The Beast’s Heart by Liefe Shallcross

the beasts heart.jpgTitle: The Beast’s Heart

Author: Leife Shallcross

Genre: Fantasy

Publisher: Hodder & Stoughton/Hachette Australia

Published:  24th April 2018

Format: Paperback

Pages: 342

Price: $19.99

Synopsis: A richly magical retelling of the Beauty and the Beast fairy tale, from the point of view of the Beast.

A sumptuously magical, brand new take on a tale as old as time – read the Beast’s side of the story at long last.

My beast’s nose scented cold, and earth, and the faintest tang of magic. Not the same magic that pervaded the house, or even the forest. This was something older and wilder, filled with sadness and decay. Yet at its core was something pure and clear, like the peal of a bell or the heat of a burning ember. Or the colour of a crimson rose.


I am neither monster nor man – yet I am both.

I am the Beast.

I know why I was cursed; I know the legacy of evil I carry in my tainted blood. So how could she ever love me?

My Isabeau. She opened my eyes, my mind and my heart when I was struggling just to be human.

And now I might lose her forever.


Most retellings of the French fairy tale, written in 1740, by Madame Gabrielle-Suzanne de Villeneuve, and influenced by the literary fairy tales of authors such as Charles Perrault and Marie-Catherine d’Aulnoy. Unlike the fairy tales collected by The Brothers Grimm, which include a similar tale known as The Singing, Springing Lark, Beauty and the Beast was one of the first literary fairy tales recorded, though the specific tale that many retellings are based on oral tales over many years beforehand.

Where many retellings of this tale focus on the perspective of the Beauty – the girl who will break the spell, told in first or third person with this focus, Leife Shallcross’s debut novel takes the traditional fairy tale, and gives it new life, writing it from the perspective of the Beast, and how he deals with his situation and the beautiful girl – named Isabeau in this story – living in his house.

AWW-2018-badge-roseAt the start of the story, the Beast, whom we know to be a prince or at least, a noble from the original and previous retellings, is lonely, and losing track of time. He mentions a Fairy and the curse, and the invisible servants – who see to his every need. When Isabeau’s father, Monsieur de la Noue stumbles across his wintry castle, where seasons don’t occur as they do outside the gates, the Beast and his invisible servants extend hospitality towards him – until he plucks a rise from the rose garden for Isabeau – and a deal is struck: Isabeau must come and stay with the Beast for a year in exchange for her father not being killed. Isabeau agrees, and whilst she is at the castle, the Beast watches her family thrive with gifts he sends them magically, and their fortunes change. As the year goes by, the Beast and Isabeau become friends – but the Beast – as in other reincarnations – begins to fall in love, seeking for her to save him from the curse.

But he can’t tell her this – the Fairy warns him against it and is quite malevolent in the few appearances she makes, and even when the Beast refers to her in his private musings. What I did like was that the Beast did not force Isabeau. Rather, he was hopeful and allowed her to come to him, but also, the respect and friendship they had for each other was more important. It was an exquisitely and enchantingly written story, where lessons must be learned by all, and where forgiveness becomes a large part of the plot – forgiveness of self, forgiveness of family and forgiveness of those who appear to have done the wrong thing. Set in France, in what I imagine is the eighteenth century, it has the same magic of the original and the other incarnations but an originality that no other retelling has come close to capturing. In each retelling, we always know the Beast isn’t the horrid monster some characters, such as Gaston in the Disney version – make him out to be – much like Isabeau’s father does in this novel, and her sisters, Claude and Marie, who are inclined to believe him, are the ones who at first believe their father’s claims but then begin to doubt them, hoping that Isabeau is alive – and it is Marie who is the catalyst for this.

Each character is flawed – not one is perfect, and to this end, I think this worked exceptionally well for this novel. It showed that flaws are everywhere, and that even if we see them in others, we don’t see them in ourselves all the time. Isabeau recognises her own flaws when she goes to live with the Beast and is aware of them. She can also see past his flaws. Yet it is her family she must find a way to reassure, with a father whose stubbornness would see her live at home forever, and sisters who once relied on her for everything, must recognise what they are capable of in her absence, and as a result, make their own fortunes with suitors. Each version of the story has a variance on the siblings the Beauty character has – from the six brothers and sisters of the original, to Belle as an only child in the Disney version, and in this version, the two sisters who work to pull the family through in Isabeau’s absence.

