When two of Toby’s good friends’ children go missing from their own bedroom and another won’t wake up from being asleep, they call Toby in immediately to look for them. Soon the King of Cats reports that some of his kingdom’s children are missing too, and Quentin’s human girlfriend disappears as well. It quickly becomes clear that it’s time for the 100 year cycle of Blind Michael’s Hunt. Blind Michael, the Luidaeg’s brother, is incredibly powerful, and only three roads lead to his realm. Toby can only take each road once. That means she has only three chances to save the children and stop the Hunt.
I picked this book up immediately after finishing the second in the series and, oh man, it did not disappoint. This book presents an old school Brothers Grimm style blood-curdling, toes-curling fairy tale, peppered with characters we’ve already come to know and love.
Blind Michael is scary. What he does to the children is really scary. He turns the fae children into “Riders” monstrous twists on real fae features. He turns the human children into their horses for them to ride. Everything about Blind Michael and his twisted land scared the crap out of me, and I don’t scare easily. It was exactly the sort of scare I used to seek out as a child from the original Grimm Fairy Tales (the ones that are not cleaned up). This book goes a lot darker than the first two, which were already dark, and it went there in such a different way from the first two plots. The first two plots were entirely about murder, here we have someone stealing children from their beds. It’s a completely different type of scare and different sort of mystery for Toby to have to figure out.
The plot tells more than just this one mystery, though, it also brings out some information that is key to the overarching plot of the series. I really enjoyed how smoothly this was worked together, and I also must say I didn’t predict at all where it was going.
There are basically two themes in the book, one I appreciated and the other I didn’t particularly agree with. Let’s start with the one I didn’t agree with.
There’s a theme in the book that children on some level must deal with and be held responsible for the choices of their parents. Toby tries to pretend otherwise, but that doesn’t work out so well for her.
Blood will tell. I tried to pretend it wouldn’t that we could change, but blood always tells. We carry the burdens of our parents. (loc 312)
It basically reads as the idea that you can’t run away from your family or from your blood, your nature. Personally, I don’t like that frame of thought. You can leave your family of birth and not have to be held responsible for them. You are not your parents. You are your own person. You are not responsible for what your parents do after you leave home. So this theme didn’t sit well with me. Other readers who agree with this theme will obviously enjoy it more.
The other theme was one I was quite happy to see so directly addressed in an urban fantasy and that is of suicidal ideation. There are many different ways that suicidal ideation can manifest, but with Toby her symptoms are that she firmly believes her death is imminent and is planning for it, and she repeatedly throws herself into risk situations because she doesn’t care if she dies. Suicidal ideation essentially means that a person is lacking self-preservation instincts and is ok with dying. They won’t actually commit suicide but they will put themselves into dangerous situations because part of them does want to die. So they might run across a street without looking, go walking alone at 2am in a dangerous neighborhood, etc… Toby’s depression from the first two books has grown so much that she is now at this point, and people have started calling her out on it. Seeing her realize that she’s, in layman’s terms, got a death wish, is interesting and well-done. What I appreciate most about it is how directly it is addressed.
Because, dear October, you’re the most passively suicidal person I’ve ever met, and that’s saying something. You’ll never open your wrists, but you’ll run head-first into hell. You’ll have good reasons. You’ll have great reasons, even. And part of you will be praying that you won’t come out again. (loc 3876)
Overall, this entry in the series brings back the characters readers have come to love and puts them into a new mystery much more terrifying than the first two. Two strong themes in the book include nature/nurture/ties to parents and dealing with suicidal ideation. Fans of the series won’t be disappointed. This is a roller coaster ride of emotions and peril.
