Love, Simeon

Review: The Blacktongue Thief

Published by Simeon on May 15, 2021

I think I am rare as a writer, in that I approach storytelling world-first. Whatever processes occur in my brain to create ideas, those usually begin with a setting. The characters come from there, and soon the story follows. As such, I thoroughly enjoy it when I encounter a secondary world that lives and breathes on the page.

Such was the case with Christopher Buehlman’s upcoming fantasy, The Blacktongue Thief. I was unfamiliar with the author when I received the galley. But I could tell that Tor was really pushing it, and there was already some decent buzz even months out. So I decided to give it a whirl. And I am incredibly happy that I did!

Kinch Na Shannack is a thief. A fairly competent one, taught in a school of the Takers Guild. He knows all the tricks, and some minor magics besides. But he also owes the guild for his education, and he has run behind on his debts. For someone in his situation, the outcomes may vary, but they are rarely pleasant. But then the guild offers him a solution. A mission to accompany Galva — a knight from the brutal goblin wars, handmaiden to the goddess of death, and all-around badass — on a journey to a distant land invaded by giants. Kinch jumps at the opportunity to clear up his debt, even if his companion is less than thrilled. However, they both soon discover there is more to the mission — and the Takers Guild — than meets the eye.

The Blacktongue Thief just oozes atmosphere. The worldbuilding is incredibly dense, brimming with different countries, peoples, customs, dialects, religions, music, and customs. It all lives and breathes, yet somehow never overwhelms the story. Or the voice of the quippy rascal that is Kinch. He easily makes it into the pantheon of rogues turned into unlikely heroes, and his awful sense of humor and klepto instincts are a constant delight. As an aside, the author himself reads the audio version, and the Irish accent only adds more flavor to the mix.

The structure of the book is old school adventure fantasy. Kinch and Galva’s journey is told through episodic adventures, each adding to the world and moving the story forward. It allows the reader to explore the lands of The Blacktongue Thief, and the weirdos that inhabit them. Of course, this also means that some of the stakes feel a bit small. Characters are introduced and deftly developed in a few short paragraphs, only to disappear in the next 50 pages. But while I would have enjoyed some more time with some of them, the ones who matter get more than their fair share of screen time.

There is a brash energy to The Blacktongue Thief that I did not know I was missing from my recent fantasy reading. While it touches on the traditions of books like The Lies of Locke Lamora, it does so with an abandon that makes it feel truly unique. That energy seeps into the worldbuilding as well. The lands of “kin” (humans) are surrounded by the terrifying goblins and the threatening giants. Magic infuses everything, and it can be both commonplace cantrips, or high spells granting mastery over life, death, and time. Everyone has some enchanted weapon or tattoo, or knows where to go pay for some. In a way, it feels almost a little Dungeons and Dragons, but the book never goes into RPG territory.

All in all, The Blacktongue Thief is the fantasy I did not know I needed, but can’t wait to read more of. Even though it is first in a series, the book has a complete arc that opens the world to more adventures to come. And I am excited to read more of Christopher Buehlman, now that he has tattooed his voice in my imagination.

Review: Black Sun

Published by Simeon on May 5, 2021

Award season is upon us, even if the award ceremonies themselves have been pushed back. But with more time to catch up on the nominees, I am trying to execute my plan of reading every novel and novella, nominated for the Hugo, Nebula, and Locus awards. As it turns out, I had already gone through over half of them before they were even up for any awards, which only made my job easier. But some I had to go out of my way to check out.

One such title is Rebecca Roanhorse’s Black Sun.

I haven’t had much luck with this author so far. Having never read her original work, my first introduction to her was through the utterly dismal Star Wars: Resistance Reborn. Ostensibly meant to bridge the controversial The Last Jedi to the catastrophically bad The Rise of Skywalker, that book did… nothing. It had no coherent plot, no actual connection to what came after, and overall — no observable reason to exist. At the time, I was angry on the author’s behalf. It was obvious that when it came to what story she could tell, her hands had been tied behind her back, broken, amputated, then waved at her in mockery by Disney.

But a bad first impression is a bad first impression. As much as I hate the modern Star Wars canon and the no-risk approach Disney has taken to it, it’s impossible not to attach the author to a mediocre work in my mind.

Enter Black Sun. A novel nominated for virtually every award you can name off the top of your head. A “pre-Columbian American” inspired secondary world certainly sounds fresh, and the Hugo and Nebula rarely go for epic fantasy. All signs of something special. Despite the bad taste Resistance Reborn left in my mouth, I was excited.

