Enchanted Glass

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Overview

Something is rotten in the village of Melstone

Aidan Cain has had the worst week of his life. Creepy, sinister beings want him dead. What's a boy to do? With danger nipping at his heels, Aidan flees to Melstone, a village teeming with magic of its own. There he is taken in by Andrew Hope, the new master of Melstone House, who has some supernatural troubles too. Someone is stealing power from the area—mingling magics—and chaos is swiftly rising. Are Aidan's and Andrew's magical dilemmas connected somehow? And will they be able to unite their powers and unlock the secrets of Melstone before the countryside comes apart at the seams?

Editorial Reviews

Kirkus Reviews
Wynne Jones's inimitable style showcases a multi-generational cast of heroes and a chaotic finale at the village fete. Andrew Hope leaves his job as a university lecturer when his grandfather bequeaths him both a house and a field-of-care. Andrew isn't exactly sure what the field-of-care is, but he knows he needs to protect it. Perhaps it has something to do with the mystical beasties he'd forgotten inhabit his grandfather's land. Or perhaps it has something to do with 12-year-old Aidan, the runaway who's taken refuge with Andrew after being chased from a foster home by creatures he calls Stalkers. Goodness knows Andrew won't get a moment's peace to write his Great Work unless he takes control of the whole shebang. A rousing finale-complete with zeppelin-sized squash, a bouncy castle and several Darth Vaders-brings it all home for a gleeful, magic-packed conclusion. Too bad much of the humor comes from cheap fat jokes, classism and jibes about the cognitively disabled; the mean-spirited moments mar an otherwise playful frolic. (Fantasy. 10-12)
Publishers Weekly
One of the foremost living children's fantasy writers, Jones serves up a quirky comedy of magicians dealing with an incursion of troublesome fairies in contemporary England. Andrew Hope, an absentminded academic with magical abilities he barely recognizes, has inherited the property and responsibilities of his wizard grandfather. Melstone House comes complete with two bossy and irate servants, Mr. Stock and Mrs. Stock (no relation), as well as a number of supernatural beings, including an elusive giant. Andrew wants to write a book, but he's soon distracted by 12-year-old Aidan, who is on the run from supernatural enemies; Stashe, a pretty young woman intent on becoming his secretary; and the wealthy, powerful, and mysterious Mr. Brown. The pacing is leisurely, but Jones writes with the utmost respect for readers' intelligence. One very funny gag has Stashe using horse racing results for divination (“The two-oh-five at Kempton: first, Dark Menace; second, Runaway; third, Sanctuary. That seems to outline the situation pretty well, doesn't it?”), just one of several unusual talents that Melstone residents exhibit. Although the book contains a few tense moments, whimsy is the dominant mood and there's little doubt that virtue and romance will triumph. Ages 10-up. (Apr.)
Booklist (starred review)
“Jones hits all the bases with her fluid storytelling, trademark sly humor, and exquisitely drawn characters…With this enthralling book, Jones proves that she is still at the top of her game.”
Bulletin of the Center for Children’s Books
“Irresistible to adventure, humor, and fantasy buffs.”
The Horn Book
“An intelligent, refreshing hoot.”
Children's Literature
An orphaned English boy with large spectacles, a mismatched foster family, and an adult wizard/mentor combine to make it seem as if Jones has joined the Cult of Potter. After the death of his "Gran," Aidan Cain feels supernatural forces aligning against him. With only the name Jocelyn Brand and a location of Melstone House to go on, Aidan runs away from his foster parents to find protection from threatening specters. Unfortunately Jocelyn is dead and his grandson, Andrew Hope, is a reluctant "occultist," unsure of his powers and how to protect the "field of care" that he has inherited. Andrew's inheritance is under attack by a neighboring wizard who wishes to expand his own domain. Confusion reigns, with doppelganger characters, a mostly vegetarian giant, and a were-dog who morphs into a boy (accounting for his powers of speech and thought). There are too many adults in the early pages of the book, crowding Aiden. The appearance of Oberon, the Fairy King; his servant, Puck; and his consort, Titania, on a Midsummer Night acknowledges earlier myth, but these characters seem ill fitted to the Roald Dahl-like writing that is Jones's stock-in-trade. The were-dog and a goofy giant named Groil win the award for best supporting characters, and there is a brawl at a county fair that will compel readers to laugh out loud. Overall, there are so many characters that it is difficult to keep them straight, and the book feels messy and imitative, far less than one might expect from a true master of the fantasy genre like Jones. Reviewer: Lois Rubin Gross
School Library Journal
Gr 7–9—In Diana Wynne Jones's labyrinthine tale (Greenwillow, 2010), Andrew Hope has recently been informed of his grandfather's death and subsequent inheritance of his estate in Melstone. As Andrew comes to take possession of the house and property, he discovers some rather unusual characters both within the grounds and outside in what his grandfather called his "field of care." When a boy named Aidan Cain shows up on his doorstep seeking protection, Andrew finds himself embroiled in a magical mystery involving the great fairy king Oberon, regular village folk of Melstone, and various magical creatures. Andrew must discover everything his grandfather wanted him to remember from his childhood about the "field of care." Steven Crossley's deep, rich voice suits the subtle ironies and complications of the text. While he shows great skill in timing, he is less adept at voicing the many characters in Andrew's world. He gives most of the villagers the same type of accent, except for Andrew's love interest, Stashe, who sounds very different. Andrew believes that Stashe's father, Tarquin, is a leprechaun, and while Crossley sometimes gives him a very slight Irish accent, it is mostly inconsistent. These vocal problems make an already complicated plot even more difficult to follow. With Jones's penchant for assuming her readers will infer many important plot points by careful listening, and Crossley's erratic narration, this is best suited to fans of the author's previous work.—Necia Blundy, Marlborough Public Library, MA