4 out of 5 stars
Toby Daye, changeling, private detective, and knight to the knowe of the powerful Sylvester, feels like she has her feet back under her after returning to human form after 14 years as a fish and also solving the murder of a powerful fae. When her liege requests she go investigate why he hasn’t heard from his niece in a while, she expects it to be a quick visit, although possibly a bit irritating since she has to bring along young Quentin, a teenaged full-blooded Daoine Sidhe fae. Sylvester’s niece just so happens to own the only fae tech company, and she claims that she has indeed been calling her uncle. But when an employee turns up dead and Toby finds out there have been two mysterious deaths previously, she realizes there’s more here than immediately meets the eye, particularly since she can’t read anything from the blood of the dead.
I enjoyed the first book in this urban fantasy series about a changeling investigator so much that I immediately checked out the second ebook from the Boston Public Library on my kindle. (If you have an ereader, definitely check out if your local public library will let you do this. It saves me so much money!) This book brought me right back into the wonderfully built world of Toby and offered up a new murder mystery even more mysterious than the first.
Readers of the first book know that Toby’s special fae power is the ability to read a person’s memories from tasting their blood. I found it startling and intriguing that McGuire immediately took this power away from Toby in the second book. There’s nothing to read in the victims’ blood. Why is that? It’s a plot I may have expected in the fourth or fifth book, but not so soon. From a writing perspective, it’s bold to take away your hero’s superpower in only the second book in the series. And it works. There’s ultimately a logical explanation for why the blood is telling Toby nothing (and no, it’s not Toby’s fault), so it never feels like a gimmick. I think that is what I like most about this series. The author utilizes techniques that could easily turn into a gimmick but she always keeps it from actually being a gimmick so it instead is utterly engaging and enthralling.
The fae world is also clearly much larger than we originally saw in the first book. The fae have a tech company so that they can rework modern technology to work in the fae knowes. On top of that, we also meet many more races of fae, as well as ways for the races we already know to exist and appear. For instance, Sylvester’s niece, January, has a daughter. But her daughter is in fact a tree fairy. Tree fairies are normally tied to a tree or a forest, so how is she in this tech building? January tied her branch to the computer server after her forest was destroyed, and she was able to keep living after adapting into the server and treating the server as a forest. Very cool idea, and it works beautifully in the story.
Even though I was basically able to predict whodunnit, I couldn’t figure out why or how, so the plot still satisfied me as I waited for Toby to figure all of that out.
One thing that kind of disappointed me in the book is that Toby meets a type of fae who can emit a magical scent that makes the person smelling it think they are massively attracted to him and thus sleep with him. They then become obsessed with this type of fairy, and the fae feeds off of the obsession. I was glad to see the book treat this as rape (basically drugging someone into sleeping with you) but I was also disappointed to see our heroine have to face off against an attempted rape. As I said in my review of the previous book, I get really tired of urban fantasy heroines being threatened constantly by rape. My hope is that this was a one-off type thing to introduce the concept of this type of fae rather than the new normal for the series.
Toby herself and the worldbuilding continue to be my two favorite aspects of the series. The plots are good, but I’d read almost anything plot-wise to visit Toby and her world again.
The essence of Toby and why I love her is evident in this quote:
Long dresses weren’t designed for walking in the woods. My mother could’ve made the walk without stumbling; she fits into the world that well, even insane. That’s what it means to be a pureblood. I stumble and fall, and I always get up and keep going. That’s what it means to be a changeling. (page 371)
Picking a quote to show why I love the worldbuilding so much is a bit harder, but here’s a particular favorite that really punched a visual of what this world is like home for me. In this passage, Toby is explaining that she and her mother are Daoine Sidhe and can see memories through blood:
My mother was so strong she could taste the death of plants. She could never stomach maple syrup; she said it tasted like trees screaming. (page 91)
As a born and raised Vermonter who grew up harvesting maple syrup, that line was a bit of a gut punch. An eloquent one.
Overall, readers of the first entry in the series will be pleased with this second outing. Toby continues to be a strong character set in a fascinating world. The mystery plot is another murder, but it is a series of murders and has a very different solving pattern and outcome than the first. Recommended to fans of the first book to continue on to the second as soon as they can.
