What do you think?
Rate this book
The Halls of the Dead
Not yet published
Expected 18 Aug 26A queer, gothic horror romance set in a necromancy-tinged London, sure to entrance fans of The Death of Jane Lawrence and Mexican Gothic.
London, December 1849
Irene Shallcross Haley has dedicated her life to necromancy, a forbidden, reviled art that is passed along through sentient grimoires bound in human skin. With her undead husband St. John—a marriage of kindred spirits and platonic convenience—she has been protecting the knowledge of generations of witches that came before her. Like any magic, it has come at a cost: her reputation, her relationship with her sister, and her soul. But when Irene’s love, Agnes, is hanged for witchcraft, Irene refuses to let Agnes be one more thing that is taken from her.
A true resurrection has not been achieved in two thousand years, but Irene is determined. With the help of St. John, Irene bangs on the doors of the Halls of the Dead, demanding the third part of their triumverate back…or did she? Because the Agnes that awakens comes with both a hunger for raw flesh and a malignant ghost tied to her soul.
Necromancy is the art of saying no—no, I won't let you go; no, I won't let you be destroyed—and Irene’s work is not yet done. She must find a way to bring Agnes back to her true self, she must navigate her feelings for her resurrected lover as well as St. John, and she must do all of this without catching the attention of Sir Silas Underhill, the man who sentenced Agnes to death.
Death is not the end of love. But Irene may realize it can actually be the beginning.
London, December 1849
Irene Shallcross Haley has dedicated her life to necromancy, a forbidden, reviled art that is passed along through sentient grimoires bound in human skin. With her undead husband St. John—a marriage of kindred spirits and platonic convenience—she has been protecting the knowledge of generations of witches that came before her. Like any magic, it has come at a cost: her reputation, her relationship with her sister, and her soul. But when Irene’s love, Agnes, is hanged for witchcraft, Irene refuses to let Agnes be one more thing that is taken from her.
A true resurrection has not been achieved in two thousand years, but Irene is determined. With the help of St. John, Irene bangs on the doors of the Halls of the Dead, demanding the third part of their triumverate back…or did she? Because the Agnes that awakens comes with both a hunger for raw flesh and a malignant ghost tied to her soul.
Necromancy is the art of saying no—no, I won't let you go; no, I won't let you be destroyed—and Irene’s work is not yet done. She must find a way to bring Agnes back to her true self, she must navigate her feelings for her resurrected lover as well as St. John, and she must do all of this without catching the attention of Sir Silas Underhill, the man who sentenced Agnes to death.
Death is not the end of love. But Irene may realize it can actually be the beginning.
352 pages, Hardcover
Expected publication August 18, 2026
Ratings & Reviews
Friends & Following
Create a free account to discover what your friends think of this book!
Community Reviews
Displaying 1 - 30 of 142 reviews
January 10, 2026
I keep seeing this book described as sapphic romance and I don’t think it does the story justice! The MFC is married to an undead male Saint and she’s got a girlfriend who has just been hanged for witchcraft as the novel opens. This was one of the more moving portrayals of queer polyamory in fantasy that I’ve read (do love the polys in Murderbot too). The relationship between all three is grounded in friendship, respect as well as attraction. I didn’t love all the seeing permission in each others eyes instead having a conversation before massively changing the nature of their triad. I understand that would have slowed things down so I won’t quibble.
Loved how committed the author was to her concepts. Decomposing bodies smell, have bugs, skin might be falling off, if you bring the dead back to life do those issues stay or not? What does eating a still living person smell & taste like? How do you dead with the trauma of remembering your own death?
Hallows writing is slow and contemplative. The flashbacks aren’t just information dumps. As the characters look back they emotionally grow in the present. Her writing shines most in those moments. The last 1/3 of the book as we shift into present events & the action picks up was weaker than the beginning.
Recommend if you don’t mind a slower more introspective read, love necromancy or non traditional relationships. If those don’t float your boat this isn’t for you!
Warning: There’s repeated graphic descriptions of maggots, spiders, centipedes, flies and other insects. There’s graphic cannibalism as well.
