Moonheart by Charles de Lint

Moonheart Reviews

• 
  Lyn

  This gets the Poul Anderson award: An imperfect delivery of a great idea.
  
  The characterization is flat, dialogue sometimes made me cringe it was so formulaic, the plot is a little on the cliché side and it could have been about a hundred pages shorter but what he says far outshines how he says it.
  
  Whether you call this magical realism or mythic fantasy or urban fantasy or a mix up of all of the above, this is very entertaining fantasy writing. Having been first published in 1984 I cannot help wonder if de Lint’s writing influenced such writers as Neil Gaiman and Susanna Clarke. My own affinity for Kevin Hearne’s Iron Druid series about an ancient Irish druid living life with his wise cracking hound in modern times was much pleased with de Lint’s tales about a Welsh bard and lots of otherworldy goings on.
  
  Set in and around modern day (1984) Ottawa, de Lint draws his readers in to an urban fantasy gem. Today’s readers know all about urban fantasy – that sub-genre where the magic is interwoven with the mundane and distinguished from High Fantasy that just makes up a whole different world building; but thirty years ago this was cool and fresh.
  
  Still is.
  
  Describing a magical universe “like an onion” where the layers of each world are fit closely together, sometimes overlapping and frequently touching, de Lint blends elements of European myth and Native American folklore into his own mystical, charming creation. Orson Scott Card’s Alvin Maker series began in 1987 so it is possible that he too was influenced by de Lint’s writing.
  
  Fun and original, urban fantasy readers will like this.
  
  
• 
  Stephen

  5.0 stars. Fresh, original urban fantasy with deep, rich settings, well drawn characters and a terrific multi-layered plot. De Lint's use of the Celtic and North American Indian mythologies as the foundation of the story made it all the more enjoyable as they are not often portrayed in fantasy. There are so many memorable characters that it is hard to pinpoint any one that stands out above the rest, but characters like Pukwudji and Tamson House itself showed De Lint's incredible talent for creating interesting charcters. De Lint is a true talent.
  
  This was my first exposure to de Lint and I will certainly be reading much more of his work in the near future.
• 
  Algernon (Darth Anyan)

  
  It was here, when the world outside lost all its secrets and seemed to unfold around her, flat and unending, every surprise and wonder ironed out of it, here in the maze of rooms that she could find mystery again and rejuvenate her own sense of wonder.
  
  Tamson House - a sprawling manor in the old part of Ottawa, home to siblings Sara and Jamie and to their oddball collection of guests – is reminding me of “Little, Big” by John Crowley. Tamson House is large and weird and apparently can open doors to alternate realities, woodland places where creatures from ancient myths still roam freely, while outside its walls the ordinary life of a big city goes on without a clue. Sara and Jamie own an antiquities boutique and have welcomed to their house people living on the fringe of conventional social life : musicians, painters, ex-bikers, ex-drug addicts, drifters and dreamers. It’s a peaceful, rewarding, friendly atmosphere, but a powerful magical storm is getting ready to assault the walls of Tamson House.
  
  It all starts with Sara discovering a curious medicine-bag among the old dusty crates in the storage of her antique shop. Celtic scrollwork meets Native American shaman gadgets and pretty soon Sara and the rest of her friends are involved in mysteries that go back across the Atlantic and across several centuries, all the way to the shores of Ireland where a famous bard named Taliesin is banished from the court of a local king for challenging his druids to a music contest.
  
  Sara’s storyline is interweaved with several others, both in Ottawa and in a parallel forest universe, where the same Celtic and Native American mythologies meet and mix, sometimes peacefully, sometimes in open conflict. Kieran, an ex-convict and traditional Irish music player, comes back to Ottawa after receiving subliminal mental messages from his mentor in magic, a secretive druid who is also wanted by the Mounties (RCMP) and by a ruthless businessman.
  
  The premise this far reads more like a setup for a romantic comedy with cute magicks thrown in, but the author manages to get a grip on the story and to avoid the easy traps of popular entertainment. Most of the time ...
  
