**book received from NG**
I think I liked Electric Idol more than I did Neon Gods. That is, I think it’s more consistent throughout while lacking some of the highs of the first book (that throne scene, right?). Also I think the marriage of Eros and Psyche is a bit less iconic than Hades and Persephone myth-wise—or at least it is for me—so the story felt a touch less resonant in general. On other hand, KR brings her usual awareness of consent, agency, social and sexual power dynamics to the material so … err … there’s no allegories for sinful lust here or locking women up in adamantine chains (or, at least, I feel if women were locked up in adamantine chains in a KR book it would be because they were up for it).
As I mentioned in my review of Neon Gods, I struggled a bit with the world-building in that book: not because it was flimsy but because it was both flimsy AND TOO MUCH. I’m glad to say that it felt like there was less work to do in that regard now the setting had been established, although the background intriguing continues to be the least interesting aspect of this series. It’s just distracting, compared to the complexities of the character dynamics—and tends to drag the pacing down.
Anyway: the deal here is that Eros is his mother’s hitman and fixer and general on-call monster. After he’s caught on camera with Psyche (despite there being nothing between them), Aphrodite commands him to literally murder her. Except Eros, troubled by either his conscience or his genitals, can’t bring himself to do it and ends up marrying Psyche instead, in the hope this will keep her safe from his mother.
There’s a lot about this to make me squeeful. I do love me a marriage of convenience. And, despite how problematic a trope it is, a hero who believes he’s a monster. And I found I had a better sense of who Psyche was compared to Persephone. I’m always here for a fat heroine (I’m using the word fat in the descriptive, rather than pejorative sense, and also because it’s the word the heroine uses for herself) and, much like Tink in A Worthy Opponent, I feel KR does a fantastic job of allowing Psyche to be confident in who she is while not pretending that deviating from conventional beauty standards is a walk in the park socially-speaking. There’s a really well observed moment where Psyche has just run off with Eros and he pulls the ol “worry not, I will buy you an entire new wardrobe” move that is so popular with romance heroes. Whereupon Psyche turns round and is like, that is literally not possible for someone shaped like me because finding clothes to fit my body is takes time and care. It’s also just nice to have a fat heroine and a conventionally attractive hero who is non-fetishistically just *gone* for her. Again, there’s shades of Tink and Hook here, but Eros and Psyche are very much their own people.
For all I really need to interrogate my love for “I am a monster for everyone but you”, I sincerely enjoyed Eros as a hero. I liked how damaged he is, and has been, by the violence in which he’s been forced to participate, and it was meltingly sweet how profoundly he reacts to Psyche’s acts of kindness and care-taking (themes that continue from the first book). The bonking is probably best characterised as rough vanilla—but I appreciated the focus on intimacy and intensity over throwing in kink for the heck of it. It felt right for these two characters, especially Eros, who above all craves closeness and connectedness.
All of which said, while I loved the characters and was swept along with them for at least the first half of the book, the wheels came off for me just a little at the 60% mark. This is when the intriguing comes back with a vengeance—with Aphrodite trying to flat out murder Psyche regardless of the political fallout, and the inclusion of a set of scenes that seemed to be primarily set up for the next book (of which I believe Helen is the heroine*), all of which just got in the way of Eros and Psyche working their way towards a recognition of mutual love. There’s some emotional conflict thrown in as well, with Eros thoroughly convinced he is undeserving, and Psyche scared for her heart: but while the former felt fully embedded in his character, the latter felt … less so? I mean, I have nothing but empathy for romance characters with wary hearts, who are afraid of having them broken, but on this occasion it felt like a delaying tactic rather than a natural obstacle towards a HEA. (Again, compare to Meg in Learn My Lesson whose emotionally damaged wariness is absolutely integral to her character from the moment she appears on page).
Plus, I think I was looking for … more? Less intrigue, more emosh, especially because Eros and Psyche are so amazing on page together. I appreciated that Psyche had both the courage and wherewithal to resolve the external “imma murder you now” conflict, without recourse to violence or ethical compromise. But I wish there’d been more of the relationship between Eros and Aphrodite: at the point the book opens, Eros basically knows she’s manipulating him, so he’s mostly just annoyed and frustrated, chafing against her control, and never feels truly vulnerable to her. Given how much emotional power she’s wielded over him over the course of his lifetime I guess I wanted to see him work through that more, even if just with Psyche (rather than ‘trying to murder his wife’ simply being the last straw in a succession of dick moves his mother has subjected him to). And I guess—in a book inspired by the Greek gods and the myths around them—it fits that Aphrodite is just a capricious, irrational prick who emotionally abuses her own son and is arbitrarily fatphobic. But … I don’t know. I don’t think a touch of nuance would have damaged her as a villain (especially because Demeter is ambitious, complex and seems to be treading this blade-thin line between loving her kids and using them).
Before I wrap this, I should mention that both Eros and Psyche are bisexual in the way that Hades and Persephone are bisexual in Neon Gods. And I continue to be ambivalent about it. Which is not to say (as I said last time) bisexuality only counts if you’re screwing every gender you can lay your hands on but I’m kind of noticing a trend, not just with this series, but in other romances, where characters who end up in m/f relationships are textually flagged as bisexual. And yet, how can I say this, the bisexuality doesn’t seem to *mean* anything or the shape the character in any way. At which point, it’s just a word on the page. And I don’t think this is true of KR, because many of her characters feel queer (well, feel queer to me but that’s just me, I’m not the queer pope) and are engaged in queer relationships, but I don’t think I like this trend in general. And I’m definitely not trying to gatekeep who gets to write bisexual characters, or how bisexual characters should be written: but it’s hard for me to feel represented by characters who are queer identified but for whom its nothing more than a socially progressive label that doesn’t seem to have anything to do with who they are or how they exist in the world. But again, who knows. Maybe for some people queerness is that simple. And, y’know what, if it is… I guess that’s cool.
Anyway, as ever my attempt to discuss a KR book has led me down various rabbit holes. I will say, that I’m continuing to find this series fascinating and I’m excited to see where it goes. I absolutely loved the relationship between Eros and Psyche, and the way KR consistently re-works guilty-pleasure romance tropes into entirely-guiltless-pleasures is a masterclass in the sexiness of agency, equality and consent between sexual and romantic partners. I will never not admire the fuck out of that.
* I rescind this objection. I have just heard the next book is Helen, Achilles and Patroclus. SET IT UP ALL YOU LIKE, KR.