4 out of 5 stars
October (Toby) Daye is a changeling — she’s half fae and half human. Half Daoine Sidhe to be exact. She has just enough fae features to not fit into the human world, but her magic is just weak enough to keep her from fitting into fae either. Toby was splitting the difference quite well, serving her fae liege as a private detective and living a semi-normal human life with her human husband. But when a bad fae turns her into a fish on a mission for her liege, and it takes fourteen years to be turned back, everything changes. Toby loses her family and her desires to have any ties to the fae world, but the fae world won’t let her be for long. A high-ranking fae who was also her friend turns up dead, killed by iron, and a curse means that Toby must investigate.
Interestingly enough, one of the later books in this series was recommended to me by an automatic readalike generator (whose name I know forget) as a readalike for Fudoki (review) a book set in historic Japan about a cat turned into a woman warrior. I was intrigued by the series, although I wasn’t certain of the connection to Fudoki, and so I put the first book on my wishlist. My future mother-in-law was kind enough to gift it to me during the height of my cabin fever during Boston’s historic winter this year. This book hits all the right tones for urban fantasy: a strong yet wounded heroine, a complex mystical world operating parallel to and sometimes overlapping with our own, a single book mystery for the heroine to figure out, and an overarching mystery that leaves the reader wanting to come back for more.
The book takes a little bit to get set up. There’s a flashback to before Toby was a fish then the book pops quickly forward to the (near) present when Toby escapes being a fish. It at first struck me as a bit of an odd beginning, but by the end of the book I was loving it. The fact that Toby has a 14 year gap means that there are elements about her world she has to learn or relearn, meaning when key parts of information need to be told to the reader, it comes across as natural that Toby will need to learn about it or remember it. She did have those 14 years away, after all. It’s a plot-telling device, but it’s smart. It also isn’t forgotten when it comes to Toby’s character. The fact that she lost her family and all those years deeply impact her psyche, and that’s as it should be. It helps automatically make her a more well-rounded character.
Halfings are common in urban fantasy, but the ones in this universe are particularly well-done, mostly because there’s just so many of them. Toby isn’t an anomaly, halflings are a constant, persistent problem for the fae to have to deal with. They don’t quite fit into fae, but they also can’t just banish them for the humans to deal with. The humans don’t even know they exist, in fact, most humans who do mate with fae never even know that they did. While some fae are open to and embrace the halflings, others are not. Similarly, some halflings will give anything to just fit into fae or into the human world, while others are comfortable living partly in each. The fact that there are so many halflings allows for a lot of diversity and keeps Toby from looking like a marked heroine. She is just one of many, dealing as she can. I appreciate the everywoman aspect this lends her.
Toby is also extremely likeable. She’s down-to-earth and matter-of-fact about everything. She has many quotes that sound like an average person talking but contain a kernel of wisdom. She’s a humble smart woman who maybe doesn’t realize just how much savvy she does have.
That’s the true value in wards; not keeping things out, but telling you if something’s managed to get in. (loc 537)
It can’t all be dreams because a broken dream will kill you as surely as a nightmare will, and with a lot less mercy. At least the nightmares don’t smile while they take you down. (loc 2428)
The fae world is incredibly complex and yet makes a lot of sense. There are many different types of fae, and they are smoothly introduced. My personal favorite are the Caid Sidhe. They are surely the reason this book was recommended due to my loving Fudoki. The Caid Sidhe are fae who shapeshift into cats, and even in bipedal form have some cat-like features and abilities. The king of the cats has a bit of a love/hate relationship with Toby that is fun to see. But also, fae cats. How is that not fun? Realistically, though, I wouldn’t have loved seeing the Caid Sidhe so much if there hadn’t been such a variety of fae. It’s a richly imagined world that is really fun to visit.
The mystery is good, with Toby investigating a murder. There were plenty of plot-twists, although I did guess the responsible party far in advance of the ending, which was a bit of a bummer. I also must say that I’m not really a fan of heroines getting wounded within an inch of their life only to be saved by magic repeatedly. It removes some of the sense of danger for me. I did appreciate that for once there was an urban fantasy heroine who was never threatened with rape. That was a nice change of pace. I’ll take forcibly changed into a fish over that any day.