  In a way, I’m glad “Moonheart” is not my first foray into the catalogue of Charles de Lint, because the story is very much an early effort of what will develop into a beautiful and captivating personal style for the author. All the elements that previously attracted me to his worlds of wonder are present here, but the plot moves unevenly from one concept to another, the characters lack subtlety, dialogue is occasionally cringeworthy. Everything points out more to enthusiasm in the concept than to skill or careful planning, to a searching for that unique voice of the gifted storyteller who has something good to say about how he views the world around him. While the actual style of narration jumps around from police investigation, conspiracy theories, contemporary supernatural thriller, horror slashfest, romance, new age music and mythology brought to life, the overall picture is vintage de Lint in the rough, with true pearls scattered through the text.
  
  I will start showing some examples with Kieran, the young man who reluctantly embraces a legacy of magic in his life:
  
  It was a gritty view, from the underbelly of life, and he already had a foot half in it. Then he saw himself going straight – nine-to-five job, drifting in a morass of boredom from which there was no escape because the mortgage payments had to be made, content to be one of the many drones in a secure world that held no surprises.
  
  Quotes like this make it very easy to date the novel to the late 80’s or early 90’s and to the whole New Age shebang of Enya, Loreena McKennitt, Stonehenge solstice events and scented candles.[ there’s also the fact that everybody’s smoking like a chimney stack, mostly self-rolled cigs] It also explains the appeal of the fashion to artists and yuppies and people of higher education who need to find an alternative to a world that no longer holds any surprises in it, who need that sense of wonder back in their ordinary lives.
  
  Following the Way was a responsibility, not only to himself, but to the harmony he strove to create in his relationship with the world.
  
  Also from Kieran, trying to explain to a friend his decision to follow the teaching of an old druid. Maybe the man is bogus, but that doesn’t automatically make his teachings worthless. Especially when this Tom Hengyr claims that money and power are not the secret key to a worthy life.
  
  It was people that made a place, he decided.
  
  Also a quote from Kieran, but it helps me transition to Tamson House, to Sara and Jamie and the rest of their crew. Charles de Lint, even from this early start, shows us that the secret to a good story is not so much in the plot, as it is in the characters, in their development and in the way they interact with the outside world.
  
  Remember the quiet wonders. The world has more need of them than it has for warriors.
  
  Maybe Neil Gaiman or Patricia McKillip rate higher in my alternative fantasy top list, but for his passion in advocating a less standard grimdark offering in the genre, I am willing to cut Charles de Lint some slack, especially for such an early effort, and put an extra star at the top of my review.
  
  >>><<<>>><<<
  
  As usual, the author mentions both in the text and in the afterword the musical influences that inspired him, the local friendly, multicultural environment that allows him to tap into the rich mythologies on both continents in order to bring his fantasy scenes to life. Taliesin with his famous harp, Sara with her classic guitar, de Lint with his favorite bands humming in the background – it’s all part of the same ageless story. The provided lists and names are worth checking out.
  
  
  The harmony between player and instrument – that was the key to unlock the primary magic. Magic that stayed in my music and shaped my life. There is no other feeling like it.
  
  
• 
  Theo Logos

  Moonheart was my serendipitous discovery, found while browsing the fantasy section of Waldenbooks in 1984. The book blew me away. It introduced me to the concept of urban fantasy, completely changing how I conceived of the fantasy genre. I found it's blending of Old and New World mythology (Welsh and Algonquin) to be captivatingly brilliant. It was absolutely fresh and unique at the time, and I have always remembered it as a seminal book within the fantasy/speculative fiction genre.
  
  That's what I brought to my reread of Moonheart - decades old memories of a four or maybe five star read. Sadly, my reread fell short of those expectations. Up to about the halfway point, my thinking was that at best I would be rating it two stars. A strong finish tempered that, and salvaged some of the previous esteem I once had for this novel. My new assessment of its value is far more complex. What follows is the Good, the Bad, and the Ugly of Moonheart, in reverse order.
  
  The Ugly:
  The writing is bad. I mean, it approaches "this sucks" levels of bad at times. Tired cliches, narration that constantly tells rather than shows, clunky, awkward dialogue - all the greatest hits of bad writing are on display here. If I had picked this book up cold without my positive memories, I may not have made it past the first fifty pages.
  
