In her first novel, perhaps her best known, Emma Bull weaves a compelling story about urban history, the 1980’s music scene in Minneapolis, and feminism’s legacy of independent womanhood through the fantasy of a war over the direction of city life carried out beyond sight of humans. Bull employs a realist style in the traditional sense of nineteenth century English novels. War for the Oaks is full of exposition; it fulfills the dual functions of the novel—entertainment and instruction. The plot and characters are finely detailed and utterly convincing.
It is part of Bull’s strategy as a fantasy writer to make readers believe in magic. Bull achieves this through carefully instructing her readers with the pointed irony of the phouka’s lectures to Eddi in the legends, manners, and desires of the faeries Eddi encounters. In her turn, Eddi explains for the phouka the details of Minneapolis’ music scene and the history of its extensive park system.
These two intersecting motifs—music and urban space—are woven into a classic story of good versus evil. Music and parks become the means and site of the heated battle between the warring members of Faerie because they represent aspects of human culture that, like magic, exceed the mundane and enable boundary crossings. Parks are constructed places of nature within the built environment of the city, and music is a cultural form that taps the natural rhythms of blood and breath. Both display controlled anarchy. Moreover, because the Minneapolis music scene of...
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