Loved how committed the author was to her concepts. Decomposing bodies smell, have bugs, skin might be falling off, if you bring the dead back to life do those issues stay or not? What does eating a still living person smell & taste like? How do you dead with the trauma of remembering your own death?
Hallows writing is slow and contemplative. The flashbacks aren’t just information dumps. As the characters look back they emotionally grow in the present. Her writing shines most in those moments. The last 1/3 of the book as we shift into present events & the action picks up was weaker than the beginning.
Recommend if you don’t mind a slower more introspective read, love necromancy or non traditional relationships. If those don’t float your boat this isn’t for you!
Warning: There’s repeated graphic descriptions of maggots, spiders, centipedes, flies and other insects. There’s graphic cannibalism as well.
Want to Read
January 7, 2026Gothic horror romance set in a necromancy tinged London.
Sci-fi/Fantasy
Many thanks to NetGalley, Avon and Harper Voyager and the author, S.M. Hallow for the early eARC!
Publication date: August 18, 2026
Sci-fi/Fantasy
Many thanks to NetGalley, Avon and Harper Voyager and the author, S.M. Hallow for the early eARC!
Publication date: August 18, 2026
Review of advance copy received from NetGalley
If you're a fan of gore and guts and graves in your Gothic fiction, then this is the book to read.
I came here for the Gothic vibes and the necromancy, and this novel delivered 110% on both fronts. I didn't care much for the poly relationship (mostly because I don't care much for romance in the first place), but I'll live. It was an interesting dynamic to read about in a historical fantasy setting, especially since the social norms in this fictional historical London is very similar to the real historical London.
I wasn't sure what to expect from this novel, but this definitely had me seated the entire time. I couldn't stop reading. I loved that this novel treaded the fine line between serious and campy. At times, it was over the top, but the serious parts of the narrative (death, the afterlife, homophobia, misogyny, etc.) managed to reign the story in and keep readers focused on the heart of the story.
Don't get me wrong though, the story did go off the rails several times when it came to the topics of death and reincarnation, but this is Gothic fiction, so those parts were to be expected. And hell, I had so much fun with the soul eating, book eating, and the undead hungering for flesh. Jesus Christ was described as a necromancer, and I was sold on the story.
I would've rated this higher if there were less POVs. Since all three MCs' viewpoints were featured, there was no second guessing or subtlety with anyone's motives. But this is definitely a personal preference since I like a bit of mystery with my Gothic fiction.
Overall, I'm glad I picked up this book. It was dark. It was gross. It was silly. And it definitely satisfied my cravings for a Gothic fantasy.
Thank you to Harper Voyager and NetGalley for this arc.
I came here for the Gothic vibes and the necromancy, and this novel delivered 110% on both fronts. I didn't care much for the poly relationship (mostly because I don't care much for romance in the first place), but I'll live. It was an interesting dynamic to read about in a historical fantasy setting, especially since the social norms in this fictional historical London is very similar to the real historical London.
I wasn't sure what to expect from this novel, but this definitely had me seated the entire time. I couldn't stop reading. I loved that this novel treaded the fine line between serious and campy. At times, it was over the top, but the serious parts of the narrative (death, the afterlife, homophobia, misogyny, etc.) managed to reign the story in and keep readers focused on the heart of the story.
Don't get me wrong though, the story did go off the rails several times when it came to the topics of death and reincarnation, but this is Gothic fiction, so those parts were to be expected. And hell, I had so much fun with the soul eating, book eating, and the undead hungering for flesh. Jesus Christ was described as a necromancer, and I was sold on the story.
I would've rated this higher if there were less POVs. Since all three MCs' viewpoints were featured, there was no second guessing or subtlety with anyone's motives. But this is definitely a personal preference since I like a bit of mystery with my Gothic fiction.
Overall, I'm glad I picked up this book. It was dark. It was gross. It was silly. And it definitely satisfied my cravings for a Gothic fantasy.
Thank you to Harper Voyager and NetGalley for this arc.
February 20, 2026
This was, for me, a very wobbly 2.5/5 stars.