  The Bad:
  Most of the characters are not fleshed out much beyond common types. The ingenue writer, her quirky uncle, the mysterious Druid, the biker with a heart of gold, the wise native shaman, the hard nosed inspector; all of these types had interesting possibilities, but were never developed much beyond the bare cliches. Also, far too many characters were never developed at all, but rather were introduced like Red Shirts in Star Trek to increase the body count in the action sequences.
  
  The pace at the beginning of the book is far too slow. The whole first half of the book sets up the multiple story lines that only begin coming together in the second half. If the writing was brilliant, and the characterization was strong this approach could have worked, but unfortunately, those were major weaknesses and couldn't carry the slow start.
  
  The Good:
  The great, redeeming strengths of Moonheart is its ideas. Its concept of a paranormal branch within the Royal Canadian Mounted Police anticipated both The X Files and the Harry Dresden series a decade before either appeared, and was the most consistently strong story line in the book. The most fascinating character in Moonheart is the sentient, labyrinthine Tamson House, which boarders worlds and protects its occupants. That idea is the single greatest strength of the novel. The juxtaposition of mythological creatures from Celtic and Native origins thrown together in otherworldly tension was fascinating. It was all these ideas blended into a single story that made the book stand out to me, and stick with me for over three decades.
  
  Also in the “Good” column is an exceptionally strong finish. The book takes forever to get going, slowly bringing together multiple story lines, but once they come together, the final third of the book is action packed excitement that gives some payoff for slogging through the awkward setup.
  
  Moonheart is a failed masterpiece, a clear example of a writer's extraordinary vision far exceeding his limited grasp. I certainly cannot give it an unqualified recommendation. But if urban fantasy is a genre that captivates your imagination, and you are willing to ignore this book's flaws to appreciate its groundbreaking ideas and it's moments of brilliance, it certainly is not without its rewards.
• 
  Kat Hooper

  ORIGINALLY POSTED AT
  Fantasy Literature.
  
  Sara and her uncle Jamie live in Tamson House, the old family mansion that takes up a street block in Ottawa. While Sara runs their cluttered curiosity shop, Jamie spends his days studying the arcane and playing host to the eccentrics and homeless people who come and go through Tamson House. Sara and Jamie’s interests collide when Sara discovers an old gold ring that seems to draw her into an ancient past — a past where Welsh and Native American mythology comes alive. But not only does the ring pull Sara in, it draws Tamson House, and all its occupants, with it.
  
  Moonheart was a truly satisfying read for me. I fell in love with Tamson House — just the idea of a big sprawling mansion that exists in two worlds is enough to fascinate me. Tamson House was my favorite “character” in Moonheart but, as rarely happens, I liked almost all of the characters in this novel. They feel real and alive, with distinct backgrounds, personalities, and motivations. I enjoyed watching them react to their strange situations and interact with each other.
  
  Another aspect of Moonheart that works especially well is the mix of the modern and ancient. It doesn’t feel at all unreasonable when Blue is racing his motorcycle through ancient Wales. In many ways, Moonheart reminded me of Robert Holdstock’s Mythago Wood and Lavondyss, two of my favorite fantasy novels. In each of these stories, an old house exists in both the modern world and on the edge of an old dark forest full of myth and legend. I suppose I just can’t resist this type of story and de Lint does it so well.
  
  There is plenty of mystery, suspense, and action in Moonheart, and even some terror, too. I was completely enthralled the whole way through as I listened to Paul Michael Garcia superbly narrate Blackstone audio’s version. Moonheart is an enchanting story.
• 
  Ioana

  Moonheart is quite aways beyond my usual range, chosen out of (GR/Amazon) recommendations based on recommendations thrice removed from books I've actually read. So, although I realize based on other reviews that this is considered "classic urban fiction", for me, it was quite bizarre and different (a good thing).
  
  Moonheart has its flaws, and it probably won't appeal to many, but I give it a 4 for the intersection of (1) weird/made me think (2) well-written, if not "literary" (3) Native American/Celtic lore (4) Tamson House.
  
