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The Oak and Holly Cycle #2
The Robin on the Oak Throne
The instant New York Times bestseller
The only thing worse than fearing a monster is falling for one…
Kierse McKenna just shattered the Monster Treaty. Again.
It wasn’t entirely her fault. The job was supposed to be steal a goblin-made bracelet off of the Queen of the Nymphs in her own palace. Trade the bracelet for a way to uncover the truth about her past. Except everything goes sideways.
And then he shows up to save her.
Graves—the warlock who ensnared her, betrayed her, and left her to fend for herself. He’s a villain. A monster draped in charm and shadows. And gods help her, he always knows exactly what she wants.
But Graves never does anything for free. He has a job for his favorite little thief. One that will pit her against the most powerful monsters in existence, including his mortal enemy, the Oak King.
An ancient artifact has been located, and only together can they hope to steal it. She just has to let him in.
But once she lets a monster in, he’s impossible to forget…and even harder to resist.
The Oak & Holly Cycle series is best enjoyed in order.
Reading
Book #1 The Wren in the Holly Library
Book #2 The Robin on the Oak Throne
The only thing worse than fearing a monster is falling for one…
Kierse McKenna just shattered the Monster Treaty. Again.
It wasn’t entirely her fault. The job was supposed to be steal a goblin-made bracelet off of the Queen of the Nymphs in her own palace. Trade the bracelet for a way to uncover the truth about her past. Except everything goes sideways.
And then he shows up to save her.
Graves—the warlock who ensnared her, betrayed her, and left her to fend for herself. He’s a villain. A monster draped in charm and shadows. And gods help her, he always knows exactly what she wants.
But Graves never does anything for free. He has a job for his favorite little thief. One that will pit her against the most powerful monsters in existence, including his mortal enemy, the Oak King.
An ancient artifact has been located, and only together can they hope to steal it. She just has to let him in.
But once she lets a monster in, he’s impossible to forget…and even harder to resist.
The Oak & Holly Cycle series is best enjoyed in order.
Reading
Book #1 The Wren in the Holly Library
Book #2 The Robin on the Oak Throne
480 pages, Kindle Edition
First published June 17, 2025
1225 people are currently reading
26470 people want to read
About the author
K.A. Linde
101 books11.1k followersK.A. Linde is the New York Times, USA Today, #1 Sunday Times bestselling author of The Wren in the Holly Library. She is prolific in both romance and fantasy and loves the blend of the two.
She has a Masters degree in political science and bachelors in philosophy from the University of Georgia. In her previous life, she was a head campaign worker for a presidential campaign and the coach of the Duke University dance team. She loves reading fantasy novels, traveling to far-off destinations, and dancing in her spare time.
She currently lives in Lubbock, Texas, with her husband, and son.
She has a Masters degree in political science and bachelors in philosophy from the University of Georgia. In her previous life, she was a head campaign worker for a presidential campaign and the coach of the Duke University dance team. She loves reading fantasy novels, traveling to far-off destinations, and dancing in her spare time.
She currently lives in Lubbock, Texas, with her husband, and son.
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Displaying 1 - 30 of 1,062 reviews
Want to read
May 1, 2025Look at me, K. A; you're not like this. You're not gonna pull a SJM here. You're gonna make this an allies-to-lovers-to-enemies-to-lovers because that is what we need. We don't want a new love interest and you're not even thinking of doing that. You're smart. You can do it.
June 30, 2025
That ending was rude.
June 15, 2025
Wow. Just wow. What a book! Definitely one of my favourites of the year.
The Robin on the Oak Throne is a complete rollercoaster of heists, glamorous events, electric chemistry and spice, magic, monsters, and so much more! It's fun, funny, devastating and heart-breaking, with so many twists and turns. At its core there are more serious themes of trust, betrayal, consent, agency, past abuse, healing, family and love. I loved Kierse, Graves, and the whole host of brilliant side characters and found family. You're going to hate a few characters too, trust me. There was wonderful character growth and choosing to actively change their behaviour. And so many great LGBT+ characters.
I raced through the chapters each day, and yes, I did break on Day 5 and binge read to the end. But how could I not? Book 3 ASAP please!
The Robin on the Oak Throne is a complete rollercoaster of heists, glamorous events, electric chemistry and spice, magic, monsters, and so much more! It's fun, funny, devastating and heart-breaking, with so many twists and turns. At its core there are more serious themes of trust, betrayal, consent, agency, past abuse, healing, family and love. I loved Kierse, Graves, and the whole host of brilliant side characters and found family. You're going to hate a few characters too, trust me. There was wonderful character growth and choosing to actively change their behaviour. And so many great LGBT+ characters.
I raced through the chapters each day, and yes, I did break on Day 5 and binge read to the end. But how could I not? Book 3 ASAP please!
October 14, 2024
CAN NOT WAIT!!!
Wren In The Holly Library was one of my top 2024 reads so I’m counting down the days until this second book comes out!
Wren In The Holly Library was one of my top 2024 reads so I’m counting down the days until this second book comes out!
October 17, 2025
Took me almost a month to get through this book 🤦♀️It started off super strong, the spice was great, but then it petered off and I didn't feel as engaged as I was when I started it. The last 25% of the book was awesome though! Still looking forward to book 3.
July 4, 2025
3.5 Nate scene pissed me off
June 18, 2025
The second installment opens with Kierse breaking the Monster Treaty once again—this time stealing a goblin-made bracelet from the Queen of the Nymphs in her own palace. Yet what begins as a seemingly straightforward heist becomes the catalyst for a much larger exploration of power, identity, and the cost of truth. Linde demonstrates remarkable growth in her worldbuilding, expanding the scope from the contained drama of New York's supernatural underworld to a European landscape where ancient Celtic magic pulses beneath modern sensibilities.
The Evolution of Kierse McKenna
Perhaps the most compelling aspect of this novel is watching Kierse grapple with the revelations from the first book while navigating increasingly complex moral terrain. No longer the confused thief discovering her magical heritage, Kierse has evolved into a formidable character who must reconcile her past trauma with her growing power as a half-wisp. Linde skillfully balances Kierse's vulnerability—particularly in scenes involving recovered memories of her parents—with her fierce independence and survival instincts.
The memory sequences, revealed through her magical connection with Graves, serve as some of the novel's most emotionally resonant moments. When Kierse finally witnesses the truth about her parents' fate, Linde's prose becomes almost lyrical in its restraint, allowing the emotional weight to speak for itself rather than overwhelming readers with melodrama. The recovery of her father's hunting knife—"blessed by the Fae" and bearing a Trinity Knot—becomes a powerful symbol of her reclaimed identity.
The Holly King's Redemption Arc
Graves remains one of fantasy romance's most intriguing antiheroes. His centuries-old conflict with Lorcan, the Oak King, provides the mythological backbone that elevates this series beyond typical urban fantasy fare. Linde excels at peeling back layers of his character without completely removing the dangerous edge that makes him compelling. His relationship with Kierse has matured from the manipulative dynamic of the first book into something more complex—a partnership built on mutual respect, shared trauma, and genuine affection.
The scenes between Graves and Kierse crackle with tension that feels both romantic and adversarial. Their chemistry is undeniable, yet Linde never lets readers forget the power imbalances and past betrayals that complicate their connection. When Graves admits to hiding Kierse's true identity, the revelation doesn't feel like a cheap plot twist but rather an inevitable consequence of his protective instincts warring with his manipulative nature.
Lorcan Flynn: The Seductive Antagonist
If Graves is shadow and winter, Lorcan Flynn embodies the dangerous allure of summer and growth. As the Oak King and leader of the Druidic Order, he presents perhaps one of the most sophisticated antagonists in recent fantasy literature. His offer to Kierse—a place beside him on the Oak Throne, reunification with her chosen family, access to wisp knowledge—isn't simply villainous scheming but represents a genuinely appealing alternative to her current path.
