Partway through Ellie’s senior year, her life takes a turn for the weird and she’s thrown into the reality of Maori mythology—and in Guardian of the Dead, it is real. Her crush causes strange memory lapses, headaches, and impulses to not go out at night; and a strange woman appears in her life, looking sporadically otherworldly and harboring ill intent toward Ellie’s best friend, Mark. And that’s just the beginning.
I was a reader of Karen Healey’s now-defunct comics and feminism blog, Girls Read Comics (And They’re Pissed), and I’m an occasional reader of her not-at-all-defunct general blog, and spent the first third of Guardian of the Dead feeling distracted by Ellie’s first-person narratorial voice sounding exactly like Karen’s blogging voice. This isn’t necessarily a problem with the book, but it did make it harder for me to dive into Ellie’s world and brain; the familiar voice kept me in this world, where I’m used to reading it. Apparently there is a downside to the world of authorial blogging, eh?
The book has three distinct phases: discovery, dealing with the small-scale bad guy, and dealing with the large-scale bad guys. The excitement and tension increases as the book progresses, which is good, but not knowing what the major conflict is until halfway through the book diminishes its overall effectiveness. Too much changes when the first bad guy has been dealt with and they’re moving on to the rest: the scale of the conflict, the setting, what’s at stake, who’s involved.
On the other hand, the characters present a pleasing level of both diversity and moral ambiguity. On the diversity front, not only are the characters a mix of white and Maori New Zealanders, Ellie is not skinny, there’s an off-screen lesbian character, and there’s an asexual character—and all these are dealt with honestly but without sensationalizing. On the moral ambiguity front, we have a bad guy who’s helpful, a good guy who’s fairly problematic—mucking around with people’s minds without consent, concealing really essential information, stalking, that sort of thing. The end is likewise mixed; it firmly resists the impulse toward a happy, everything was saved ending, but there’s enough happiness to make sure it’s not depressing.
Guardian of the Dead presents Maori folklore in beautiful, deadly ways, and comes with a fairly thorough author’s note explaining what liberties she took and what choices she mad. It’s a mixed bag, but with enough unusual features, like the New Zealand setting and mythological basis, to make it stand out.