The Lost Saint by Rachael Craw

Rachael Craw’s The Lost Saint offers an imaginative and compelling entry into the world of young adult fantasy, blending elements of historical fiction, romance, and time-slip adventure. A New Zealand author and teacher, Craw has long demonstrated her ability to capture the intensity of adolescence, and here she channels that insight into a sweeping narrative that transports her protagonist (and the reader) into the turmoil of medieval Europe.

At the centre of the story is Ana, a teenager on the cusp of leaving school behind and entering adulthood. Instead of enjoying a carefree summer before university, she finds herself in Germany, trying to navigate both the awkwardness of travelling with her ex-boyfriend and the lure of local myths steeped in saints and miracles. When a party in the caves of Eadin forest coincides with a meteor shower and a sudden earthquake, Ana is abruptly pulled out of her world and dropped into the fourteenth century.

The strength of Craw’s writing lies in her careful balance of pace and characterisation. While the opening builds with an almost cinematic inevitability towards the timeslip, the narrative then slows, allowing readers to immerse themselves in the dangers and uncertainties of medieval life. Here, Ana meets Leon, a wounded holy warrior whose mistrust of her hints at the broader scepticism and suspicion she will face in a world where miracles and heresy are often indistinguishable. Their tentative alliance forms the emotional core of the novel, with sparks of romance layered over questions of trust, survival, and identity.

Craw’s portrayal of the medieval world is vivid without becoming burdensome. Snow-covered battlefields, suspicious villagers, and scheming lords all contribute to a setting that feels tangible and threatening. This is not merely a backdrop for adventure but a world with rules and dangers that test Ana’s resilience. Particularly striking is the way Craw explores themes of sainthood, belief, and power: Ana’s inexplicable presence and her apparent ability to work wonders invite both reverence and suspicion, forcing her to confront the ways in which societies define truth and legitimacy.

Characterisation is a notable strength throughout. Ana is not an effortless heroine but a young woman grappling with fear, dislocation, and the messy complications of attraction. Leon, by contrast, embodies loyalty, duty, and the weight of faith, making him both foil and counterpart to Ana’s modern sensibilities. Side characters, such as the spirited Maudwyn, provide texture and heart, ensuring the narrative never loses its human warmth amidst battles and betrayals.

Stylistically, Craw writes with clarity and emotional resonance. Her prose is accessible to younger readers yet layered enough to appeal to older audiences who enjoy a thoughtful take on romantic fantasy. The romance, restrained and carefully developed, avoids melodrama, instead reflecting the tentative vulnerability of two people thrust together by extraordinary circumstances.

Ultimately, The Lost Saint succeeds both as an entertaining escapist adventure and as a thoughtful exploration of identity, power, and belonging. It will particularly appeal to fans of Outlander or romantasy who seek a younger, fresher perspective, while also offering enough depth to satisfy readers who value character-driven narratives.

With its blend of action, atmosphere, and emotional honesty, Craw’s novel marks a significant contribution to contemporary YA fantasy and positions her as a voice worth watching.

Reviewer: Chris Reed

Allen & Unwin