Review: Mistress of Hours — A Case of Performative Representation and Missed Potential
Mistress of Hours presents itself as an ambitious tale of magic, fated love, and diverse characters, but unfortunately, it falls into the trap of performative queerness and shallow storytelling. While the novel sets the stage for a compelling fantasy world, it ultimately delivers a narrative that feels underdeveloped, especially when it comes to its LGBTQ+ representation and world-building.
Performative Queerness and Problematic Representation
One of the most glaring issues with Mistress of Hours is its treatment of queer characters. Despite the promise of inclusivity, the representation feels more like a superficial checkbox rather than a meaningful exploration of diverse identities. The novel features two prominent lesbian couples, but neither is given the dignity of a happy ending. One relationship is marked by abuse and instability, while the other ends in tragedy with one partner killing the other. These portrayals feed into harmful stereotypes, suggesting that queer love is inherently doomed or dysfunctional. Instead of exploring the complexities of these relationships, the book uses them as mere plot devices, ultimately reinforcing negative tropes rather than subverting them.
Moreover, the only non-binary character in the story, Lou, is disappointingly sidelined, with barely any backstory or development. They exist more as a token gesture than as a fully fleshed-out character. This lack of depth extends to all the queer characters, whose defining traits seem limited to their sexuality and physical beauty, rather than their personalities, motivations, or struggles.
The protagonist herself, Evienne, who has had a past abusive relationship with a woman, Dominique, ends up finding “eternal love” with a man, Orion. This narrative arc subtly reinforces the idea that true fulfillment and happiness can only be found in heterosexual relationships, which undermines the initial attempt at queer inclusivity. The concept of soulmates is central to the story, but it seems to exclusively favor heterosexual pairings, which feels like a missed opportunity to explore love in all its forms.
Shallow Characterization and Rushed Romance
Another significant shortcoming of the book is the lack of character depth. Evienne, our heroine, despite being a powerful magic wielder and a high-ranking member of the magical army, spends much of the novel crying, doubting herself, and ultimately seeking validation from the male protagonist. Her journey is less about self-discovery and empowerment and more about finding her worth through the love of a man. This is particularly frustrating given that she is introduced as a strong, independent figure, only to be reduced to a one-dimensional character whose strength crumbles in the presence of her fated mate.
The male protagonist, Orion, is even less developed, with his entire personality revolving around his love for the heroine and his desire to save his people. Their romance is poorly executed, lacking any real emotional depth or build-up. They share hardly any meaningful conversations, yet they quickly decide to spend their lives together, making their relationship feel more like a contrived plot point than a genuine connection. The insta-love trope here is taken to the extreme, leaving readers questioning the authenticity of their bond.
Empty Character Development and Unexplored Relationships
The character development in Mistress of Hours suffers from a lack of depth and missed opportunities to explore key relationships. For instance, the bond between Queen Aldith and her chief of the army, Dominique, is introduced as an important dynamic, yet we never receive a meaningful explanation for their closeness. While we see brief glimpses of their interactions, there’s no substantial backstory to justify the depth of their connection. This absence of context makes Dominique’s sudden power grab at the end of the book feel confusing and unearned. It hints at a larger narrative that could have added intrigue and complexity, but instead, it’s left frustratingly underdeveloped.
Similarly, the character of Hestia, who is supposedly the person our heroine trusts the most, feels like a last-minute addition. Despite being referenced in passing twice as her mentor, Hestia doesn’t actually appear until chapter twenty. Given their significant influence on the protagonist’s life, it’s perplexing that readers are not given the opportunity to witness their relationship earlier on. Hestia’s late introduction undermines the emotional weight of their bond, leaving readers to wonder why such a crucial character was kept on the sidelines for so long. These gaps in character development make it challenging to connect with the cast and diminish the potential for richer, more layered storytelling.
World-Building and Magic System: A Missed Opportunity
One of the most disappointing aspects of Mistress of Hours is its approach to world-building and the magic system. Rather than immersing readers in a rich, fully realized world, the book relies heavily on info-dumping. Key details about the world and its magical principles are often introduced just a few chapters before they become relevant to the plot, making these revelations feel more like convenient plot devices than organic elements of the story. Secrets are poorly concealed in plain sight, which undermines any sense of mystery or discovery.
Moreover, instead of providing a broader understanding of the world and its magic, the narrative only gives us the information necessary for the immediate storyline involving the main characters. This narrow focus creates the impression that the world beyond the central plot simply doesn’t exist, leaving readers with the sense that they’re only getting a shallow glimpse into a larger universe. As a result, the book feels constrained, lacking the depth and expansiveness that a truly immersive fantasy world should offer.
The setting itself is never fully realized, with important aspects of the world, such as the political landscape and the everyday lives of its inhabitants, left frustratingly vague. The queen Léhiona, a character who could have provided valuable insight into her country’s culture and struggles, is inexplicably forbidden from speaking about her homeland, a mystery that remains unresolved even at the book’s end. This lack of detail leaves readers feeling disconnected from the world the characters inhabit, reducing what could have been a rich, immersive fantasy to a series of shallow, disconnected scenes.
Conclusion: Great Potential, Poor Execution
Ultimately, Mistress of Hours feels like a case of “great idea, poor execution.” The book hints at intriguing concepts but never takes the time to fully explore them, resulting in a narrative that feels more like an outline than a finished novel. The lack of depth in character development, world-building, and representation reduces what could have been a standout fantasy into a disappointing read. The book’s approach to queer characters is particularly problematic, leaning heavily into negative stereotypes without providing the necessary nuance or depth to make them feel authentic or relatable.
For readers seeking a richly detailed world with complex characters and meaningful representation, Mistress of Hours may not be the best choice. However, if you’re looking for a quick, surface-level fantasy romance, this book might still hold some appeal. It’s clear that the author has the imagination to create a compelling story, but a more thoughtful approach to character development and world-building, along with a deeper commitment to authentic representation, is needed to fully realize that potential.