Mermaid Moon

by Susann Cokal Narrated by Jess Nahikian, Stina Nielsen

Overview

An award-winning author tells of a mermaid who leaves the sea in search of her landish mother in a captivating tale spun with beautiful prose, lush descriptions, empathy, and keen wit.

Blood calls to blood; charm calls to charm.
It is the way of the world.
Come close and tell us your dreams.

Sanna is a mermaid — but she is only half seavish. The night of her birth, a sea-witch cast a spell that made Sanna’s people, including her landish mother, forget how and where she was born. Now Sanna is sixteen and an outsider in the seavish matriarchy, and she is determined to find her mother and learn who she is. She apprentices herself to the witch to learn the magic of making and unmaking, and with a new pair of legs and a quest to complete for her teacher, she follows a clue that leads her ashore on the Thirty-Seven Dark Islands. There, as her fellow mermaids wait in the sea, Sanna stumbles into a wall of white roses thirsty for blood, a hardscrabble people hungry for miracles, and a baroness who will do anything to live forever.

From the author of the Michael L. Printz Honor Book The Kingdom of Little Wounds comes a gorgeously told tale of belonging, sacrifice, fear, hope, and mortality.

Editorial Reviews

Publishers Weekly

01/27/2020

This immersive retelling of “The Little Mermaid” follows Sanna, a half-landish mermaid who leaves her flok to seek her human mother. Advised by the ancient, riddle-tongued sea witch Sjældent, Sanna is bound for the castle ruled by ageless and unkind Baroness Thyrla, a witch who steals youth and power from others, even her infant children. When an accidental display of magic convinces the local priest and townsfolk that Sanna is a miracle worker, she finds herself betrothed to Thyrla’s attractive but useless son, but she’s no closer to finding her mother or securing the undefined treasure that Sjældent requires as payment. Juxtaposed against the patriarchal culture wherein Thyrla has amassed and maintained power (one in which rape and infanticide are common), Cokal (The Kingdom of Little Wounds) creates a well-developed matriarchal mermaid mythology in which women couple, bonded by love and respect, and men are largely unnecessary. Through several voices and richly detailed prose, these markedly different worlds overlap and diverge to impart a nuanced exploration of power, family, faith, and love. Ages 14–up. Agent: Stephen Barbara, Inkwell Management. (Mar.)

From the Publisher

Juxtaposed against the patriarchal culture wherein Thyrla has amassed and maintained power (one in which rape and infanticide are common), Cokal (The Kingdom of Little Wounds) creates a well-developed matriarchal mermaid mythology in which women couple, bonded by love and respect, and men are largely unnecessary. Through several voices and richly detailed prose, these markedly different worlds overlap and diverge to impart a nuanced exploration of power, family, faith, and love.
—Publishers Weekly

Thyrla, however, is a villain on par with Maleficent, cool, calculating, and so invested in power that she’s willingly sacrificed nearly her entire family—including children she specifically bore to kill—to keep her hold on the island and her youth. It’s the revelation of her love for her son that makes her the most complicated, if not sympathetic, character here, a far more interesting foil to pure-hearted Sanna...a haunting tale of love, betrayal, and family, on land and in sea.
—Bulletin of the Center for Children's Books

Lyrical, complex, and occasionally dark, with rich rewards for patient readers. Suggest this to thoughtful readers looking for strong females, unexpected twists, and a relatively happy ending. A good fit for fans of Margo Lanagan’s The Brides of Rollrock Island.
—School Library Journal

Mermaid Moon is an action-packed tale of parental abandonment, familial longing, treachery and dark magic with an appealingly determined heroine.
—BookPage

Mermaid Moon is a beautifully told, immersive novel that layers fairy-tale elements with more modern themes, allowing for a different experience with every reread.
—Shelf Awareness for Readers

This gorgeously designed, lushly written offering from Printz Honor winner Cokal (The Kingdom of Little Wounds, 2013), which builds upon the themes of The Little Mermaid, explores how femininity manifests in Sanna’s matriarchal society and outside of it. Told by a vast chorus of voices, this is a rich and stunning story that dives to startling depths, and literary teens will savor it.
—Booklist Online

