Prince Hugo O'Neill goes in search of the Sunshine Girl in this novelized retelling of a traditional Irish folktale, related to the author by Donegal storyteller Joe McCafferty in 1978. Following the death of his mother when he is a young boy, Hugo suffers many years of abuse at the hands of his malicious stepmother, into whose hands his neglectful father places him, before eventually escaping and making his own way in the world. Settling in another part of Donegal, he soon has his own castle, and a never-ending source of wealth - both supplied by the wishes he is granted, after winning some card games with a trio of magical swans - but his luck eventually turns. When Hugo loses a card game to the swans, he finds that he must fetch the Sunshine Girl within the space of a year, or lose his head. With the aid of the motherly old woman who lives near his castle, he soon sets out, visiting the Rain, Wind and Frost giants on his journey, before eventually locating the Sunshine Girl in the far east, in the palace of her ogre-father. Aided in a series of impossible tasks by the young woman for whom he has long sought, Hugo falls deeply in love with the Sunshine Girl, and eventually they escape together, evading the ogre's pursuit with the help of three magical stratagems. But is the adventure over, or will new challenges arise, when Hugo brings his would-be bride home...?

Described by the author as a variant of 'The Girl as Helper in the Hero's Flight' tale-type, Hugo and the Sunshine Girl reminded me of any number of folktales I have read over the years. The magical swans, although villainous, are reminiscent of the enchanted Children of Llyr, while Hugo's journey recalls the similar quest undertaken by the heroine of East o' the Sun, West o' the Moon. Just as she had to visit the various winds for news of her lost bridegroom, so Hugo visits the three giants, each of whom is convinced to help him (rather than eat him), by the gift of bread baked by their sister, the motherly old woman who aids Hugo in his distress. The escape from the ogre's pursuit, with the aid of three magical objects, was also a familiar element, as was the temporary forgetfulness of Hugo, upon the couple's arrival at their home. I enjoyed Hugo and the Sunshine Girl, largely because of these many familiar folkloric themes and plot elements, although I would not describe it as a particularly strong work of fantasy, on its own. I was interested to see how Ní Dhuibhne would play with the elements of her story, but less invested in the characters themselves, or in the resolution of their adventures. Recommended to readers with an interest in the use of folklore, particularly Irish, in fantasy fiction, or in the recently popular sub-genre of fairy-tale fiction. ( )