Black Sun is not something special.

In fact, I’d argue that if one fails to read any promotional material or the back blurb, and just jumps straight into the novel, they will have a hard time recognizing the pre-Columbian inspiration at all. It’s not that the book is bad, it is just… somewhat generic.

The story takes us to the continent of Meridian, where three great cities rule the land in an uneasy alliance. The city of Tova is the religious heart of the land, and a generation ago, a great massacre rooted out most of the followers of the Raven god. However, in a distant land, the thirst for vengeance survived. And now Serapio — a young man molded into an avatar of the God — comes back to bring retribution to the Sun Priest whose predecessor laid waste to his mother’s ancient cult.

Black Sun follows three main points of view. Two of those are Serapio and Xiala — a disgraced member of a reclusive people with a mystical connection to the ocean, who now captains a small trade ship. She is hired to bring Serapio to Tova, and their destinies become intertwined. In Tova itself, the new Sun Priest is a young woman named Naranpa. Originating from the poorest class of the city, she struggles for acceptance among the backstabbing politics of the priesthood.

Or… so we are told. Black Sun commits several major sins of the epic fantasy genre all at once. For one thing, it is not terribly epic. The entire book is a setup, leading to an extremely rushed “blink and you’ll miss it” climax. What’s more, entire storylines are simply pointless. Naranpa had the potential to be an interesting character in the heart of political intrigue. Instead, she is completely passive or inefficient, perpetually surprised by obvious plot turns and doing nothing to avoid them. Serapio himself is an interesting idea — a “chosen one” who has been born for one purpose and fully accepts that. So far great, except that purpose is muddied and unclear, morally confused and ultimately boring. Which leaves us with Xiala. She is a wise-cracking rogue with a troubled past. The end.

I don’t want to unduly hate on Black Sun, but I genuinely experienced nothing about it worth the praise it’s been getting. Yes, it is very inclusive. Kudos. So are a ton of other books these days. It has a unique setting… Except it doesn’t, not really. It has a generic bronze-age fantasy setting with some vaguely non-European themes. Nothing like the thick and all-encompassing South African vibes of a book like Evan Winter’s A Rage of Dragons for example.

The book certainly has its moments. The opening scene is truly impressive. The depictions of magic are often beautiful. But that is not enough. The worldbuilding is poor, the characterization is barely there, and the plotting requires you to probably go through two more of these bricks before paying off. All in all, I do not know what Black Sun is doing among some of the other nominees for major awards this year. And while I will likely force myself to read the sequel, I would really need a significant improvement in it to get me to pick up book 3.

Review: Indivisible

Published by Simeon on April 28, 2021

It feels like every year I get one perfect contemporary gay YA debut novel that just absolutely captures my heart. Last summer that was Adam Sass’ Surrender Your Sons, which I still rave about to whoever will listen to me. And in 2021, it is Daniel Aleman’s Indivisible. Before I start this review however, I must warn you that this is not an easy book. There is a lot of darkness there, and no easy answers.

16-year old Mateo Garcia is a New Yorker living the Manhattan working class life. He helps in his dad’s bodega. He has college aspirations and Broadway dreams. As well as the fervent hope that he will not, in fact, graduate high school having never kissed another boy. He is also the child of undocumented immigrants. Unlike him and his kid sister Sophie, his parents were born in Mexico, and crossed the border decades ago in search of a better life. And though they are both pillars of their community, not a day goes by without the underlying fear of ICE.

Then the worst happens, and Mateo’s life crumbles. Overnight, he finds himself having to become his sister’s guardian, learn to run his father’s bodega, and figure out what future he can have with his parents gone back to Mexico. And meanwhile, the feeling that he does not belong in any world drives him away from his closest friends.

Indivisible is not only a heart-rending story of hardship and perseverance, but also a meta-commentary on contemporary YA. The opening chapters show us all the trappings we know and love. An off-Broadway audition. A hurtful racial remark. A sensitive queer boy trying to find himself in a world that sometimes feels too large to comprehend. Then Daniel Aleman suddenly pulls the rug from under us, and gives us a story that is almost brutal in its earnest tragedy. And Mateo has to deal with truly adult issues before he has even had a chance to figure out being a teen.

At the beginning, I used the word “perfect”. Of course, no story is ever perfect, and Indivisible has its issues. I do wish that the pacing in the second half was a bit faster. While I fully understand the need for the catastrophic reality of Mateo’s life to have space to breathe, for me it did get to a point where I was ready for the book to move along. Another issue is the fairly contrived reason why he refuses to confide in his friends. While it does pay off emotionally in the end, I felt that in the actual moments when he could tell them, his reasoning wasn’t terribly convincing.