  The story weaves between real-world Ottawa and "the Otherworld", a land of myths in which legendary creatures and powers manifest. The cast of characters is lively, but not terribly well-developed. There is a battle (between good and evil of course), and there is much to learn about mysticism/the Way/tao/Native American & Celtic stories/inner silence/the like. Some of that is pretty hoakey (a la magic mushrooms & Timothy Leary), some probably horribly distorts Native American rituals (I, sadly, do not know enough to say - one thing is clear, though, that de Lint is absolutely smitten with Native American cultures, so if he misrepresents anything, it's done out of sincere admiration. Not that this excuses his work completely, but at least it's no Heidegger writing about Jews).
  
  Finally, perhaps my favorite aspect of this story, is the centrality of Tamson House, a magical and mysterious haven and character in Moonheart. I'm obsessed with ... dwellings, and I often daydream (and night-dream) about impossible, sprawling, crazy houses. So based on Tamson House alone, I'd rate this book as a 4/5 (I am not to be trusted).
  
  Not highly recommended, but definitely highly enjoyed.
  
• 
  Beth Cato

  This classic fantasy novel is highly enjoyable and very tense, though not flawless. It's a book with an incredible magical house (the best part of the whole book), Ottawa Mounties who investigate the paranormal, and melded Celtic and First Nations mythology. It feels like a huge, deep fantasy, and is original in so many ways.
  
  Yet uneven in others. The shifting point of view really jolted me at the start and I never fully adjusted to the technique. There is a huge cast of characters, and I struggled to keep everyone straight. It didn't help that a large number of characters were bland stereotypes. Pretty much all of the native characters came across that way-not negative stereotypes, necessarily, but tired ones. Same with a major Celtic bard, too--he was paint-by-numbers in every way. There were two instances of insta-love that were so insta-love I was left bewildered.
  
  That said, it's still a gripping book. There's the HOUSE! The magnificent Tamson House that straddles worlds and defends its people. And there's... well. The house is the best part. Read it for the house, as it does end up taking over the plot in a big way through the end.
  
  
• 
  Rachel

  This is a very early Charles de Lint book, about a modern-day magic house, a druid, a Celtic bard, Native Americans, elves, wizards, um, am I forgetting anything? :) It's fun, imaginative, and exciting, and its only real flaw is that the characters are more like caricatures. The Native Americans are humorless native warriors who live in teepees but have a strong tradition of association with the spirits, the Celtic bard talks like, well, a Celtic bard from legend, etc.. And, like his other early books, I feel like it pushes his magickal learning and agenda a bit too hard. But these are all relatively minor complaints, and it's a fast-paced and fun story that I really enjoyed. And I was deeply dubious about the idea of Celts coming over to America in pre-history, but it turns out there was probably a weird influx of Irish monks around 600 AD, who lived with and traded ideas with the Native Americans. Who knew?
  
  Anyway, fun read, and my kids and I were fascinated by the magic house. :)
• 
  l

  I need a 'I can feel the soil falling over my head' shelf. Or maybe a 'bored before I even began' shelf.
• 
  Kevin Bergin

  Moonheart was a truly satisfying read for me. I fell in love with Tamson House, its magic.
  
  This is the first book I have read by Charles de Lint and I will go looking for more.
• 
  So, I Read This Book Today

  Who among you remembers the first book you read? Or, shall we say the first which made a real impression on you? For me, I grew up on a household that didn't read, and didn't really provide books for a budding bibliophile. So, I did what I could, mostly snitching school books to read from my older cousins. The first I really remember? Being six years old and sneaking my cousin's high school mythology books from her room. The ideas there absolutely fascinated me. Gods and monsters. Far distant lands with strange languages and customs. I was truly hooked on mythology, fantasy and reading itself. It was an epiphany of massive personal proportions.
  
  Back in the middle/late 80's, I was gifted with “Moonheart.” Another epiphany of massive personal proportions. I fell into the story, into it's world of myth and legend, and became an Urban Fantasy fan for life. Moonheart's story was, for it's time, groundbreaking. While most mythology of the time retained the ancient characteristics of other myths and legends, Moonheart brought the stories into the modern day, creating the modern Urban Fantasy genre. Of course, Emma Bull's “War For The Oaks” winner of the Locus Award for Best First Novel , Terri Windling's “The Wood Wife” and Ellen Datlow's various compilations of UF helped cement my love at the time. I spent years collecting all the works I could get my hands on, including a rare, signed copy of de Lint's “The Buffalo Man,” illustrated by Charles Vess, that I cherish.
  