Overall, this book sets up the incredibly complex fae world of the series, as well as establishes the heroine’s character and background quite well. Readers will easily fall into the incredibly imaginative world that Toby partially lives in that runs parallel to and sometimes hand-in-hand with our own. Some readers may find the mystery a bit predictable, but this is an excellent first entry in an urban fantasy series that will leave the reader eager to pick up the next and go back to this rich world as soon as possible.
4 out of 5 stars
Eugenia Markham is a shaman who spends her time sending the fae back to their own world. She hates the fae both for trespassing into our world and for kidnapping women into their own. When fae start referring to her by her given name, rather than her working name, she becomes concerned something is awry. What she discovers is a prophecy that will change everything.
I picked this up because I love Richelle Mead’s Georgina Kincaid series (review) so much. I wish any of the summaries I read of the book had even hinted at one of the big plot points, as I think how a reader responds to that plot point will dictate how much they enjoy the series overall.
Without revealing too much, early on in the book, fae start showing up and attempting to rape Eugenie. She finds out that there is a prophecy that her child will be the one to bring about large changes in the land of the fae. (This is not particularly a spoiler, it is revealed early on and there are even more plot twists later on to complicate this). What this means for the reader is that our main character must repeatedly physically fight off would-be rapists. If I had realized this was such a key plot point, I would not have personally picked up this book, and I think there are probably quite a few other readers who would be similarly bothered by this repeated scene of our heroine trying to fight off rapists. To be clear, this is not one single solitary incident. It is one of the main repeated problems for this character. Fae keep trying to rape her.
Another plot line is that the fae are known for kidnapping and raping young (this is specified, young, as in early to mid teens) human women. Because the fae have fertility problems. In fact, the case that Eugenie takes on early in the book is trying to save a teenaged girl who has been kidnapped by the fae. Eugenie normally doesn’t go into the land of the fae in a corporeal form (she does send her spirit via astral projection), but she agrees to in this case because she is so bothered by the knowledge that this teenage girl is facing a lifetime of rape.
These are just two non-spoiler examples of the rape plots, and there is at least one more that I won’t reveal as it’s a big spoiler. Readers who for whatever reason do not want to read either about rapes occurring off-screen or about the threat of rape or about a woman repeatedly having to physically fight off rapists should not pick this book up. These are key and frequent plot points in this book.
Having said this, I do not judge the book for including these plot points. Rape is a part of some fae mythology, and the author has every right to include it in an urban fantasy book based in fae mythology. I also think the author handles the inclusion of the rape and threatened rape well. Rape is never excused, rapists are denounced, and there are some fae characters who state they would never have sex with a human female who hasn’t consented. The author has a valid reason for including the rape plots, and she handles them well. I simply wish that it was clearer from the official book blurb what a large role rape plays in this book, and thus, in my review, I am being certain to be clear for potential readers the extent of rape plot points in this book.
So what about the rest of the book? Eugenie is mostly what one expects from an urban fantasy heroine. She is strong, talented, wears her hair short and hates dresses. She has a questionable roommate and a cover story of being some sort of private investigator. What makes Eugenie unique in urban fantasy is that she is a shaman trained by her step-father, and the only really supernatural humanoids in her world are the fae and some mythological shapeshifters from other cultures (think of Japanese myth’s shifters). Don’t come to this series looking for vampires and werewolves. You won’t find them. The fantastical world of this book is simply that there is another world of fae, and sometimes they cross over into ours.
The prophecy at the center of the book has more to it than it originally seems, and the plot twists are surprising and exciting. Yes, many urban fantasy books revolve around a prophecy that has our heroine at the center, but this is the first one I’ve seen in a while that’s more about the heroine’s child than the heroine herself.
