Where the Dark Stands Still

Eliasz Kowal is Liska’s love interest and the Driada’s creator and first warden. Although he is 700 years old, he looks like a “twenty-something-year-old.” The Leszy has a “[s]lender face, hair like alabaster, eyes bright and wicked green” (69), and antlers. His handsome appearance both enchants and unsettles Liska, whose culture’s folktales are filled with stories of demons’ “treacherous beauty [...]—enthralling and deceitful, good for nothing but tragedy” (69). The Leszy is a mysterious individual who conceals his past and his plans from Liska. This adds to the story’s suspense and leads Liska to spend much of the plot sneaking around him in search of information instead of simply asking him or sharing her schemes. One reason for Eliasz’s intense secrecy is his lingering grief over Florian, who sacrificed himself to Weles after learning about the old god. The Leszy’s characterization is also shaped by the “self-martyring tendencies” that lead him to shelter humanity from demons at great personal cost. Although the Leszy’s secrets and scars come between him and Liska, she ultimately falls in love with his noble, selfless qualities.

Eliasz plays a key role in the novel’s fusion of genres and exploration of redemption. Poranek reimagines the Leszy, a forest guardian in Slavic folktales, as a human who becomes a supernatural entity through an alliance with a demon. This develops the theme of The Enduring Relevance of Myths and Folktales and exemplifies the strong influence of Slavic mythology on the narrative. Poranek’s novel is a retelling of Beauty and the Beast, and Eliasz fills the Beast’s role with his inhuman form, magical manor, and penchant for bargains. The story also fits into the genre of fantasy romance. Liska doesn’t trust the Leszy when they first meet, but they fall in love and discover that they are “twin souls [...] tied in fate, destined to live and die as one” (240). His dynamic with Liska fits the tropes of slow-burn romance, enemies-to-lovers, and star-crossed lovers. Under Liska’s influence, the dynamic Eliasz changes from a haughty, guarded figure to a tender and lovestruck soul. Like the protagonist, Eliasz is on The Quest for Belonging and Redemption, and he ultimately redeems himself by giving his life to stop Weles during the novel’s climax. Eliasz’s actions shape other major plot points, such as the inciting incident when he makes his first bargain with Liska and the happy ending in which the lovers are reunited. Eliasz infuses Poranek’s dark fantasy with elements of romance, suspense, and folklore.

Marysieńka is Liska’s cousin and best friend. The young women are the same age, but Marysieńka has “flaxen hair, rosy cheeks, and wide, fawn-brown eyes” whereas Liska has olive skin, brown hair, and blue eyes (52). The contrast between the girls’ appearances reinforces Liska’s belief that she looks “plain.” Their friendship is a source of joy and comfort in the protagonist’s childhood, which is marred by loss and intolerance. The young Marysieńka comes to her cousin’s defense when Tomasz bullies Liska and accuses her of having magic: “There is nothing wrong with Liska!” (54). However, Marysieńka’s trust and loyalty turn to fear after Liska reveals that she has supernatural powers and kills her husband. Throughout the novel, Liska is haunted by the memory of “Marysieńka, mouth open in a scream, crumpling to the ground…” (28). In Marysieńka, Poranek depicts an average peasant woman whose life is upended by the supernatural.

Although Marysieńka is a minor character, she has a dynamic arc. As a child, she dreams of moving to the city, but she feels that she must sacrifice her own goals for the sake of her family’s financial stability when she grows up: “You think there is much work to be given to lone women from border villages without a coin to their names?” (164). Marysieńka’s arranged marriage to the controlling Tomasz illustrates the lack of options for women in Stodoła. At the end of the novel, Poranek reveals that Marysieńka is living out her dreams as “a seamstress in Gwiazdno” (346). The narrator describes the character’s growth by comparing her to a butterfly: “She has shed life’s trials like a butterfly sheds its cocoon and has grown stronger for it” (347). Butterflies serve as a motif of The Magic of Self-Acceptance, so this simile demonstrates how Marysieńka has emerged from social obligations and grief to achieve self-actualization. Additionally, Marysieńka develops the theme of The Quest for Belonging and Redemption. Her friendship is Liska’s main source of belonging in a distrustful society that demands her conformity. For this reason, Marysieńka’s rejection devastates Liska and sends her into the Driada on a desperate quest for redemption. Near the end of the novel, Marysieńka apologizes to Liska for the hurtful words that catalyzed the plot: “That day we spoke at the grave, I was not in a good place. I lashed out, and I shouldn’t have” (347). The young women’s reconciliation adds to the theme of redemption and the novel’s happy ending. Marysieńka plays a fundamental role in Liska’s quest for redemption, and she attains The magic of Self-Acceptance.

