Review: Ironskin by Tina Connolly

I’ve said it before, and I’ll reiterate: I do not take authors messing with my Jane Eyre lightly. If you are going to attempt to paint a new gloss over something that has already been perfected to my eyes, you’re going to have to bring something completely new to the table. In this regard, I applaud Connolly’s efforts to entwine a fey glamour over the well known Bronte tale, but I can’t say that she pulled off all she hoped to achieve.

Ironskin suffers from a dissonance between Connolly’s desire to adapt Jane Eyre and her desire to write an original fantasy work. The result feels like Connolly’s take on how she would have written Jane Eyre had she gotten first crack at it rather than a reimagining or tribute. Nevertheless, Connolly introduces some interesting ideas and I can’t help but feel that she ultimately did herself a disservice by trying to shoehorn her story into such a well-known mould; she would have done better to eschew comparisons and simply tell her own tale.

Ironskin by Tina Connolly

Jane Eliot is fundamentally different than Jane Eyre. Perhaps, considering our own reactions were we placed in Jane Eyre’s shoes, many of us feel that Jane Eyre should have felt rage at her situation, yet the very fact that she didn’t defines her character. It’s what sets her apart from and above her peers, what gives her the beauty that shines through an ordinary exterior. Where Jane Eliot allows the rage to take root, Jane Eyre lived above it. Where Jane Eliot yearns for normality badly enough to take drastic, disturbing measures to achieve it, Jane Eyre accepted herself with pride and grace if not always with pleasure. This was one of my biggest points of contention with the book, for in the original it is Rochester who needs reminding that Jane is as she is and won’t be changed. In Ironskin, it is Jane herself who succumbs to shallow desires and embraces superficiality. Making the decision a supposedly crucial plot point does nothing to lessen my disappointment in Jane’s decision and underscores the fact that this is not the same Jane I’ve come to love.

Rochert had potential as a reincarnation of Rochester yet, like so many who have tried before, Connolly fails to grasp Rochester’s essential nature. His depiction quite confused me, really. We are told of his internal suffering, but it doesn’t truly play out on the page. Before we learn of his deep, dark secret, I had actually gained the impression that he was in fact a warm man, loving of his daughter and wife both, not doggedly attempting to hold back the defeating force of his past as Rochester was. We are given so little page time with Rochert that he is never fleshed out (never mind the utter lack of chemistry between him and Jane). I rather liked the dimension Connolly added with his somewhat addled composure concerning the fey, but this too is inadequately addressed.

The greatest interpretations of character for me were Dorie and Poule, as Jane must work at her relationship with both much moreso than in the original. Though I never warmed to Dorie (in truth, she freaks me out more than a little), her storyline was one of the few that suggested the story would have been better off told as an original work. Poule also intrigued me, particularly as she and Jane formed something of a team here, so unlike Jane’s wary regard of Poole in the original. I wish we could have learned a bit more about Poule’s heritage, as it was one of several threads of fantasy worldbuilding that offered a promising story yet was not fully explained.

Overall, I couldn’t tell if Connolly truly wanted to retell our beloved story. Aside from the character names and a rough outline of the plot, so few critical elements of the original story remain. The pacing barely reflects that of the original, throwing Jane into her new employ on the first page, rearranging key scenes and completely eliminating the character of St. John. Whether this is meant to be a permanent feature of the series or whether Connolly introduces St. John in the next book remains to be seen. Jane’s background is completely altered, which likely goes far in explaining her drastic personality change. Whereas the unforgiving environments of her aunt’s home and Lowood shaped Jane Eyre into a strong woman determined to resist the scorn thrust upon her lowly station, Jane Eliot’s abrupt reversal of fortune at a later age made her resentful and proud.

Ultimately, Connolly seemed to want to write a fantasy, and Jane and Rochert’s relationship suffered for it. While her take on the bedroom scene is a novel change, it failed to make up for the numerous other iconic interactions that defined both characters in the original, yet that were missing from this novel. Though I was initially intrigued by the mask plotline, this too wound but being merely a grotesque externalization of conflict that distorted the subtle genius of the original.

I was also confused by Connolly’s repeated references to other classic works. Surely Bronte was influenced by those who came before her, yet she allowed those guiding voices to shape her story without stealing heavy-handed elements. Connolly not only mentions tales such as Beauty and the Beast and Tam Lin, but she goes so far as to incorporate threads of these tales into the story, which merely adds to the disjointed feel. It’s a shame, since, divorced from recollections of her predecessor, I rather liked Jane. The fey world Connolly has created seems rather fascinating, but we are given the barest glimpses of it. I’m also not quite sure that this work is best described as steampunk, but that characterization will suffice. Overall, Ironskin had promise, but ambivalence regarding the extent to which this was meant to be a retelling ultimately resulted in a failed execution of interesting ideas.


Who could ever learn to love a beast?

Photo by Annie Leibovitz

Anyone who talks to me about my literary habits probably knows that Jane Eyre is my absolute favorite novel. So it came as no surprise to realize that its themes resonate with those of my all-time favorite fairy tale. The trope of beauty falling for beast seems to pop up time and again throughout literature, art, and popular media, proving that the romance of inner beauty conquering doubt truly is a timeless theme. I try to get my hands on any version of the tale that I can find, and particularly those set in a modern setting. Here are some that I’ve come across in my literary travels that I have or have read. Adaptations and RetellingsThese stories stay true to the eighteenth-century tale, letting the author put her own twist on the characters and plot.

  • Beauty by Robin McKinley: A lyrical tale that is heralded by many readers as one of the best adaptations out there.
  • Rose Daughter by Robin McKinley: Ms. McKinley couldn’t stay away from the story for long, and here crafts a more mature telling with a twist which, while not ideal, more fully embraces the themes behind the story.
  • Beauty (in Red as Blood) by Tanith Lee: A scifi retelling, for more mature audiences.
  •  The Fire Rose by Mercedes Lackey: Creative adaptation with spells, salamanders (not the reptilian kind), and another unique twist.
  • The Courtship of Mr. Lyon and The Tiger’s Bride (in The Bloody Chamber) by Angela Carter: Angela Carter’s retellings incorporate more morbid elements into the traditional tale.
  • Beast (in The Rose and the Beast) by Francesca Lia Block: A modern, short story retelling.
  • Beastly by Alex Flinn: The inspiration for the recent film, this modern take is narrated from the Beast’s perspective.

Beauty and the Beast Themed These stories stray from the original fairy tale, but encompass its theme of inner beauty growing despite (or because of) physical imperfection.

  • Lord of Scoundrels by Loretta Chase
  • Crazy Beautiful by Lauren Baratz-Logsted
  • If You Deceive by Kresley Cole
  • Texas Destiny by Lorraine Heath
  • The Bride Finder by Susan Carroll
  • Lover Awakened by JR Ward
  • Ravished by Amanda Quick
  • Simply Love by Mary Balough
  • When Beauty Tamed the Beast by Eloisa James
  • To Beguile a Beast by Elizabeth Hoyt
  • The Darkest Kiss by Gena Showalter