Linde's portrayal of Lorcan's Brooklyn stronghold, with its magical oak throne room that exists as a pocket of ancient Ireland, showcases her ability to blend urban fantasy with high fantasy elements seamlessly. The scenes where Kierse explores this sanctuary feel mythic and intimate simultaneously, highlighting the author's skill at creating spaces that serve both plot function and emotional resonance.
The revelation that Niamh serves as Lorcan's "robin"—the Oak King's equivalent to Kierse's role as Graves's "wren"—adds another layer of complexity to the mythology while deepening the sense of cosmic balance that drives the Celtic seasonal magic system.
Supporting Characters and World Expansion
The supporting cast has grown more nuanced and integral to the plot. Gen and Ethan's development as High Priestess and Druid respectively provides emotional stakes beyond the central romance, while their triskel bond with Kierse creates opportunities for magical cooperation that feel organic rather than convenient. The friendship dynamics feel authentic, particularly Gen's concerns about Kierse's safety and Ethan's struggle to balance loyalty to his friends with his Druidic training.
Nate's continued presence as a werewolf ally navigating the political complexities of Monster politics adds depth to the worldbuilding, while new characters like Laz and Isolde expand the sense of Graves having a life and history beyond his obsession with Kierse and Lorcan.
Mythological Depth and Celtic Magic
Linde's incorporation of Celtic mythology goes far beyond surface-level appropriation. The Oak and Holly King cycle, traditionally representing the eternal struggle between summer and winter, becomes a deeply personal conflict between two characters whose centuries-old enmity has shaped both their natures and the magical world around them. The author demonstrates clear research into Celtic lore while making it accessible to readers unfamiliar with the source material.
The magic system continues to impress with its internal consistency and emotional resonance. Kierse's absorption abilities, Graves's connection to knowledge and shadow, and Lorcan's nature magic all feel distinct while operating within a coherent magical framework. The seasonal aspects of their power—how the approaching solstice affects their abilities—creates natural tension and urgency within the plot structure.
Areas for Critical Assessment
While The Robin on the Oak Throne excels in character development and mythological depth, it occasionally suffers from pacing issues common to middle books in a series. The extensive setup for future conflicts sometimes slows the narrative momentum, particularly in the middle sections where characters spend considerable time in exposition-heavy conversations about magical politics and ancient history.
The romance, while compelling, occasionally overwhelms the plot progression. Some readers may find the will-they-won't-they dynamics between Kierse and both Graves and Lorcan somewhat repetitive, though the emotional authenticity of these relationships generally carries the romantic elements effectively.
Additionally, while the European setting provides fresh scenery, some of the cultural details feel less lived-in than the vividly realized New York supernatural community from the first book. The Paris sequences, while atmospherically described, lack the gritty authenticity that made the Brooklyn Druid compound so memorable.
Thematic Resonance
Beyond the surface-level romance and supernatural action, Linde explores themes of identity, trauma recovery, and the complexity of found family relationships. Kierse's journey involves not just discovering her magical heritage but learning to trust others after a childhood marked by abandonment and abuse. The parallel between her relationship with Graves—built on lies that were intended to protect—and her growing understanding of her parents' choices creates emotional depth that elevates the material.
The exploration of power dynamics, both romantic and political, feels particularly relevant. Neither Graves nor Lorcan can simply command Kierse's loyalty; she must choose her path based on her own values and desires. This agency makes her character compelling beyond her magical abilities.
Technical Craft and Writing Style
Linde's prose has matured considerably since the first book, showing greater confidence in both action sequences and intimate character moments. Her dialogue feels natural and distinct for each character, while her descriptive passages create vivid sensory experiences without overwhelming the narrative flow. The alternating perspectives and flashback sequences are handled skillfully, maintaining clarity while building emotional investment.
The author's handling of trauma, particularly Kierse's recovered memories and past experiences, demonstrates sensitivity and authenticity. Rather than exploiting traumatic elements for shock value, Linde uses them to deepen character understanding and motivation.
Final Verdict
The Robin on the Oak Throne succeeds as both a worthy sequel and a compelling standalone narrative within the Oak and Holly Cycle. While it occasionally struggles with the middle-book burden of setup and transition, its strengths—particularly in character development, mythological depth, and emotional authenticity—far outweigh its weaknesses.
Linde has crafted a story that honors its Celtic roots while creating something distinctly contemporary. The book rewards careful readers with its layered mythology and complex character relationships, while providing enough action and romance to satisfy those seeking pure entertainment. Most importantly, it sets up what promises to be an explosive conclusion to the trilogy while delivering a satisfying reading experience in its own right.
The Evolution of Kierse McKenna
Perhaps the most compelling aspect of this novel is watching Kierse grapple with the revelations from the first book while navigating increasingly complex moral terrain. No longer the confused thief discovering her magical heritage, Kierse has evolved into a formidable character who must reconcile her past trauma with her growing power as a half-wisp. Linde skillfully balances Kierse's vulnerability—particularly in scenes involving recovered memories of her parents—with her fierce independence and survival instincts.
The memory sequences, revealed through her magical connection with Graves, serve as some of the novel's most emotionally resonant moments. When Kierse finally witnesses the truth about her parents' fate, Linde's prose becomes almost lyrical in its restraint, allowing the emotional weight to speak for itself rather than overwhelming readers with melodrama. The recovery of her father's hunting knife—"blessed by the Fae" and bearing a Trinity Knot—becomes a powerful symbol of her reclaimed identity.
The Holly King's Redemption Arc
Graves remains one of fantasy romance's most intriguing antiheroes. His centuries-old conflict with Lorcan, the Oak King, provides the mythological backbone that elevates this series beyond typical urban fantasy fare. Linde excels at peeling back layers of his character without completely removing the dangerous edge that makes him compelling. His relationship with Kierse has matured from the manipulative dynamic of the first book into something more complex—a partnership built on mutual respect, shared trauma, and genuine affection.
The scenes between Graves and Kierse crackle with tension that feels both romantic and adversarial. Their chemistry is undeniable, yet Linde never lets readers forget the power imbalances and past betrayals that complicate their connection. When Graves admits to hiding Kierse's true identity, the revelation doesn't feel like a cheap plot twist but rather an inevitable consequence of his protective instincts warring with his manipulative nature.
Lorcan Flynn: The Seductive Antagonist
If Graves is shadow and winter, Lorcan Flynn embodies the dangerous allure of summer and growth. As the Oak King and leader of the Druidic Order, he presents perhaps one of the most sophisticated antagonists in recent fantasy literature. His offer to Kierse—a place beside him on the Oak Throne, reunification with her chosen family, access to wisp knowledge—isn't simply villainous scheming but represents a genuinely appealing alternative to her current path.
Linde's portrayal of Lorcan's Brooklyn stronghold, with its magical oak throne room that exists as a pocket of ancient Ireland, showcases her ability to blend urban fantasy with high fantasy elements seamlessly. The scenes where Kierse explores this sanctuary feel mythic and intimate simultaneously, highlighting the author's skill at creating spaces that serve both plot function and emotional resonance.
The revelation that Niamh serves as Lorcan's "robin"—the Oak King's equivalent to Kierse's role as Graves's "wren"—adds another layer of complexity to the mythology while deepening the sense of cosmic balance that drives the Celtic seasonal magic system.
Supporting Characters and World Expansion
The supporting cast has grown more nuanced and integral to the plot. Gen and Ethan's development as High Priestess and Druid respectively provides emotional stakes beyond the central romance, while their triskel bond with Kierse creates opportunities for magical cooperation that feel organic rather than convenient. The friendship dynamics feel authentic, particularly Gen's concerns about Kierse's safety and Ethan's struggle to balance loyalty to his friends with his Druidic training.
