booksthatburn's Reviews (1.46k)

 *I received a free review copy in exchange for an honest review of this book. 

LAST TO LEAVE THE ROOM is the story of a generally unlikeable person whose life is utterly upended when the anomaly she's been tracking for her work begins to have strange and personal consequences. 

The narrative stays focused on Tamsin. She’s a very focused scientist with relationship-savvy and political awareness as it relates to the flow of power, but she seems not to appreciate or care about the emotional toll of her plans on the people around her. She’s very calculating, as shown in an incident early on where she maneuver someone else into a position of blame after making it seem like a positive thing for them to attempt. Because her personality changes so much over the course of the story, her starting point has to be shown in swift, bold strokes, getting at the essence of her very quickly so that a point of comparison can be established. Moreso than even her research team, her most meaningful interactions are with Lachlan, who is somewhere between a minder and an enforcer. Lachlan's background stays pretty mysterious, with Tamsin, wary of her due to her position of power and her force of personality, Lachlan has technologically enmeshed her and Tamsin's life in a way that’s skirting the edge of what can be excused based on their positions in the company. Especially early on, there’s an uncertainty over what Lachlan might do if she’s displeased, with Tamsin ranging between specific concerns about being fired and a general unease because she can't predict what the consequences might be.

One of the first signs of Tamsin's memory loss, at least the first one that I noticed called out in the text, was about an incident that happened before the book began, which put me in the strange position of not quite being able to confirm whether the memory loss is real. Gradually, however, the discrepancies and lapses in memory become decidedly less subtle as Tamsin deteriorates. 

I've loved Starling's previous work, and this swiftly drew me in, holding me to the very end. Beginning with the section, "Nought", the story takes a turn from merely excellent to brilliant. As much as I was fascinated by the beginning, the ending blew me away. I love books that deal with memory distortions, or changes in personality, things that mean that someone who is nominally the same character becomes a very different person throughout a story or a series. It touches on dynamics related to ableism in the context of physical disabilities and brain damage, as well as whether memory is essential to personality. 

The protagonist said she wasn’t weak like other girls.

THE LIGHTS OF PRAGUE is the story of what can happen when some think that the line between monster and human is intrinsic and obvious, and others see monstrosity as a function of action and choice. Lady Ora Fischer is in mourning for her husband, who died some decades before. She's been spending time with Domek, someone whose social status is very different from her own. She's unaware that he's a lamplighter, one of the people who patrol the streets to keep pedestrians safe from monsters in the night. Set in a magic-touched version of historical Prague, and THE LIGHTS OF PRAGUE specifically explores the connection between perceived monstrosity and bigotries such as queerphobia, classism, and antisemitism, continuing the genre's long-running engagement with these themes. What could have been a simple story of a pijavica hunter falling in love with a pijavica (vampire) becomes a much more complicated story, as everything from the Will-O-Wisp he meets to his own mother's history makes it harder and harder for Domek to keep thinking that the prevailing attitude of "us versus them and they are all monsters" has any connection to reality. 

Prague is a city in the grips of change. Most of these developments are incremental, such as the lights being installed in the city to make travel safer at night. There are many kinds of monsters: those who attack people in the night on their way home; those who lead travelers off of paths and into danger; and those who require some ideal performance of humanness in order to acknowledge personhood. Twenty years ago, the ghetto was opened and Jews were declared to be citizens, but this declaration of their equality hasn't been able to erase old prejudices. People with a little bit of power (real or imagined) are slow to welcome changes which threaten their sense of privilege and stability. One of the lamplighters is a Jewism man who discusses his awareness that many of his fellow lamplighters still are unsure whether he's one of the monsters they should be fighting. There’s also a scene which plays out very much like transphobia, with a character, assuming that he would never be intimate with a pijavica, because he would obviously be able to tell what they are ("clocking" in modern parlance). However, by that point the reader already knows that he’s wrong, that he has, in fact, had many wonderful conversations with a pijavica. There follows a scene which plays out in the first half like a gay/trans panic scene, where after an intimate encounter he find out that something about his bed partner isn't what he assumed. This scene highlights the ridiculousness of his earlier assertion of his perception powers, and is one piece in a long arc of him questioning the definitions and worth of "humanity" as he's been taught to revere and preserve it. He also comes into possession of a Will-O-Wisp who's magically enslaved, and the more they interact the less he's able to pretend that's there's some essential difference between them which means it's okay to exploit them.

