Cassandra Mortmain lives in a castle (moat and all). But in depression-era Britain this derelict, centuries-old stone heap is more of a cave than a king’s palace (“…nothing romantic about being shut up in a crumbling ruin surrounded by a sea of mud.”). Yet it’s strangely suited for a 17-year-old with little to do but chronicle her family's eccentricities; her author/father's writer's block essentially leaving the family financially bereft. Her ashamed-to-be-poor older sister Rose and artsy stepmother Topaz--whose experimentalism includes lute-playing and outdoor nudism--each add their own bit of ambiguity amidst decidedly 'medieval' surroundings. It's a 'roughing it' kind-of-life even from Cassandra's laid-back perspective; acknowledging the castle's limitations while simultaneously promoting its bohemian distinction.Salvation appears one rainy night when a pair of (wealthy) American brothers--Neil and Thomas--happen upon the doorstep (car trouble). Their arrival kindles new life to the castle; sparking interest from both girls and even resurrecting the despondent father James--Neil being a devotee of James' only popular book. It doesn't take long for Neil to fall in love, propose, and become engaged to the beautiful Rose; throwing the plot into full-swing nearly overnight.
But this faux faerie tale is only a setup as Neil, though not a bad guy, doesn't quite complete the 'prince charming' profile; leaving room at the forefront for secondary characters--Thomas in particular--to steadily emerge with time. All is revealed in rhythm with Cassandra's emotions (Neil being the object of Cassandra's affection), which indirectly recieve attention even if offset by the other characters. Domestic fiction it may be, 'Castle' (despite appearances) is no faerie tale upgrade. Any satirical element is subtly downplayed by the narrator's authenticity--a lighthearted, if enigmatic style which manages to level the playing field; slyly rooting out any presumptious or sentimental notions.
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