Nate's continued presence as a werewolf ally navigating the political complexities of Monster politics adds depth to the worldbuilding, while new characters like Laz and Isolde expand the sense of Graves having a life and history beyond his obsession with Kierse and Lorcan.
Mythological Depth and Celtic Magic
Linde's incorporation of Celtic mythology goes far beyond surface-level appropriation. The Oak and Holly King cycle, traditionally representing the eternal struggle between summer and winter, becomes a deeply personal conflict between two characters whose centuries-old enmity has shaped both their natures and the magical world around them. The author demonstrates clear research into Celtic lore while making it accessible to readers unfamiliar with the source material.
The magic system continues to impress with its internal consistency and emotional resonance. Kierse's absorption abilities, Graves's connection to knowledge and shadow, and Lorcan's nature magic all feel distinct while operating within a coherent magical framework. The seasonal aspects of their power—how the approaching solstice affects their abilities—creates natural tension and urgency within the plot structure.
Areas for Critical Assessment
While The Robin on the Oak Throne excels in character development and mythological depth, it occasionally suffers from pacing issues common to middle books in a series. The extensive setup for future conflicts sometimes slows the narrative momentum, particularly in the middle sections where characters spend considerable time in exposition-heavy conversations about magical politics and ancient history.
The romance, while compelling, occasionally overwhelms the plot progression. Some readers may find the will-they-won't-they dynamics between Kierse and both Graves and Lorcan somewhat repetitive, though the emotional authenticity of these relationships generally carries the romantic elements effectively.
Additionally, while the European setting provides fresh scenery, some of the cultural details feel less lived-in than the vividly realized New York supernatural community from the first book. The Paris sequences, while atmospherically described, lack the gritty authenticity that made the Brooklyn Druid compound so memorable.
Thematic Resonance
Beyond the surface-level romance and supernatural action, Linde explores themes of identity, trauma recovery, and the complexity of found family relationships. Kierse's journey involves not just discovering her magical heritage but learning to trust others after a childhood marked by abandonment and abuse. The parallel between her relationship with Graves—built on lies that were intended to protect—and her growing understanding of her parents' choices creates emotional depth that elevates the material.
The exploration of power dynamics, both romantic and political, feels particularly relevant. Neither Graves nor Lorcan can simply command Kierse's loyalty; she must choose her path based on her own values and desires. This agency makes her character compelling beyond her magical abilities.
Technical Craft and Writing Style
Linde's prose has matured considerably since the first book, showing greater confidence in both action sequences and intimate character moments. Her dialogue feels natural and distinct for each character, while her descriptive passages create vivid sensory experiences without overwhelming the narrative flow. The alternating perspectives and flashback sequences are handled skillfully, maintaining clarity while building emotional investment.
The author's handling of trauma, particularly Kierse's recovered memories and past experiences, demonstrates sensitivity and authenticity. Rather than exploiting traumatic elements for shock value, Linde uses them to deepen character understanding and motivation.
Final Verdict
The Robin on the Oak Throne succeeds as both a worthy sequel and a compelling standalone narrative within the Oak and Holly Cycle. While it occasionally struggles with the middle-book burden of setup and transition, its strengths—particularly in character development, mythological depth, and emotional authenticity—far outweigh its weaknesses.
Linde has crafted a story that honors its Celtic roots while creating something distinctly contemporary. The book rewards careful readers with its layered mythology and complex character relationships, while providing enough action and romance to satisfy those seeking pure entertainment. Most importantly, it sets up what promises to be an explosive conclusion to the trilogy while delivering a satisfying reading experience in its own right.
June 27, 2025
*deep breath* *aaaand out*
OoFDA. I am. Disappointed. Oof.
I’ve been looking forward to this release since I read the first one earlier this year and I feel so deflated and frustrated that I disliked this book as much as I did.
There’s a lot of things I’m feeling at the ending of this book but the ones I’ll home in on are as follows:
Suspension of disbelief- yall know me, I’m a passenger princess reader, head empty no thoughts. It takes almost nothing to suspend my disbelief. I believed almost nothing about this book and where this world went. Characters felt forced into situations that were seemingly disingenuous/ didn’t align with their previous actions. The world expanded in ways that didn’t make sense (which usually doesn’t even phase me but here I was literally 🤨). Even side characters felt false people written on a page that I couldn’t even begin to fathom being real people.
This plot was a nightmare- somehow everything and nothing happened all at the same time. I love an adventure. I love going places. I love schemes. I love heists. All of those things in this book just didn’t hit at all. We went to so many places that didn’t matter. We accomplished literally nothing. WHICH AGAIN I can totally get behind a book where we accomplish nothing, but at least give me something else to enjoy while we do nothing.
It bothers me to no end when the stakes are seemingly so high and then the story doesn’t actually commit to going somewhere crazy. There were so many stakes!!! For what!!?
My boy Graves. I love you so much and both of these stars are for you. You sexy grumpy man who’s not really a monster but is described as one. Thank you for your groveling even though it was super easily resolved and ended up not being an issue at all.
I have never ending respect for KA Linde as an author and a woman but I’m grumpy about this book.
Agh.
OoFDA. I am. Disappointed. Oof.
I’ve been looking forward to this release since I read the first one earlier this year and I feel so deflated and frustrated that I disliked this book as much as I did.
There’s a lot of things I’m feeling at the ending of this book but the ones I’ll home in on are as follows:
Suspension of disbelief- yall know me, I’m a passenger princess reader, head empty no thoughts. It takes almost nothing to suspend my disbelief. I believed almost nothing about this book and where this world went. Characters felt forced into situations that were seemingly disingenuous/ didn’t align with their previous actions. The world expanded in ways that didn’t make sense (which usually doesn’t even phase me but here I was literally 🤨). Even side characters felt false people written on a page that I couldn’t even begin to fathom being real people.
This plot was a nightmare- somehow everything and nothing happened all at the same time. I love an adventure. I love going places. I love schemes. I love heists. All of those things in this book just didn’t hit at all. We went to so many places that didn’t matter. We accomplished literally nothing. WHICH AGAIN I can totally get behind a book where we accomplish nothing, but at least give me something else to enjoy while we do nothing.
It bothers me to no end when the stakes are seemingly so high and then the story doesn’t actually commit to going somewhere crazy. There were so many stakes!!! For what!!?
My boy Graves. I love you so much and both of these stars are for you. You sexy grumpy man who’s not really a monster but is described as one. Thank you for your groveling even though it was super easily resolved and ended up not being an issue at all.
I have never ending respect for KA Linde as an author and a woman but I’m grumpy about this book.
Agh.
June 26, 2025
first half is strictly filler and was a slug to get through, the second half had me on the edge of my seat. I think this could have been a duology and now we have to wait for another book.. also i hate lorcan and that ending, im sad
June 20, 2025
3.5⭐️
I found myself both interested and bored simultaneously through the first 75% of the book. For the second book in a series, there seemed to be a lot more world building happening under the guise of an info dump, making this read more like a bridging book, saving the action until the last 25% and setting up a third book for (hopefully) more actual plot progression.
I found myself both interested and bored simultaneously through the first 75% of the book. For the second book in a series, there seemed to be a lot more world building happening under the guise of an info dump, making this read more like a bridging book, saving the action until the last 25% and setting up a third book for (hopefully) more actual plot progression.
Read
September 22, 2025DNF at 50%. This world started to not work for me. Too many plot conveniences. “Monster con” lost me entirely.