But the reason why I used the word “perfect”, is that Indivisible is greater than the sum of its parts. Any issues I might have with pacing or foreshadowing are irrelevant. Because the book was earnest, and powerful in a way that I have not experienced YA being in a very long time. Daniel Aleman comes out the gate swinging with this explosive debut, and I am thrilled to see what he does next.

P.S. As an aside, while reading I made a startling discovering. Aleman not only subverted the tropes of the typical contemporary queer YA. He also had a side character — Mateo’s gay friend Adam — actually have an entire traditional YA arc almost entirely off-screen. I truly hope that was intentional, because it made me smile during what was otherwise a very serious read.

My Top Five Favorite Books of the Year

Published by Simeon on October 23, 2020

For the holiday season, the bookstore I work at is making a display of all the employees’ favorite books of 2020. Each of us had to pick 5 favorite to put on there. My own list was pretty extensive, so choices had to be made. In the process of deciding what to choose, I left out sequels such as Harrow the Ninth, or massive cultural successes that obviously didn’t need my help to sell, such as Isabel Wilkerson’s Caste.

With that in mind, I am very happy with the end result. It unintentionally ends up promoting small press, debut authors, and queer identities, and this feels like the little bit that I can do to help this year suck a tiny bit less.

To clarify, this is not a ranked list. I love each of those five titles for different reasons, and I am not looking to pit them against one another. Feel free to click on each title to read my review.

Anyway, without further ado…

Simeon’s Top 5 Books of 2020:

Docile, by K.M. Szpara

Mexican Gothic, by Silvia Moreno-Garcia

The Only Good Indians, by Stephen Graham Jones

The First Sister, by Linden A. Lewis

Surrender Your Sons, by Adam Sass

Review: The First Sister

Published by Simeon on October 20, 2020

I first heard of Linden A. Lewis’ The First Sister when a coworker at the bookstore showed me the freshly arrived hardcover, and said “You’re the science fiction guy, tell me what this is”. To my shame, I hadn’t even heard of the book, and went on to correct the lapse. I ended up listening to the audio version, and I am incredibly glad I did. But more on that later.

In this stellar (teehee) debut, the future Solar System is torn between two factions. The Gaeans are the desperate Union that came out of a century-long war between Earth and Mars. Rich in population, but poor in resources and technology, they are driven by the dual powers of the secular Warlord and the religious Mother. On the other side are the Icarii — the people of Mercury and Venus. Descendants of scientific research missions, they have built a militaristic society based on reason and discipline. Using the unique element Hermium, found on Mercury, the Icarii have the technological advantage to counter the Gaeans’ superior numbers.

Three people on opposite sides of this conflict find themselves instrumental to its culmination.

The First Sister has no name. Sold to the Sisterhood as a child, she is a priestess and a courtesan. Her role is to offer peace to Gaean soldiers by listening to their confessions, and giving them her body. Her superiors have taken her voice, so she would not be able to betray their secrets. When the captain of the space ship she serves on abandons her, she finds herself mired in Sisterhood politics. Tasked to break all the sacred rules of her order, she is to spy on the new captain. One she finds herself inexplicably drawn to instead.

Lito sol Lucius is a “Rapier” of the Icarii — an elite duelist warrior trained to fight in a pair. A year ago he was split from his “Dagger” Hiro after the loss of the planetoid Ceres to the Gaeans. He is pulled out of his forced retirement, and tasked with an impossible mission. He must find Hiro — now a covert agent on Ceres — and kill them for supposedly turning to the enemy side.

The First Sister boasts lush worldbuilding and truly spectacular characterization, especially for a debut novel. There are three viewpoints — alternating chapters with Lito and First Sister, as well as interludes of recordings by Hiro. This is also where the audiobook shines, as those are all voiced by three separate actors, expressing the feminine, masculine, and non-binary vibe of each character.

The story itself is only the beginning of a larger conflict, but one that still reaches a satisfying conclusion. Lewis is fantastic in setting up and paying off emotional stakes, as each character deals with a metric fuckton of issues. There is also a wonderful duality between First Sister and Lito. Where she begins as a tabula rasa with simple desires, who slowly recognizes the complexity of the world around her and her role in it, he starts off as someone bogged down by trauma and self-doubt, and has to learn how to shed some of it, and channel the rest. Hiro, meanwhile, plays a balancing act. An elusive off-screen character who knows exactly who they are, and what they were born to do.