School Library Journal - Audio

07/01/2020

Gr 9 Up—Sanna is a half-landish mermaid. When she was born, the witch who delivered her cast a spell to make people, including her mother, forget her birth. Longing to find her mother, and following the ancient riddle of the sea witch Sjeldent, Sanna finds herself at a town and castle run by the ageless Baroness Thryla, a witch who steals youth and power from people. Soon, she is betrothed to the witch's useless son, Peta. Narrators Jess Nahikian and Stina Nielsen do a good job of adding a mystical element to the characters' voices. The pacing matches well with the darker fantasy plot. The slightly monotone intonations in parts of the book, however, may disengage some listeners. VERDICT A good addition to library collections where fantasy, adventure, and strong female protagonists are popular.—Kira Moody, Salt Lake County Lib. Svcs.

School Library Journal

02/01/2020

Gr 9 Up—"This is just a children's tale; would you wreck your ship for it?" Sanna and her marreminde sisters lure passing sailors to their deaths with siren songs, as their mothers did before them. Though Sanna's voice is one of the most beautiful, Sanna's mother was landish, not seavish, a fact so unacceptable that the flok matriarch cast a spell of forgetting over everyone involved. Armed with only a name, Lisabet, Sanna magicks herself legs and walks unsteadily ashore to find the castle and, she hopes, news of her mother. Sanna's magic inspires jealousy in the powerful and unnatural Baroness, who manipulates a betrothal to her son. Meanwhile, floating on the seaskin, Sanna's sea sisters and father desperately wait for a song to indicate Sanna's progress and safety. Cokal's moody and sea-drenched tale weaves touches of Hans Christian Andersen with a dash of Pied Piper, using language that gorgeously sets each scene, including the exceedingly creepy bone vault, with its tiny baby skulls and "the yellow-white ribs known as Mother." Lyrical, complex, and occasionally dark, with rich rewards for patient readers. VERDICT Suggest this to thoughtful readers looking for strong females, unexpected twists, and a relatively happy ending. A good fit for fans of Margo Lanagan's The Brides of Rollrock Island.—Maggie Knapp, Trinity Valley School, Fort Worth, TX

Kirkus Reviews

2019-12-08
Printz Award honoree Cokal (The Kingdom of Little Wounds, 2013, etc.) switches from historical fiction to historical fantasy in this loose reinterpretation of Andersen's "The Little Mermaid."

The Thirty-Seven Dark Islands, remote and Scandinavian, are prosperous and bustling. Ruled by the (uncannily) long-lived Baroness Thyrla, watched over by Our Lady of the Sea, an ostensibly Christian statue, this is a place where little changes until a mysterious girl comes ashore. Half-seavish Sanna has grown up a marreminde but longs to find her landish mother. She studied magic in order to form legs and search the land, directed by her flok's ancient witch. Literary writing stuffed with interesting if ancillary historical detail moves through several perspectives. Sanna, despite her strong magic and the narrative's centering of her quest for her mother, tends toward immense passivity; Thyrla, a wicked witch who has killed her own children to prolong her life, propels most of the plot, such as it is, and more time is spent in characters' heads than with their actions or interactions. Questions of power, vanity, and faith are raised, if not always resolved, making this a book suitable for deep reading although unlikely to have wide appeal. Other options trawl similar territory more effectively, particularly Elana K. Arnold's Damsel (2018) and Margo Lanagan's The Brides of Rollrock Island (2012). All characters are white; the mermaid society is bisexual by default.

Intriguing if flawed. (historical note) (Historical fantasy. 13-18)

Product Details

BN ID:	2940172914522
Publisher:	Brilliance Audio
Publication date:	03/03/2020
Edition description:	Unabridged

Read an Excerpt

Prologue
 
The moon lowers herself to draw the tide.
 
