Elora, the young princess of the Dark Faeries, plans to overthrow her tyrannical mother, the Dark Queen, and bring equality to faeriekind. All she has to do is convince her mother’s loathed enemy, the Bright Queen, to join her cause. But the Bright Queen demands an offering first: a human boy who is a “young leader of men.”
A Dark Princess In Disguise . . .
To steal a mortal, Elora must become a mortal—at least, by all appearances. And infiltrating a high school is surprisingly easy. When Elora meets Taylor, the seventeen-year-old who’s plotting to overthrow a ruthless bully, she thinks she’s found her offering . . . until she starts to fall in love.
I don’t know how else to break this to you, so I shall be blunt.
The Last Changeling is not a faerie tale.
Oh, certainly Elora is a faerie (though, I would note that she is not a changeling – a glamor is not the same thing. For changelings and faery see Cargill’s Dreams and Shadows) and she does tell a tale of the faery in this story, but only in the last 20% of the book does anything related to the faery become relevant at all. As the book starts with Elora already out in the mortal world, we never spend time with the fae proper. Heck, when the fae do come to play in the last bit of the book, it’s in the mortal realm. Someone looking for a YA story about the Dark Court is going to be disappointed, because everything we learn about the courts are told in long exposition sequences, in the form of a story that Elora is telling Taylor. It’s the very definition of tell, not show and the book would have benefited tremendously from starting the book in the faery realm and then moving it to the mortal. By doing so, Elora’s fight would have picked up a much greater sense of urgency and you’d been more vested in the fight. By having it all explained as a story, the reader remains detached. All told, with not a lot of editing, you could excise the the faery elements and be left with a contemporary story.
So how does the contemporary story hold up?
Not that well.
Everyone at this school comes off as one dimensional. The bully is Evil. The outcast girl is a vegan goth. There’s heavy handedness surrounding discrimination towards the LGBT community – the bully gets his parents and the parents of the rich kids to call and convince the principal that the prom should be for “traditional” couples only because Taylor joined the Gay-Straight alliance. This is after the bully more or less forced Taylor to resign by having him and the other kids insinuate that he was touching them – and the obviously homophobic coach buying into it. It already feels dated and lacks any subtlety, especially for a book coming out in a time when gay marriage bans are falling left and right. Things are far from perfect for LGBT kids in high school, it’d been nice if a more delicate hand had been taken and some nuance let into the story.
As for Taylor and Elora? Eh. They’re there. There are hints of an interesting backstory with Taylor – but they’re never fully developed. Elora’s backstory, as I mentioned, is all told in flashback, and she never comes off as strange enough to believe that she never lived amongst humans. She just comes off as a little strange, but not alien, which is what she should have.
All told, while the book is technically proficient, there’s just not much there to recommend it. It’s clear that this book wanted to be a YA romance with some fantastic elements. But with the fantasy elements lacking and the romance not feeling that romantic, the whole book just feels disappointing. I’m sure there’s some good faery-centric stories for the YA crowd, but unfortunately, this isn’t it.
Verdict: Skip It
Available: November 8th