Sara Masarik
Tag: Book Review
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Mara, Daughter of the Nile by Eloise Jarvis McGraw is often recommended for advanced middle grade readers. I have even seen it recommended for strong readers who are 8+. But, I want to offer a firm caution and suggest that this book is not at all appropriate for young readers, and I have some concerns for teen readers. While the plot moves quickly and the Egyptian backdrop is exotic and intriguing, the heart of the story centers firmly on a romantic tension that is far more suited to an adult spy novel than to a middle school bookshelf. The attraction between Mara and Sheftu is intense, filled with longing, and is deliberately made more complicated by a political scenario that young readers will find frustrating to follow or boring.
My primary concern with the novel lies with the dynamics between Mara, the slave girl, and Sheftu, the underground rebel. Sheftu is playing a high stakes game of deception in the hopes of saving Egypt from a wicked queen. Mara, who is already conscripted as a spy for the Queen, is charmed by Sheftu. The Queen’s agent, the cruel Nahereh, serves as Mara’s handler, and he reminds Mara that he will kill her if he suspects any kind of failure on her part. Similarly, Sheftu combines flirtation with threats, reminding Mara that he will close her blue eyes forever if he senses that she is betraying him.
As the story develops, Sheftu and Mara fall in love with each other. Mara has survived slave life by being cunning. Sheftu knows that he cannot trust her. She knows that she cannot trust him. Sheftu routinely uses his physical strength and social authority to control Mara: twisting her wrists behind her back until she cries out in pain, pinning her against walls, and threatening her with the power he holds over her life. Yet these acts of dominance are interwoven with flirtation, charm, and moments that the story frames as romantic. In several scenes, physical intimidation slides into a forced affection, and the narrative expects the reader to interpret this as irresistible tension rather than a violation of dignity. This mixing of degradation and desire is a pattern I do not want normalized for young or teen readers, who are still forming their understanding of what healthy affection looks like. (I will include screenshots of a few representative scenes at the end of this review so that parents and librarians can evaluate the content for themselves.)
The political plot, too, is unexpectedly complex. Mara loses track at times of whom she is lying to and why. For most of the story, she doesn’t care who she serves. As a slave, neither faction recognizes her as a person anyway. Younger readers will likely find the shifting allegiances confusing or dull, and without a strong grasp of the stakes, the story becomes more about the romantic entanglement than the historical drama.
This is what makes the novel all the more frustrating: the story itself is undeniably creative and intriguing. I love stories set in Egypt, and I wanted to be able to offer this one to my teen readers so they can marvel at Egypt. Instead, Egypt becomes a highly decorated set piece, described but never truly explored. The central conflict between the Pharaoh Queen and the Pharaoh King should have been fascinating to readers, but it is surprisingly thin. We learn very little about them, why their struggle matters, or why Mara should care. In terms of historical fiction quality, this book reads far more like a modern Jennifer Nielsen historical adventure (fast-paced, twisty, emotional, and superficial). I was surprised to find this kind of storytelling from an author in 1953.
Between the unhealthy romantic dynamic, the reliance on physical dominance as part of courtship, the elaborate web of deceit, and the superficial use of Egyptian history, this story does not offer enough literary or educational merit to outweigh its concerns. I believe our teens deserve stories that elevate their understanding of strength, dignity, and healthy attachment. Stories that do not confuse love with control or charm with coercion.
If you or your young readers are interested in stories of espionage, divided loyalties, and the complications of affection across enemy lines, there are far better and more virtuous options. I happened to read this novel immediately after Rifles for Watie, a truly excellent example of historical fiction that also follows a young soldier working undercover in the opposing camp. The suspense is gripping, the themes are honorable, and the romance is handled with integrity — everything that Mara attempts but does not achieve. And for readers specifically drawn to Egypt, I cannot recommend The Lost Queen of Egypt (recently republished by Purple House Press) highly enough. It is a thoughtful coming-of-age story that offers genuine historical richness, requiring a bit more patience and intellectual effort than Mara, but rewarding teens with a far more authentic sense of ancient Egypt.
Scene with Mara and a sentry at the gate that she flirts with to sneak in and out of the palace:
Scene with Sheftu referencing her willingness to use flirtation to manipulate the sentry:
And scene with Sheftu physically restraining her (a pattern of behavior between them):
