ARC sent by netgalley.
Book advertised as "Dorian Gray meets Frankenstein in Jack the Ripper's London" couldn't escape my attention. However, I offer a more precise name dropping description: «Adult Ciel Phantomhive did not make a deal with the devil, but instead became one himself while serving the Queen in hunting down criminals with supernatural abilities. Tasked with resolving the soon to become famous Jack the Ripper case, he enrolled aid from his best friend, a tortured artist Basil Hallward, who possessed an incredible talent for portraits but refused to paint any living beings and seemed to hide a dark secret somewhere in Whitechapel. What shall they do if it turns out that Jack is a big fan of a certain Mary Wollstonecraft-Shelley's literary work?»
I immediately started reading upon receiving a copy and was pleasantly impressed by the elegant writing style and the evident research that went into this work. I thoroughly enjoyed the well-paced plot & organic character development. There was no feeling of rushed action-packing to further the story, and it were the characters driving the plot, rather than having an author whisper behind their back of the next steps to take and words to say. It provided the right amount of detailed descriptions to create a sense of being in a Victorian setting without going overboard and reminding you that it was written 100+ years later. Each character retains the aristocratic status quo of never revealing too much of themselves, while still having their own distinct strong personality. I especially loved the portrayal of women, and am particularly glad Lady Georgiana will make a return as a main character in book 2, but also personally hoping to see more of Lady Christabel, who is probably the most interesting character for me so far.
Additionally, I loved the little hints at the rise in women's rights movement at that point in history, both by the one I didn't know about (Elizabeth Cass) referenced by Anais & Abel's inner thoughts: "was that the fate of all women who lacked the protection of a family or a name? The protection of a man?". It did not read as an outlandish modern feminist idea, it read as the kind of argument that a person from late XIX century would actually have.
I admit, when I saw I was 70% done and yet the plot was no closer to a big culmination, I became wary of the book's pacing as it applied to its low number of pages. I was preparing to be disappointed that there won't be enough pages left to properly end the first part of the story, and that it will rely on a cheap hook to keep readers waiting for the sequel. I am relieved to say that was not (entirely) the case. The pace did indeed pick up after this mark, but it somehow felt organic and not rushed, the urgency made total sense story-wise, and while the resolution was so close, I am not mad at all that "the villain escaped this time" - because we were shown that it made sense for him to escape in the chaos! Ah, the wonders one's writing can achieve when authors SHOW AND DON'T TELL!
That said, it wouldn't be my review if I didn't have some critical remarks, even if they do not diminish the star rating this time:
There were a few occurrences where the characters defining traits/characteristics were brought up in almost the same way in a short span (maybe a few chapters apart). Namely, Anais' "eyes going from green to grey when focusing on an object"; Sebastian's special poison blend (also why was a sleeping drought called poison if it was not actually poisonous?) when used by him & his mother's murder argument used against him by Hyden (at least 5 times). Abel's laments about "missing drawing portraits" & "transferring the very soul of the sitter" hint drops too early on in the story, which uses Dorian Gray as an epithet for itself, were too glaring and did take away a little from the big reveal of this story's own Basil Hallward, if he looked & slept around like Dorian Gray.
Some things were a little repetitive and too on the nose for my liking, as a person who above all values narrative subtlety and being left guessing, especially in mysteries. Such as the way that two women (Christabel & Georgiana) were brought under suspicion in the same manner, by hinting or outright stating their connection to the crime scene or a potential suspect, as well as highlighting their interest in unladylike subjects, i.e. science and anatomy. Likewise, Hyden and Sebastian's father kept being hinted at as the big evil masterminds behind Whitechapel crimes, and with the mysterious "vessel" revealed as a woman it just solidified my personal theory (my bet is on Sebastian's father as the mastermind and his mother being the vessel; unless it turns out to be an entirely new character of course & Christabel is actually involved in the crime and was not just gothic literature-obsessed & morbid 15 yo me)
Similarly to the Dorian Gray-Abel link, it irked me a bit to see Frankenstein as a book mentioned directly in the text as a possible evidence of involvement in the crime, when it has already become apparent that the perpetrator is stealing organs in order to create their own "Frankenstein's monster". I'd have probably not minded if it was mentioned earlier in the story, when Sebastian did not yet know what he was looking for, and it was used as foreshadowing rather than proof of fact.
All of these are, however, but minor remarks and did not diminish my experience or enjoyment of the story whatsoever, so I am very happy to mark this as my first 5 star of the year, and will be looking forward to the next part!