booksthatburn's Reviews (1.46k)

I don’t like the style.

Don’t like the style.

Delaney is a post-lingual Deaf girl who sometimes hears the shadows whispering. She gets into a university whose stated purpose is to teach its students to traverse between realities. Colton is a student who briefly died when he was a child, meeting Delaney briefly at the time. When they meet again on campus, she doesn’t recognize him but is drawn to him anyway, while he instantly knows her and can’t keep his distance. They begin spending time together, then the lines are blurred further when another student dies.

There’s a consistent theme of ableism, mainly but not only from professors who don’t know Delaney is deaf (because they didn’t read the emails alerting them). She’s navigating this new space and deciding how much she’d rather deal with not being able to usefully hear in the moment or with overt ableism once people know she’s deaf. Whether she’s using her implant and what she does or does not hear is important throughout, and is used to great effect once things start getting spooky.

The worldbuilding is sparse, most of the details are atmospheric and unexplained until late in the book. The specific answers and explanations (when they finally arrived) wrapped up pretty much everything I wanted to know. I enjoy vibe-heavy books that leave me interested but confused for long stretches, so this was a deeply satisfying read for me. Colton’s secrets (and those he keeps for others) are hinted at but not revealed early, keeping the reader and Delaney equally in the dark for much of the story. 

For a book with parallel worlds there aren’t many descriptions of traversals, though there are more towards the end. I like how much the focus is on Delaney piecing things together and trying to make it through her classes, and on her dynamic with Colton. I often enjoy books with mysterious and brooding guys, and this delivered. 

Heavy on vibes, supported by a delicate but satisfying plot, don’t miss THE WHISPERING DARK.

Don’t like narrative style.

THE VERY SECRET SOCIETY OF IRREGULAR WITCHES is a funny and heartwarming story of found family, starring a lonely witch and a house full of people working to protect three very young witches.

The setting is almost real-world England, but where magic and witches are real while the rest of history seems to have been unaffected. Mika was born in India but was taken to England by Primrose after her mother died (all witches are orphaned soon after birth due to a spell that went wrong sometime in the past). There are various themes of bigotry, marginalization, and even colonialism which are invoked by the characters, but only the magical counterpart is specifically explored. Since a lot of heavy lifting for the worldbuilding is implied by the contemporary setting and setting most of the book at Nowhere House, this has the room to focus mainly on characterization. 

Ian is a retired actor who resides at Nowhere House with Ken, his husband and the house's gardener. Lucie is the housekeeper, and Jamie is the grumpy and protective librarian who originally came to the house as a teenager. The children (Altamira, Terracotta, and Rosetta) are very young witches who were adopted by the house's absent owner, Lillian, a witch and archeologist. Ian finds Mika online and invites her to stay at the house for several months and teach the children to control their magic. Mika, who has led a very lonely life due to her former guardian's ideas about witches and the dangers of spending time with one another, agrees to stay but keeps feeling a bit on the outside.

The story is generally heartwarming, focusing on Mika's interactions with the inhabitants of the house. Jamie is grumpy in a way that's initially annoying to Mika but which starts being a bit sexy as she gets to know him better. Mika was invited to the house because there's going to be a visit from Lillian's lawyer and they need the children's magic to be under control (or at least hidden) during the event. They haven't been able to get in touch with Lillian, and none of the other adults are magical, so they have to hope that Mika can help them.

This was fluffier than I usually like, but I ended up enjoying it (especially once Jamie and Mika start really talking). The late-book twist was handled very well and led to some of my favorite scenes in the whole thing.

The worldbuilding is jam-packed, with slim room for the characters to actually do or say anything. It’s clearly well-researched, but feels determined to name-drop as many historical events as possible with their corresponding magic twist in this chronology. 

Don’t like the main character, detest the sister, can’t stand the family.

As the third book in a long series, this picks up the thread of Seregil's backstory and exile from Aurënen. His exile status is important to current events, as the hostility surrounding his past affects the current diplomatic mission. The mission itself is introduced and resolved within the book. It opens up new possibilities for later, related to Seregil's status and some actions he and Alec take at the end of the story. Seregil and Alec are consistent with their earlier appearances. This is a long and mostly self-contained story which could stand on its own. The important prior events are summarized when necessary in a manner that would let new readers catch up easily.