July 13, 2025
I wasted a week reading this, and for what? A bad ending with a whiny FMC and the most boring MMC on the planet? For future reference: if you want me to hate the villain in the end, don’t make him the most interesting character on the page.
There was POTENTIAL for some really good twists and betrayal and instead it was reduced down to formulaic drivel that didn’t even deliver well on any of what it was trying to do.
2.5 stars because I finished it, but this book DRAGGED on relentlessly.
There was POTENTIAL for some really good twists and betrayal and instead it was reduced down to formulaic drivel that didn’t even deliver well on any of what it was trying to do.
2.5 stars because I finished it, but this book DRAGGED on relentlessly.
July 24, 2025
The first slow burned so that this book could burn! It had a lot more spicy-spice than the previous one. However, this story was a little slow for me in places and threw off the overall pacing of the book.
3.75/5 ⭐️
2/5 🌶️
3.75/5 ⭐️
2/5 🌶️
June 22, 2025
2.25
The last 25% was super action packed but so much of it felt rushed/forced/random.
I found myself bored during the first 50-75%. The 3rd isn’t out yet but I have a feeling I’m going to think this trilogy should have just been a duology. I didn’t hate anything but I just felt myself sitting there reading it and thinking ‘nothing is happening’ OR ‘none of this seems to matter or be important’ or ‘I don’t understand why that character is doing this or acting this way’.
Also, info dumping in the 2nd book by basically just telling us the info annoyed me. Again, nothing HUGE where I was fully taken out and nothing I full on hated but many things were frustrating. I just felt uninterested during large chunks and although you learned more about characters I cared less and less. Motivations of characters is all over the map too. I didn’t buy decisions multiple characters made based on how they had been developed over the two books.
Another thing that bugs me in any fantasy book is when stakes are built up and then they don’t actually seem to have a payoff or real weight to them. I felt that here too. Things that were made to be a big deal, risks, dangers when completing missions, injuries/aftermath, etc. always just seemed to be made a bigger deal or talked up and then what actually came about wasn’t monumental and felt irrelevant. Unsure if I’ll read the 3rd.
The special edition is pretty.
The last 25% was super action packed but so much of it felt rushed/forced/random.
I found myself bored during the first 50-75%. The 3rd isn’t out yet but I have a feeling I’m going to think this trilogy should have just been a duology. I didn’t hate anything but I just felt myself sitting there reading it and thinking ‘nothing is happening’ OR ‘none of this seems to matter or be important’ or ‘I don’t understand why that character is doing this or acting this way’.
Also, info dumping in the 2nd book by basically just telling us the info annoyed me. Again, nothing HUGE where I was fully taken out and nothing I full on hated but many things were frustrating. I just felt uninterested during large chunks and although you learned more about characters I cared less and less. Motivations of characters is all over the map too. I didn’t buy decisions multiple characters made based on how they had been developed over the two books.
Another thing that bugs me in any fantasy book is when stakes are built up and then they don’t actually seem to have a payoff or real weight to them. I felt that here too. Things that were made to be a big deal, risks, dangers when completing missions, injuries/aftermath, etc. always just seemed to be made a bigger deal or talked up and then what actually came about wasn’t monumental and felt irrelevant. Unsure if I’ll read the 3rd.
The special edition is pretty.
July 30, 2025
This was my first ever 1 star cuz wtf was that?
What was the entire thing with lorcan cuz if hes her soulmate pull an acotar and make him the good guy not whatever thats shit was. U cant have us liking lorcan and then doing that. Like fuck no
And even before this. I tried to like the book i rlly did. But it did not hook me in the slightest. At first i just pushed forward saying that its cuz i barely remember the first one cuz its been a while since i read it. But no, the book itself just was not it for me
I did love nate tho. Oh wait then ofc they gotta kill him.
I hope that if u read this book u enjoy it more than i did.
Enjoy 😘
What was the entire thing with lorcan cuz if hes her soulmate pull an acotar and make him the good guy not whatever thats shit was. U cant have us liking lorcan and then doing that. Like fuck no
And even before this. I tried to like the book i rlly did. But it did not hook me in the slightest. At first i just pushed forward saying that its cuz i barely remember the first one cuz its been a while since i read it. But no, the book itself just was not it for me
I did love nate tho. Oh wait then ofc they gotta kill him.
I hope that if u read this book u enjoy it more than i did.
Enjoy 😘
This entire review has been hidden because of spoilers.
October 31, 2025
Well, if that wasn't just an ending that makes me want the next book right now?!?!??! What the hell was all of that?!?!?!?
I don't believe anything about what happened. It will not be real when the next book comes. We will have imagined it all. Nope, I'm not accepting any of it.
I don't believe anything about what happened. It will not be real when the next book comes. We will have imagined it all. Nope, I'm not accepting any of it.
June 18, 2025
I’m screaming. I felt every emotion in this book. There were ups and downs. Also great progression in character development, plot, and world building. I loved reading it. I’m sad I now have to wait again!
Want to read
March 28, 2025So glad we finally have a synopsis and I’m so excited for our main couple to be reunited 😍
June 27, 2025
So good!! Unlike the first book this one did on a cliffhanger… so I will be eager for the next release! So much action, suspense, and again.. magic. I loved it. But I need the next book yesterday
June 26, 2025
I really wanted to like this book, but it's not for me. I was on the fence when I finished the Wren in the Holly Library (Book One), I should have stopped there. I just feel like this story is all over the place! We have monsters, fairies, and don't forget the trolls and vampires.... seriously why don't we just throw everything at the wall and see what sticks. It's a "no" for me.
July 14, 2025
not quite 3 stars but not quite 4 stars
fun and entertaining, and a series I’ll definitely continue, but the pacing was a little off, some things developed too fast and I wiiiished for a slightly different direction
fun and entertaining, and a series I’ll definitely continue, but the pacing was a little off, some things developed too fast and I wiiiished for a slightly different direction
June 19, 2025
The romance took a weird turn.
July 18, 2025
2.5 rounded up, I guess. I will not be continuing with this series so when the next one comes out, someone just tell me how it ends cause I can't handle these characters.
September 28, 2025
Hellooooooooo dear readers! *Hiccup* It is I, the one and only literate raven masochistic enough to read every Red Tower (RT) book just to prove that the imprint cares more about a book's physical aesthetic than the story inside. *Hiccup* As of right now, the highest I have rated some of their books is three raven feathers out of five, but truly, for my sake, your sake, the author's sake, and the puddle of sour liquid I found under a broken bottle in a ditch's sake, I hope that changes soon, as I am unsure how much longer I can put myself through these books. I have wanted so badly since the imprint was born to find a five feathers out of five read, but at this *hiccup* point, I do believe I will settle for four.
Buuuuuuut, until then, I will be here, writing a review for one of my least anticipated sequels of all time.
(If you have read my review for The Wren in the Holly Library, then you know just how I felt about it, if not, then lucky you, my miserable talons have not touched you yet)
Preface
1. I want to make it abundantly clear that I did not pick up this book with the intent to hate [on] it. I understand that, due to the nature of my reviews surrounding RT books, as well as my one-feathered opinion on the first in the series, it appears as though I get some sort of "below-the-tail" stimulation from seeking out things to hate, but that is simply not true. There is nothing in this world I value more than the written word, and I know that going into something with the mindset of hating it will skew my thoughts and prevent me from analyzing it the way I should. I hated the first one yes, but that did not immediately mean the sequel would not be an improvement.
2. Giving a negative review for book 1 does not, in any way, mean that I (or anyone else for that matter) cannot review book 2. I flew to the store to purchase this over-priced book with my own money, which means I can review it, regardless of how positive my thoughts are.
