"God Save the Queen" has all the right elements for a novel I would really enjoy: alternative history set in a supernatural London and a strong female main character, an interesting premise, and Queen Victoria. Unfortunately, an interesting idea fails in solid execution and I couldn't even push through the last five chapters of the book.
In this novel by Kate Locke, a virus commonly called "the Promethean Plague" or just "the plague" afflicted a large portion of the human race. Aristocrats and royalty in particular started displaying mutations, transforming them into vampires or werewolves, with the most extreme and bestial gene expressions throwing goblins. The British Empire flies strong under a vampiric Victoria in her 175th year of rule, while the Americas have broken away and technology and society function along disturbing parallels.
The book badly needed an editor armed with a red pen to stop Stephenie Meyer-esque asides surrounded by hyphens. I found the constant asiding intrusive and detracting from the flow of what was going on. Much of the setting information is dumped scattershot through the first several chapters without rhyme or reason, often mid-narrative. World building's a bit like decorating a cake; sometimes you let the flavours come through on their own, and others you add more elaborate pieces on their own. Locke doesn't have a light hand or a good sense of timing for doling out theme details in the way that two masters of the genre, Kim Harrison (in particular) and Gail Carriger (for steampunk/paranormal or urban fantasy), achieve. Patricia Briggs and the Ilona Andrews duo also excel in developing their urban fantastic worlds, and none of these authors break a thought stream or a conversation for two paragraphs of random information. That's really my largest beef with the book and the reason I had such trouble reading it: I didn't like wresting the storyline from its foundation, chipping away at all the constant interruptions, interjections, and asides to keep track of what was going on.
Clearly Locke's setting has a lot going for it. Many elements of London remain and others are gone, like the history of the Nazis and the Blitz. Racial segregation and the results of a failed uprising 70 years prior to the story leave lasting effects which the main character is forced to deal with and grapple with if she's to find her sister and solve other issues along the way. But it can't sparkle the way it should, which is a damned shame. Critical details about this steampunkish, supernatural modern version of London are plunked down as we try to follow the protagonist, the daughter of a duke and a half-vampire with the expected suite of unexpected powers and strengths, through her various adventures in the divided capital.
Some sloppy writing habits had me grinding my teeth--the use of hyphens--as I tried to keep track of everything--hard to do, I tell you, when the damned book kept hopping around--when there were multiple interjections. I don't have a problem with the use of hyphens as asides, but overliberal use becomes more than a distraction. Subplots shouldn't happen between a stream of hyphens. Too often setting bits were thrown out this way, and the worst part is how higgledy-piggledy the approach was. If the author set out some key information in a few paragraphs at the beginning, great. Instead, the reader is led on a tedious scavenger hunt to piece together an idea of the setting without a general framework or key details, and that isn't fun. I want to focus on the story as much as the world it takes place in, and trying to perform both simultaneously isn't easy when they keep tripping over one another.
I finally gave up over the Mary Sue qualities of the main character. Of course, she's appealing but too many stereotypical boxes are ticked off: a screaming redhead, highly attractive and charismatic, butt kicking, independent, soft spot for family, well-regarded by most everyone, racy and capable in a corset or leather boots, motorbike riding, hard drinking high aristocrat's daughter. Where are the flaws? Where's the character growth? By the time I stopped, I felt that we really hadn't seen a great deal of growth from someone with a silver spoon in her mouth and all the advantages laid out. "Half" supernatural or not, she really didn't grow. Contrast her to Rachel from the "Hollows" series by Kim Harrison or October Daye from Seanan McGuire's superlative "October Daye" series, and Xandra rings pretty flat and false. I like an independent, sassy female but what I don't like is someone who never grows and whose challenges are met with a deadly arsenal from the get go. That's not quite so fun.
Locke has an excellent imagination and her diversions into explaining various forms of technology showcase a great grip on her world. I found the intersections between modern gadgets we have, like a cellular phone, and her interpretations (a cylinder version, complete with message box) to be intelligent and a bit tongue in cheek. She uses a strong dose of wit and humour to pull the story along. I just wish she'd cleaned up how she wrote to stop the constant asides and to explain critical events/details in a few lines.