Kazimiera’s crusty dialogue, heart of gold, and deep wisdom make her an archetypal mentor figure. The narrator offers the following description of the elderly woman when she’s introduced in Chapter 18: “Like the oldest books in the Leszy’s library, she is history embodied, wrinkled skin like old paper and eyes milky as binding glue” (151). This simile is even truer than Liska originally realizes because Kazimiera is centuries old even though she looks about “seventy years old” (152). Kazimiera’s age comes with great wisdom and considerable magical power, and she uses both to help the main characters and the inhabitants of her village. The nurturing woman is gruff with her words, and this trait adds humor to tense moments. For example, Liska comes to her in the middle of the night after her breakup with the Leszy, and Kazimiera answers the door, saying, “Somebody had better be on their deathbed if you’re waking me up” (285). Kazimiera is an important ally to Liska and the Leszy.

As Liska’s mentor and one of the Leszy’s former apprentices, Kazimiera supports the novel’s two main characters. She provides encouragement and counsel to Liska during one of the protagonist’s most trying moments: “I think God himself put you on this path. He meant for you to meet the Leszy, and if that is so, then He must think you can break this wheel” (287). This advice contributes to Liska’s decision to return to the Leszy, thus facilitating the story’s climax and happy ending. In addition, Kazimiera’s words support the theme of The Magic of Self-Acceptance because they offer Liska a new perspective on spirituality that affirms her magic rather than rejecting it. Kazimiera also possesses a unique insight into the Leszy’s character because they’ve known each other for centuries, and she highlights his positive attributes in her conversations with Liska: “[H]e took me in when no one else would. He gave me a home, trained me, aided me when I called” (289). Kazimiera supports the novel’s love story by helping Liska realize her and the Leszy’s potential for good.

Florian is Eliasz’s former apprentice and lover. When Liska summons his ghost in Chapter 29, he is tall and broad with “curly chestnut hair,” “sharp gray eyes,” and a “wide, gaping hole in his chest” (267). This fatal wound foreshadows the revelation that Weles claimed Florian as a sacrifice. Knowing that he lacks the power to free Eliasz from Weles, he nonetheless finds a way to preserve his power and locate “someone who can break this curse” (277). As indicated by his determination to help the Leszy, Florian is deeply loving. He willingly offers himself to Weles to spare Eliasz from witnessing his death, and he’s glad that Eliasz has learned to love again. Eliasz remembers Florian as “witty and wise” (300), and he demonstrates these traits when he gives Liska vital information about Weles and jests about his “lovely skeleton.” Florian’s characterization as a warm and bright individual explains his lasting impact on the Leszy.

As the self-described “[l]over, apprentice, [and] professional pain in the behind” to Eliasz (270), Florian makes major contributions to the plot and the Leszy’s character development. Eliasz and Florian were only together for three years, but Kazimiera credits him with much of Eliasz’s growth: “He made Eliasz better [...] Put a spark in his eye, tempered his bite” (180). The transformative nature of their relationship explains why Florian’s death at Weles’s hands pains the Leszy so greatly and intensifies his longing for redemption. Even though he dies before the story begins, Florian shapes the main plot. His hound, Mrok, and his farewell letter to Eliasz add foreshadowing and intrigue during the rising action, and he provides essential exposition and raises the story’s stakes when he tells Liska about the sacrifices. Although Florian appears in only two chapters, he exerts a major influence on the novel’s structure and main characters.