3. I read this book because it aligned with my foolish goal, not out of any ill-intent.
The Review
Right off the perch, The Robin on the Oak Throne opens with a... well, I do not necessarily wish to say a bang as that definitely is not it, maybe a woosh? No, not that. A cringe-worthy opening line that did an outstanding job of reminding me why I hated the prose of the first book?Yes No need to start the review off so harshly. Ah yes, now I have got it. How about a chapter that not only establishes the present setting of the book, but waxes poetic about how amazing and skilled Kierse is at stealing (a fact I could never possibly forget thanks to Wren spending every other chapter knocking me over the head with it)?
Yes, yes that will do nicely.
The Improvements
As shocking may it be, I, Valerian Wentwitch found there to be some measurable amount of improvements in this installation of the Holly Cycle series. Did they make me rate the sequel higher than book 1? No, absolutely not. I do not rate books based on whether they are comparably better than the first, I rate them as they are in comparison to nothing. Just as you do not rank a collie over a poodle in a dog show because you like the breed better, I do not rate one book over its sibling.
So, what were these said improvements?
1. Graves actually received some characterization outside of being British. I can truly not emphasize enough how glad I was that the author realized, here in book 2, that being British is not a personality trait, and Graves required some well-earned characterization to prevent him from being as flat as a squirrel after a semi ran over it. And it started early in the book as well. The first major example being on page 47 in which Graves expresses sadness and regret for how things worked out, not just with Montrell, but with Kierse as well. By mentioning the way in which the world has changed outside the window of his flat, the author organically ages Graves into the centuries-old being that he is, rather than falling into the pit authors typically fall into when crafting immortal beings (that is, when they have alleged immortal beings act like teenagers). By showing that Graves had been reflecting upon his past in a way he does not typically do, the author naturally emphasizes Kierse's effect on him in a really nice way. I mean it when I say I am genuinely impressed by Linde in this regard.
2. Just like with Graves, I was especially glad to see that Lorcan was given some much needed characterization as well. In Wren, Lorcan managed to be even flatter than Graves's roadkill personality, so I was glad that there was even a small, measurable amount of depth injected into Lorcan's character. He became more of the villain Linde wanted to show he was and worked well to subvert the trope of having the second, antagonistic MC be the true love interest. This was especially apparent on page 359, when we finally saw Lorcan as being something other than a random Irish gang leader. In this scene, his legs are slung over his throne while he mopes about both his life as the Oak King, and to some extent, his feeling for Kierse. They are such small details, but they do well to show his personality where before I thought he didn't have one. Would I still consider him an outstanding example of characterization? No, but this section is for improvements, not perfection.
3. More unique locations outside of meandering through NYC. One of the things I praised in Wren was the concept of having an underground monster city below NYC. I thought the way it was run/setup was a unique concept and was probably my favorite location in the entire first book. Because of this, I was glad to see even more locations throughout the book. Two particular favorites of mine in this book were the different Goblin Markets, as well a monster-run ball in Versailles. If Linde wishes to continue these improvements, then she should definitely include even more compelling locations like these in book 3.
Issues Galore (A.K.A The Even Worse)
While, to some extent, I might have enjoyed this entry more than the first, it was also pretty bad in general. A great majority of the issues it had were the same recycled issues of book 1 that the author (and her editor) clearly had no problem regurgitating. And the other percentage of issues were specific to this novel only, making me believe even less editing was put into this one than the first.
1. Same boring, uninspired writing style... but with a twist! This time, those dry lines attempting to emulate the most basic and recycled booktok books were even less edited than those in Wren! Oh yes, in this instalment, I had the absolute pleasure of reading sentences so repetitive, they can hardly be considered grammatically correct. Genuinely, I do not know how this aspect of the book could have possibly been worse. It was already bad the first time. Now? Feathers, I swear both the author and her editor were competing to produce an even worse output than before. I mean, how else can you explain the fact that Lorcan flicks his eyes to Kierse on page 358, IMMEDIATLY AFTER FLICKING HIS EYES TO HER. HE NEVER LOOKED AWAY. WHAT ARE WE DOING? *Croak, croak, croaaaaaaaak*... But I suppose you won't believe me unless I provide the following, shockingly real quotes from Robin:
a. "While Kierse left with the spear and fled to Dublin with Gen and the spear to get answers that didn't come with strings." (23)
b. "'Tonight, we are the terror of the night.'" (211)
c. "Kierse left them alone, grabbing a snack from the bar as she wandered deeper into the bar." (296)
d. "And she felt again like that small child again as this lock refused to open for her." (311)
And the absolutely, positively, unquestionably most egregious example of poor line editing (and general dispassion for clarity) within this entire book:
e. "The thing she had thought about when Jason had hit her was the same place that brought her out of the magical connection with Lorcan was the same thing that kept her mind clear of panic." (404)
2. The interludes are still a problem. Just as I mentioned in my first review, the additions of these random interludes throughout the book essentially spoil any important plot point for the audience, delivering need-to-know information in the most inorganic, heavy handed way, rather than allowing the audience to discover it alongside Kierse. Aside from the author not knowing how to naturally deliver characterization for random side characters, I still cannot see why she enjoys putting them into the book so much. They are just as common as they were in book one and still do not benefit the book in any real way.
3. Incessant recapping. While I understand there is a necessity for a sequel to touch upon information relevant from the previous installment, the way in which it was done here was so mind-numbing in its formulaic manner that I could not help but smash my beak against the nearest branch each time I was forced to read through it. We are reintroduced to a character from Wren, an assortment of base line information is dumped in the least organic way possible (in a clunky paragraph no less), and a heavy-handed explanation for why we should care at all about them ties it all together. This, of course, applies to minor plot details as well, making for a slow, meandering flight through the rest of this literary marvel. It is especially annoying considering much of the information is so obvious (and, quite frankly, unnecessary) that if one cannot remember such simple details, they should put the book down and re-read the first one for clearly their eyes were closed the first time.
4. Horrible plot "twists". Just as the bolded words before these said, the plot twists in these books are awful. Not just because they are predictable, but because they... aren't. Yes, yes, I know that makes as much sense as Robin, so let me explain. One of the most satisfying elements of a plot twist is the buildup before the reveal. It is the small details a first-time reader might overlook, only to realize they were clues all along when the twist inevitably appears. The issue in this book is that the "twists" were never established to be options in the first place, or, if they were, they were so obvious the reader is left wondering why they should be surprised in the first place. For example, on page 68, we are introduced to the "shocking surprise" that Niamh, a character we literally just met a page before, was the robin, the spiritual opposite to Kierse, the wren. Now, this is framed as a huge reveal, and we are essentially told as such when Kierse goes on to info-dump about how close they are and the "kindred connection" she had with her. Obviously, the hurt Kierse and Gen feel—albeit briefly—rings hollow since we have literally never met this woman before. We do not care that she is Lorcan's robin. We do not care that she may have been spying on them while potentially pretending to care about them. WE HAVE LITERALLY NEVER MET HER BEFORE. She was not in any previous chapters. She was not in book 1. Nothing. So, to reiterate, this is a twist that is unexpected, because the reader didn't even know it was an option in the first place. And don't even get me croaking on page 386's twist that Gregory Amberdash (the shifty wraith that was always up to obviously dark dealings), was actually a bad guy all along, I will peck a hole through my keyboard again.