  Moonheart is perfect for anyone who wants to study the beginnings of UF, but it is a tremendous story for what it is – a beautifully written tale combining music (another of my passions), fairie, mystical forests, mythical artifacts and beings and layers upon layers of worlds. De Lint is a musician himself, and his writing is a paean to the musical heart of myth and mystery.
  
  A living house which straddles two worlds, a cast of characters who I love dearly. Moonheart is a beautiful story I return to over and over again.
• 
  Kara Babcock

  I’m Canadian and a lover of fantasy but have somehow managed not to read any books by Charles de Lint, ever. I’m not sure if this represents great skill or just gobsmacking stupidity on my part. It’s probably some mixture of the two. My roommate lent me Moonheart, promising I would love it in tones that made me hope I would, lest awkward differences of critical opinion ensue. Fortunately, I do love this book. De Lint does an amazing job combining Celtic mythology and contemporary Canada to create a compelling urban fantasy.
  
  Moonheart starts off slow. De Lint takes his time introducing the large cast of characters. We meet Sara Kendell and her uncle, Jamie Tamson (aka Tams). They are rich—and not just wealthy, but super-rich. (I assume that de Lint did this in order to justify why Jamie has such an awesome house, but it’s fun to watch him twist himself into knots justifying how Jamie and Sara can be such down-to-earth people despite their insane wealth.) We meet Kieran Foy and his mentor in all-things-magery, Tom Hengwr. We meet the honourable but hard Inspector Tucker, an RCMP officer.
  
  Did I mention it’s set in Canada? Ottawa, to be precise. I’ve never actually been (I hear it’s nice, though), so de Lint’s descriptions of the streets and neighbourhoods didn’t jog any fond memories as I’m sure they would for some people. Nevertheless, there’s just something so … Canadian … about the way he describes our capital city. It’s nice to see it featured in so good a novel. And it’s nice to see the RCMP grappling with the possibilities of paranormal threats instead of leaving it to the FBI and the CIA.
  
  Also, I wasn’t aware of how old the book was until the conspicuous lack of references to cell phones, the Internet, and the paucity of computers in general drove me to look at the copyright page: 1984! Moonheart holds up really well, though, because de Lint has crafted a story that’s perfect for its time. Although it is possible to write great urban fantasy set in a twenty-first century city, the motifs and tropes that one embraces will be different. I don’t think it would alter de Lint’s grand theme about the inevitable changes in human society, but the way he would deal with those changes would be different, and even perhaps more obvious. By dint of its time, Moonheart has more breathing room: the Cold War is over, but the frenetic digital era has yet to take off.
  
  This is reflected in the pacing of the novel. As I mentioned above, it takes a while for Moonheart’s conflict to get going. This works, though, because de Lint’s writing is good enough to keep the reader interested. There are few outright boring scenes in this book; no matter which group of characters we’re with, something interesting is happening. Though there is a fair amount of dialogue, de Lint has the ability to seamlessly scatter exposition and description within a conversation. All in all, reading Moonheart is a pleasant and effortless experience that belies the complexity of what’s actually going on.
  
  I mean, let’s step back for a moment: the “mundane” characters (for wont of a better term) in this novel stumble into the middle of a 1500-year-old feud between a Celtic bard (who is ostensibly dead) and a druid (who is now just a crabby old man, because that is the fate of all of us). It is actually more complicated than this, for reasons I can’t go into because SPOILERS. Along the way, the characters learn that magic is a) very real and b) not actually all that fun. In this universe, magic—at least for humans and certain types of creatures who seem to be related to or have human ancestors—is all about centering oneself and having inner calm. And then you can blast people with fire.
  
  Kieran and Sara meet the aforementioned bard, Taleisin, and Sara falls in love. She engages in some time-travelling shenanigans that probably make things worse, before becoming relevant again just in time to participate in the climax of the novel. If I have to lob any criticism vaguely in Moonheart’s direction, it’s Sara’s role and development. Don’t get the wrong idea: like all of the main characters, Sara changes throughout this novel, and de Lint spends a good amount of time depicting it. Compared to the other characters, however, she seems to have the least amount of page-time where she actually does something—there is a lot of waiting and complaining going on. This is a shame, particularly since she’s the only major female character in the book, and her role is connected to the title.
  