The novel kicks off with a literal resurrection. Which hey, very cool, very bold. However, that scene drags on for literally the first quarter of the novel. It’s interspersed with flashbacks, sure, but the plot—as it stands in the book’s present day—does not begin to move forward until after the quarter mark. That, for me, is a bit of problem. In fact, the majority of the first quarter of this book is spent in flashbacks, and while they were interesting and offered context relevant to the present day plot, things still felt stagnant to me.
The characters, on the other hand, were a joy—especially St. John—though I sometimes found their actions a tad over the top. There were several instances of Irene shrieking her words out “like a banshee,” and contextually, those just didn’t feel natural to me.
The writing was mostly solid, if a bit navel-gazey. However, there were some turns of phrase that made no sense to me, such as Agnes being so hungry that “her teeth stung.” And for whatever reason, I found that the writing quality tended to degrade during the romantic scenes. Segues grew sloppy, there was ambiguity about who was where, etc. The gore was wonderfully written, though, and overall the prose made great use of the senses, which I always appreciate.
But the most horrifying thing in this book? That corpse we resurrected at the very start? One of the main characters is frenching it post-resurrection but pre-mouth-rinse. Like this person had been dead and buried, and we can’t even get them to chew some mint leaves before we swap spit? Seeing as the necromancer makes no mention of tasting the grave on her lover’s tongue, I’m assuming this makeout session wasn’t intended to be gross or edgy, and maybe was just not considered? Either way, I had a hard time suspending disbelief for that.
If you enjoy books that are vibe-heavy, introspective, navel-gazey, and full of ghoulish descriptions, highly recommend. It just wasn’t for me.
Thank you to NetGalley, Avon and Harper Voyager for the ARC!
The novel kicks off with a literal resurrection. Which hey, very cool, very bold. However, that scene drags on for literally the first quarter of the novel. It’s interspersed with flashbacks, sure, but the plot—as it stands in the book’s present day—does not begin to move forward until after the quarter mark. That, for me, is a bit of problem. In fact, the majority of the first quarter of this book is spent in flashbacks, and while they were interesting and offered context relevant to the present day plot, things still felt stagnant to me.
The characters, on the other hand, were a joy—especially St. John—though I sometimes found their actions a tad over the top. There were several instances of Irene shrieking her words out “like a banshee,” and contextually, those just didn’t feel natural to me.
The writing was mostly solid, if a bit navel-gazey. However, there were some turns of phrase that made no sense to me, such as Agnes being so hungry that “her teeth stung.” And for whatever reason, I found that the writing quality tended to degrade during the romantic scenes. Segues grew sloppy, there was ambiguity about who was where, etc. The gore was wonderfully written, though, and overall the prose made great use of the senses, which I always appreciate.
But the most horrifying thing in this book? That corpse we resurrected at the very start? One of the main characters is frenching it post-resurrection but pre-mouth-rinse. Like this person had been dead and buried, and we can’t even get them to chew some mint leaves before we swap spit? Seeing as the necromancer makes no mention of tasting the grave on her lover’s tongue, I’m assuming this makeout session wasn’t intended to be gross or edgy, and maybe was just not considered? Either way, I had a hard time suspending disbelief for that.
If you enjoy books that are vibe-heavy, introspective, navel-gazey, and full of ghoulish descriptions, highly recommend. It just wasn’t for me.
Thank you to NetGalley, Avon and Harper Voyager for the ARC!
January 9, 2026
I’ll never be able to hear God Rest Ye Merry Gentleman the same way again.
The Halls of the Dead puts the “romance” in necromancy. It’s a revenge story with incredible catharsis, a poly love story horrormance, a dark fantasy, and one of the best books I read in 2025. The prose is lyrical, gorgeous, absolutely aches with yearning, and the imagery is delightfully gruesome. Hallow clearly has great affection for and knowledge of classic gothic themes and motifs.
The bulk of the plot takes place in the Haley house over roughly six days with flashbacks to the trio’s past in three rotating POVs. In this version of early Victorian London, magic exists and is commonplace, though necromancy is forbidden. I enjoyed the magic system (the foreshadowing, payoff, and attention to detail with the necromancy lore and spellwork was fantastic) and felt like the worldbuilding was sketched out enough for a book with such a tight focus.