5. Endless telling instead of showing. This bit hardly needs much touching upon as it is present in every RT book I have reviewed. For word count, I will simply highlight a few specific examples, so please note there are many more I am leaving out.
a. Kierse's internal monologue going on and on about how much she wanted Graves and how she just cannot move on from him (11)
b. The top of the page being dominated by exposition about why Graves is so perfect and why they are so similar (34)
c. Being repeatedly knocked over the head about how much Kierse likes Niamh and how they have a "kindred connection" (yes, I know I just discussed this, but I felt it is still relevant here), despite us never meeting her before (70)
d. The reader being told that Kierse has an aversion to physical touch, despite us never being shown this. This bit is especially annoying considering how willing she was to have Graves, some mysterious warlock she should have been terrified of, touch her randomly in book 1. This information would have been important to know as soon as we met Kierse. (149)
e. The entire scene on page 162 in which Kierse and Ethan have a fight. The author tells us how upset Kierse is, but the reader is left wondering why, since, just as I mentioned in book 1, we still have no reason to believe Kierse, Gen, and Ethan are super close. Every interaction of theirs is surface level to all skies, and they are so bland they make dirt interesting.
6. The age gap issue. Look, I have read enough RT romantasies (and just romantasies in general), to know that large age gaps are commonplace, especially when the MMC love interest is immortal. And I was willing to look past that in this case too. Well, that was until we learn in Robin that Graves met Kierse as a literal 5-year-old child (118) and gave her a "warm look" (122). And yes, you may be thinking that isn't so bad: she was a child, he thought she was cute—adorable-cute, that's normal, right? Well, yes, and I would honestly have no problem with it if he didn't admit on page 129 that he knew her as a child. See, authors get away with age gaps since, most of the time, the two characters meet as adults, even if one is significantly older than the other. It would be a lot less weird if, at least, Graves didn't meet her (and remember it). But he did. And he admitted as much on page 129.
A particularly vexatious problem (this time for book 2!)
In my review for Wren, the "vexatious problem" I had was the use of a sex trafficking victim (Torra) as a plot point to further Kierse's storyline. I said it was cheap, unnecessary, and horribly written, and I still stand by that claim. I also described how this could be fixed. That is, if the author actually made Torra a real character and allowed her to work through her trauma in the sequel. Unfortunately, this never happened. In fact, Torra never appeared on page at all, further proving my claim that she was nothing more than a plot device used to shock the reader.
But that is not what I wanted to touch upon in this section. Rather, I wanted to discuss Kierse's trauma with men, and the way it is consistently contradicted in Robin. Now, for whatever reason, the author suddenly became inspired to give Kierse a discomfort being touched, and with discomfort around men in general. Ignoring for the moment that this is another example of a RT book having a FMC with an unnecessary SA backstory, there are large issues in general with how this is handed. As we already know, Kierse was severely mistreated by her former mentor Jason, so yes, it is admittedly understandable that she would be weary of men. The issue? We were never shown this in book 1. Was she weary of Gregory Amberdash? Sure. But that was because he was a shady businessman, not because he was a man. When she first met Graves, was there an ounce of fear? Of course! But that was because she knew her cover was blown from her heist. Not only that, but he was the most powerful monster in NYC, it would have made no difference if he was a woman, nonbinary, or any other gender for that matter. Her fear, as far as we were shown, had nothing to do with him being a man. To make matters worse, she found him attractive and was immediately willing to work with him for a heist. Never once, in all the times he randomly touched her without asking, did she tense up, or have bad memories of being taken advantage by men.
Though, randomly, magically, in book 2, she is super uncomfortable around men (including the ones she knows) and hates physical touch to the point where the author inorganically states it in the text. Now, don't misunderstand me, I have no issue with a character having these traits. In fact, it can give them a lot of depth. But what I do have an issue with is authors retroactively adding details without ever actually showing them on page.
But you know what really gets me? It's page 308, when we get a wild scene in which Graves is doing oral on Kierse while she is sleeping. Not only was such a thing never communicated between them before (so Kierse never gave consent to it, even if went on to enjoy it), but Kierse had not a single negative reaction to it. She didn't subconsciously tense up. She didn't pull away from Graves in fear. She didn't even slightly panic that someone was literally licking an intimate part of her body while she was sleeping and vulnerable. Nothing. Where was that fear Jason gave her of nonconsensual touch the author was harping on about on page 149 now, huh? Not only was this rape, but it just further proves the author never wants to commit to realistically writing SA trauma for a FC and only adds it to the story to shock the reader as needed. Nothing else. This scene was disgusting.
Red Tower repetitiveness checklist (those that appeared in bold):
*Ambiguously tan love interest
*Small FMC
*Overpowered FMC
*Edgy love interest that is at home in the darkness
*Heavy-handed messaging
*Oral scene before missionary scene
*MMC that is considered hot for the bare minimum, i.e., basic feminist takes/actions
*Harassment against FMC by a man that is thwarted by MMC
*Repetitive descriptions about how large the love interest is (in all meanings of the word)
*The best sex to have ever sexed
*FMC uses/loves strictly daggers/knives to defend herself
*Inorganically injected tropes
*MMC with muscles on top of muscles
*Supposedly. Impactful. Phrases. Interrupted. With. Periods
*Female character with unnecessary SA-related backstory
*Misunderstanding trope after "going all the way"
Total score on the Red Tower repetitiveness scale: 13/16
Even more uses for the physical copies of this series since RT thinks books aren't for reading (continued from my Wren review):
*Footrest
*Booster seat
*Beak wipe
*Upside-down display piece [still basic]
*Non-waterproof umbrella
*Croak* I don't feel too good... what was in that bottle? Skies, I think I'm going to—
-V.W.
Buuuuuuut, until then, I will be here, writing a review for one of my least anticipated sequels of all time.
(If you have read my review for The Wren in the Holly Library, then you know just how I felt about it, if not, then lucky you, my miserable talons have not touched you yet)
Preface
1. I want to make it abundantly clear that I did not pick up this book with the intent to hate [on] it. I understand that, due to the nature of my reviews surrounding RT books, as well as my one-feathered opinion on the first in the series, it appears as though I get some sort of "below-the-tail" stimulation from seeking out things to hate, but that is simply not true. There is nothing in this world I value more than the written word, and I know that going into something with the mindset of hating it will skew my thoughts and prevent me from analyzing it the way I should. I hated the first one yes, but that did not immediately mean the sequel would not be an improvement.
2. Giving a negative review for book 1 does not, in any way, mean that I (or anyone else for that matter) cannot review book 2. I flew to the store to purchase this over-priced book with my own money, which means I can review it, regardless of how positive my thoughts are.
3. I read this book because it aligned with my foolish goal, not out of any ill-intent.
The Review
Right off the perch, The Robin on the Oak Throne opens with a... well, I do not necessarily wish to say a bang as that definitely is not it, maybe a woosh? No, not that. A cringe-worthy opening line that did an outstanding job of reminding me why I hated the prose of the first book?
Yes, yes that will do nicely.
The Improvements
As shocking may it be, I, Valerian Wentwitch found there to be some measurable amount of improvements in this installation of the Holly Cycle series. Did they make me rate the sequel higher than book 1? No, absolutely not. I do not rate books based on whether they are comparably better than the first, I rate them as they are in comparison to nothing. Just as you do not rank a collie over a poodle in a dog show because you like the breed better, I do not rate one book over its sibling.
So, what were these said improvements?
1. Graves actually received some characterization outside of being British. I can truly not emphasize enough how glad I was that the author realized, here in book 2, that being British is not a personality trait, and Graves required some well-earned characterization to prevent him from being as flat as a squirrel after a semi ran over it. And it started early in the book as well. The first major example being on page 47 in which Graves expresses sadness and regret for how things worked out, not just with Montrell, but with Kierse as well. By mentioning the way in which the world has changed outside the window of his flat, the author organically ages Graves into the centuries-old being that he is, rather than falling into the pit authors typically fall into when crafting immortal beings (that is, when they have alleged immortal beings act like teenagers). By showing that Graves had been reflecting upon his past in a way he does not typically do, the author naturally emphasizes Kierse's effect on him in a really nice way. I mean it when I say I am genuinely impressed by Linde in this regard.
