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Michael Dirda

Miranda Popescu is definitely unfindable, hidden away in a completely different world -- our world -- ignorant of her identity, constantly guarded by avatars of those loyal retainers De Graz and Prochenko. But mostly Miranda is kept protected by The Essential History . For its pages don't just describe, they create. "The world," we learn, "is in two places. One false and one real." Ours is the fabricated, false world. As the baroness accuses the powerful sorceress Aegypta von Schenck (named in homage, I suspect, to John Crowley's Aegypt sequence), " 'Was all this necessary, just to make a place of refuge for your niece? These wars, these names and dates. These fantastical theories -- Copernicus, Darwin, Freud. Look at this section on the United States.' Her fingers moved over a summary of the NASA space program, a description of the achievements of Apollo XI. 'As if anything like this could come out of that wilderness.' "

Aegypta explains that she had 90 scholars working for a decade. Sadly, the First and Second World Wars had to be inserted into 20th-century history simply to ensure the peacefulness and security of Miranda's childhood in Massachusetts. "The project was not finished when the empress turned against me," adds Aegypta. "At the end I was working by myself. Originally, of course, I had hoped to transform the world." Apparently, paradise would look a lot like a quiet small town in the Berkshires. Seems about right.

But in the "real" world, everything pulses with a fierce spectral energy and force. One can communicate with the dead -- and even go down into Hell and return alive. A powerful mage can project his astral image across time and space or create lifelike illusions by mind-power alone. Sensitive empaths may be employed to send messages or be transformed into zombie-like assassins. In America, creatures like the Wendigo are as real as woolly mammoths. There, the "Indians" are actually degenerate Englishmen. Most unexpected of all, each human soul takes the form of some totemic animal -- a bird, butterfly, lizard -- that emerges from the mouth at death but can sometimes be glimpsed in ordinary life. Miranda is frequently referred to as the White Tyger, and we can guess that this is her spiritual self. (I foresee, at some point, the forces for good rallying to the White Tyger, who will lead them into epic battle.)

As A Princess of Roumania continues, Park plays with odd resonances between his two worlds. A house burns outside Bucharest as a fire breaks out in a school in Massachusetts. Deaths subtly mirror each other. More and more, it's clear that the plan to shelter Miranda is breaking down. Or could the plan be more subtle than anyone realizes? And might the princess have grown into a young woman quite different from the one foreseen?

Not least, who is good, who evil? The most wicked characters in the novel often perform acts of charity and kindness and view themselves as more sinned against than sinning. Miranda's protector clearly thinks nothing of the suffering caused by two European wars; all she cares about is keeping the White Tyger safe. When Miranda herself starts to see death with some frequency, she thinks, "This was getting easier. . . . Maybe that's what a princess was, someone who didn't care whether people lived or died."

A Princess of Roumania progresses slowly, but Park has much he wants to show us along the way. Virtually all the characters are surprisingly complex, true mixes of light and dark, often unsure of what they're doing, suffering both mischance and, less often, good fortune. In the end, just the wrong person comes into possession of Kepler's Eye, an amulet imbued with a shocking power.

Miranda's story will continue next year in The Tourmaline . In the meantime, A Princess of Roumania should be enough to soften the blow of summer's end. At the least it provides an escape from -- or is it to? -- the "real" world. ยท

Michael Dirda's e-mail address is His online discussion of books takes place each Wednesday at 2 p.m. on

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