(I especially liked the way Hallow nods to faith and the afterlife through St. John’s backstory and the monks at St. Lazarus’s Abbey.) The thematic use of flashbacks to fill us in on the plot events prior to the opening chapter’s resurrection means it can feel a bit slow in the beginning if you’re not someone who enjoys a character-driven narrative, and I did have a bit of trouble keeping track of details and the timeline at times. But after a bit of a lull in the middle, things really heat up, and the gory payoff to the revenge plot does not disappoint.
I enjoyed all three POVs, but I especially loved Irene. I love that this woman failed to resurrect her sister, and rather than take the hint that maybe sometimes people die and we have to move on and let go, she said “no I can do it, for real this time though” and tries again with Agnes. I really appreciated the exploration of the way that depression and disability impact Irene’s life and the lives of her loved ones. And I loved the portrayal of the agony of grief and how it overwhelms and changes us, and can make us into someone we don’t recognize. The scenes between Irene and her sister Willa in the Halls were some of the most affecting for me, but I also loved St. John’s chapters reflecting on his abbot and the necromancers he lost over the years. And speaking of, special shout out to St. John, or as I like to think of him, if Oogie Boogie were a proper Victorian gentleman. His utter devotion to both Irene and Agnes in his narration is delightful.
I think your own relationship with death and loss may play into how hard this book hits for you. I’ve been dealing with prolonged grief from the death of my best friend, so this hit like a truck. Hallow’s observations on grief are poignant and devastating; early on, St. John remarks that he wishes he could make Irene a book after she dies and carry her with him forever, and I found myself in tears. This happened often throughout the book, and consequently I had to take my time with it because it weighed heavily on me. So many sentences stopped me in my tracks. It’s one of the best grief narratives I’ve read, and I’m so thankful I got to read it. 4.5 stars rounded up.
Would I re-read this: Yes
Who should read this:
fans of unlikable/flawed women
queer/poly romance enjoyers
anyone looking for genrebending unique books
If you’re a very visual reader and you like a vibey gothic, I think this will be right up your alley. If you can’t generate your own visuals (and therefore don’t care for beautiful, descriptive language) or you’re a very plot driven reader, you’ll likely bounce off this book. Additionally, while this book is deeply romantic, I think readers picking this up as a romance expecting a typical romance structure/beats might be disappointed.
For fans of: Caitlin Starling, Johanna van Veen, S. T. Gibson, Alix E. Harrow, Maggie Stiefvater
Thank you to S. M. Hallow, Avon/Harper Voyager, and Netgalley for the eARC.
The Halls of the Dead puts the “romance” in necromancy. It’s a revenge story with incredible catharsis, a poly love story horrormance, a dark fantasy, and one of the best books I read in 2025. The prose is lyrical, gorgeous, absolutely aches with yearning, and the imagery is delightfully gruesome. Hallow clearly has great affection for and knowledge of classic gothic themes and motifs.
The bulk of the plot takes place in the Haley house over roughly six days with flashbacks to the trio’s past in three rotating POVs. In this version of early Victorian London, magic exists and is commonplace, though necromancy is forbidden. I enjoyed the magic system (the foreshadowing, payoff, and attention to detail with the necromancy lore and spellwork was fantastic) and felt like the worldbuilding was sketched out enough for a book with such a tight focus.
(I especially liked the way Hallow nods to faith and the afterlife through St. John’s backstory and the monks at St. Lazarus’s Abbey.) The thematic use of flashbacks to fill us in on the plot events prior to the opening chapter’s resurrection means it can feel a bit slow in the beginning if you’re not someone who enjoys a character-driven narrative, and I did have a bit of trouble keeping track of details and the timeline at times. But after a bit of a lull in the middle, things really heat up, and the gory payoff to the revenge plot does not disappoint.