  Meanwhile, Jamie, Tucker, and a biker named Blue find themselves trapped in Tamson House with an assortment of other characters of various loyalties. Not only is the house under siege by mysterious, wolverine-like shadow creatures, but it has hopped its interior into an alternative dimension. (Yes, it’s the kind of magical, semi-sentient house that every fantasy book needs and most fantasy readers would want. It is awesome.) They have to fend off this assault, figure out how the house got into this dimension and how to get back, and deal with internal strife. Their only source of information is a comatose, healing Tom Hengwr, who certainly knows more than even he is able to say. As all this happens, an external enemy lies in wait, looking for a way into the house to kill Tom and everyone inside (but especially Tom).
  
  In this way, Moonheart is both an intense action novel and a mystery as well. The characters (and to some extent the reader) have to piece together how these various, almost disparate myths and stories relate to what actually happened so many centuries ago. I know almost nothing about Celtic mythology, so I’m can’t speak to how accurately or well de Lint represents it here. But I think he uses it to good effect. He embraces the convention in fantasy that the old gods and old magic have faded in proportion to humanity’s belief in them fading; elves and manitou and related spirits have withdrawn from our world into the Otherworlds as humanity turns to science and technology and away from nature and mythology. Unlike some novels, though, Moonheart does not view this as depressing; it just is, and there is no point in complaining.
  
  De Lint hints that the time of even wizards is drawing to a close, that soon magic in general will be gone from our world. He doesn’t explore this as fully as he might; Moonheart ends with the surviving characters changed irrecovably, but the extent of how those changes affect what they do with the rest of their lives is an open question. I definitely get the sense, however, a major point de Lint makes here is how the battles one fights always change one, and those changes are usually unforeseen. None of the major characters is the same by the end of the book. Some of them have undergone major transformations, while others have merely (merely) had their world-views altered. Regardless, Moonheart emphasizes how life is never static; by definition, experiences—and particularly conflict—force us to make choices about who we will be. Will we fight with honour? Will we let pride be our undoing? Will we embrace what we see or deny that it is happening?
  
  So, in addition to its action aspects, Moonheart is an excellent fantasy novel. De Lint balances mythology and magic with the novel’s modern-day setting. It’s been a long time since I have read such a nice, original urban fantasy story. It reminds me a little of
  Faerie Tale, but it’s never quite as dark. The two books are similar in that both are set strongly in this world but also have links to other, more fey worlds, and the characters’ discovery of the reality of magic and magical creatures gets them into deep trouble.
  
  If you like fantasy, read Moonheart. It’s as simple as that. I can’t guarantee you’ll like the characters, the plot, or the story quite as much as me. But de Lint’s skill as a writer, combined with this story, are more than enough to make me sing this novel’s praises.
  
  
  
• 
  Stephen

  For years I have heard great things about Moonheart. So much hype centers around this as a defining work in the career of Charles de Lint. I had read several works by de Lint and liked them all. However, all the hype made it hard for me to get started and this book sat on my shelf for a year.
  
  Then I started reading. The book starts in 'real world' Ottawa with introductions for some of the recurring 'main' characters. This part moved nicely along and set up the blend of mystery, urban fantasy, and folklore that I had been told about. I was pulled into the story of mages, Paranormal Research Branch agents, and Celtic myths awakened in present day Canada. Then things slow down as a landslide of characters are introduced.
  
  There are a lot of characters in this book! Many are featured in their own sub-plots. Sometimes the switching from one character's story to anothers gets really disconcerting and makes for a really tough read. I felt overwhelmed and had to take it very slowly through the middle of the book (about pages 150-350).
  
  Then, suddenly the action ratchets up around page 350 and all the characters begin to weave together into the primary plot line. The great story that has been hyped suddenly presents itself over the final 80-90 pages.
  