Jaga is a hearth-spirit tethered to the Leszy’s manor and one of Eliasz’s former apprentices. In life, she was “round-faced, with small, dark eyes and shining hair” (259). After her death, she becomes a skrzat “no bigger than Liska’s hand” with “[b]eady eyes black as coal” (75, 67). By depicting the character in both forms, the author reminds the reader that the novel’s spirits used to be human. Although Jaga doesn’t remember that the Leszy is responsible for her death, she is resentful and distrustful toward him because he banished her after she told him that he “cannot mourn forever” over Florian (93). The spirit’s acts of petty vengeance inspire Liska to name the skrzat “Jaga after the witch of legend” (75). Jaga adds an element of humor to the often-tense dark fantasy novel with her wry remarks. For example, she criticizes Liska for developing feelings for the Leszy: “So much for caution, girl. A wilted turnip would have been a better choice” (230). Despite her snarky commentary and penchant for grudges, Jaga becomes an important source of support for Liska.

Jaga develops the plot, genre, and theme of belonging. Poranek purposely builds parallels to Howl’s Moving Castle, and the witty hearth-spirit’s similarities to the fire demon Calcifer bolster the resemblance between the two fantasy romances. The skrzat is a helpful ally to the protagonist because she can retrieve memories by touching objects. Poranek uses Jaga’s ability to provide vital exposition about the Leszy’s past, including his relationship with Florian. In addition to aiding Liska in her search for answers, Jaga is a comforting friend who helps the protagonist endure traumatic memories: “Jaga stays with her through the night, curled over Liska’s feet. When the nightmares inevitably come, Liska hugs her as she trembles” (188). Jaga cannot participate in the climax because she is bound to the manor, but Liska thinks about her when she decides that the manor is her true home at the end of the novel: “The Leszy is gone, but the Driada is not. The House Under the Rowan Tree is not. Maksio and Jaga are not” (349). Jaga’s presence in Liska’s thoughts during this momentous choice reinforces her importance to the theme of The Quest for Belonging and Redemption.

Maksio is a rusałka Liska takes in after the attack on Wałkowo. He usually assumes the guise of a boy with “lanky limbs” and “straw-colored hair” (175). When the protagonist first sees him, his appearance leads her to believe that he is an orphan: “He looks to be about eleven, though his haggard frame adds years to his appearance” (175). In an eerie twist, his ability to convincingly impersonate a human likely means that he has taken human lives. From his introduction, Maksio is an enigma: “Something about him seems off, though [Liska] cannot put a finger on why” (175). Very little is known about the character’s life before the protagonist brings him to the manor. Poranek portrays the spirit as clever and loyal. He quickly picks up human skills, such as reading, writing, and chess. In a defining moment for Maksio’s characterization, he uses his rusałka powers when he thinks Liska is in danger even though exposing himself as a demon nearly costs him his life. He rarely speaks, which adds to the impact of his dialogue when he confronts Mrok: “Leave Liska alone!” (246). The clever and mysterious Maksio proves himself to be a steadfast ally to the protagonist.

As a spirit and an ally to Liska, Maksio makes important contributions to the themes of the relevance of folklore and The Quest for Belonging and Redemption. Maksio’s time at the House under the Rowan Tree turns him from a solitary, emotionally numb creature to a beloved part of Liska’s close-knit found family, which makes him a dynamic supporting character. He illustrates the enduring relevance of folklore because he’s a spirit from Slavic mythology. Poranek uses rusałki, which are “the souls of [people who] drowned” in Slavic folktales (111), to depict shifts in the protagonist’s attitudes toward magic and demons. She nearly dies at a rusałka’s hands in Chapter 2, but she defends Maksio and allows him to stay at the manor after he reveals his identity in Chapter 27. Maksio demonstrates to Liska and the reader that magical entities, whether czarownik or spirits, are not inherently evil. Maksio also advances the theme of The Quest for Belonging and Redemption. His demonic nature fills him with guilt and shame, and he strives to redeem himself by helping Liska. Like the protagonist, he struggles with inner conflict. He wants to stay at the manor even though he knows that he’s supposed to be in the Driada’s river. His “words strike a chord within Liska” because she doesn’t want to return to her village even though she feels that she should: “‘You needn’t pretend to be something you’re not, Maksio,’ she says softly. ‘Not here’” (255). Maksio’s search for belonging provides a parallel for the protagonist’s situation and helps Liska progress toward self-acceptance and belonging.