I enjoyed all three POVs, but I especially loved Irene. I love that this woman failed to resurrect her sister, and rather than take the hint that maybe sometimes people die and we have to move on and let go, she said “no I can do it, for real this time though” and tries again with Agnes. I really appreciated the exploration of the way that depression and disability impact Irene’s life and the lives of her loved ones. And I loved the portrayal of the agony of grief and how it overwhelms and changes us, and can make us into someone we don’t recognize. The scenes between Irene and her sister Willa in the Halls were some of the most affecting for me, but I also loved St. John’s chapters reflecting on his abbot and the necromancers he lost over the years. And speaking of, special shout out to St. John, or as I like to think of him, if Oogie Boogie were a proper Victorian gentleman. His utter devotion to both Irene and Agnes in his narration is delightful.
I think your own relationship with death and loss may play into how hard this book hits for you. I’ve been dealing with prolonged grief from the death of my best friend, so this hit like a truck. Hallow’s observations on grief are poignant and devastating; early on, St. John remarks that he wishes he could make Irene a book after she dies and carry her with him forever, and I found myself in tears. This happened often throughout the book, and consequently I had to take my time with it because it weighed heavily on me. So many sentences stopped me in my tracks. It’s one of the best grief narratives I’ve read, and I’m so thankful I got to read it. 4.5 stars rounded up.
Would I re-read this: Yes
Who should read this:
fans of unlikable/flawed women
queer/poly romance enjoyers
anyone looking for genrebending unique books
If you’re a very visual reader and you like a vibey gothic, I think this will be right up your alley. If you can’t generate your own visuals (and therefore don’t care for beautiful, descriptive language) or you’re a very plot driven reader, you’ll likely bounce off this book. Additionally, while this book is deeply romantic, I think readers picking this up as a romance expecting a typical romance structure/beats might be disappointed.
For fans of: Caitlin Starling, Johanna van Veen, S. T. Gibson, Alix E. Harrow, Maggie Stiefvater
Thank you to S. M. Hallow, Avon/Harper Voyager, and Netgalley for the eARC.
June 16, 2026
In theory, this book sounded exactly like the kind of thing I’d love. Victorian, gothic settings, morally questionable necromantic magic, the dead refusing to stay dead, and complicated queer relationships are all elements that usually work for me. Unfortunately, while all the ingredients were there, the story never quite came together in a way that fully engaged me.
The story follows three main characters: Irene, a necromancer, St. John, who is undead, and Agnes, a woman who has just been hanged and is being brought back to life. Their relationship forms a kind of polyamorous triangle. John and Irene are married, but their relationship is presented as largely platonic, while Irene and Agnes are clearly in love. This dynamic is further explored throughout the narrative, and because of that, I wouldn’t really call this book simply a sapphic story as some readers suggest.
One of my biggest issues with the book is how unevenly the characters were developed. Irene ends up being by far the strongest and most fleshed out of the three. The story relies on flashbacks, which isn’t inherently a bad thing, but the way they’re used creates an imbalance. We learn most of what we know about St. John through his past, while Agnes spends most of the book in the present with very little background. Irene is the only character who feels fully realized. Reading this book often felt like being dropped into the middle of an ongoing story, almost as if I’d accidentally started with the second book in a series.
The heavy use of flashbacks also hurts the pacing. The first half of the novel is packed with them, which means very little actually happens in the present timeline. As a result, it takes a long time before the story’s direction becomes clear. Agnes’s resurrection, something that’s revealed in the synopsis, occupies roughly the first third of the book, which means the story is slow to find its footing. The stakes don’t properly emerge until around the halfway mark, and things only started to become genuinely interesting for me in the final third. Even then, I wasn’t entirely sure what the characters were working toward or what their larger goal was supposed to be. Without a clear sense of direction, it was difficult to become fully invested in their journey, despite some intriguing developments later on.
That said, the worldbuilding and necromancy lore were interesting. I just didn’t find them compelling enough to carry the story when I was struggling to understand where it was all headed. The writing itself was accessible and easy to read, and honestly that’s what saved the book for me. Without that, I’m not sure I would’ve felt motivated to finish it.
Overall, I think the idea behind this book is great, but the execution didn’t fully live up to its potential. Still, readers who enjoy a bit of ambiguity and don’t mind feeling slightly lost at times may get a lot more out of it. The strong gothic atmosphere is definitely one of the book’s biggest strengths.