  Overall, I liked the story and enjoyed the weaving of fantasy and modern mystery. I was most impressed by the development of the Tamson House as a character (a house that is a living being straddling several worlds while sitting downtown Ottawa). As one of the fore-runners of today's Urban Fantasy, this is a great book in many ways. I still like de Lint's earlier works better(Riddle of the Wren, Harp of the Grey Rose).
  
  As the book is split into 4 parts, I will rate the parts first.
  
  Part 1 and Part 4 - 4.5 Stars
  Part 2 and Part 3 - 2.0 Stars
  Overall - 3.0 Stars
  
  If you like a fast pace and lots of action, you may want to skip this one. If you like Urban Fantasy and want to see one of the original stories that got it kick-started as a genre, then read this. If you are a fan of Celtic myth, nature magic, and other-dimension exploration, read this book.
  
  
  
  
  
  
• 
  Christina

  I think if I'd tried reading this book in the late nineties, I would have actually made it all the way through. Maybe even liked it. In the nineties, the New Age flavor of this fantasy world would have been less jarring, because Native American appropriation and Celtic mysticism were in style. Also, in the nineties, I was a teenager. I wouldn't have seen anything wrong with the way the main characters were all so quirky they could barely function in the "real world" and how they're portrayed as 100% RIGHT for doing so. I hadn't moved to Boston yet, so I might not have read "Yaqui Way" as "Yawkey Way." I also had teenage self-esteem and would have assumed that it was completely natural that every woman in de Lint's books is described as a waif with delicate bones and huge eyes. I'm always really tickled at those descriptions where the author's like "she wasn't pretty or anything" and then describes a slim, wavy-haired, large-eyed young white woman with clear skin.
  And gosh, de Lint gave us a heroine who looked like that, dresses like the heroine of Flashdance (but doesn't follow fashion because she has to be real), and is charmingly quirky. She also says "Ooooh!" when frustrated. And she faces down a rude old lady named Geraldine Hathaway who is clearly A Victorian Spinster in the 1980s.
  I might have eaten all this up in 1997. But time, etc., and now I have to spit it back out.
• 
  David Seruyange

  Moonheart captured my attention as one of the pioneering novels of the so called "Urban Fantasy" genre. It succeeded the most when the author was exploring the overlapping myths of humans. It was also a pleasure to get a sense of place from this book, which was written with an early 1980s Ottawa as its center.
  
  Some readers will appreciate some of the overlap from traditional fantasy to detective novel, complete with police reports, inspectors, and the stereotypical hard nosed cop. While it added novelty there were moments when I found myself skeptical; when cops are shooting tragg'a (demons) from a metaphysical "Otherworld" the crossing of genres became too much of a stretch.
  
  When taken as a whole the moments where de Lint is at his best make the cross genre weaknesses worth the effort. His mixture of Français québécois (Quebec French) and English is charming, his descriptions of Ottawa entice the reader to visit[1], and his exploration of Celtic and Native American mythology is fascinating.
  
  [1]For those of us without means, Google Maps "Street View" is a great place to lose a few hours.
• 
  Casceil

  I just reread this fantasy classic for the first time in twenty years. I had forgotten how much I liked it. Sarah Tams lives with her uncle, Jesse Tams, at a large and mysterious house that occupies an entire city block in Ottawa. Sarah also runs an "antiquarian" store, where they sell all sorts of odd objects. Going through storage boxes in the back room, Sarah finds some odd but intriguing items, including what appears to be a ball of clay but turns out to have a golden ring hidden inside. From that day on, strange things begin happening, and soon Sarah finds herself in Otherworld, a forested land where magic operates on certain fairly clear rules, and Sarah must learn how to use her ring to defeat an entity who is evil incarnate. While she is in Otherworld learning, Tamson House is under seige from a magical attack. It's a good thing the house is very protective of its residents. The author juggles several different story lines featuring a number of very likeable characters, all of whom are in big trouble. I thoroughly enjoyed this book, and have already purchased the sequel for my Kindle.
• 
  Avanders

  just finished listening (primarily) to Moonheart. I loved it so much. It is involved and profound and fascinating and nostalgic and enrapturing and was just the perfect thing for me just right now. I cannot believe there's no movie or tv series of this book for me to watch now. What do I read next?! This is one of those books where you feel like nothing else is going to satisfy you that same way for a while.
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  Ithlilian

