Stiefvater M., Ballad, Flux, 2009
I greatly enjoyed reading Maggie Stiefvater‘s Ballad which in no way suffered from me not having previously read her earlier book, Lament. It was a pleasure to discover the unfolding relationship between a young, cocky musician and an all-powerful faerie bent on sucking the life out of him. The story literally overflows with desire and yearning and unrequited love and deep-felt hurt and cutting humour; a tale in which music is the prime mover.
I was wondering why Ballad reminded me of Julie Hearn’s The Merrybegot. Rereading the beginning of Ballad I think I found the answer: both authors give more than ample room to a wider range of senses than other authors. As a result, both books are very sensuous. However, Ballad has one key facet that is not in The Merrybegot: that sensuousness overflows into sensuality and beyond to potent sexuality, albeit held at arms length, like in the scene in the practice room on the piano stool.
The intense passion that gripped me as I read Ballad dissipated somewhat towards the end. One possible reason could be the incursion of other characters in the dense relationship between the two main characters. But a more likely explanation was the acceleration of the story and the need to conclude and resolve the plot before the end of the story whereas I would have preferred to have lingered with that relationship and kept the tension unresolved.