Thank you NetGalley and Harper Voyager for providing me with an ARC in exchange for my honest review.
The story follows three main characters: Irene, a necromancer, St. John, who is undead, and Agnes, a woman who has just been hanged and is being brought back to life. Their relationship forms a kind of polyamorous triangle. John and Irene are married, but their relationship is presented as largely platonic, while Irene and Agnes are clearly in love. This dynamic is further explored throughout the narrative, and because of that, I wouldn’t really call this book simply a sapphic story as some readers suggest.
One of my biggest issues with the book is how unevenly the characters were developed. Irene ends up being by far the strongest and most fleshed out of the three. The story relies on flashbacks, which isn’t inherently a bad thing, but the way they’re used creates an imbalance. We learn most of what we know about St. John through his past, while Agnes spends most of the book in the present with very little background. Irene is the only character who feels fully realized. Reading this book often felt like being dropped into the middle of an ongoing story, almost as if I’d accidentally started with the second book in a series.
The heavy use of flashbacks also hurts the pacing. The first half of the novel is packed with them, which means very little actually happens in the present timeline. As a result, it takes a long time before the story’s direction becomes clear. Agnes’s resurrection, something that’s revealed in the synopsis, occupies roughly the first third of the book, which means the story is slow to find its footing. The stakes don’t properly emerge until around the halfway mark, and things only started to become genuinely interesting for me in the final third. Even then, I wasn’t entirely sure what the characters were working toward or what their larger goal was supposed to be. Without a clear sense of direction, it was difficult to become fully invested in their journey, despite some intriguing developments later on.
That said, the worldbuilding and necromancy lore were interesting. I just didn’t find them compelling enough to carry the story when I was struggling to understand where it was all headed. The writing itself was accessible and easy to read, and honestly that’s what saved the book for me. Without that, I’m not sure I would’ve felt motivated to finish it.
Overall, I think the idea behind this book is great, but the execution didn’t fully live up to its potential. Still, readers who enjoy a bit of ambiguity and don’t mind feeling slightly lost at times may get a lot more out of it. The strong gothic atmosphere is definitely one of the book’s biggest strengths.
Thank you NetGalley and Harper Voyager for providing me with an ARC in exchange for my honest review.
June 29, 2026
Thanks to NetGalley for the e-Arc!
I am astounded, utterly flabbergasted, that there's no The Locked Tomb comps in this book's marketing. It's just as unhinged and undead, if not quite as clever and well-plotted. The story of The Halls of the Dead is about resurrection (emotional, physical, spiritual), and glorious retribution. . The reports of poor pacing are not exaggerated, but I was having such a good time with the characters that it didn't slow me down or mar my enjoyment of the book. This novel made me think hard about religion, about the where the line is between a miracle and a sin, and the ethics of raising the dead. The imagery is gorgeous (if you don't mind bugs or viscera), and while Irene is obviously the main character, Agnes and St. John complement her story perfectly. Overall, a meandering, weird novel that puts the romance in necromancer.
I am astounded, utterly flabbergasted, that there's no The Locked Tomb comps in this book's marketing. It's just as unhinged and undead, if not quite as clever and well-plotted. The story of The Halls of the Dead is about resurrection (emotional, physical, spiritual), and glorious retribution. . The reports of poor pacing are not exaggerated, but I was having such a good time with the characters that it didn't slow me down or mar my enjoyment of the book. This novel made me think hard about religion, about the where the line is between a miracle and a sin, and the ethics of raising the dead. The imagery is gorgeous (if you don't mind bugs or viscera), and while Irene is obviously the main character, Agnes and St. John complement her story perfectly. Overall, a meandering, weird novel that puts the romance in necromancer.
July 4, 2026
4.75 ⭐️
Thank you to the publisher, Harper Voyager, the author S.M. Hallow, and Book Huddle for allowing me to read an advanced copy of this glorious gothic gathering of the macabre.
