Review of Serafina and the Black Cloak

Serafina and the Black Cloak by Robert Beatty is a creepy, gothic fantasy set at the enormous Biltmore Estate in 1899. Serafina, who lives secretly in the basement of the estate with her father, discovers a dark secret: a man in a black cloak is kidnapping the children of Biltmore. Serafina sets out to discover the truth behind the cloak, and in turn, discovers much about herself.

Image

Image of Serafina and the Black Cloak by Robert Beatty; Elias, M. (2015). [Cover image of Serafina and the black cloak]. Retrieved from https://www.target.com/p/serafina-and-the-black-cloak/-/A-51074022

Evaluation

The figurative language in Serafina and the Black Cloak evokes the spooky nature of this fantasy. Without a doubt, this is fantasy steeped in suspense and horror. Beatty uses similes, personification and imagery to set the creepy tone of the novel. When Serafina first encounters the black cloak, which is stealing the children of Biltmore, she is paralyzed with fear: “It felt like a giant claw gripped her around her chest” (Beatty, 2015, p. 20). Many of the best descriptions in the novel are those surrounding the creepy black cloak: “The Black Cloak began its slow, slithering, rattling, motion” (Beatty, 2015, p. 176). The cloak is personified; with or without a person inside, the cloak itself manifests human characteristics. Throughout the novel, Beatty uses imagery to describe the cloak; as a reader, you can almost smell the deep, rotting stench of the cloak and hear the rattles within it. Beatty’s use of figurative language intensifies the creep factor of this novel.

Beatty also uses dialogue to give depth to his characters. Set in North Carolina at the turn of the 20th century, we find a contrast between the wealthy Vanderbilt set (from New York) and the local staff who populate the “behind the scenes” part of the story. The dialogue defines the characters and their status. Serafina’s father, the estate’s maintenance man, speaks in a distinctly Southern voice: “'I’ve been gnawin’ on leather lookin’ for you,' her pa scolded" (Beatty, 2015, p. 21). When we first meet the rough coachman, Mr. Crankshod, he grabs Serafina, shakes her violently, and says, “What you lookin’ at?.. . Who is you, anyway?... What you doin’ up ‘ere?” (Beatty, 2015, p. 76). This coarse language, riddled with grammatical errors, firmly defines Mr. Crankshod as a lower-class worker. In comparison, the speech of the Vanderbilts is polished and polite; Mrs. Vanderbilt says, “I would like to do something for the families, something to bring everyone together and strengthen our spirits” (Beatty, 2015, p. 196). The contrast between the upper class and the workers is clear through their language, and this dichotomy between the classes is a key part of the story.

Beatty also does an excellent job setting the scene for the reader. Serafina and the Black Cloak takes place at the Biltmore Estate, and the grand home is almost another character in the novel. Beatty’s use of precise language to describe the Biltmore Estate lets the reader imagine the grandeur of the building. The reader can almost see the massive, ornately decorated banquet hall with its barrel-vaulted ceiling, stone walls, medieval armor and huge oak dining table (Beatty, 2015, p. 198). By contrast, the deepest bowels of Biltmore Estate are dank and dark; “Serafina made her way haltingly down the wet, sticky stairs…the ceiling dripped with brown sludge” (Beatty, 2015, p. 18). The contrast between light and dark is clear: the upstairs world is beautiful and grand, but hidden below is a dark secret. Serafina herself slinks around in the darkness, hiding from the gentrified folk who are guests of the Vanderbilts, until she finds herself ensnared in a struggle to free the kidnapped children of Biltmore. Beatty’s precise language helps the reader imagine the Biltmore Estate as Serafina sees it.

Response

I liked Serafina and the Black Cloak well enough. The mystery of the man in the black cloak is engaging and suspenseful, and I kept reading to figure out what would happen and if Serafina would solve the mystery. However, there were many times when I figured out the plot line well ahead of Serafina, and in my mind, I kept urging her to put the puzzle pieces together a bit more quickly. As a work of entertainment, Serafina is fairly engaging. The story is a mix of horror, fantasy, and mystery, and is perfect for kids who are looking for a bit of spookiness in their books. The man in the black cloak is creepy, and I was thoroughly engaged, wanting to figure out whether Serafina would escape from her numerous encounters with him. Overall, I enjoyed this book well enough, but I am unlikely to read the sequels. I feel like there are other spooky fantasies that are less predictable. However, I can see many middle-grade students really enjoying this novel. I recommend it for kids who enjoy spooky fantasies like The Night Gardener by Jonathan Auxier and Circus Mirandus by Cassie Beasley.

Conclusion

Beatty’s language throughout Serafina and the Black Cloak brings the book to life for the reader. The rich figurative language evokes a dark spookiness, the dialogue helps define the characters, and the precise language gives the reader a true sense of place. So much of this novel is wrapped up in the Biltmore Estate, and Beatty’s language serves to set the scene for the reader. Though the book was predictable for me, I do think it will be enjoyable for many middle grade students, especially those who enjoy spooky stories. The rich historical detail set this novel apart from more contemporary fantasies. 3 stars.

Citations

Auxier, J. (2015). The Night Gardener. New York, NY: Harry N. Abrams.

Beasley, C. (2015). Circus Mirandus. New York, NY: Dial Books.

Beatty, R. (2015). Serafina and the black cloak. Los Angeles, CA: Disney·Hyperion.

Elias, M. (2015). [Cover image of Serafina and the black cloak]. Retrieved from https://www.target.com/p/serafina-and-the-black-cloak/-/A-51074022