primeideal

When I read "Uprooted" and griped about the implausible romance and/or reactive plot, people's reactions were "try Spinning Silver, it's an improvement in some of those ways." And yeah, it is! I was aware that Spinning Silver was set in the same world as Uprooted, ~1700s Eastern Europe but with some fantasy elements, and that it was based on Rumplestiltskin.

But it's a lot more than a simple retelling. "Spinning Silver" teases out the individual trope elements of Rumplestiltskin--a mercenary father trying to get his daughter to marry up, the dead mother looming over the plot, a woman given the impossible task of making gold out of other elements, terrible bargains, aloof and unknowable beings from the fae world, the power of knowing someone's true name, the horror of a mother trading her child to inhuman creatures--and blows them all up, turning them inside-out, and creating something original.

It also does a lot with POV. For the first chunk, we have two young women from a small town who go back and forth telling the stories of their business dealings. But as the book goes on, we start jumping into more and more people's heads, and everyone's voice is very different. Sometimes this can be used for dramatic irony; we hear what character A thinks of their interaction with B, then we jump back and tell the same scene from B's POV and what was going through their head is very different than what A assumes. Once in a while, this makes the plot drag--there's a couple of scenes towards the end where we can't have any suspense about "oh no, will they find what they're looking for" because we've just seen the corresponding scene from another POV, and it would have been more effective to rearrange them--but overall, things are propelled forward much more intriguingly than "Uprooted."

Our POV characters are:

Miryem, the daughter of the village moneylender. Miryem's family is Jewish, which means her father is one of the few people socially permitted to work as a moneylender--but he's more interested in currying favor with the neighbors than getting his debts repaid, so his family goes hungry. Miryem steps up, grows "cold" and "wintry," and takes on his job, to her parents' horror. But an offhand remark about "look, I can turn silver into gold" (metaphorically, because of, you know, capitalism) inadvertently catches the ear of the "Staryk," monstrous elven raiders who live in a parallel realm.
Wanda, the daughter of an abusive alcoholic. Miryem is like "he can't pay off his debt because he's drunk everything away, I'll have them repay me by hiring Wanda to assist me with our work, I know this is cold and ruthless but I have to." Then when we see it from Wanda's POV she's like "you're giving me money to be out of the house and away from my father? And you'll even feed me? What an undeserved kindness!" Her reaction to "learning to manipulate numbers and do arithmetic is an amazing kind of magic!" felt cheesy and over-the-top, but the contrast between the literal phrasing of a royal decree and the way she "translates" it was more convincing.
Irina, the daughter of the duke of Vysnia (Vilnius, Lithuania). Like Wanda, her mother is dead and her father is trying to arrange the most profitable marriage for her, never mind what she wants. When Miryem is compelled to turn magical Staryk silver into gold, she does so by having an acquaintance forge silver jewelry which the duke purchases--so when the gold takes on magical powers in the Staryk world, so does the silver with Irina, and brings her to the attention of a tsar. Despite her cold relationship with her father, she learns a lot from him and is a true politician, adept as anyone at cutting deals to keep her realm safe.
Stepon, Wanda's younger brother. His narration is very simple and childlike (amazing cold open with "I like goats because I know what they will do.") It's possible he has some kind of sensory/mental health issues, or it's possible he's just eleven and overstimulated by unfamiliar crowds.
Magreta, Irina's nurse/caretaker. She can be kind and supportive, but her casual antisemitism provides a contrast to how Miryem is treated by the villagers.
Mirnatius, the tsar. For a while we mostly see him through Irina's POV ("this guy is so full of himself he requires a new outfit every day, that's no way to manage the economy"), but again, his narration provides a very different perspective on what's going on.

So I said the romance was better than "Uprooted," in that we didn't have the implausible "elderly magician berates young woman all the time but also they can't keep their hands off each other." In "Spinning Silver," both {Miryem and the Staryk king} and {Irina and Mirnatius} are paired off without much say-so on anybody's part, it's being manipulated by magic/higher-ups. So the timeframe of the book is mostly them all learning how to tolerate each other, and the romance is kind of left to your imagination in the future era.

The Staryk magic is kind of like...you can see their roads briefly if they make incursions in the human world, but as soon as they've disappeared, you start forgetting them and it really takes effort to remember. This means that if someone, like Miryem, disappears into the Staryk world, she's forgotten almost immediately except for little irregularities that don't seem right. These depictions were well-done. (Except that I was trying to remember if the Staryk were the same as the [jerk, mundane human] aristocrats in "Uprooted." They're not. I think I was half-remembering "Marek," the creepy prince, instead of "Staryk," the winter elves.)

There's a cool liminal space that sets up back-and-forth "communication" between the human and Staryk realms, and again, the multiple POVs are a good framework for this. On the other hand, there are some things, like, why do the Staryk want human gold, that are kind of chalked up to "magic idk" and not completely spelled out; for some of the confrontations at the end, again, it's better not to worry too much about hard magic systems and just go with the vibes. There's also an earlier plot that definitely plays the trope of "the less the audience knows about the plan, the more likely it is to succeed" trope straight.

Especially early on, it can be a very bleak "everyone sucks here" setting. Wanda and Stepon's father is horrific. Irina's father is mercenary and sets her up with Mirnatius, a dandy who abuses animals for fun. Nobody in the village respects Miryem's family, and when she tries to reclaim what she's due, her parents are horrified. The Staryk raid the village and carry off women and demand impossible tasks. There's a lot of "I have my wife to murder and Guilder to frame for it" coming from all sides. Even though the plot is moving forward, it's hard to feel like there's anything to root for.

But cracks of light shine through. Miryem's mother, and her mother, defy the "dead moms" trope, and are able to be loving parental figures to Wanda, Stepon, and their brother Sergey. Miryem's grandfather is wise and conscientious, warning her of the risks that some of her choices pose not only to their family but to the Vysnia Jewish community as a whole, but still recognizing she's mature enough to make her own choices. They even make use of a real-world Jewish blessing for the first blossoming of trees in the spring. Even when people are trying to be cold, sometimes they're just too human!

Bingo: Alliterative Title, Under the Surface (not for most of the plot, but there is a secret tunnel that gets use), Multi-POV (and how!)