If someone had told me that one of my favourite novels of the year would include gleeful and enthusiastic cannibalism, a man whose insides were composed of creepy crawlies, and more galleons of blood than I care to estimate, I would have been at least A LITTLE surprised. Not, like, shocked, since I am still a weirdo gothy kid at heart, but slightly taken aback. It is hard not to become wrapped up in this story, however. The writing is beautiful and haunting, with sentences and sentiments that repeat throughout, a steady beat to follow and be enchanted by. The worldbuilding is probably some of the best I have encountered in some time. While I can see how this can be a stand-alone, it feels like there is so much more to discover within the realm of necromancy.
Additional details I adored include the chronic pain representation, how dead spirits show multiple faces, one for each year of life, and the glimpses into the lives of other necromancers from times gone by. I really enjoyed reading the multiple POVs – something I know is not everyone’s cup of tea but personally I relish. It’s also undeniable that, besides the gothic, horror, and historical elements, this is an inherently queer book. Queer as in not-heterosexual, queer as in polyamorous, and queer as in subverting typical, heteronormative romance and gender roles. While the world-building and the magic are central to the story, at its core it is also very much a love story between three characters. We really don’t get enough throuples in literature.
My one drawback is that the pacing of the story was somewhat uneven. We got such wonderful, in-depth backstories for all three characters, as well as some of the side-necromancers, but the latter third of the book seemed to walk with a bit of a limping gait. Not slow, per se, but somewhat at odds with the first 2/3 of the novel.
Overall, a beautiful and horrifying (in the best way) debut novel. I am both satiated and starved for more.
Thank you to the publisher, Harper Voyager, the author S.M. Hallow, and Book Huddle for allowing me to read an advanced copy of this glorious gothic gathering of the macabre.
If someone had told me that one of my favourite novels of the year would include gleeful and enthusiastic cannibalism, a man whose insides were composed of creepy crawlies, and more galleons of blood than I care to estimate, I would have been at least A LITTLE surprised. Not, like, shocked, since I am still a weirdo gothy kid at heart, but slightly taken aback. It is hard not to become wrapped up in this story, however. The writing is beautiful and haunting, with sentences and sentiments that repeat throughout, a steady beat to follow and be enchanted by. The worldbuilding is probably some of the best I have encountered in some time. While I can see how this can be a stand-alone, it feels like there is so much more to discover within the realm of necromancy.
Additional details I adored include the chronic pain representation, how dead spirits show multiple faces, one for each year of life, and the glimpses into the lives of other necromancers from times gone by. I really enjoyed reading the multiple POVs – something I know is not everyone’s cup of tea but personally I relish. It’s also undeniable that, besides the gothic, horror, and historical elements, this is an inherently queer book. Queer as in not-heterosexual, queer as in polyamorous, and queer as in subverting typical, heteronormative romance and gender roles. While the world-building and the magic are central to the story, at its core it is also very much a love story between three characters. We really don’t get enough throuples in literature.
My one drawback is that the pacing of the story was somewhat uneven. We got such wonderful, in-depth backstories for all three characters, as well as some of the side-necromancers, but the latter third of the book seemed to walk with a bit of a limping gait. Not slow, per se, but somewhat at odds with the first 2/3 of the novel.
Overall, a beautiful and horrifying (in the best way) debut novel. I am both satiated and starved for more.
June 10, 2026
All you have to do is say necromancy, and I am sold. Set in a gothic Victorian London where dark magic and necromancy are forbidden, this book follows Irene as she attempts the impossible after the execution of the woman she loves. What follows is part horror, part romance, and part meditation on what happens when love refuses to let go. It's also told in a pretty campy tone, for lack of a better word, and I was not expecting that but did enjoy it! Described as sapphic, I wouldn't necessarily agree with that, as it's really a polyamorous relationship with Irene, her husband St. John and Agnes, the woman she is looking to bring back from death. Hallow doesn't shy away from the grotesque. There is body horror, blood, rot, and some genuinely disturbing imagery, but it never feels shocking just for the sake of it. The horror serves the story's larger questions about mortality, identity, and whether bringing someone back is truly an act of love or something more selfish. It is definitely a character-driven story where love is both salvation and ruin.
Thank you to Harper Voyager for the e-ARC! Book releases 8/18/26.
Thank you to Harper Voyager for the e-ARC! Book releases 8/18/26.
