"Singleton's prose is a well tempered finely honed instrument that
does not exclude a certain delicacy of touch. Her descriptions of the
English countryside are lush and poetic, evoking the sanctity around
which so many issues revolve. Her depictions of Paul and Katherine are
balanced and mature... Such secondary characters as Katherine's friend
Elaine, the Goth-boy Jon and the wanderer Owain all strike me as utterly
believable. Singleton has a sharp sense of what it is like to live
outside the mainstream of society.
Her major accomplishment is her analysis and explication of how Faerie
and our world interrelate. As Katherine learns while crossing the
surreal landscape of Faerie, the fey ones are the dreamside of creation,
while man is its consciousness, and neither can exist without the other.
Restoring the modern imbalance is the root motivation of these
Reminiscent of the exemplary work of Graham Joyce, Singleton's fine
novel also harks back to the allegories of George MacDonald - Phantastes
(1858) and Lilith (1895) - in its rigorously stern approach to the land
beyond the fields we know."
"It's certainly compelling and Singleton develops an utterly convincing
portrayal of the impact of supermatural activities on human psychology,
politics and social affairs.
And there's a penetrating and perceptive analysis of the forces that
shape their lives, expressed in terms of polarities of need: material
versus spiritual; freedom versus the need to belong; the longing to
escape versus social responsibility...
The Crow Maiden is an absorbing debut: inventive, rich, allusive,
"The Crow Maiden is this year's best-kept secret. The book is readily
available from Internet bookshops such as Amazon but is not generally
available through High Street bookshops, which is a shame. But do not let
that stand in your way. It deserves to sell by the truckload. The characters
are entirely believable. The story is complicated, yet it all makes sense.
The prose is dazzling throughout. I love its dark sensual quality."
"I'd describe it as neo-romantic. It is, in essence, pagan, firmly situated
in landscape and local mythology, and its roots can be traced as far back
as the work of people like Arthur Machen and John Cowper Powys. It has a
powerful sense of place - anyone interested in the English landscape novel
should seek it out. Sarah Singleton's take on faeryland is particularly
reminiscent of Machen's depictions of an alluring, sinister world that lies
almost within reach of our own, and cannot be trusted... This intense,
otherworldly vision, combined with Singleton's powerful use of language, is
the real strength of the novel. There are some extraordinary passages,
containing an almost spell-like use of words.
"The Crow Maiden is also a modern novel dealing with some very contemporary
preoccupations... Her characters are convincing and well drawn...
"This is a most interesting novel and I hope it achieves the success it deserves."