Yet, before the hermit can come and claim his bride, the price of her loveliness banishes the princess from the court into the wild world. Alone and frightened, she manages to make her way in life, while the valiant hermit seeks her untiringly, through danger and pain.

***** This story is only slightly less beautiful than the title character, which is fortunate, since otherwise, readers would be driven insane by picking up the pages. With a subtly inspirational message combined with mists and myth, this novel enchants the youthful spirit that lives within us all. *****

In Chicago, nine years ago, Laura Shay accuses Ben Harvey of raping her. Ben was convicted and sent to prison. Recently, DNA testing proves that Ben never committed the crime. He is released from jail, but the idealist who entered prison is a lifetime away from the person being freed. However, matters for Ben turn worse when his accuser is murdered on his first day of freedom. Law enforcement officials believe Ben, out of vengeance, committed the act.

However, police officer Jeremy Ransom refuses to rush to judgment, thinking that the original rapist might be the killer. With the help of his partner, septuagenarian Emily Charters, he begins to search for the unknown assailant, who he thinks is the killer.

The fifth Ransom-Charters novel, like the previous four tales, is a great blending of a police procedural with an amateur sleuth story, even though Emily's role is a bit less than usual. The dark story line is first rate but tempered by the warm, respectful, and devoted relationship between the lead characters, normally found in a pure cozy. With RANSOM FOR A KILLING, Fred Hunter continues to provide readers with a marvelous mix that turn his tales into a fun time.

Harriet Klausner

The essential element in each of these stories is a big twist, a completely new look at something we had previously taken for granted. We assume certain things, and Yolen challenges our assumptions. What if Emily Dickinson's otherworldly poetry was just that--inspired by a joyride through outer space? What if the thirteenth fairy cursed the princess by accident; what if Snow White knew better than to let strangers into her cottage; what if Rumplestiltskin was an unjustly maligned Jewish moneylender; what if the girls in Peter Pan's hideaway got sick of playing housewife? The result is a wonderful collection of stories where you're never sure what the ending will be, but you can't wait to find out.

An added bonus--at the end she reminisces about the making of each story, the idea that got each one started. I love it when authors tell the stories behind the stories.

One of the central themes that runs throughout this collection, and indeed through much of Yolen's other work (namely 'The Books of Great Alta'), is how the art of storytelling shapes both the teller and society, and vice versa. In 'The Traveler and the Tale', for example, a storyteller from the future travels back to medieval France in order to insert the fairy tale 'Dinner in an Eggshell' into the cultural mythos. In doing this, she believes she will warn of and prevent a take over by froglike aliens in her own time. However, her very act of temporal interference produces surprising cultural - and personal - transformations. In 'Salvage' a true SF story as opposed to a fantasy tale, aliens assimilate our poetry from a human captive and use it to enrich their own; they 'digest' our concepts and poetical forms, namely haiku. In 'The Singer and the Song', a young prince finds out that the two can be entirely different things when his favorite musician joins the rebellion that leads to the prince's execution. Perhaps best of all is the title story, where Emily Dickinson is inspired to write a lifetime's worth of poetry by her meeting with an alien. Having found Dickinson's poetry to be, well, otherworldly, I found this very appropriate. I should also commend Yolen for the depth of her research into Dickinson's life and work, and indeed for giving the story the feel of one of her poems. I will definitely investigate Dickinson's poetry further thanks to Yolen. Most of the stories here are fairy tales told from a more modern, mostly feminist point of view. 'Snow in Summer' has a fiesty Appalachian heroine who finds a very simple way to a happy ending. In 'Lost Girls', which won the Nebula Award, a labor lawyer's daughter organizes the 'Wendys' of Neverland in a strike against the injustices of Peter and the other lost boys. 'The Thirteenth Fey' is a retelling of 'Sleeping Beauty' from the point of view of the fairy who curses the princess - accidentally, not maliciously. In doing so, she may free her family from virtual enslavement to the very unlikeable royals. I quite liked this family of fey, who also feature in 'Dusty Loves' and 'The Uncorking of Uncle Finn', especially their wonderful library of books from the past, present, and future, and it's a pity that Yolen hasn't written any more stories featuring them. 'A Ghost of an Affair' is a tender love story between an American jeweler and a Scottish silversmith who died 100 years before she was born. She does get a happy ending, but not the one she expected, and it takes work and time to achieve.

Yolen is also unafraid to explore the darker side of many of the original fairy tales. 'Allerleiruah' makes no secret of the incest at the heart of many seemingly innocent princess stories. In 'Granny Rumple', which is my favorite story of the whole collection, Yolen turns around the original 'Rumplestiltskin' tale (which she convinces me is an anti-Semitic allegory) quite shockingly and shows us who the true moral center of this tale is. Yet she also shows a fine sense of humor. We have here an extremely raunchy version of 'Dick Whittington and His Cat' with some great puns. In 'The Gift of the Magicians, With Apologies to You-Know-Who', Yolen mixes 'Beauty and the Beast' with the famous O. Henry story 'The Gift of the Magi', and the result is a hilarious surprise ending worthy of that great master. She skewers fundamentalist fanatics in 'Creationism, An Illustrated Lecture in Two Parts', which is dedicated to Salman Rushdie. Also very funny is 'Under the Hill' in which a fairy is forced to work for a two-bit mob boss.

The stories also are inspired by other cultures and mythologies.. 'Sister Death' is about Lilith, who according to Jewish folklore is the first mate of Adam who defied him and was thrown out of the Garden of Eden. I admit I prefer the Lilith-as-defiant-feminist-icon to the more traditional (if sympathetic) demoness shown here, but I still liked this story. Greek mythology is explored in 'Sun/Flight' (where Icarus survives his famous flight but never learns from his mistakes) and in 'The Sleep of Trees' (where a dryad makes love to a movie star she thinks is a god). 'Journey into the Dark' and 'Words of Power' take place in Native American millieus. And of course, Yolen returns to her own mythology in 'Blood Sister', a prequel to 'The Books of Great Alta', where Jenna's mother Selna is devastated by the loss of her childhood friend after her friend calls up her dark sister. Frankly, this explains a lot in the book - both Selna's strained relationship with Marjo and the insistence of the priestess on separating Jenna and Pynt, but even if you haven't read it (and you should) the story works marvelously on its own. And there are several other fine stories here, if not as instantly memorable as the ones I've discussed.

In a delightful afterword, Yolen explains much of her inspiration (or what she thinks she remembers!) for these stories. Most importantly, she reveals the all-powerful magic word so that other writers can come up with ideas - BIC (Butt In Chair!). Of course, Yolen not only HAS many good ideas, she has the grace and skill to turn them into gold. Reading Yolen's stories can help teach you the craft needed to write your own, and I strongly recommend this collection to anyone who wants to write fantasy as well as read it.