2. Just like with Graves, I was especially glad to see that Lorcan was given some much needed characterization as well. In Wren, Lorcan managed to be even flatter than Graves's roadkill personality, so I was glad that there was even a small, measurable amount of depth injected into Lorcan's character. He became more of the villain Linde wanted to show he was and worked well to subvert the trope of having the second, antagonistic MC be the true love interest. This was especially apparent on page 359, when we finally saw Lorcan as being something other than a random Irish gang leader. In this scene, his legs are slung over his throne while he mopes about both his life as the Oak King, and to some extent, his feeling for Kierse. They are such small details, but they do well to show his personality where before I thought he didn't have one. Would I still consider him an outstanding example of characterization? No, but this section is for improvements, not perfection.
3. More unique locations outside of meandering through NYC. One of the things I praised in Wren was the concept of having an underground monster city below NYC. I thought the way it was run/setup was a unique concept and was probably my favorite location in the entire first book. Because of this, I was glad to see even more locations throughout the book. Two particular favorites of mine in this book were the different Goblin Markets, as well a monster-run ball in Versailles. If Linde wishes to continue these improvements, then she should definitely include even more compelling locations like these in book 3.
Issues Galore (A.K.A The Even Worse)
While, to some extent, I might have enjoyed this entry more than the first, it was also pretty bad in general. A great majority of the issues it had were the same recycled issues of book 1 that the author (and her editor) clearly had no problem regurgitating. And the other percentage of issues were specific to this novel only, making me believe even less editing was put into this one than the first.
1. Same boring, uninspired writing style... but with a twist! This time, those dry lines attempting to emulate the most basic and recycled booktok books were even less edited than those in Wren! Oh yes, in this instalment, I had the absolute pleasure of reading sentences so repetitive, they can hardly be considered grammatically correct. Genuinely, I do not know how this aspect of the book could have possibly been worse. It was already bad the first time. Now? Feathers, I swear both the author and her editor were competing to produce an even worse output than before. I mean, how else can you explain the fact that Lorcan flicks his eyes to Kierse on page 358, IMMEDIATLY AFTER FLICKING HIS EYES TO HER. HE NEVER LOOKED AWAY. WHAT ARE WE DOING? *Croak, croak, croaaaaaaaak*... But I suppose you won't believe me unless I provide the following, shockingly real quotes from Robin:
a. "While Kierse left with the spear and fled to Dublin with Gen and the spear to get answers that didn't come with strings." (23)
b. "'Tonight, we are the terror of the night.'" (211)
c. "Kierse left them alone, grabbing a snack from the bar as she wandered deeper into the bar." (296)
d. "And she felt again like that small child again as this lock refused to open for her." (311)
And the absolutely, positively, unquestionably most egregious example of poor line editing (and general dispassion for clarity) within this entire book:
e. "The thing she had thought about when Jason had hit her was the same place that brought her out of the magical connection with Lorcan was the same thing that kept her mind clear of panic." (404)
2. The interludes are still a problem. Just as I mentioned in my first review, the additions of these random interludes throughout the book essentially spoil any important plot point for the audience, delivering need-to-know information in the most inorganic, heavy handed way, rather than allowing the audience to discover it alongside Kierse. Aside from the author not knowing how to naturally deliver characterization for random side characters, I still cannot see why she enjoys putting them into the book so much. They are just as common as they were in book one and still do not benefit the book in any real way.
3. Incessant recapping. While I understand there is a necessity for a sequel to touch upon information relevant from the previous installment, the way in which it was done here was so mind-numbing in its formulaic manner that I could not help but smash my beak against the nearest branch each time I was forced to read through it. We are reintroduced to a character from Wren, an assortment of base line information is dumped in the least organic way possible (in a clunky paragraph no less), and a heavy-handed explanation for why we should care at all about them ties it all together. This, of course, applies to minor plot details as well, making for a slow, meandering flight through the rest of this literary marvel. It is especially annoying considering much of the information is so obvious (and, quite frankly, unnecessary) that if one cannot remember such simple details, they should put the book down and re-read the first one for clearly their eyes were closed the first time.
4. Horrible plot "twists". Just as the bolded words before these said, the plot twists in these books are awful. Not just because they are predictable, but because they... aren't. Yes, yes, I know that makes as much sense as Robin, so let me explain. One of the most satisfying elements of a plot twist is the buildup before the reveal. It is the small details a first-time reader might overlook, only to realize they were clues all along when the twist inevitably appears. The issue in this book is that the "twists" were never established to be options in the first place, or, if they were, they were so obvious the reader is left wondering why they should be surprised in the first place. For example, on page 68, we are introduced to the "shocking surprise" that Niamh, a character we literally just met a page before, was the robin, the spiritual opposite to Kierse, the wren. Now, this is framed as a huge reveal, and we are essentially told as such when Kierse goes on to info-dump about how close they are and the "kindred connection" she had with her. Obviously, the hurt Kierse and Gen feel—albeit briefly—rings hollow since we have literally never met this woman before. We do not care that she is Lorcan's robin. We do not care that she may have been spying on them while potentially pretending to care about them. WE HAVE LITERALLY NEVER MET HER BEFORE. She was not in any previous chapters. She was not in book 1. Nothing. So, to reiterate, this is a twist that is unexpected, because the reader didn't even know it was an option in the first place. And don't even get me croaking on page 386's twist that Gregory Amberdash (the shifty wraith that was always up to obviously dark dealings), was actually a bad guy all along, I will peck a hole through my keyboard again.
5. Endless telling instead of showing. This bit hardly needs much touching upon as it is present in every RT book I have reviewed. For word count, I will simply highlight a few specific examples, so please note there are many more I am leaving out.
a. Kierse's internal monologue going on and on about how much she wanted Graves and how she just cannot move on from him (11)
b. The top of the page being dominated by exposition about why Graves is so perfect and why they are so similar (34)
c. Being repeatedly knocked over the head about how much Kierse likes Niamh and how they have a "kindred connection" (yes, I know I just discussed this, but I felt it is still relevant here), despite us never meeting her before (70)
d. The reader being told that Kierse has an aversion to physical touch, despite us never being shown this. This bit is especially annoying considering how willing she was to have Graves, some mysterious warlock she should have been terrified of, touch her randomly in book 1. This information would have been important to know as soon as we met Kierse. (149)
e. The entire scene on page 162 in which Kierse and Ethan have a fight. The author tells us how upset Kierse is, but the reader is left wondering why, since, just as I mentioned in book 1, we still have no reason to believe Kierse, Gen, and Ethan are super close. Every interaction of theirs is surface level to all skies, and they are so bland they make dirt interesting.
6. The age gap issue. Look, I have read enough RT romantasies (and just romantasies in general), to know that large age gaps are commonplace, especially when the MMC love interest is immortal. And I was willing to look past that in this case too. Well, that was until we learn in Robin that Graves met Kierse as a literal 5-year-old child (118) and gave her a "warm look" (122). And yes, you may be thinking that isn't so bad: she was a child, he thought she was cute—adorable-cute, that's normal, right? Well, yes, and I would honestly have no problem with it if he didn't admit on page 129 that he knew her as a child. See, authors get away with age gaps since, most of the time, the two characters meet as adults, even if one is significantly older than the other. It would be a lot less weird if, at least, Graves didn't meet her (and remember it). But he did. And he admitted as much on page 129.
A particularly vexatious problem (this time for book 2!)
In my review for Wren, the "vexatious problem" I had was the use of a sex trafficking victim (Torra) as a plot point to further Kierse's storyline. I said it was cheap, unnecessary, and horribly written, and I still stand by that claim. I also described how this could be fixed. That is, if the author actually made Torra a real character and allowed her to work through her trauma in the sequel. Unfortunately, this never happened. In fact, Torra never appeared on page at all, further proving my claim that she was nothing more than a plot device used to shock the reader.