Product Details

  • ISBN-13: 9780061866852
  • Publisher: HarperCollins Publishers
  • Publication date: 4/26/2011
  • Edition description: Reprint
  • Pages: 304
  • Sales rank: 227,757
  • Age range: 10 years
  • Lexile: 0790L (what's this?)
  • Product dimensions: 5.00 (w) x 7.50 (h) x 0.80 (d)

Meet the Author

In a career spanning four decades, award-winning author Diana Wynne Jones wrote more than forty books of fantasy for young readers. Characterized by magic, multiple universes, witches and wizards—and a charismatic nine-lived enchanter—her books were filled with unlimited imagination, dazzling plots, and an effervescent sense of humor that earned her legendary status in the world of fantasy. From the very beginning, Diana Wynne Jones’s books garnered literary accolades: her novel Dogsbody was a runner-up for the 1975 Carnegie Medal, and Charmed Life won the esteemed Guardian children’s fiction prize in 1977. Since then, in addition to being translated into more than twenty languages, her books have earned a wide array of honors—including two Boston Globe-Horn Book Award Honors—and appeared on countless best-of-the-year lists.

Her work also found commercial success: In 1992 the BBC adapted her novel Archer’s Goon into a six-part miniseries, and her bestselling Howl’s Moving Castle was made into an animated film by Japanese director Hayao Miyazaki in 2004. The film was nominated for an Academy Award in 2006, and became one of the most financially successful Japanese films in history.

Diana Wynne Jones has also been honored with many prestigious awards for the body of her work. She was given the British Fantasy Society’s Karl Edward Wagner Award in 1999 for having made a significant impact on fantasy, received a D.Lit from Bristol University in 2006, and won the Lifetime Achievement Award at the World Fantasy Convention in 2007.

Born just outside London in 1934, Diana Wynne Jones had a childhood that was “very vivid and often very distressing”—one that became the fertile ground where her tremendous imagination took root. When the raids of World War II reached London in 1939, the five-year-old girl and her two younger sisters were torn from their suburban life and sent to Wales to live with their grandparents. This was to be the first of many migrations, one of which brought her family to Lane Head, a large manor in the author-populated Lake District and former residence of John Ruskin’s secretary, W.G . Collingwood. This time marked an important moment in Diana Wynne Jones’s life, where her writing ambitions were magnified by, in her own words, “early marginal contacts with the Great.” She confesses to having “offending Arthur Ransome by making a noise on the shore beside his houseboat,” erasing a stack of drawings by the late Ruskin himself in order to reuse the paper, and causing Beatrix Potter (who also lived nearby) to complain about her and her sister’s behavior. “It struck me,” Jones said, “that the Great were remarkably touchy and unpleasant, and I thought I would like to be the same, without the unpleasantness.” Prompted by her penny-pinching father’s refusal to buy the children any books, Diana Wynne Jones wrote her first novel at age twelve and entertained her sisters with readings of her stories. Those early stories—and much of her future work—were inspired by a limited but crucial foundation of classics: Malory’s Morte D’Arthur, The Arabian Nights, and Epics and Romances of the Middle Ages.