As each character begins to recognise their flaws, I could see them grow to accept what they had to deal with in life – except Monsieur de la Noue, whose resistance illustrated that not everyone adapts to change, or wishes to. Where I loved that his daughters made the best of their circumstances, I found myself wishing he would start doing the same.

Overall, I thoroughly enjoyed this novel. I adore fairy tale retellings, and this is a really good one. It is up there with The Beast’s Garden by Kate Forsyth, which is more of a fairy tale infused historical fiction, and other novels such as Frogkisserthat incorporate fairy tale elements. Whilst this used the traditional elements and tale, turning it around and telling the Beast’s story gave more of an insight into what it must have been like for him, living as a Beast under a curse that only love, and the promise of marriage can break, and return him to his true form. What I most enjoyed as well was that the mysteries of the castle, and magic, and Marie’s letters to Isabeau weren’t solved immediately – the answers to these and many other questions were given gradually.

The chapters where Isabeau was at home for a time were dealt with well, written from the Beast’s perspective as he watched them in his mirror – his window to the outside world. The mirror and the roses were there, as they always are – key aspects to the fairy tale that has sparked many retellings and interpretations over the years.

A delightful read, and one I hope to be able to revisit one day.


Eighteenth Anniversary of Dragonclaw

I am a few days late, but it has been, as of the first of June, the eighteenth anniversary of Kate Forsyth publishing her first novel, Dragonclaw. I still have my first edition copies on my shelf, collecting dust, but waiting to be read again. I started the series at fifteen, when, in search of something new, I stumbled across Kate Forsyth, and The Witches of Eileanan, and followed that with The Starthorn Tree. I now have most of her books, some signed, most unsigned, but many to be read, to find new worlds.


I can’t remember exactly what it was that drew me to Dragonclaw, I just remember needing something new to read, and stumbling across it in the bookstore, and picking it up. As I was reading it while at school, and it being one of the first large books I had read, it took me some time to make it through, eager to see what would happen to Isabeau and her friends and family. I had to read through six books to find out all the secrets of Eileanan, Isabeau and Iseult, and the persecution that followed them as witches.

The positioning of it in a world that is populated by former Scottish witches, fleeing from the persecution that Kate Forsyth mentions as the inspiration on her website, gives it something extra, a grounding in a real place that has brought a new, fantasyland to life. Though it draws on the folklore of Scotland, it is not set there, unlike The Puzzle Ring, another favourite.

This series was my first introduction into fantasy novels of a different kind, that had witches and mythical beings that populated a land and yet, had to flee persecution. I discovered the series in the same year I discovered Harry Potter, or thereabouts, at least within the same fourteen to fifteen year old time period. At the time, I was unaware The Witches of Eileanan series was written for adults – but nothing in them bothered me, and I was grateful to Kate for providing a glossary of words and names that her readers might not know.

It was Dragonclaw that opened up my world to wanting to read beyond my suggested reading age books. Ever since then, in the fourteen years since I read them, I have tried to challenge myself to read beyond what I was thought or deemed capable of based on my age. I proved naysayers wrong when I completed Dracula and War and Peace, yet still enjoying the books of my childhood. It may have taken me a few years to rediscover Kate and her books, but I have made sure to get as many as I can, and eagerly await her new offering, The Beast’s Garden. I sometimes think if I had not found Dragonclaw when I did, if I would have found her books at all. Perhaps I might have. Perhaps my editions of Eileanan would not be the original covers. There is a beauty in these original covers that the other versions don’t have – though they are lovely too. There will always be something magical about first editions and original cover art that cannot be taken over by new ones. It has a sense of history that the new covers won’t have for a few years, it tells a story of the evolution of the cover designs, and how, because of changing audiences, the covers have been altered, perhaps to attract new attention. But it is still the same story between the covers. And I hope it always will be.