As is to be expected, Eugenie has two potential love interests, a half kitsune (shape shifting fox) half human man and a fae. Personally, I didn’t like either of her love interests. One is too bourgeois/royal, and the other is too macho for my taste. But I can see how other readers would enjoy one or the other or both of them and appreciate Eugenie’s difficulty in deciding who has her heart.
The audiobook narration by Jennifer Van Dyck starts out a bit awkward and gets better with time. For the first half or so of the book, her narration can sometimes be a bit stilted. She almost sounds like she’s reading lists. She pauses at odd times. Also, her voice sometimes comes across as elderly, which doesn’t suit the tone of the book. For the most part, though, the narration doesn’t detract too much from the book, it simply doesn’t elevate it either.
Overall, this is an entry in the urban fantasy genre that sticks closely to the well-loved trope of a strong, non-girly woman battling supernatural forces while also adding on some unique elements, such as a prophecy about her future child and sticking to the fae of mythology. Readers should be aware that attempted rape and rapes occurring off-screen feature frequently in the book. The plot itself is twisting and exciting, with enough unique elements to keep regular readers of urban fantasy engaged. Recommended to urban fantasy fans looking for a universe that sticks more closely to the traditional mythical depiction of the fae world and who don’t mind the inclusion of rape and attempted rape in the plot of the book.
3 out of 5 stars
Lizzie and Dimitri are back from their honeymoon and are all moved in to their new California oceanfront home. Lizzie is loving married life, even if she has to deal with keeping her talking dog Pirate’s pet dragon out of trouble. But one night someone dumps a purgatory creature on their beach, and their search for who did it and why leads Lizzie right back to two of her worst nemeses: a big bad demon and her birth father.
I was really excited to be able to get an advanced reading copy of this book, since I’ve been a fan of the series from book one. I also was happy to see that Fox wasn’t going to stop the series just because Lizzie got married. I think more urban fantasy needs to acknowledge that you don’t have to be single or have a dramatic love life in order to be bad-ass. This book demonstrates quite well that just because Lizzie got married doesn’t mean that the series will stagnate.
The book’s strength is its opening sequences demonstrating Lizzie’s married life, as well as the first time we see the biker witches’ new permanent digs. Both show that while everyone is still the characters we first met and fell for, they are also progressing and changing as their life situations change. The scenes of Lizzie and Dimitri’s new married life are a pleasure to read, seeing them settled into being a partnership and Pirate accepting of the fact that he is now banned from the bedroom. It’s also pretty hilarious to see them trying to hide the supernatural from their homeowner’s association. Similarly, the biker witches are still quirky and funny but now they have made a real home out of a motel, including a surprisingly beautiful magical courtyard out back. These are the characters we love in new situations, and it’s quite well done.
The plot is a bit meh this time around. We’ve seen this big bad demon multiple times before, as well as the problems with Lizzie’s birth family. It feels a bit like a recycled plot, in spite of some of the finer details being different. I think it’s high time Lizzie gets a new big bad to fight. Additionally, I think a lot of readers will have a problem with the direction the plot goes at the end of the book. Fox pulls up this thing that is earth-shattering to readers, and should be to the characters, but they kind of just brush it off and don’t really deal with the consequences. I’m hoping that they will in the next book, but even if they do, it’s still a rough plot for this book. It starts out ho-hum as something we’ve seen before then in the final third goes suddenly off the rails in a direction a lot of readers won’t like. Kind of a difficult plot to deal with when it’s wrapped in such cute characters, scenes, and overarching series developments.
For those who’ve read it, I seriously question the plot having Lizzie kill Pirate with such vehemence when she’s possessed, only to have him brought right back to life. Now, don’t get me wrong, I appreciate the idea of having Lizzie possessed after all of her loved ones were possessed by the same demon in the prior book. That’s an interesting direction to go. But having Lizzie actually kill Pirate? Gut-wrenching to read. And then she faces no consequences because he is just brought back to life, and everyone instantly forgives her? It felt like Fox ripped my heart out for no reason, and then I didn’t forgive Lizzie as fast as her family and friends seemed to. It was a tough ending to the book.
