AND WITH REVELING is the included novella for WHEN SORROWS COME, and it's the reception after the wedding, literally. I love the blessings, it's a great way to get intimate conversations (some more tearful than others) in such a large party. I like it as a novella because its story arc is distinct from the main book. The violence and threats have been dealt with and now they can party. This sets up several things for later books to address, and is a very important part of the story. Definitely don't skip this novella after reading the main book.

ARCHIVIST WASP is a journey of two lonely beings who don’t know how to drop their knives long enough not to wound after asking for help. 

I love the blend of supernatural and technological pieces that build the post-apocalypse world of ARCHIVIST WASP. The titular Archivist, Wasp, hangs on to her life through sheer force of will at times as she tries to help Ghost find someone he lost before both of them died long ago. Wasp and Ghost slowly gain a synergy of understanding and movement through their temporarily shared purpose, shown partly through how Wasp is more and more able to understand and anticipate Ghost’s actions as they fight together for their lives with disturbing regularity. 

This uses what in most other books would be shared memories, except Wasp is seeing the memories that Ghost has lost, meaning that he's sometimes strangely unsuited to helping her figure them out. Through these memories Wasp gains an understanding of a small piece of the pre-Apocalyptic world which Ghost inhabited, the shattering and slow decay of which built Wasp's own world. 

I love the ending, it's more hopeful than I thought it'd be, and it works well.

I read this after having read FIREBREAK and therefore entered it full of bittersweet sorrow just from the synopsis. This was published first and can be read either first or second. It is not a new thing for the order of a series to be complicated, later books are set before earlier ones, but usually there's a sense of what is known and unknown in each of them. This is different. I cannot imagine what it would be like to read ARCHIVIST WASP without having first read FIREBREAK, for the parts of the ghost which are handed to me here are so linked that it feels like ARCHIVIST WASP is filling in the missing pieces, soothing the parts of me that were rent asunder by the saga of corporate greed and deep grief that is FIREBREAK. Having said that, I've done my best to review ARCHIVIST WASP on its own terms, as a book that was published before FIREBREAK and didn't know it would ever get a sequel, let alone the quasi-prequel/related stand-alone journey that is FIREBREAK, or the sequel that is LATCHKEY. 

It’s my personal opinion that you’ll have a fulfilling experience whether you read this first or second, but if you prefer to feel like you have more answers before you at once, start with FIREBREAK and then you’ll be better prepared for ARCHIVIST WASP and then move on to LATCHKEY. If you’d like to feel as though you’re powerless to stop a tragedy whose ending was written long ago, but nevertheless still breaks your heart and makes you hope for a better future, begin with ARCHIVIST WASP and then you can read FIREBREAK (I suspect for this reading it would be better to follow publishing order and read LATCHKEY between them).

FIRE is about tangled pasts, hidden things, and a girl trying to be her own person when all she sees in the mirror is her father's face.  

It’s emotionally complicated in a way I wasn’t expecting, a story about how love and people are multifaceted, and that complexity means they can be kind and cruel. Fire’s memories of her father are given the space to slowly unwind, making his brutality and manipulation clear. It would be so easy to have written it like his care for her was a redeeming quality, but it’s not treated that way. In her present-day relationships, Fire is figuring out how to exist without feeling like her every action is a replica of her father’s monstrosity. The emotional journey of coming to terms with having been loved by a cruel person is a fraught one that is handled well here. It’s especially refreshing to have this topic handled in a way that has nothing to do with forgiveness or reconciliation, since her father is long dead before the story begins.

FIRE is full of secrets, dripping with them. Almost every named character (and definitely all the noble ones) either grow and change themselves, or Fire learns something about them that complicates her understanding of them. Sometimes they're new events, but more often it's something that's been true for a long time, with knock-on effects seeping into her life even when she didn't know. It works especially well in a story about a protagonist growing up and taking on both more adult responsibilities, and a more nuanced understanding of the world as her childhood understanding of things slowly cracks and shifts to incorporate more of what people are and what they can be.

This is book two in the series but chronologically takes place before the events of GRACELING. It’s well-placed here, since an explanation of some key events in FIRE would spoil a mystery central to GRACELING, but it does make my usual sequel check a bit tricky. It doesn’t wrap up anything from the first book but it does supply some backstory for an important character. The entire plot starts here and wasn’t part of GRACELING, and many things are both introduced and resolved in FIRE. It doesn’t specifically leave anything open to be addressed later, but it’s my guess that some of these characters will appear later in the series. The narrator is different from GRACELING, and she feels like a very different person than the previous narrator. This would mostly make sense if read without having read the first book, but both books would suffer in the telling if FIRE is originally read without a central bit of knowledge and then GRACELING is later read for the first time with that information.

This is a great book and a worthy sequel, continuing GRACELING's themes of secrets and damage in a whole new kingdom and (almost) entirely new cast.

I thought this was SFF then realized my error a few pages in.

ELATSOE is a thoughtful and vibrant story about grief, truth, and life, as Ellie tries to fulfill her cousin’s last wishes and stop his murderer (with the help of her ghost dog). It's a coming-of-age story, where Ellie is figuring out the bounds of what she can do, and what responsibilities come with her heritage (spiritual, magical, and mundane). 

