1 ⭐
“For once, no tears burned my throat, no anxiety wrapped around my throat, no fear squeezed my lungs”. About time, I might add.
This is the second time I pick up the book, and the first time I manage to finish it. The first time I read two pages and decided I was not in the right mindset. This time I had the right mindset but did not like the book at all.
The review might be spoilery? I don’t know if there’s much to be spoiled.
Story
The first issue that comes to mind, is the story itself. It had nothing to do with The Legend of Sleepy Hollow, the only links to it are the names, and that’s it. Which is why I cannot understand for the life of me…why was this a reimagining? To use the fame of the original to successfully market the book to fans of Sleepy Hollow that would then be tricked into buying a book that has nothing to do with it? I don’t know, but the fact that if we were to change the names of people and places, nothing would actually change. The other link to the original is the timeframe, which sets the story after the War of Independence, so in the late eighteenth century, but it’s not an important element apparently. I understand that asking for even a sliver of ‘historical accuracy’ in a romantantasy book might sound stupid to some, but if you bother to set said book in a specific timeframe, why not use it to create imagery? No, better to spit out inaccuracies, like corsets being torture devices and parchment used everywhere, and be as generic as possible about dresses, hair (a bun? Really?), books, and everything that could give a distinct look to the setting.
Writing
The writing was appallingly bad. The constant repetitions of the same formulas (tears burning down her throat, Alexander gripping her chin, sweat going down her spine and dampening the dress, yadda yadda…) made them feel ridiculous after a short while. Descriptions were either excessively long and useless, or seemed to be taken from a 2014 wattpad story written by a twelve years old, like “orbs of blue”. Referents were missing; the same concept is introduced in a dialogue, then put on hold, then repeated to continue explaining it; the work day starts but a few moments later it’s evening,…I wonder if an editor was involved. How does a tear go down you temple and hairline if you’re laying on you side and pressing your hear to the pillow?
Also, a lot just didn’t make sense, and I attribute it to the bad writing, because it’s either that or the author thinks that readers are just that dumb. If things are not exactly reasonable, you have to make them seem like they are, make them plausible in the context of the story. But if you make Katrina, who just learned that she has to be sacrificed, think that “Maybe there was another haven for me” and immediately after “Too big a risk for me to take without proof, and too big a risk for me to leave without proof”, you’re either trying to tell me that she’s an idiot that would die instead of taking a chance at the outside world, or you think that readers are stupid for thinking that yes, her reasoning is perfectly sensible. ALSO this reasoning is completely forgotten a few pages later, when Henry says “Have you considered leaving the Hollow?” and she’s like “What? Can I leave? In all my years, I’d never imagined leaving Sleepy Hollow.” And then she thinks “If I was to die, I would die in Sleepy Hollow, not at the hands of fearful humans whose path I crossed attempting to escape”. I understand she’s closeted, abused, insecure, and probably has no self preservation instinct, but THEN SHOW THAT instead of having her make stupid reasonings. Show that she doesn’t think she deserves to live, show that she is afraid of leaving because that place, that abuse, that life is all she’s ever known. But still, this would only work so much, because it’s not all she’s ever known. She’s met Henry who is kind to her, and takes care of her, and listens and values her. But she needs a hot guy to come and tell her that she matters to heal, which just makes her a badly written character.
Again, she’s about to die from hypothermia, but her primary concern is asking the Headless Horseman “Why should I go with you? How do I know you are being truthful?”. Does it matter if you die anyway?
She literally asks the Headless Horseman if the fact that he can make his head disappear is the reason they call him that.
The context is often put aside to have tropey scenes that are supposed to develop the characters’ relationship, but fail to feel important because of how disconnected they feel to the context. Alexander and Katrina are in disguise in Sleepy Hollow but they argue meters away from a gathering talking about very personal stuff that would give Katrina away immediately. But this has no consequences of course, just as sitting at the front of the bookshop without her magical disguise on is a perfectly logical thing to do. No one would ever see her from the street and no one would enter the bookshop.
Another frustrating aspect is the disproportionate significance given to ‘revelations’ that even the most distracted of readers could figure out eons before said ‘revelations’ are made. For example, Alexander tells the town leaders that the sacrifices are not necessary but they dismiss him. And yet, he doesn’t know why they’d do that. Anyone with common sense understands that they’re targeting people and killing them off for their own benefit, but it’s presented as a big twist way later, consequently obliterating any chance this book had of creating tension and suspense. Any threat presented as such is never shown, except for the thick mist that appears a few times and the actual villain of the story. How am I supposed to feel the threat of the monsters and creatures mentioned if they never appear in the same room as the main character? How am I supposed to feel anticipation if the main character sits patiently waiting for news when she has a deadline that is threatening not only her life but the life of others? Why isn’t she frantically working, training and looking for a solution? This book has a first person narration that doesn’t put the main character in the necessary situations for the point of view to be relevant and have a successful impact on the reader’s experience. The usual ‘telling and not showing’ essentially but a ‘telling’ that tells both too much in its fruitless descriptions and too little in its narrow perspective.
The formidable writing makes for formidable clumsiness in dialogue and character dynamics. The dialogue between Katrina, Brom and Ichabod in the pottery shop was unintentionally funny. Alexander touches Katrina multiple times since they first meet, but he says that he’ll only touch her with her permission only after another man enters the picture and touches her arm. Katrina is constantly pampered with ‘you are important’, ‘your words matter’, ‘you deserve to live’, and every time it felt like reading a book of positive affirmations. It pretty much summarises Alexander’s role pretty well. He’s her book of positive affirmations. He’s the guy that helps her train for like an hour. He’s the guy that has to tell her that men should ask for permission to touch her. He’s the means to get her powers to work so that she can defeat the villain. Alexander is such an ordinary, plain, stale, blonde, white piece of carboard that, oh, is also a child of death, but who cares about that. His magic is for changing Katrina’s features only and creating purple smoke barriers that don’t even work. And the insta-attraction-turned-deep love-romance is just as stale. Not to mention the fact that it’s another case of ‘how long have you been 17’ kind of situation, so that we’re met with “I have been here for a long time. I stopped aging at twenty-one years, but I’ve been alive for nearly one hundred years”, while Katrina, as we’re repeatedly told, has “almost twenty years of life”. So she’s a teenager and he’s like 95 years old. Does that sound sexy and mysterious now?
I’d like to conclude with my favourite line from the book, which perfectly sums up the character of Katrina: “I was now just a naked girl kneeling in the grass with tears streaming down her face. It was pathetic. I was pathetic.”
I received an eARC of the book and this represents my honest opinion