I like pretty much everything about this book, especially  the way the other various plot threads weave together. The lamplighter and the vampire are pursuing parallel tracks of investigation, but have very little reason to think that they might be on the same side. Generally, I don’t like plots which revolves around continued misunderstandings, but this one seemed very natural and didn’t bother me. The story has a nice alternation between me and characters, so that it avoids dull moments and allows for some scenes to have partially alternating perspectives without changing locale. There’s a pretty vibrant cast of secondary characters, helpful and nefarious alike. There’s also a specificity of place and time without getting bogged down and details in a way that might slow down the story. 

UNNATURAL MAGIC explores sexism and racism in a fantasy setting, following a human girl trying to learn magic when her brilliance is seen as threatening rather than extraordinary, a troll trying to figure out what she wants (given her mother's expectations) and the human man she finds in the snow and nurses back to health. Eventually, they all end up working to try and stop a series of murders of trolls by humans, which is a recently brutal escalation of long-simmering resentment between their two peoples. 

Onna's storyline involves sexist expectations of her as a girl, not quite yet a woman. The whole reason she leaves her home country is because she was denied entry to a magical academy  because the examiners dismissed her as a village girl. Her class was less of a factor than her gender, but the combination of the two meant they ignored her on a technicality.

This is the first book in what is thus far a set of two books in the same world. This one doesn’t seem to be specifically setting up anything to be resolved later, but I suspect that if and when I do read the next one I might realize things I didn’t notice on this read through. For now, this functions as a stand-alone book and can be treated as such. It resolves its own major plot points and while it gives an idea of what the characters may do next, it's in the broad strokes of the trajectories of their lives, not in way that specifically teases a sequel. There’s been a series of murders of trolls, spread across a pretty large area, but it seem that the humans of various regions don’t know that the problem is more widespread. While  wealthy and well-connected trolls are at the highest levels of society with a great deal of control, individual trolls are being seemingly randomly murdered and their bodies mutilated for some unknown purpose. Onna becomes involved in the investigation as part of pursuing her magical studies. Tsira (who is half-troll and half-human) and the human she rescued end up working together to try and track down the murderers after someone close to Tsira is killed. 

I love the relationship between Sara and her Pink (the human man she found in the snow). More than any individual facet of the dynamic between them, I like how they continually work at their relationship in a way that makes sense, but also shows that it’s some thing that takes work to maintain. They don’t always understand each other perfectly, but they end up finding a cadence that works for them and gives them the tools to deal with whatever happens. 

The trolls have a system of social roles that are separate from gender in a way that doesn’t neatly map onto human conceptions of sex and gender. To them, a human system that’s based on anatomy seems completely nonsensical. I put a lot of thought into how to denote the kinds of queer rep rep contained in the book. Ultimately, I think the best analog for is Tsira as genderqueer and trans, because even though that definitely does not perfectly map onto how she would describe herself, it is the most analogous language I have to denote the kind of character she is and the way she is understood (or not) by the humans around her. 

There's a lot of excellent worldbuilding. There’s little things like how those who do know of Onna's home, as she gets further away, know of it because it has a pencil eraser factory. Eventually, they only know about the factory and haven't heard of her village at all. I found that to be a fun detail, and her reaction to each new mention changes throughout the book as she hears it over and over. As for the broader worldbuilding, the more foundational element is the way that the magic is done through a form of advanced mathematics involving specify parameters for what will be affected by the spell. It’s a bit like making calculus magic, and the book never attempts to teach any particular magical equation because the process is the point, not the details. It means that in practical terms, the role that magic can play in the book is extremely flexible, able to be adapted for the needs of the plot, but also having limitations in a way that never feel contrived. I also noticed the while way the humans have sexism is a manner that I find broadly familiar, there are a little things that make it clear that it’s not meant to be a direct copy of the way the problems would play out in the real world. One of these little ways is that the human men are frequently described as wearing skirts. It's a little way of making it clear that this isn't just Earth with magic added, but a wholly different place which has broadly similar problems that play out in its own particular ways. It’s nearly the end of the book before the two main plot threads converge. It lends some sense of scale how wide flung the troll murders are, spanning countries and at least one sea voyage.
I thoroughly enjoyed this and will likely pick up the other book set in this world. This seems like a hidden gem, and I hope more people try it.