The sex scenes are the perfect level of sexy and romantic. They feel just right for newlyweds but also don’t overwhelm the plot. One character from a prior book is explored more in-depth, and a new character is added. I wasn’t a fan of the latter, but I enjoyed the former.
Overall, this book handles its urban fantasy heroine’s new married life quite well, balancing the romance with the fighting, dangers, and sexiness readers expect. Some readers may be bothered by the fact that the plot starts out feeling like a do-over of previous plots, and some may be bothered by the ending of the book. However, fans of the series should definitely pick this one up to see where Lizzie and the gang are heading, and they will be left wanting to pick up the next one as quickly as possible.
4 out of 5 stars
Previous Books in Series:
The Accidental Demon Slayer, review
The Dangerous Book for Demon Slayers, review
A Tale of Two Demon Slayers, review
The Last of the Demon Slayers, review
My Big Fat Demon Slayer Wedding, review
Rachel is a doctor in the slums outside of London. It’s not a great place to live, but it’s safer than a lot of the other options available. She’s also a Reacher with telepathic powers. Since she was a young girl, she learned to hide her abilities and always know her exits so she could run at any time. But when two brothers show up, one a wounded Reacher, and tell her a mobster sent them looking for her, she has to decide whether to run again or trust the brothers.
Near-future dystopias will never cease in their appeal to me, and so I was fairly quick to accept this one when I was choosing ARCs to read for 2014. The book offers a grim dystopia but far less running than one would imagine from the title.
The book establishes the overall dreary setting of a dystopia fairly quickly. Rachel’s work at the hospital and commuting home from it is dirty and grimy. Society is clearly barely functioning, a fact that is smoothly and clearly established. It takes a bit more time to learn more about the over-arching world, and the fact that Rachel is a “Reacher,” a person with some form of telepathic powers. For some reason, the government is seeking to eradicate all Reachers, whereas the church, which is illegal, views them as angels sent from above, metaphorically speaking. It’s an interesting world but our view into it is quite narrow, so there’s a lot of questions left unanswered.
Rachel is a good, strong character who is well-rounded in spite of knowing little of her backstory. The brothers, on the other hand, are kind of annoying and two-dimensional. They and the general crime lords/corrupt cops feel much more cookie cutter than Rachel does. In a way, they drag her down. It’s hard to root for her when she chooses to cast in lots with this bunch.
Similarly, the plot focuses in on what feels more like a standard crime thriller plot, rather than a dystopian one. It’s a good crime plot, but it’s not a dystopian one. The title implies a much more dystopian style book, such as Rachel using her powers to outwit the government and start a new colony or something like that. Instead it feels a bit more like an urban fantasy style crime plot that just so happens to be surrounded by society breaking down, somewhere out there. I think marketing it as a running game, rather than as the crime mystery plot it really is hinders the book a bit. Readers who would like an urban fantasy style futuristic crime novel might miss it, because it sounds so dystopian. The title and summary give the vibe of a Logan’s Run or Maze Runner style book, when that’s not what it is. What it is is a perfectly good futuristic crime novel, but that’s not what it sounds like.
Overall, this is a quick-moving tale of futuristic crime with a dash of telepathic powers and an easily imagined setting. Fans of near future, fantasy, and crime will enjoy seeing the three intertwine. Those looking for more of a scifi or dystopian focus should look elsewhere.
3 out of 5 stars
Source: kindle copy from author in exchange for my honest review
Miriam Black is on her own once again after sending her truck driver boyfriend to the curb. She’s taken to periodically messing with fate by killing the killers she sees in her visions of the deaths of the people she touches. When she gets an offer on Craigslist to read someone’s future death in Florida, it comes at a time when she can’t pass it up, as a recently homeless person. She heads to Florida figuring she might also tackle the demon of her relationship with her mother. Two birds, one stone. But Florida ends up being much more than a quick job and a quick visit.