The main reason I would not advise this book as an introduction to the series is that it's incredibly boring for a long while at the start. The story begins very slowly, taking the first half to outline the complicated factions and political tensions of the Aurënfaie before turning into an investigation of violence done against the visiting Skalans. I almost considered quitting, but kept going because I do want to know what happens next for these characters. If you're happy with how the second book ended and don't need to watch Alec and Seregil actually living out their relationship, then feel free to treat it as a duology rather than a series and don't read this one. If you're hoping to read the full seven-book series, then the second half of this is much more exciting and I ended up enjoying it by the end. There's a lot to love in it, but I feel like the first half follows the glacial pace of the Aurënfaie while the second half is more Skalan.

HELL FOLLOWED WITH US is the story of a trans boy during the apocalypse, trying to avoid turning into a biblically accurate angel; a creature of such mind-bending grotesquery and body horror that any conversation is required to start with “be not afraid” so that the other person hopefully doesn't run away screaming.

For some people there is body horror inherent in transness or in dysphoria, in the inexorable change of flesh into a form you’ve seen elsewhere but are utterly unable to recognize as yours. HELL FOLLOWED WITH US deals with themes of monstrosity and transness by embracing their connections during an apocalypse launched by evangelical Christians (a horrifyingly effective homophobic/transphobic/misogynistic death cult). It stars Benji, a teenage trans boy who is uninterested in most of the superficial trappings of masculinity because he’s going to be a decaying monster within a month anyway, his form utterly distorted beyond anything even the best binder could contain. 

There are strong themes of religious abuse, body horror, transphobia, and dysphoria. The short version is I love how HELL FOLLOWED WITH US engages with these topics, but please take care of yourselves. 

The worldbuilding is a little fuzzy on how exactly this plague started, waiting until late in the book to make explicit what happened. I'm fine with this, I love this immersive style of worldbuilding which assumes the reader has at least some baseline knowledge of the setting. Some readers might want a bit more clarity on how this all started, but I think an early reveal would have taken away from the urgency of Benji's current problems. The cult used the plague to kill most of the world, and now the survivors have to figure out how to get through what's next.

Benji is making the most of his final days by helping his newly-found companions from the ALC (a queer community center) fight off the Angels and try to get enough food to survive, all while trying to hide the changes in his body. Nick is a co-leader of the ALC, an infrequent narrator in the story but a consistent presence in Benji's thoughts. Nick is one of the few people outside the cult who knows what's been done to Benji and what he's turning into. Theo is the fiancé Benji left behind, kicked out of the Angels (the cult's warriors/enforcers) after the rest of his squad was killed. Benji is still in love with him even after fleeing, not yet ready to leave this one (usually) good part of his life behind. 

I love the way this engages with body horror and transness without shying away from either, or from the way they can blur into each other. It's about Benji's relationship to his body and a loss of control over what it's doing and what people think when they see him. He needs people to see that he's a boy and a person, no matter what his flesh is doing.

There’s a subtle detail which I appreciate, where even though (broadly speaking) the death cult Benji escaped is transphobic and sexist as an institution, whereas the kids at the ALC are queer and accepting that’s not a hard and fast distinction for every individual member of either group. It allows for something more nuanced, messier and realistic. In a book with a trans main character it would have been easy (and boring) to make all the villains (and only the villains) be transphobic. This doesn’t do that, and it’s glorious.

The story begins with Benji escaping, his father's blood on his face and terror in his heart while he's pursued by the Angels. Once he starts living in the ALC, Benji has to learn new terms for referring to the plague, the monsters, and the cult he left behind. Part of being in the cult for so long is that they have their own vocabulary for the terms which are important to them, most of which are meant to convey how amazing and good the destruction of the world and the genocide of most humans on the planet truly is. Many of the terms are pulled from the Bible, internally reinforcing the idea that everything that's happening is God-ordained and therefore, axiomatically, must be good (no matter how murderous). Conversely, the ALC's spin, such as it is, is that contagious abominations get called monsters, and that they don't want to die of the body-altering plague that the cult unleashed. Even though Benji has left the cult, the chapters begin with quotes from their speeches, writings, and their holy text texts. These help to immerse the reader in Benji's former headspace, the one which Theo still occupies.

If "trans boy is turning into a biblically accurate angel" didn't hook you, I don't know what will, but this book is amazing and you should read it.

Lots of infodumps early on, plus this lists exactly what everyone is wearing in too much detail for me.