Son of a Witch

The second instalment in The Wicked Years series by Gregory Maguire, Son of a Witch chronicles the adolescence and adult life of Liir, the boy whom Elphaba had under her wing, so to speak, in Wicked. By no means as enthralling and filled with substance as its predecessor, Son of a Witch still proves to be a read that you don’t want to put down, particularly because of its ambiguity regarding Liir’s heritage. The central question of the novel is ‘is Liir really Elphaba’s son?’, something that Maguire hinted at during Wicked, but never made clear as he did so many other crucial details. In better part, Maguire’s ambiguity is what makes these books all the more brilliant as you’re compelled to keep reading because you’re hoping against all hope to find an answer to your questions. And do you get one? 

Many, many years after Dorothy’s triumph over the Wicked Witch of the West, the country of Oz has undergone many changes. For a time Glinda took over after the Wizard abdicated, then to be succeeded by the Scarecrow. Now a new ruler sits on the throne, calling himself the Emperor Apostle. Miles and miles away from the Emerald City lies a boy comatose, broken, and left for dead. The body of Liir: companion of the deceased Elphaba. Discovered and brought to the House of Saint Glinda, Liir is willed back to life by the unusual talents of the silent Quadling novice, Candle. Whilst being guided by Candle through his memories, Liir must search them for answers. What dark force left him so shattered in spirit and form? Is he really Elphaba’s son? Can he fulfil the dying wishes of an Elephant Princess? And can he find his supposed half-sister Nor, last seen imprisoned in the dark labyrinth of Southstairs? 

Essentially, Son of a Witch really tells the story of how a boy becomes a man, a theme that’s been expressed and explored throughout literature many times over. What makes Liir’s story so engaging is the fact that we’re now transported into yet another version of Oz, one filled with danger, politics, religion, and violence where nothing is sacred. Youths are being attacked and their faces scraped clean off, Animals are disappearing further and further from civilised society, and Southstairs prisoners and street urchins alike are being culled from the Emerald City. 

Maguire’s non-linear storytelling comes into play again as the book dwells on events from both the past and the present, all of which will culminate and make an exciting future. There seems to be less in it than there was in Wicked, but fair play considering that the book is only focusing on the character of Liir rather than a handful of characters. 

There are wonderful vibes of political rebellion and anarchy that under shadow the central narrative as well as the added wonder of discovering and coming to terms with one’s own identity. The theme of identity plays a very large part here and Maguire, though clever use of the fantasy genre, intertextuality, the quest narrative, Arthurian romanticism, and ambiguity as I mentioned before keeps the reader compelled and unthreatened by bouts of boredom or disinterest. He’s very good Gregory Maguire. 

Filled with action, violence, drama, rebellion, self-discovery, betrayals, and friendships, Son of a Witch is a very good read indeed. It does take backseat to its predecessor because there is a lot less in it in terms of comparison, but it’s still a very compelling book nonetheless and if you love the fantasy genre, if you loved Wicked, then you’ll enjoy this doubtless.