The Rowankind Series By Jacey Bedford

Rowankind is a three book historical fantasy series published in the US by DAW. The trilogy falls right into my ‘guilty pleasures’ reading. Set during the Napoleonic War the story weaves adventure of high-seas privateering into the mythology of English folklore, werewolves (who aren’t moon-trapped– an important distinction!) and fae. Those who enjoy the Temeraire series are likely feel at home here. Do expect a lot more sexy action but don’t come looking for dragons, a myriad of mythological creatures take their place to bring plenty of problems for Ross and her companions.

But I’m getting ahead of myself.

In the first novel from the trilogy, Winterwood, we start out with Rossalinde Tremayne (Ross) visiting her mother, who in her final days lets on to Ross that there’s much more to her family than she realises. There’s no love lost between mother and daughter, who haven’t seen one another in years. Ross isn’t one for needing maternal approval, she’s doing a fine job of pretending to be someone’s she isn’t, kept company by a ghost of a husband and a crew who’ve whose reputation does half the work for them. Of course mother doesn’t approve of any of her choices. Why would she? Ross’s ship, The Heart of Oak should have been her dowry. Eloping didn’t stop her taking it. With it she searches for legal bounty aided by her weather magic, and her sensing ability.

It’s the nuanced tones within these scenes that stand out for me, Bedford goes beyond the “Sweet Polly Oliver” trope. By the third book readers have a good understanding about Ross’s motivations for her rushing off to sea. The deeper elements of this fall into place as Bedford plays with these strands of ‘Girl Dressed As A Man.’ throughout the books. While more feminist readers might complain these devices are overdone, in Winterwood, as with the rest of the Rowanwood series, Ross’s need to present as male doesn’t get used as a driving element.

What is the driving element in this fantasy is magic.

The further into novel we go, the more we learn about a disasterous use of magic that has come to shape Ross’s enemies. A winterwood box, and the wood the ship is made from all play a part. Ross connects all three and is expected to resolve the consequences.

Bedford’s research into the period shows, and she takes the reader back to her alternate England with vivid description both on board and within the forested lands of England. When Ross meets with the Fae and discovers The Lady has a shapeshifter to keep watch over her. All the while a secretive Walsingham and a mysterious agency is out to eliminate Ross and her family.

Winterwood sets up a promising arc for the series.

Cover for Silverwolf, book two of The Rowankind series from Jacey Bedford features a silver haired man, a brownish wolf, and a woman, on a dark background. In Silverwolf, we learn a lot more about Corwen and much of the action takes place on land between the south of England and Yorkshire. Without revealing spoilers for Winterwood, the book picks up shortly after where the first ends. There’s no room for happy ever after here, though it’s not for the lack of trying on Ross and Corwen’s part while they attempt to track down Corwen’s shifter-wolf brother. Bedford’s ability capture the historical aspects of the mill industry at the time combined with how she brings charactistics and mannerisms of the fae beings really makes her world sing as Ross and Corwen deal with the malevolent fae and power hungry humans exploiting the world. I like that Silverwolf also explores how heroes on their quests can distabilise the balance of things, and force Ross and Corwen to deal with these problems and the ones caused by the meddling Mysterium.

For those that dislike reading a series until it’s complete Rowankind completes the trilogy of the same name. While it is possible to read the previous books in Rowankind one after the other, I suspect it would be possible to pick up Silverwolf or book three, Rowankind without having to read previous novels. For me, it would have been the equivelent of reading the last page of a book to discover if I liked the ending though. Because of how Bedford develops both character and her world, while a reader could read Rowankind as a standalone, they would be robbing themselves of so much. There would be no way of knowing why Corwen’s brother is on trial, or the full history of The Heart of Oak. Rowankind sees more action on Ross’s ship, and in the lands of the Fae than in Silverwolf.

Corwen and Ross have been charged with an almost impossible task to meet with the mad king of England on behalf of the Fae. Ross and Corwen pull all their resources to bring about the Fae’s request. Political changes make it harder still for witches and shapechanges in this version of England. Society’s needs alter adding further problems when the fragile peace treaty is struck with the French.

Enemies have a habit of refusing to stay dealt with and Bedford does bring the threads to a close in a suitable way. Throughout all three books an underlying theme of slavery is explored with a balanced perspective.

For me, Winterwood provided a breath of fresh air. Silverwolf and Rowankind maintained the theme of hopefulness and light, even though some scenes are grim. Regardless of whether the action is set in the enchanted forests, the political halls of London, Cover of Rowankind, book three of the fantasy series, features a pale faced young woman in 1800s period clothing, and another woman in mans clothing standing behind. At their feet is a silver wolf. They are in a misty forest. industrial Yorkshire or on board with the pirates, Bedford doesn’t lose the evocative sense of the 1800s. If you enjoy historical fantasies such as Outlander, the Sleepy Hollow show, or if you want a change of pace from Grimdark, it would be well worth your time to read the Rowankind series.