In this terrific graphic novel, 11-year-old Cinzia is a printer’s apprentice in the city of Siannera, loosely modeled on late medieval Sienna. She loves working for Mestra Aronne, who fearlessly prints pamphlets—avvisi—to share news with the populace and shed light on important happenings. “Every secret is a story waiting to happen,” is Cinzia’s philosophy.
Not everyone appreciates such openness, however, and when Mestra Aronne accuses the lord magistrate of corruption, the ruling family sends guards to arrest her. Cinzia wants to exonerate and free her mentor, but that means proving that her accusations were correct.
She finds allies in Carlotta, a noble scion turned pirate; papermaker’s apprentice Aneeqah, and, more surprisingly, in Contessina Elena, the ruling principessa’s daughter. Elena has been kept secluded by her mother and by her uncle, the aforementioned lord magistrate, under the guise of “protecting” her. Her mother thinks she’s an “odd girl,” Elena explains at one point, and her uncle thinks she is unfit to inherit and rule because she is “different.” (The “difference” is never named, but could be read as some form of neurodiversity.)
With the guards on their tail, the girls set out to find the evidence they need, learning more about their city and its citizens in the process, particularly the ones disenfranchised by the existing system. The odds are against them, but working together, they just might succeed.
Author Marieke Nijkamp weaves an exciting tale of girls seeking to make a difference, exploring themes of censorship, privilege, (in)justice, collective action, and what it means to be a family. Her protagonists are spunky but not pollyannish, learning and growing but still confident in their abilities. Siannera feels full and textured, a bustling city of diverse people, factions, and interests.
Siennera is also racially and ethnically diverse—and Nijkamp, who has a background in medieval history, reminds us in an Author’s Note that the real medieval world had people of color in it. (As someone with a similar background, I concur.) Cinzia and Carlotta have light tan skin; Elena’s and Aneeqah’s are slightly darker, while other characters reflect a range of skin tones. Aneeqah also wears a hijab.
Cinzia uses a cane, but this is not stressed or explained. She is shown moving and running alongside the other characters, never needing assistance.
The queerness here is subtle, as we see Cinzia and Elena’s friendship deepen into something more. The romantic part of the relationship is not the focus, though; they simply hold hands in one scene, after a close up of their hands and a wonderous look in Cinzia’s eyes imply that this is more than the hand-holding of two friends. It’s a part of their story, but not the whole thing.
Illustrator Sylvia Bi deserves equal credit for bringing the characters and setting to life through lush and vibrant illustrations that emphasize the warm hues of the “city of gold.” The book is gorgeous, richly imagined, and a joy to read, making it highly recommended.