When she knew her time had come, she slipped from the quiet of her father’s house to make her way down to the docks.
It wasn’t easy. The pains came fast and hard, even at the start. In the light of a half-​made moon, she stumbled in the familiar ruts and puddles of the path she’d raced down many times before. Each pain was an ember blazing from her belly to the tips of her fingers and toes; pain blinded her and stole her breath. Only force of will kept her on her feet and stealing toward the waterfront, the one place she knew —​or hoped —​she’d be safe.
Her body was ripping apart. She was being drawn and quartered like the worst kind of criminal, a thief or a murderer whose limbs were tied to four different horses and the horses then spurred in different directions. Blood sport. Something to think about as she both gasped for breath and tried to keep silent, because the worst thing she could do now would be to make a sound loud enough to wake her neighbors. If things were as bad as she thought they might be, the villagers would come after her with torches and sharp-​tipped hoes. Her parents, grudgingly kind as they had been to this point, would lead the charge.
Stars swaddled the sky while she sweated through her linen chemise and into her coarse wool dress. She fixed her eyes on that half pie of moon as her knees buckled under an especially terrible pang. She clutched her belly and pushed herself against the streaky wall of a butcher shop. It held her up as she smothered a groan. The butcher and his family slept above the shop; she shouldn’t wake them.
The smell of her blood mixed with ripe meat was nauseous.
Pain is thirsty work, even in a cool month when green things are just beginning to take on summer hues. She wished for a barrel full of rainwater but instead found a ­pebble to pop into her mouth, and she sucked to draw the water from inside her own body.
In all her eighteen years she had never felt so alone as tonight, under the thick white stars. But soon she wouldn’t be alone anymore. Soon she would have a baby.
A large —​another rending pain —​an enormous baby.
And that was about all she knew. She knew it was coming, yes, and she knew what she’d done to make it, 
and she knew she had to get down to the water fast because —​because —​because that was the only place she could birth this baby safely.
This would be a special baby. No one in memory had given life to a baby such as this. No one had dared.
By the time she reached the narrow strip of sand that was the only beach in this country of cliffs and caves, she was exhausted, crawling on hands and knees. Not easy to do with her belly heaving and her skirts, soaked with birthing waters, tied up beneath her arms. But she had no choice. This was where she had to be.
The tide was slowly swelling to meet the half-​moon. The sharp blade of it was cutting her open and drawing her tides, too, as it sank gracefully toward the horizon.
Would her lover meet her here? Would he bring sisters and aunts and cousins to help, as he’d promised he’d try? His people had unusually keen hearing, but she had done her best to make no sound at all. They might find her by smell, though; she smelled like an animal, sweaty and afraid. And of course he’d warned that the women of his clan might not come. They disapproved of what he and she had done as much as her own people would, if they knew —​and she was determined they wouldn’t.
The sand was cool against her palms and knees and shins. It felt like comfort. She let herself sink onto one side and press her temple against that yielding damp, breathe deep of the clean wet air. The lap-​lap of the bay’s rising little waves was soothing, too; even the stars seemed gentle and kind, floating behind wispy drifts of cloud, now that she’d reached the place that was her entire plan.
She lay there, let the pain and the elements take her while she prayed. Holy Virgin, Empress of the Seas, have pity on a sinner . . . And: Bjarl, my love, please find me.
He did find her. First a wet head bobbed out among the waves —​it could have been a seal. She didn’t even notice it at first, but then came the steady plash of water as he propelled his powerful body along. He was flicking and steering in a way that both fascinated and revolted —​revolted because it might mark this baby, too, and what would she do then?
She moaned. It did not give as much release as she wanted, but it was all she could allow herself.
Soon Bjarl’s arms were around her, and the chilly skin of his chest was propping up her head. He had humped his way onto the sand where they used to make love. His hands somehow raised her knees and shifted them apart, though in a way very different from their old giddy nights. It was a position at once awkward and reassuring; in arranging her this way, Bjarl seemed expert, as if someone had trained him for precisely this moment. Maybe he was taught by a woman of his people —​which might mean the women would not come to help at all.
She realized that Bjarl was pulling her from the sand into the shallows. The little kidney-​shaped bay’s salt water bathed her most fevered parts, stinging where they were already starting to tear but otherwise soothing with coolness.

Videos