I snatch up a new Miriam Black book the first chance I get because I so love the prose style of the books (I’m uncertain if Wendig’s other books read similarly, as I haven’t read any), and I also love Miriam as a character very much (I would definitely run the other way if I spotted her on the street at night). This third entry in the series didn’t disappoint, although I periodically wondered if Miriam’s bad-assness would be sacrificed for character growth.
The urban fantasy world of Miriam Black continues to be slowly fleshed out in this book. We meet a couple more characters with supernatural abilities, not exactly Miriam’s but similar in that they function in the mind. We also start to understand what might cause such a thing to happen. And how Wendig presents this information is beautifully crafted. It is a part of the story, a wonderful example of showing not telling.
Miriam doesn’t just cause chaos and get away with it, and this book fairly clearly exists to show us that Miriam is not invincible, even if she may sometimes seem it in earlier books. She’s a tough broad with a mental gift brutally acquired, and she’s trying to figure out how to function and do the right thing in this incredibly fucked up situation where she is battling unknown forces, particularly fate.
The plot forces Miriam to confront two bad specters from her past: an ex lover and her mother. I was fine with confronting the ex lover, and how it went down made sense. I was incredibly wary of her confrontations with her mother. Her mother was established as a fundamentalist abusive ball of shit in the previous books, and I was deeply concerned that Wendig was going to try to either make it seem like it was all in Miriam’s head or offer redemption for her. And the plot does sometimes dance on the edge of doing one or the other of these. But the way Miriam reacts to her mother in their confrontations help keep it grounded and realistic that not all mothers are great people. In one confrontation she tells her mother,
Don’t act surprised that I have this cyanide cocktail in my heart. Like they say on that old dumb-ass drug commercial: I learned it by watching you. (loc 1824)
On the other hand, an awful lot of the plot revolves around Miriam saving her mother from her untimely death at the hands of a kidnapper. I just have a hard time believing, especially given the vitriol Miriam has felt for her mother this entire time, that she would actually care that much if her mother dies. I get it that Miriam might very much not want the kidnapper to get away with it, because she hates him and he’s fucking with her, but I don’t think Miriam would actually get misty-eyed at the thought of her mother’s untimely demise. It felt forced instead of being Miriam. That said, the plot does manage to stick to its guns enough that Miriam comes out of the situation still seeming like her cyanide-filled self, so I can’t fault it too much for veering that close to the edge.
I would be amiss not to mention the fact that his book establishes the fact that Miriam is bisexual. Of course, she refuses to use the term herself, and I’m fairly certain no one actually ever calls her bi. Normally a bi character refusing to call herself bi would drive me batty, but Miriam refusing labels fits 100% into her character. She doesn’t see the need to label who she fucks and other characters’ attempts to figure her out are met with disgust on her part but that’s how she feels about everything about herself. Yes, I wish more functional non-cyanide cocktail hearted characters were bi, but I also am pretty darn happy that a character I enjoy so much is bi. Plus, scenes of Miriam banging a woman were an unexpected utter delight.
The plot does a great job of being both a single book conflict and something that ultimately propels the overarching plot forward, which is exactly what one hopes for from a series book.
The writing style maintains its gritty sharpness that the series has enjoyed from the beginning. Both the narration and the conversations are a pleasure to read. Passages like those listed below are peppered throughout the book, accosting the reader with the knowledge that we are in Miriam’s world now.
Meetings are like black holes: they eat up the hours, they suck in the light, they gorge on his productivity. (loc 92)
I’m a certified bad-ass indestructible bitch. The sun tries to burn me, I’ll kick him in his fiery balls. I don’t need no stinking suntan lotion. (loc 2787)
Overall, this book brings most things readers have come to expect from a Miriam Black book. A gritty female main character with hard-hitting prose and a plot with a touch of the fantastic and grotesque. Some fans might be a bit disappointed by the direction Miriam’s relationship with her mother goes, but all readers will be pumped by the ending and eagerly anticipating the next entry. Recommended that fans of the first two books pick this one asap.
4 out of 5 stars