These books are straight-up epic fantasy. No apologies, no twists into unexpected narratives that don't seem to belong to the genre, no redefining the genre (looking at you, Jemisin and Bear, but looking with awe and amazement) - Meadows is writing epic fantasy with all the weird names and weird cultures and magic intact. She does occasionally lapse into the realm of "how many made-up words are you allowed in one book anyway?" Although she never commits the greatest sin, which is biting off more characters than she can chew.
Anyway, what makes Meadows so enjoyable is what she leaves out of her epic fantasy. She successfully creates a series of worlds that leave behind the misogyny, queerphobia, and racism of our world. Notably, she still manages to tell a story that's all about conflict and rising above one's perceived lot in life, and speaking truth to power. You can still tell a story about bodily autonomy and self-hood and even assault and violation without situating it in a context that unthinkingly replicates our world's specific prejudices as if they are stamped on all of existence by some godly hand.
I'm glad to see this take on epic fantasy - it's reassuring to know that the problem is not the genre itself, but the way that specific versions of the genre have glommed on and taken over. You should be able to write good, appealing epic fantasy without getting kyriarchy all over it. And as much as I love the books that completely blow open what the term even means, I like seeing something done right and done well. (Martha Wells is another name that comes to mind as someone who knows how the genre works and takes advantage of all the good bits.)
Meadows is particularly good at recognizing the failure of portal fantasies to have consequences (I imagine this is why this series gets compared to McGuire's "Every Heart a Doorway" and someone should really talk about how completely different they are) and, DAMN, the scenes where Saffron is just done are exquisite. Painful, but exquisite.