  I know that deLint is classic, and that everyone should like it because of that, but I didn't like this. Yes, it is going to be different from newer urban fantasy, but it wasn't the slow pace that bothers me. I mean, I have read epic fantasy that progresses at a snails pace. It was more the overall feel of the novel. It just felt like it was from a different time, and that I would have had to be alive then to appreciate it. The style just really didn't sit well with me, and of course the plot, characters, and setting weren't that appealing to me either. It would be like reading an urban fantasy twenty years from now that was just published recently. People might not understand the Harry Potter references, the weird abbreviations, and other references to pop culture that are so overused in books now. I understand that all of those things make books relevant to the time, but something was lost in translation here. Not my style.
• 
  Sebastien Castell

  I'd never heard the term "urban fantasy" when I first read de Lint's Moonheart, all I knew was that it had instantly become my favourite genre. Over time, though, I came to realize that I didn't so much love urban fantasy as love what de Lint could do when he blended contemporary settings with intertwining mythologies - all experienced through the eyes of characters as rich and nuanced as one would find in any piece of literary fiction. The Ottawa of Moonheart, and Tamson house in particular, have a sense of realism about them that makes the more fantastical elements of the novel seem natural and even inevitable.
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  Rachel

  It's so interesting to see how Charles de Lint has progressed as a writer. You can see how his Newford and other later books evolved here. This one is heavy on bad guys who are 100% bad, and has basically one type of monster, which get kind of tiresome (there seems to be an unlimited number of the same type of slavering beasts). But he already had the gift of writing characters who you can empathize with, especially Sara in this book, and the gift of writing magic in a, well, magical way. If I'd read the book back when it was written, and when I didn't have his later work to compare, I'd probably have given it 4 stars.
• 
  Lori

  This book has many elements I like - contemporary Canadian content! Ancient Celts! Native Americans! Shapeshifters! Music! But it never adds up to a whole that makes any sense, and none of the characters are particularly attractive, nor do they seem at all real. Even the city of Ottawa feels nothing like the city I know. This is the 3rd de Lint book I've read; at this point I must draw the conclusion that he simply doesn't speak to me.
  
  For a review that perfectly expands on my own sense of the book, see
  http://www.amazon.com/review/RW6NCQUD...
• 
  Gertie

  2015 CHALLENGE
  
  I'm challenging myself this year to read 3 books off of this Readers's Top 100 list:
  http://www.modernlibrary.com/top-100/...
  
  I'm going for the least sucky looking ones that I haven't read, and which aren't 777 pages long. :-) I will choose from the books on this shelf.
  
  .................
  
  Moonheart was okay. That's really all I can say - it was interesting enough that I didn't give up on it, but not nearly compelling enough for me to read more in the series. That's all I'm going to say about this one - which is a good sign of my ambivalence, I suppose. :-P
• 
  Emily

  I read this in college after a friend strongly recommended it. This is easily a world that you can fall into, with believable characters in an unbelievable world. The best way to describe this book is an "urban fantasy," but it's more than that. There are dusty bookshelves, mysterious artifacts, a house that transcends earthly limits, a biker dude named Blue, a computer named Memoria, and Native American rituals. This is a great way to introduce yourself to Charles de Lint.
• 
  Steven

  This is an urban fantasy that delivers on every promise it makes; unlike many of the current crop, this book gives you characters to really care about, as opposed to making the protagonists nearly as unlikable as the antagonists.
  
  Well worth the read for any who like Celtic mythology, shamanism, or just a little magic in your everyday.
• 
  Sue

  This was a reread - I first read Moonheart back in the 80s and had forgotten the plot for the most part. I liked the book better this time around, and updated my personal opinion of the book to 4 stars. De Lint is a wonderful writer, and has gotten better over the years, but the framework of his story telling ability is apparent even in this early work.
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  Cathy

  I loved this book when I first read it (20+ yrs ago?) and the at least 3 times I read it since. It's been at least 5 years, so it looks like it's time again. I never considered it to be urban, didn't even know the term the, so I am very interested to see how I view it through my slightly older eye.