their lips. She looked at Nubb, meaning: It's only the next thing, it's not the last thing. Let's get through this, fellow.

She jerked her head in the direction of the hoist. One, two, heave.

They got him up. His head had fallen into a natural scoop in the stone, a few inches higher than where the rain had pooled. His face was intact, more or less; that is to say, it was still there, though shattered.

"How did he get here?" said Nubb. "And why didn't they scrape him?"

Oatsie just shook her head. She settled on her haunches. Her travelers had come forward and were congregating on the rise behind her; she could hear them rustling. She suspected that they had gathered stones, and were ready to kill her if she insisted on a burial.

The jackal moon rose a few notches higher, as if trying to see into the gulley. The prurience of the heavens!

"We're not going to dig another grave." That from her noisiest client, a wealthy trader from the northern Vinkus. "Not his, Oatsie Manglehand, and not yours, either. We're not doing it. We leave him unburied and alone, or we leave him unburied with your corpse for company."

"We don't need to do either," said Oatsie. She sighed. "Poor, poor soul, whoever he is. He needs no grave. He isn't dead yet."

In time, when the travelers had rejoined their cronies and relatives in the Emerald City—in salons, in public houses, in taverns of exchange—they heard more chatter about the hostilities they had managed to sidestep. Rumor flourished. Forty, sixty, a hundred deaths resulting from the skirmishes between the Scrow and the Yunamata. Barbarians, the lot of them:They deserved to kill off each other. But not us.

Read a Sample Chapter

Son of a Witch

By Gregory Maguire

ReganBooks

Chapter One

The House of Saint Glinda

So the talk of random brutality wasn't just talk. At noontime they discovered the bodies of three young women, out on some mission of conversion that appeared to have gone awry. The novice maunts had been strangled by their ropes of holy beads, and their faces removed.

Her nerve being shaken at last, Oatsie Manglehand now caved in to the demands of her paying customers. She told the team drivers they'd pause only long enough to dig some shallow graves while the horses slaked their thirst. Then the caravan would press on across the scrubby flats known, for the failed farmsteads abandoned here and there, as the Disappointments.

Moving by night, at least they wouldn't make a sitting target, though they might as easily wander into trouble as sidestep it. Still, Oatsie's party was antsy. Hunker down all night and wait for horse hoofs, spears? Too hard on everyone. Oatsie consoled herself: If the caravan kept moving, she could sit forward with her eyes peeled, out of range of the carping, the second-guessing, the worrying.

With the benefit of height, therefore, Oatsie spotted the gully before anyone else did. The cloudburst at sunset had fed a small trackside rivulet that flowed around a flank ofskin, water-lacquered in the new moonlight. An island, she feared, of human flesh.

I ought to turn aside before the others notice, she thought; how much more can they take? There is nothing I can do for that human soul. The digging of another trench would require an hour, minimum. An additional few moments for prayers. The project would only further agitate these clients as they obsess about their own precious mortality.

Upon the knee of the horizon balanced the head of a jackal moon, so-called because, once every generation or so, a smear of celestial flotsam converged behind the crescent moon of early autumn. The impact was creepy, a look of a brow and a snout. As the moon rounded out over a period of weeks, the starveling would turn into a successful hunter, its cheeks bulging.

Always a fearsome sight, the jackal moon tonight spooked Oatsie Manglehand further. Don't stop for this next casualty. Get through the Disappointments, deliver these paying customers to the gates of the Emerald City.But she resisted giving in to superstition. Be scared of the real jackals, she reminded herself, not frets and nocturnal portents.

In any case, the light of the constellation alleviated some of the color blindness that sets in at night. The body was pale, almost luminous. Oatsie might divert the Grasstrail Train and give the corpse a wide berth before anyone else noticed it, but the slope of the person's shoulders, the unnatural twist of legs -- the jackal moon made her read the figure too well, as too clearly human, for her to be able to turn aside.

"Nubb," she barked to her second, "rein in. We'll pull into flank formation up that rise. There's another fatality, there in the runoff."

Cries of alarm as the news passed back, and another mutter of mutiny: Why should they stop? -- were they to bear witness to every fresh atrocity? Oatsie didn't listen. She yanked the reins of her team of horses, to halt them, and she lowered herself gingerly. She stumped, her hand on her sore hip, until she stood a few feet over the body.