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A reimagining of F. Scott Fitzgerald’s The Great Gatsby with a supernatural twist, Francesca May’s Wild and Wicked Things spins a compelling yarn about the bond between three women – Annie, Emmeline, and Bea. It’s a terrific tale of witches, blood magic, and small-town intrigue on the shores of the North Sea.
An atmospheric, slow burner that delights throughout, it’s clear that May has poured love and passion into building her characters, as well as the dark, moody setting of Crow Island. The result is a tangible and authentic world – a kind of richness that many authors dream of.
And whilst the aesthetic often recalls more Roaring Twenties America than its apparent UK setting, Wild and Wicked Things is a sensual and stylish Sapphic novel.
It’s an exceptional piece of writing.
Drawn to Crow Island to settle some routine legal affairs following the death of her father, Annie Mason walks the shore of her holiday cottage, drawn along the beach to the revelries of the manor next door.
Cross House, home of the notorious Emmeline Delacroix, is renowned for its raucous parties and flowing of Kazam (an alcohol that may-or-may-not be laced with magic). Warned of this, Annie is nonetheless magnetised, pulling her into a world of illicit magic and forbidden romance.
With the exception of brief diary entries from a mysterious individual, the novel functions as a twin narrative, flowing between both Annie and Emmeline’s perspectives. Given Wild and Wicked Things’ predilection for revealing its secrets in a gradual manner, this style works well – each character’s perspective proffers pieces of a narrative jigsaw in an attempt to uncover the true nature of the mysterious bond between Annie and Emmeline.
Wild and Wicked Things might be a slower-paced novel, but it never wastes the reader’s time. Each conversation reveals aspects of character, driving the plot forward, or helps further build this marvellous world. Take your time with it – it’s a rewarding piece of writing that has been crafted meticulously to be enjoyed.
Something Wicca this Way Comes…
Being a Gatsby-inspired novel, Wild and Wicked Things is glamorous and raucous. In fact, May’s novel leans fairly heavily into the Gatsby-like influences early on.
For example, there’s a purple light across the bay instead of a green one; Emmeline resembles Jay Gatsby in numerous ways, and Annie’s modest house, set across the way from Emmeline’s, is similarly placed to Nick Carraway’s own humble abode. Fans of Gatsby will find these references comfortingly familiar.
Still, because it’s so culturally intertwined with Roaring Twenties America, it’s difficult to divorce Wild and Wicked Things from F. Scott Fitzgerald’s classic American novel. Crow Island itself is a fictional place and therefore exists in its own spatial dimension. So whilst the setting feels authentic, it never feels especially British.
This isn’t a bad thing at all, and it certainly doesn’t affect immersion – Wild and Wicked Things is a highly stylised novel that borrows ideas from The Great Gatsby and builds upon them in some really fascinating ways.
Any surface-level influences eventually yield to reveal deeper, darker secrets. It’s when the parties are over and the lights are dimmed in the hallowed halls of Cross House that Wild and Wicked Things truly comes into its own, usurping readers’ expectations with a thrilling plot.
There’s also far more at stake than a linear plot about witches. Wild and Wicked Things is also a thoughtful, methodical examination of what it was to be LGBT in the early 20th century.
Magic is often presented in the society of the novel as a frowned-upon practice, functioning as a smart metaphor for homosexuality. Indeed, Emmeline herself is often portrayed as a mysterious and malevolent force, her predation upon young women playing into age-old, harmful tropes that many will be familiar with.
It’s a social topic handled sensitively, with May’s novel challenging these tropes and social mores, engendering empathy in the reader thanks to fantastic, well-written characters.
To Bea or Not to Bea
It’s fairly clear when an author knows their characters, and May has evidently spent many a day and night with these individuals. These aren’t just characters on a page. From mannerisms and gestures to inflections in dialogue, they feel like real people, and that’s testament to the writing and world-building.
Bea is insecure and desperate, but unlike Daisy, her counterpart in The Great Gatsby, it’s relatively easy to empathise with her.
Likewise, Emmeline is a complex woman, tortured by her past and haunted by her future. She’s strong but vulnerable, with a reputation as an Anne Lister-like sort; corrupting young women and ensnaring them into her cult of personality (if, of course, you believe the rumours). Naturally, the truth isn’t quite as clear-cut as that.
Annie, on the other hand, appears at first glance to be an inquisitive but shy young woman. But unlike Nick Carraway of The Great Gatsby, she’s an active participant in Wild and Wicked Things, driving the narrative and shaping the lives of those around her. Beneath her innocent, seemingly passive, demeanour is an influential, forthright woman trying to find her true self.
Meanwhile, Isobel & Nathan, two of Wild and Wicked Things’ supporting cast, are excellent additions, playing off against Emmeline’s dark, brooding demeanour.
This is one of the books to read in 2022. Especially if you enjoy witchy vibes and magic realism. But it also features some fantastic social commentary.
May has a wonderfully evocative style of descriptive writing that conjures vivid imagery at the mere turning of a page. The setting and aesthetics drip with detail, and the characters are fully-realised three-dimensional people. They have flaws, make terrible decisions, and it’s because of this, amongst other reasons, that they’re so much more believable. May takes all the time necessary to reveal their hopes and fears and the novel is far stronger for it.
In short, Wild and Wicked Things is a terrific novel that’s well worth your time.
Full disclaimer: A review copy was kindly provided by the author and publisher in exchange for an honest review.