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This short McKillip novel is definitely one of her better ones. In the afterword to the story collection "Dreams of Distant Shores", McKillip explains that she tries to avoid writing the kind of fantasy that features a Dark Lord, on the grounds that it's more interesting to locate the source of the evil that the main characters are fighting somewhere else. This is a perfectly reasonable choice, although I would argue that these are not as incompatible as she thinks. However, the problem is that she often writes the kind of fantasy story where a Dark Lord is necessary to drive the conflict. The revelation that there wasn't really a Dark Lord after all tends to undermine the story, rather than make it more interesting. In this book, though, there's no problem, as no Dark Lord is necessary: instead, the central conflict arises from the collision of two incommensurate worlds, that of the people of the small island kingdom where the book takes place, and the land under the sea. Or rather, of people from those two worlds, as the stakes of the plot are intensely personal. As it happens, these stakes don't include the incident that opens the book, the death of our heroine Peri's father -- a fisherman, like almost everybody in her home village -- at sea. This is a clever move on McKillip's part: Peri's fate is not directly tied to whether she can escape to or from the sea, and is instead under her own control in a way that makes her much more interesting. In some ways, the book simply chronicles Peri's grieving process, in which she comes to terms with her loss, in part by finding new friends and new interests. It's just that the process happens when she gets swept up, seemingly accidentally, into the story of the island's king, his sons, and the Queen of the Sea. The second-most-important character in the book is not any of them, though, but rather the wizard Lyo. Peri is, understandably, feeling rather down for most of the book, as are the princes: Lyo's cheerful insouciance provides a welcome balance. Still, the story is undoubtedly Peri's, and the reader's sympathy for her, a sympathy which never feels forced or unearned, is, together with McKillip's evocative prose -- sometimes cloying at high doses, but perfect in a relatively short work like this -- what makes this book work as well as it does.