I love how this feels to read. It’s kind of a murder mystery, except Ellie is trying to prove how the murder happened since she’s been told who did it. I like the way that stories and memories are woven into Ellie’s narration. It makes them feel like part of her thoughts, as they so clearly are. She’s so full of stories that her point of view wouldn’t feel complete without them. She’s deeply connected to her family, and looks up to her Six-Great Grandmother as example and inspiration.  The worldbuilding is good, it’s shown through Ellie’s perspective in a way that feels effortless. It’s a world where ghosts, vampires, and fairy ring teleportation coexist but don’t all follow the same guidelines, and this does some pretty cool things with adherence to the clashing rulesets. 

A moving read that blends small joys with slow mourning, don't miss ELATSOE

WITHIN THESE WICKED WALLS has ill-advised romance, ghosts, and past abuses in a tangled and emotionally-rich story of haunting and moving on. It asks what we owe to those who tried their best but hurt us anyway.

I like the setting and the worldbuilding, the house and the curse are pretty well described. The characters are the best part, with various blends between relatability and detestability. At several points Andi encounters something that's new to her but well-known to the other characters (and definitely known to the author), and the way they're described is so precise and interesting. I like strange descriptions of things. There's particular moment where she sees, for the first time, a food I know very well but which I had to figure out along with Andi because of how she approached the description. It captures the feeling of figuring out something for the first time and it reinforces the character generally, fitting in with her previously limited realm of exposure. , and I was initially thrown by her description

I know the plot is like this because it's a Jane Eyre retelling, but I'm too demi to click with stories of instant attraction and there didn't seem to be much buildup before Andi was interested in Magnus. This is a quick attraction with interpersonal obstacles discovered after the spark is lit, and even those difficulties lingered just as long as necessary for narrative tension before melting away in an instant. It's a particular flavor of romance and not one that suits me well. It's also an employer/employee situation, with the associated power imbalances intact (but remarked upon, and I appreciate the level of self-awareness). 

There are themes of abuse from a parental figure who is a secondary character, and I think it usually finds a way to make that character understandable without minimizing the abuse. I never got to like him, though. Andi is very much putting up with his current level of abuse because she needs something from him. It is a nuanced take on this dynamic, and I like the level of care involved in the narration. It focuses on the shape of how Jember's brokenness hurt Andi in turn, and there's a gradual process of them coming to terms with who they were to each other and setting a new standard for what they want to be now. It's very well done, and while they balance they strike isn't what I would want for myself, it genuinely seems to work for the two of them.

ONE DARK THRONE is a pretty good sequel to THREE DARK CROWNS, but it feels like it's not sure which role to play: final book in a duology or book two in a long series. Since there are more sequels, the second option won out, but the story doesn't seem to know that quite yet, and it suffers a bit for it. It was definitely easier to stomach than the first one, with much less animal death (but still some). I think the human body count is lower too, now that the big shows of dominance and power are exchanged for more pointed attacks. It does mean the deaths which do occur tend to get more individual focus in the narrative. It's an okay continuation, but where book one was drenched in poison, book two mostly gestures with the threat of it. Since book one poisoned me once, it was enough to keep the tension until book two delivered, but I wasn't nearly as stressed while reading. 

This wraps up several things left hanging from the first book. I don't think it has any major storylines that didn't exist in the first book, since most of the big events are ones which were planned in the first one (provided that the main characters survived to reach them). Some big things are resolved, but most of them were introduced in the first one. This leaves some things to be picked up in further books, but if the series ended right here I think I'd actually be okay with it. There are more books so I will keep reading. The main narrators haven't changed, though the mix of minor and secondary characters who occasionally get to narrate is a bit different. The narrators are definitely different people, but the style of the narration is pretty consistent across narrators. It works since the whole thing is in a rotating third person view, getting the thoughts of one character per chapter but never quite narrating from their perspectives. It's a good thing this is the second book because it wouldn't make much sense without the first book. There's enough explanation to refresh a returning reader after a gap, but the first book explained a lot of backstory and this volume only lightly attempts to re-explain things. Since it's book two it's not a big deal, but I'll be watching as I continue with the series.

HENCH is a heady mix of spreadsheets and schadenfreude, with cruel beauty in its precision. 

Because of the focus on the human cost of “heroes” there are long sections threaded through with the slow process of healing, of Anna coming to terms with how her body has been broken and reforged, accepting new limitations and finding joy and freedom in novel tools. Her cane is a great example, she uses it as an extension of herself, to support her, protect her, and to make grand her expressions since every gesture is fancier when punctuated by a cane. 

Anna is very observant of people, both in ways that matter to what becomes the bulk of her work as a hench, and in ways that make the book better to read. Her turns of phrase, particularly when describing someone’s voice or laugh, are perfectly suited to the moment and bring new detail to each scene. The prose in general, told through Anna, uses what she observes to simultaneously give the reader more about her and to make every interaction feel fuller. The action scenes are poetic, beautifully described and full of the human cost of each moment of violence.

I love Anna’s rapport with Leviathan. Their purely platonic relationship has loyalty and respect without treading on each other's boundaries, built on whatever they're both willing to share. This handles several other strong platonic relationships very well. It hints at a sexual past for Anna, and features a bad date early on, but her strongest relationships are with her friends and co-workers, people she relies on and trusts quite literally with her life. 

The ending is perfect, stopping right where it needs to. I’m sad that this is (as far as I know) stand-alone, since I don’t often run into many books with this perfect mix of fierce loyalty, revenge, and data manipulation, and I want more.