The First Sister is one of those HURTFUL debut novels that make you feel like you could never write anything remotely as good. Particularly for someone like me, who regularly struggles with structure, seeing how deftly Lewis weaves the strands of the story into an exciting narrative, was a source of tar-black envy. But of course, that only serves to the reader’s benefit. The book is an absolute gem, and I cannot wait to see where the story will go next.

Review: Surrender Your Sons

Published by Simeon on September 18, 2020

As a gay man, I didn’t grow up suffering. Sure, I was in denial, I repressed a lot of shit, and I missed on my entire teenagehood. That sucked. But I didn’t get disowned. I was never bullied. I have rarely been discriminated against.

I was never sent to conversion therapy…

A part of me feels the need for vicarious trauma. For personal outrage, despite the lack of personal experience. It is a profoundly disturbing mixture of perverted FOMO and guilt. As a Queer person, do I really own myself if I didn’t suffer? Do I have a right to my identity? The answer is, naturally, yes, of course I do. But the feeling is still there, and it makes books like Adam Sass’ Surrender Your Sons a near-cathartic experience.

At the age of 17, Connor Major is a skinny 5’6 gay kid in rural Illinois, who just came out to his church-zombie single mom. His life is, as a result, not awesome. His phone has been confiscated, so he is isolated from his few friends. His two-towns-over boyfriend is unable to fully comprehend what he is dealing with at home. And his mom and the town preacher insist that he admit to the paternity of his ex-girlfriend’s newborn (he didn’t do it!).

The best, however, is yet to come, as Connor finds himself literally kidnapped and carted off to a remote island off the coast of Costa Rica (no dinosaurs though). There, at Nightlight Ministries, boys and girls like him are sent by overzealous parents to get “fixed”. Except, everything is off, even by conversion therapy standards. And Connor was warned about this place back home.

By someone who is now dead.

When I first read the blurb for this YA thriller, I was both immediately on board, and a bit skeptical. Conversion therapy? In 2020? In this economy? But Sass navigates the anachronistic core of his premise with elegance. By hanging a lantern on the absurdity of such a place in present day, he gets to place it in an exotic location. What’s more, he gets to have his characters have a near-meta understanding of their surroundings, as they navigate not only the camp itself, but its cultural context as well.

Surrender Your Sons is a brilliantly written debut. The book exudes the kind of easy sass (pun forever intended) and colloquial flexibility that always make me ugly-jealous. Connor himself is beautifully portrayed as a neurotic kid who has the capacity for both courage, and complete emotional collapse. The rest of the cast are just as well depicted, if in less detail. There is raw vulnerability and innocence coming out of the intimate first person narrative, even when the circumstances around Connor are anything but innocent.

As I said before, this is a thriller. The back cover suggests more of a mystery than the story actually ends up being. But to me, the mismatch between my expectations and the reality were in favor of the book. Surrender Your Sons is a story about tragedy, both past and present. About violence and the desolation that bigotry and self-loathing can heap upon the world. One sentence in particular stuck with me long after the end:

‘That’s what a hate crime does: it reaches out, through space and time, and touches you with a greasy hand.’

The book begins with a content warning. There are themes in there. Suicide, abuse, and surprisingly hot depictions of sex that must have barely passed the YA standard. Despite the effortless prose, Surrender Your Sons is certainly not an easy read on an emotional level.

Sass ends up weaving a story both more mundane, and more personal than the blurb implies. And far stronger for it. I read the last 50 pages with perma-lump in my throat, as one of the best denouements I have ever seen in a book meticulously takes us through the lives harmed or ruined by Nightlight. In the end, Surrender Your Sons was an exciting adventure with a powerful emotional charge. Dealing with serious darkness, but ultimately hopeful. And I thoroughly loved it.

Review: Piranesi

Published by Simeon on September 14, 2020

There is something to be said about artists who only want to tell a few select stories, and take their time crafting them. Something profoundly Not-of-This-Time. Dare I say, something fey. Susanna Clarke’s Jonathan Strange & Mr. Norrell took over a decade to create. It inevitably became a literary phenomenon when it came out. A lush, meticulously crafted Regency epic, mimicking the language and sensibilities of the time, while adding a dose of Faerie magic to the Napoleonic Wars, it was one of the great novels of its decade.

That it should take Clarke 16 more years before she gave us a new book, feels almost correct. But Piranesi is nothing like what I personally expected that book to be.

