That self-same metal

In this fun and imaginative take on Shakespearean London, Joan Sands and her brother are proud to work for Shakespeare's acting company, the King's Men. Joan's skill with metal makes her an expert swordswoman and stage blocker. But the Sands family has a secret: they all have gifts from the Orishas. With her metal magic from Ogun, Joan has the ability to manipulate metals and possesses a keen eye for anything magical. When an age-old secret pact between the fae and mortals is not renewed, the fae begin creeping into London and terrorizing unsuspecting mortals. Joan is thrust into the world of the fae and has to untangle their wicked web of lies to keep her family safe. In her debut, Williams has crafted an addicting, original story that isn't afraid to take risks. While the world is rooted in history and even boasts famous historical figures, the prominent Black and brown characters and exploration of queer love are a refreshing addition. With charming characters and surprising twists, this historical fantasy will delight readers of all ages.

Gr 8 Up--In her debut, Williams weaves an intricate, historically rich tapestry set in an alternate Shakespearean London, where magic exists alongside the Fae and aspects of the belief in Orisha spirits, a tradition that began in West Africa. Joan Sands, 16, has a magical ability to control metal gifted to her by Ogun, her primary Orisha, that serves her well in her position as the craftsperson in charge of stage blades for William Shakespeare's acting company, The King's Men. All of Joan's family have received blessings from the Orisha and additionally can see the glow that surrounds the Fae that walk among them, which ordinary citizens do not see. The pact that prevents the more powerful Fae from entering the human world is not renewed due to a misunderstanding at the beginning of the novel, and brutal Fae attacks that make no sense to the average London dweller are steadily increasing. After a theater performance, Joan is on her way home when she observes an attack in progress. The teen decides to intervene and ends up preventing a Fae prince from killing the child of a powerful human politician. She is then drawn into the wider struggle to prevent the Fae from overtaking the world. The relationships are well drawn and convincingly portray familial and romantic entanglements, with the main character as well as numerous secondary characters presenting as Black and LGBTQIA+. VERDICT Fans of Holly Black and Sarah J. Maas will love this start of a new series.--Susan Catlett

Joan Sands is a 16-year-old Black girl blessed by Ogun, the Orisha of iron, with the ability to manipulate metal. Not only can Joan shape metal, but it also speaks to her, sharing its true name and giving her powers and strength that could cause her to hang as a witch in King James' Protestant England. The year is 1605, and Shakespeare's Globe Theatre is the mainstage for Joan's tragic first encounter with powerful Fae, faeries who are wreaking havoc in the mortal realm after almost two millennia of being bound by a pact created by Ogun. With her godfather--the only other living person blessed by Ogun--arrested, it may be up to Joan to find a way to stop the Fae from completely taking over the world. Although the fighting, on stage and off, between Joan and the real-life counterparts of the Fae characters from Shakespeare's plays is exciting, much of the action jumps around, introducing periphery situations that are hard to connect to the main plot. While it's clear there's been diligent research about the time period, politics, and faery folklore, other elements--like compelling love triangles and partnerships and magical tampering with historic events--aren't fully fleshed out, while other important threads are confusingly dropped midway through the novel. However, interesting characters offering brilliant representations of queerness and set in a glorious foundation will pull readers in. A promising and original, if uneven, series opener. (map, historical notes) (Fantasy. 13-18) Copyright (c) Kirkus Reviews, used with permission.