“Hope hurts. That’s what you need to learn, and fast, if you don’t want it to cut you open from the inside out. Hope is bad. Hope means you keep holding on to things that won’t ever be so again, and so you bleed an inch at a time until there’s nothing left.”
A long time ago, a little girl named Ely West found a doorway, and went on an adventure to a Nonsense world, where she was very happy, until one day she was too grown up to tolerate all the nonsense. Now Eleanor West runs a school for other children who have found doorways that led them home, only to be forced back into a mundane world where no one understands what happened to them. No one except Eleanor. The newest student at Eleanor’s school is Nancy Whitman, and she has just returned from the Halls of the Dead. After years spent perfecting the art of stillness for the Lord of the Dead, everything about this world seems too hot, and fast. Her parents insist on things being just like they were before, meaning colourful clothing, regular meals, and dates with boys, even though Nancy has realized she is asexual. So Nancy is sent to Eleanor’s school to recover from her “ordeal,” and there she meets other children who have had the same experiences. But soon after Nancy arrives, someone begins murdering students.
Sean McGuire builds a cast of distinct characters in relatively short order. Like Eleanor, Sumi traveled to a Nonsense world, and this tiny whirl-wind of energy and chatter becomes Nancy’s roommate, contrasting her stillness. Except for twin sisters Jack and Jill, no two children at the school have traveled to the same world. And even Jack and Jill had entirely different experiences on the Moors (their journey will be explored in the 2017 prequel Down Among the Sticks and Bones). Each world is a reflection and extension of the character that traveled there, so that world-building is character development and vice-versa. And McGuire’s premise is very appealing, locating worlds on spectrums between High Nonsense and High Logic, Virtue and Wicked, with perhaps a cross-direction of Rhyme or Mortis, leaving ample room to imagine and explore.
Every Heart a Doorway uses fantasy and portal worlds as an allegory for children who feel like outsiders, constantly out of place. For many, this rejection comes most strongly from their own families, who cannot handle their strange journeys. Even their peers at the school may struggle to understand them if they traveled to a very different world. Most poignant however is Kade, who went through his door as a little girl known as Katie, only to find that neither the Prism world he was drawn into, nor the parents he returned to, could accept that fact that he was really a boy. The children return to their worlds poised on the cusp of adulthood, grappling not only with the loss of the only place they ever felt at home, but also with their own identities in a world that insists on labels. A murder mystery forms the plot arc, but these themes prove to be the true heart of the story.
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