Mari is an ugly duckling in a town of beautiful swans. She is an Animal Wife yōkai, but her looks will never help her accomplish the task of marrying a powerful man in order to steal his riches and return to her home of Tsuma. Her mother doesn’t want to waste her daughters other talents though—Mari has been taught from a young age to wield a naginata, becoming an expert warrior in the process. Her mothers plan? She’ll enter the contest to become the Conqueror of Seasons and by default, the new Empress of Honoku. There’s just one problem though, uncollared yōkai are not allowed inside the Imperial City, much less able to enter the competition to be the prince’s new wife.
Full of references to feudal Japan and traditional Japanese mythology, Empress of All Seasons is about one woman’s quest to overcome adversity in order to become the most powerful woman in existence. But the question is, can she hide the monster within for long enough to defeat the monsters who hold her life in their hands?
The novel opens on Mari being shoved into a shed with a random male who was in the wrong place at the wrong time. She gives him the choice of weapons and as the majority of males who have found themselves in her presence, he chooses the twin blades of the samurai, the long katana and short wakizashi. This leaves her with her beloved naginata, a bamboo pole weapon with a deadly blade on its end. A battle ensues and then cut to Taro, the prince in the equation.
Taro is the heir to the empire of Honoku. As is always the way, he doesn’t want the crown. Instead, he wishes to while away his days in his workshop, creating his mechanical masterpieces while being left in relative obscurity. Alas his father (and tradition) have other plans. Living in the Palace of Illusions and being the next Emperor means he has to be present for the once in a generation battle to win over the Seasons. There are four harsh rooms within the palace made to test the mettle of any future Empress, and to serve out punishment to anyone who defies the monarchies reign. But Taro has an escape plan: he will be nowhere near the palace when young maidens rush in to claim their destiny. Until he meets a small lady in his mother’s tea garden who may just change his mind.
So, to say I loved this is an understatement. The story is set in feudal Japan, a time when gods and goddesses reigned supreme, temples were only a stone throw away, and the samurai protected the empire with their stony expressions and razor-sharp blades. Every location of the story is described with vivid imagery, from the worlds towering temples to its lush forests, the humble buildings of Mari’s youth to the palatial grounds of the province’s capital, it’s all just gorgeously written.
The pièce de résistance though, would have to be the inside of the Palace of Illusions. Not only are the corridors and guest rooms populated with beautiful interiors, the four rooms of the Seasons are impeccable in their decoration. Each of the rooms maintains its own climate and the interior are reflective of this, the Seasons all containing their own peril. It was a genius idea and I frankly absolutely loved it.
It is slap in the face obvious that Jean has done her research when writing this novel. Like A LOT of research. The narrative incorporates many different references to Japanese mythology in the form of Yōkai. If you immediately think of the kids show, you are gravely wrong. Instead, these are creatures of mythology ranging from Kappa (frog like creatures the size of people), to Hari Onago (a young maiden with hooks on the ends of her hair who search for victims based on whether they smile and then eat them), and the legendary Oni (a class of warrior spirits who are born with red covered skin, toting weapons but their real strength is in their grip). Jean’s inclusion of these creatures could have felt far-fetched, but instead they are so well-integrated into their roles within the story that they are just another character with a difference, open to the Emperor’s discrimination and ostracism. That brings me to the main cast of characters.
Mari is, beyond a doubt, a battler. Since childhood, she has been ridiculed by her society The Animal Wives, a group of beautiful women with a beast waiting to be let out. The entire purpose of this community of warrior women is to marry into high society and then steal their fortunes. Alas, Mari does not have the face for it and her mother instead trains her to use the naginata to win over the Seasons. Rather than kill, Mari would prefer to maim those brought to her shed and then send them on their way never to return. She’s a softy, but still a cold hard bitch when it comes to everything else. She believes that love is a waste of time because, frankly with an upbringing like she has had, you would hate love too. She does however have a closeness with Akira, also known as the Son of Nightmares. During the course of the story, however, the reader can detect a softening of Mari, still intent on keeping her secret from the prince but warming to him nevertheless. Always though, her village is her top priority and she will do anything to keep them safe.
Akira, the first male on the scene for Mari, is the Son of Nightmares. Since a young age he has been ostracised and hunted down by society for being the son of a human male and a vengeful female ghost yōkai. Although not capable all her skills, he has inherited his mothers ability to be stealthy and swift. He has also inherited the scars she bears on her face from prior to her death. Akira is beyond a doubt my favourite male character in this. While he has a tough steely (and scar mottled) exterior, any time it comes to Mari, he is all marshmallow-y. This man would literally do anything to keep her safe and without spoiling too much, he does. When with others though, he is conniving and smart, instantly making an impression on those of importance to the plight of the Empire.
Last of the major characters is Taro, the reluctant prince who would prefer to hide in his chambers and make mechanical animals. His tinkering brings him great pride, but had previously brought him shame as he is solely responsible for the invention of the unbreakable metal collars that keep all yōkai enslaved. To be honest, while he was an adequate character, his being oblivious to anything and everything that didn’t involve him was grating. There is pomp and privilege, but this guy takes stupid to a whole other level. While the majority of the cast brought joy, Taro just brings frustration especially when he feels betrayed and throws a tantrum for the ages.
As whole, this was an amazing novel full of mythology and genuinely intriguing characters. The narrative was very well paced with a continuous supply of heartache and action. The only real detractor from the entire thing was the snivelling brat who plays prince. I loved the blending of mythology with feudal history and will be recommending this novel to anyone with a love of Japan and buttkicking female leads.
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Synopsis | Goodreads
In a palace of illusions, nothing is what it seems.
Each generation, a competition is held to find the next empress of Honoku. The rules are simple. Survive the palace’s enchanted seasonal rooms. Conquer Winter, Spring, Summer, and Fall. Marry the prince. All are eligible to compete—all except yōkai, supernatural monsters and spirits whom the human emperor is determined to enslave and destroy.
Mari has spent a lifetime training to become empress. Winning should be easy. And it would be, if she weren’t hiding a dangerous secret. Mari is a yōkai with the ability to transform into a terrifying monster. If discovered, her life will be forfeit. As she struggles to keep her true identity hidden, Mari’s fate collides with that of Taro, the prince who has no desire to inherit the imperial throne, and Akira, a half-human, half-yōkai outcast.
Torn between duty and love, loyalty and betrayal, vengeance and forgiveness, the choices of Mari, Taro, and Akira will decide the fate of Honoku in this beautifully written, edge-of-your-seat YA fantasy.
