![]() ![]() ![]() Despite all the physical sensuality, it is the descriptions of music which are most compelling perhaps because der Erlkönig (an explicit David Bowie insert) remains shallow wish fulfilment, transforming from “austere young man” to mischievous playmate to rapacious lover to devoted swain, all with exquisite tortured angst. ![]() But at what cost? Elisabeth’s first-person voice is all extreme passion: jealousy, self-loathing, frustration, rage, desire, rapture, and grief, expressed in lush prose that feels poetic in small doses but eventually becomes exhausting. Now she can finally indulge her secret longings to compose music…and for the Goblin King himself. “Queer and strange and unlovely,” Elisabeth devoted most of her 19 years to supporting her younger siblings. When der Erlkönig (or “Goblin King”) ensnares a Bavarian innkeeper’s daughter for his bride, her sister, Elisabeth, dares to rescue her-and take her place. ![]() Germanic legends and the Persephone myth blend with the Labyrinth film to deliver a torrid fantasy romance. ![]()
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