The House is the world. Or perhaps the world is encompassed by the House. Its endless Halls and Vestibules span for thousands of miles. The highest floors are obscured by clouds, while the lowest drown in oceans. Only celestial bodies can be seen through its windows. Grand, empty atriums sprawl eternal, populated with countless statues.

There are only fifteen humans that have ever lived in the world, and only two of them live still. One is Piranesi, though that is not his name. He is an explorer and an acolyte of the House. He has learned the arcane calendar of its oceanic tides, and the meaning of its many statues. He has walked hundreds of Halls in each direction, and knows their geography intimately. The House speaks to him through symbolism and circumstance. It feeds and loves him.

The Other is a scientist. He is Piranesi’s only friend, though he is seldom seen, and where he goes when they are apart, no one knows. The rest of the humans of the world are but skeletons. Piranesi takes care of them for the House, has named them, and loves them as if they were alive.

Then there is the sixteenth person. The invisible reader for whom Piranesi keeps his journals. And if the numbers on these journals make no sense, or feature entries he does not recall writing, on subjects he does not recall knowing, well the sixteenth will have to do deal with that.

Piranesi is a melancholic and introspective mythology of loneliness. In a strange and — I am certain — unintended way, it is almost commentary on the times we live in. As its titular character roams the empty Halls and interprets the House’s will and meaning through signs that mean nothing to anyone else, the reader is hypnotized by the near-religious irrationality of the narrative. There is infinite kindness and innocence in the way Piranesi sees the world, and even as we try to understand the mystical rules of the House, we are tempted to accept his childlike interpretation of them.

This is a book about magic, but in no way remotely similar to Clarke’s previous epic. For one thing, it is barely a quarter of the size, but that is only the beginning. Where Jonathan Strange & Mr. Norrell was plot-driven, Piranesi is an intimate exploration of one man’s inner world. Even if much of what transpires in the story is real, it still symbolizes the intangible universe within a lonely yet endlessly optimistic individual. The quiet serenity of the House is a search for meaning where none might exist. But for Piranesi it is the search that creates that meaning. And for the reader, it is going through this journey with him that makes the book a masterpiece.

Review: Lovecraft Country

Published by Simeon on September 11, 2020

I am unable to consume speculative fiction TV/movies if they’re based on a book I haven’t read. Such was, naturally, the case with HBO’s Lovecraft Country. When the book first came out, I filed it under “Huh, seems fun”, and moved onto the other three billion books I wanted to read. But once the trailer for the show dropped, it no longer seemed like a matter of choice.

Lovecraft Country bills itself as self-aware pulp. It takes place in 1950s ultra-segregated Chicago, where a Black family deals not only with racist white folks, but also the machinations of a sorcerous coven. The book is actually episodic. I was quite taken aback when the story just ended after the first 100 pages, and a new one started. But after a while it became clear that the vignettes added up to a complete picture. They all tie back together by the end, forming a somewhat coherent narrative.

It felt like Matt Ruff set out to create an alternative “mythos”, in which his Black cast seeks to reclaim agency from the racist era they live in. But on a more meta level, they are reclaiming it from the even more racist Howard Lovecraft. While the story does not take place within his world, he is referred to often, and there are moments throughout that resonate with his works. If I am being entirely honest, I don’t know how comfortable I felt about it. A white author “saving” Black people in this way is already iffy enough. But more than that — I am not sure the experiment was all that successful.

Lovecraft Country reads like tongue-in-cheek romp, but it is filled with contradictions. The first story especially has some truly chilling examples of real world Jim Crow horror. But then the actual supernatural stakes never quite amount to feeling like a real threat. The main villain is not only charming, but also quite friendly, despite his villainy. The characters are all smart and resourceful, yet they are constantly outsmarted by him, which devalues their intelligence. The villain’s main fault, meanwhile, is that he is entitled, obnoxious, and white. Which — don’t get me wrong — is enough, but again confuses the stakes.

Overall, I enjoyed the book up to a point. The writing is solid, the characters are fun, if not terribly deep or memorable. The overall conceit is quite charming too. But the execution left me… uh… whelmed. Not over, not under, just kind of whelmed. I can tell that Matt Ruff is capable of a lot. But here it felt like he got scared of the underlying seriousness of his chosen subject matter, and kept himself from going all the way. That said, Lovecraft Country has all that it needs to make a spectacular TV show. Which I am now free to watch!