Fantasy was Jones’s passion from the start, despite receiving little support from her often neglectful parents. This passion was fueled further during her tenure at St. Anne’s College in Oxford, where lectures by J. R. R. Tolkien and C. S. Lewis increased her fascination with myth and legend. She married Medievalist John Burrow in 1956; the couple have three sons and six grandchildren.

After a decade of rejections, Diana Wynne Jones’s first novel, Changeover, was published in 1970. In 1973, she joined forces with her lifelong literary agent, Laura Cecil, and in the four decades to follow, Diana Wynne Jones wrote prodigiously, sometimes completing three titles in a single year. Along the way she gained a fiercely loyal following; many of her admirers became successful authors themselves, including Newbery Award winners Robin McKinley and Neil Gaiman, and Newbery Honor Book author Megan Whalen Turner. A conference dedicated solely to her work was held at the University of West England, Bristol, in 2009. Diana Wynne Jones continued to write during her battle with lung cancer, which ultimately took her life in March 2011. Her last book, Earwig and the Witch, was published by Greenwillow Books in 2012.

Customer Reviews

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Sort by: Showing all of 18 Customer Reviews
  • Posted April 7, 2011

    Jones at her finest

    Any new book by Jones is a delicious treat, a reason to put down whatever else I'm doing and curl up with a cup of tea. This one, however, came with special poignancy because I received it just after I learned of her death. So I opened the pages with a kind of sadness, not wanting to admit that in many ways, this was farewell. (If there is another book to be published posthumously, I don't know of it.)

    And found magic. Within a few paragraphs, her clear prose and unaffectedly direct storytelling had drawn me into a world in which magicians bequeath not only fine old houses but fields-of-care as well. Only in this case, the old magician left it "rather too late," meaning without personal instruction as to exactly what a field-of-care is and how one cares for it. A few pages later, Andrew Hope is struggling not only with his magical inheritance but with the two classically-Jones abrasive and recalcitrant retainers, Mr. Stock (who expresses his disapproval in the form of boxes of gigantic and inedible vegetables) and Mrs. Stock (no relation to Mr. Stock, who expresses hers by waging war as to the positioning of the piano in the living room). By the time young Aidan (the boy on the rainbow-hued cover) arrived, I had become part of the household as well.

    In tone rather than details, Enchanted Glass reminded me very much of the first Jones book I fell in love with, Charmed Life. Even when the characters were at risk, I always felt safe in her hands. Even the most eccentric and unappealing personages were treated with respect and often made invaluable contributions to whatever quest was underway. After all, in worlds where a prince can be enchanted into a turnip-headed broom, where spells are woven into cloaks, centaurs attend fantasy conventions, and fallen stars walk among us as dogs, every moment carries the possibility of wondrous adventure.

    1 out of 1 people found this review helpful.

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  • Anonymous

    Posted April 23, 2012

    Love Diana's books.

    I've yet to read a book that she's written that disappoints me. This is a good book, well worth the read.

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  • Anonymous

    Posted January 21, 2012

    Enchanting

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  • Posted June 18, 2010

    more from this reviewer

    Reviewed by Joan Stradling for TeensReadToo.com

    Professor Andrew Hope has inherited Melstone House, and it turns out to be more than he bargained for. The housekeeper and gardener don't get along, the paperwork is a mess, and a mysterious orphan boy, Aiden, turns up on his doorstep.

    Things only get worse when Andrew discovers someone - or something - is trying to take over his property and get to Aiden. Andrew must find a way to keep his land and the boy safe or it could prove disastrous for everyone.

    I had a difficult time getting into this book. The concept is good, but the constantly shifting points of view made it hard for me to bond with the main characters. Aiden seemed older and far more mature than a young boy should be, and Andrew seemed distant.

    The minor characters were quirky and funny and helped keep me reading. After I got used to the changing points of view, it made reading easier. The more I read, the more things got exciting, so I'm glad I didn't give up.

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