Where the Dark Stands Still

Drawing upon her Polish heritage, Canadian author A. B. Poranek uses Slavic mythology to craft her dark fantasy novel. The central mythological figure in Where the Dark Stands Still is the Leszy. In Slavic folklore, the Leszy is the tutelary deity of the forest. The shapeshifter is often described as an old man with green eyes and horns who can also turn into different animals. In some stories, the Leszy is a trickster deity who plays pranks on humans, although he may offer mortals his protection when he is in a benevolent mood. The Leszy in this novel is 700 years old but appears as a handsome young man in his twenties. Whether in his humanoid form or the guise of a stag, he has antlers and green eyes, in keeping with Slavic tradition. While the humans in Poranek’s novel fear the Leszy, he is a steadfast guardian who dedicates his existence to defending the mortal realm from demons.

Another key mythological figure in the novel is Weles, the Slavic god of the underworld who wars against Perun, the god of the sky. These respective entities may carry devilish and heavenly connotations for contemporary audiences influenced by Christianity. However, Slavic deities weren’t understood as good or evil but as part of the opposing forces of nature shaping the universe. For example, Weles has the positive attributes of encouraging agriculture and offering mortals wisdom and guidance in the myths. In Poranek’s novel, Weles functions as the antagonist and is one of “the primordial demons worshipped by the pagans” rather than a true deity (71). Cruel and vengeful, he seeks to punish humans for ceasing to revere him. Poranek’s reimagining weaves together the mythical figures of Weles and the Leszy in a unique way. The protagonist’s love interest, Eliasz Kowal, is a mortal who sacrifices his humanity and becomes the Leszy in exchange for power from Weles.

Other contemporary authors who take inspiration from Slavic mythology include Andrzej Sapkowski (Blood of Elves, The Last Wish, The Sword of Destiny), GennaRose Nethercott, and Gabriela Houston. Nethercott’s novel Thistlefoot (2023) draws upon Jewish and Slavic folktales about Baba Yaga, a witch who is portrayed as kindhearted in some traditional tales and malevolent in others. Siblings Bellatine and Isaac live in the United States, are descended from the famous witch, and inherit her chicken-legged home. Like Poranek’s novel, Thistlefoot involves a sentient house and the process of healing from trauma. Sapkowski’s acclaimed action-fantasy series, The Witcher, follows Geralt of Rivia. In his work as a monster hunter for hire, the titular witcher contends against several creatures from Slavic mythology, including strzygoń and kikimora (female house spirits that can be good or bad). Whereas Poranek humanizes the Leszy, Sapkowski identifies leszy as one of the monsters that live to kill humans in The Last Wish (1993) in keeping with his series’ dark tone and focus on combat. Like Liska in Where the Dark Stands Still, Geralt faces prejudice due to his arcane powers and undergoes a process of self-discovery shaped by destiny. The protagonist of Houston’s The Second Bell (2021) also faces ostracization. In this Gothic horror Slavic folktale retelling, Salka is condemned as “a monster with unholy abilities” by her society because she is a striga born with two hearts (“The Second Bell by Gabriela Houston.” Penguin Random House, 19 Mar. 2021). Just as Liska gradually discovers The Magic of Self-Acceptance, Salka must decide whether to embrace her supernatural abilities and shape her own future. From dark fantasies to diasporic fairy tales, the work of contemporary authors continues to explore and reimagine the rich lore of Slavic cultures.