Pardon My Dust

Published by Simeon on August 3, 2020

I am dealing with some pretty serious personal issues, as well as in the process of moving into a new apartment while working 45 hours a week. My creativity is just… not. I can’t do any writing right now, and this includes writing exercises and “think” pieces.

So posting might be a tad sporadic in the next few days. And once I’m back to normal, I might go down to only two posts per week. It is important to me to be regular, and three is too much at the moment, with everything else going on.

Review: Harrow the Ninth

Published by Simeon on July 31, 2020

Tamsyn Muir’s debut novel Gideon the Ninth was an absolute revelation to me. Unapologetic and audacious, it easily became my favorite book of 2019. If I could have “Queer Baroque Necropunk” be a legit genre, I would likely buy anything published in it. And as for the sequel, I would have been perfectly content to read another story like Gideon.

But that would be too easy.

The following review contains spoilers for Gideon the Ninth.

Right from the get go, Harrow the Ninth aims to confuse. You see, this is not the Harrow we remember from the first book. Gone is the viper wit, the withering confidence, the precocious bone genius. Instead, we are offered a Harrow that somehow bungled the Lyctoral process. One who is beset by physical frailty and the gravitational pulls of anxiety and depression. She is a young girl, alone and trapped on a space station with teachers who despise her — one of whom is even trying to murder her! — and a God who feels sorry for her, and has no answers to her questions.

This is also a Harrow who went to the First House with Ortus Nigenad as her cavalier primary. But…

Is this how it happens?

Harrow the Ninth is a brave new frontier that flirts with the post-modern. Tamsyn Muir has earned the reader’s trust, and soon the maddening mystery of Harrow’s sorry state, as well as the inconsistencies of her existence begin taking shape. The novel alternates between two types of chapters. Some are in second person, in which she is being told how the present is unfolding by a mysterious narrator. The past tense makes them an interesting experiment of storytelling, as if Harrow herself was not present for these events. The rest are in traditional third person, and retell the story of her journey to the First House. Except, it’s all wrong. Nothing happens the way it was described in Gideon the Ninth. Characters are not who they appear to be, and at sudden moments people will question the reality around them.

The cast of said characters is just as colorful as that of Gideon, though in a completely different way. Everyone carries their own unique damage. Harrow’s new sister Ianthe Tridentarius — formerly Princess of Ida, now Lyctor of the First House — has murdered an unwilling cavalier to achieve her sainthood. Now struggles with a sword hand that won’t obey her. God himself and his three surviving original Lyctors are creatures who have known each other for ten thousand years, They have accumulated civilizations’ worth of grudges and emotional baggage, deliciously opaque for any reader who has not been alive for a myriad. Meanwhile, Ortus Nigenad — failed cavalier primary of the Ninth House in Gideon the Ninth — seeks redemption in the eyes of the reader, as he tries to fulfill his role in a story that never happened.

Harrow the Ninth throbs with the disquieting feeling of paranoia and an almost Gene Wolfean puzzle box quality. Things are not as they seem, the world is not as it should be. This is not how it happens. The wrongness permeates not only the inaccurate retelling of the events at the First House, but also the present in the Mithraeum — the Emperor’s space station, 40 billion light years away from Dominicus and its Houses — where a dead Lyctor stalks the hallways seeking vengeance, while a living one bears the name of the wrong cavalier, as well as an inexplicable thirst for Harrow’s life. In the twisted hallways of God’s home, she is not simply frail and confused. She is haunted.

That this mystery is absolutely maddening, is a given. But Tamsyn Muir uses it brilliantly to tell a story of a girl on the brink of mental breakdown. It is a story of depression and inadequacy, and of injustice. And as Harrow tries to understand her failures, and overcome them, it also becomes a story of heartbreaking intimacy and truly heroic emotional openness.

Harrow the Ninth is an absolute masterpiece, just like its predecessor, while being twice as ambitious. It takes a bold new trajectory, but still retains the baroque darkness that makes Muir’s universe so enticing. What it lacks in contemporary humor, it more than makes up for in far more complex storytelling and character development. The book makes you emotionally invested not only in the current plot, but also in a messed-up retelling of a story you already know. And it the process, it gives wonderful center stage to characters you thought you’d never meet again.

Which is outrageous, as well as absolutely delightful, just like everything about Tamsyn Muir’s writing! To be fair, I wish that the first few chapters were a little more welcoming. The story is extremely confusing at first, and the reader is thrown into a labyrinth with no clear exit. But in the end, there was never a doubt in my mind that the book would deliver on its mysteries. I just didn’t anticipate how incredible it would be in the process.

Love, Simeon Posts