Aesop’s Secret (2012), by Claudia White

white-aesopI’ve just finished Claudia White’s Aesop’s Secret (well, obviously, because here I am reviewing it). They say don’t judge a book by its cover, but in this case I think maybe you can. Larissa Kulik’s drawing of Melissa, one of the two protagonists, is alluring, whimsical yet uncanny, and thus very fitting with the content of the book.

I have to admit it took me a little while to get into the story; the language is not as light and flowing as other books I have read recently. But then it began: I sunk deeper and deeper into the story, completely uncertain where White was taking us. The more I read, the more I honestly didn’t know, couldn’t tell, where we were headed… which of course drew me deeper still.

The concept in Aesop’s Secret is refreshingly original. A race of Others living among us (okay, not so original yet), called Athenites, used to live in harmony with humans but were forced by history to conceal their abilities. This name is purportedly based on the Greek goddess Athena’s ability to transform into other animals. Now, if you think about Ovid’s Metamorphosis (the title is a bit of a give-away), it is not only Athena, amongst the gods, who has this ability. But I’ll give White that one; after all, Athena’s mother Metis was known—more than other mythological characters—as a shape-shifter. Melissa and Felix Hutton’s mother is about to publish a treatise revealing that Athenites are real, not mythological. She seems exactly the right anthropologist to do so, as the Huttons themselves are Athenites. But someone doesn’t want that research published.

Athenites’ abilities manifest as they mature; shape-shifting is genetic and connected in some way to their hemoglobin. This sets up nicely for a plot involving biological manipulation for at least one character’s nefarious purposes. I really don’t want to say more than that; you’ll have to read the book. The originality lies largely in the parts I am not telling you: sorry. While there is some catering to the narrative expectations of child readers—I can tell you that it all works out in the end—there were quite a few “oh—didn’t see that coming” moments to keep readers on their toes.

Aesop’s Secret is the first of a trilogy, all of which are written, published, and available now to be read: the second book is Key to Kashdune (2014) followed by Servalius Window (2015), itself a novel in three parts. White avoids the “well, I might as well write another volume” problems that so much series fiction has these days. At the end of the novel, you can see how the story can go on, but you are still left satisfied. The best place to be: you can read on, but you don’t have to in order to find closure.



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