But that is not what I wanted to touch upon in this section. Rather, I wanted to discuss Kierse's trauma with men, and the way it is consistently contradicted in Robin. Now, for whatever reason, the author suddenly became inspired to give Kierse a discomfort being touched, and with discomfort around men in general. Ignoring for the moment that this is another example of a RT book having a FMC with an unnecessary SA backstory, there are large issues in general with how this is handed. As we already know, Kierse was severely mistreated by her former mentor Jason, so yes, it is admittedly understandable that she would be weary of men. The issue? We were never shown this in book 1. Was she weary of Gregory Amberdash? Sure. But that was because he was a shady businessman, not because he was a man. When she first met Graves, was there an ounce of fear? Of course! But that was because she knew her cover was blown from her heist. Not only that, but he was the most powerful monster in NYC, it would have made no difference if he was a woman, nonbinary, or any other gender for that matter. Her fear, as far as we were shown, had nothing to do with him being a man. To make matters worse, she found him attractive and was immediately willing to work with him for a heist. Never once, in all the times he randomly touched her without asking, did she tense up, or have bad memories of being taken advantage by men.
Though, randomly, magically, in book 2, she is super uncomfortable around men (including the ones she knows) and hates physical touch to the point where the author inorganically states it in the text. Now, don't misunderstand me, I have no issue with a character having these traits. In fact, it can give them a lot of depth. But what I do have an issue with is authors retroactively adding details without ever actually showing them on page.
But you know what really gets me? It's page 308, when we get a wild scene in which Graves is doing oral on Kierse while she is sleeping. Not only was such a thing never communicated between them before (so Kierse never gave consent to it, even if went on to enjoy it), but Kierse had not a single negative reaction to it. She didn't subconsciously tense up. She didn't pull away from Graves in fear. She didn't even slightly panic that someone was literally licking an intimate part of her body while she was sleeping and vulnerable. Nothing. Where was that fear Jason gave her of nonconsensual touch the author was harping on about on page 149 now, huh? Not only was this rape, but it just further proves the author never wants to commit to realistically writing SA trauma for a FC and only adds it to the story to shock the reader as needed. Nothing else. This scene was disgusting.
Red Tower repetitiveness checklist (those that appeared in bold):
*Ambiguously tan love interest
*Small FMC
*Overpowered FMC
*Edgy love interest that is at home in the darkness
*Heavy-handed messaging
*Oral scene before missionary scene
*MMC that is considered hot for the bare minimum, i.e., basic feminist takes/actions
*Harassment against FMC by a man that is thwarted by MMC
*Repetitive descriptions about how large the love interest is (in all meanings of the word)
*The best sex to have ever sexed
*FMC uses/loves strictly daggers/knives to defend herself
*Inorganically injected tropes
*MMC with muscles on top of muscles
*Supposedly. Impactful. Phrases. Interrupted. With. Periods
*Female character with unnecessary SA-related backstory
*Misunderstanding trope after "going all the way"
Total score on the Red Tower repetitiveness scale: 13/16
Even more uses for the physical copies of this series since RT thinks books aren't for reading (continued from my Wren review):
*Footrest
*Booster seat
*Beak wipe
*Upside-down display piece [still basic]
*Non-waterproof umbrella
*Croak* I don't feel too good... what was in that bottle? Skies, I think I'm going to—
-V.W.
July 15, 2025
The beginning half dragged but I was already invested in these characters. The second half was great and I can’t wait for the next book.
June 7, 2025
I’m genuinely excited! I really enjoyed The Holly Library, though I finished it feeling like the series had even more potential waiting to unfold. After reading the preview of Oak Throne provided by NetGalley, I’m thrilled to say—it looks like it absolutely will. Everything I loved about the first book is shining even brighter in this sequel. I can’t wait to jump back into another mission with Graves and his Wren.
My only gripe isn’t with the book itself, but with the format of the preview. It feels strange to receive only a partial version, especially so close to the official release. It comes across more like a quick attempt to secure early reviews than a meaningful reading experience. I’ll definitely be reading the full novel once it’s out, but I’m not sure how I feel about this new trend of releasing previews on NetGalley. It just doesn’t sit quite right with me.
My only gripe isn’t with the book itself, but with the format of the preview. It feels strange to receive only a partial version, especially so close to the official release. It comes across more like a quick attempt to secure early reviews than a meaningful reading experience. I’ll definitely be reading the full novel once it’s out, but I’m not sure how I feel about this new trend of releasing previews on NetGalley. It just doesn’t sit quite right with me.
July 19, 2025
That was incredibly exciting! I was so happy to be back in this alt monster universe with Kierse. I feel like she’s an easy FMC to be “friends” with, even if she can maybe be a little passive aggressive in her speech. I appreciate Linde took us to Ireland in the beginning, so we jetset around with Kierse and Graves.
I really love the authentic dialogue that Linde creates between all her characters. And there are many characters, but they don’t feel overwhelming in number. The magic in this world is getting trickier, more complex, but some questions that as a reader were floating in your mind for the first book get answered in this second book!
And I HAVE to dedicate a paragraph to the spice! 🌶️🌶️🌶️🔥 Woohoo! It took me by surprise, the amount of it in the book (which is not too much, but satisfyingly enough) and the… pacing? I think I’ve gotten used to seeing spice at certain places of a book, and Linde just kept me on my toes! A lot of what I like to see in spice scenes showed up 😶🌫️ and I felt like Linde was not formulaic and not afraid to put some realness in there! Dang, girl! 👏
Overall, I had a blast with this book, and seriously can’t wait for the third! I received an 8 chapter ARC thanks to Entangled Publishing and NetGalley in exchange for an honest review. And then I finished the book with the audiobook. The narrator was sooooo impressive: she managed people of all genders and multiple accents!! Brava!
I really love the authentic dialogue that Linde creates between all her characters. And there are many characters, but they don’t feel overwhelming in number. The magic in this world is getting trickier, more complex, but some questions that as a reader were floating in your mind for the first book get answered in this second book!
And I HAVE to dedicate a paragraph to the spice! 🌶️🌶️🌶️🔥 Woohoo! It took me by surprise, the amount of it in the book (which is not too much, but satisfyingly enough) and the… pacing? I think I’ve gotten used to seeing spice at certain places of a book, and Linde just kept me on my toes! A lot of what I like to see in spice scenes showed up 😶🌫️ and I felt like Linde was not formulaic and not afraid to put some realness in there! Dang, girl! 👏
Overall, I had a blast with this book, and seriously can’t wait for the third! I received an 8 chapter ARC thanks to Entangled Publishing and NetGalley in exchange for an honest review. And then I finished the book with the audiobook. The narrator was sooooo impressive: she managed people of all genders and multiple accents!! Brava!
July 12, 2025
I’m conflicted..I don’t know which MMC to trust or who I can even believe anymore.
I adore this story. It’s fun and fast and romantic. The human and monster war is new and unique.
I’m scared for book 3. But I also can’t wait.
I adore this story. It’s fun and fast and romantic. The human and monster war is new and unique.
I’m scared for book 3. But I also can’t wait.
September 27, 2025
It's not a book, it's ninety-nine tropes in a trenchcoat.
July 16, 2025
I enjoyed this book better than the first book so I’m tempted to give it 4 Stars. However, two issues hold me to 3.5 Stars. Whereas the first book taught me some of the lore behind the Holly and the Oak, I was bothered by the lack of any further Celtic lore or explanation in this edition. I wanted more of that knowledge! I was also disappointed that what I thought was a two book series is clearly not.
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