June 24, 2026
This was a gothic horror romance set in Victorian time. TW: bugs LOTS OF BUGS. This was a very bloody story about necromancers, and contained different POVs as well as flashbacks. The flashbacks really messed with the pacing for me, and I had a hard time really getting into the flow of the story. The love between Irene, Agnes and St John was really well written (minus the freaking bugs!) but it took me a while to warm up to the story in general. Thanks to NetGalley for the eARC.
April 30, 2026
2.5
this book had a lot of potential but ultimately the pacing of both the plot and overall book really hindered it. it starts off really strong with a resurrection and established relationships but instead of rewinding back to what led to the death and resurrection, we continue forward with the plot while also being given a lot of flashbacks. i’m really not a fan of being stuck in a sort of suspense mode in general but this dragged on for so long. it isn’t until about halfway in that the majority of the flashbacks end. and it makes perfect sense why the flashbacks are there because all three characters have really important backstories and it really influences how they react but because it’s both flashbacks and the current tense, it’s just really difficult to follow through.
and unfortunately, the focus of all the characters’ stories just isn’t evenly matched. st. john and irene both have strong backstories— but st. john’s is really lacking in the present tense, whereas irene’s is clearly the strongest and really the character the story revolves around the most. agnes on the other hand, has the weakest story despite being the one resurrected and has to deal with the repercussions of that. and on top of that, we also have the plot that leads up to the death and resurrection itself.
this really should’ve been a duology, book1 focusing on the past and book2 on the present. but i will say i did love the witchcraft, necromancy, and bloodlust parts. the world building was very intriguing, i just wish i cared about the characters.
this book had a lot of potential but ultimately the pacing of both the plot and overall book really hindered it. it starts off really strong with a resurrection and established relationships but instead of rewinding back to what led to the death and resurrection, we continue forward with the plot while also being given a lot of flashbacks. i’m really not a fan of being stuck in a sort of suspense mode in general but this dragged on for so long. it isn’t until about halfway in that the majority of the flashbacks end. and it makes perfect sense why the flashbacks are there because all three characters have really important backstories and it really influences how they react but because it’s both flashbacks and the current tense, it’s just really difficult to follow through.
and unfortunately, the focus of all the characters’ stories just isn’t evenly matched. st. john and irene both have strong backstories— but st. john’s is really lacking in the present tense, whereas irene’s is clearly the strongest and really the character the story revolves around the most. agnes on the other hand, has the weakest story despite being the one resurrected and has to deal with the repercussions of that. and on top of that, we also have the plot that leads up to the death and resurrection itself.
this really should’ve been a duology, book1 focusing on the past and book2 on the present. but i will say i did love the witchcraft, necromancy, and bloodlust parts. the world building was very intriguing, i just wish i cared about the characters.
Review of advance copy received from Netgalley
woah look an actual review. thanks netgalley
Deeply Gothic and romantic, gruesome and bloodsoaked. The mix of necromancy and religion was so captivating and I was obsessed with how Hallow never shied away from the brutality and gore associated with the dead. Corpses decay and rot, bugs and maggots crawl over everything. What does a bucket of blood smell like. What does a body taste like. What an honor it is to die, but also, what an honor it is to continue on and share everything you are for eternity. The prose was stunning and vivid, each character POV was unique and individual, I understood perfectly their desires and fears. My favorite was Irene, who through sheer force of will and strength carried this story even at her weakest points. I adored the way Hallow approached magic and spellwork, particularly the way Agnes and Irene were forced to come up with new spells on the spot.
I will say though, I wish this was a duology, even if I would have been so frustrated waiting for the sequel. There are elements to the world that felt a little unexplained - it's common to have magical households items and there are magical judges, yet magic is also frowned upon? How did St. John's transmutations work, if he could turn blood to water and bone to silver, could he not try something to protect the books? The events of the book happened so quickly (and at times, rather slow) that I feel maybe it would have been interesting to follow Irene, Agnes, and St. John just a little longer. I loved them, their tender dynamics and just how willing all three of them are willing to go for each other.
Deeply Gothic and romantic, gruesome and bloodsoaked. The mix of necromancy and religion was so captivating and I was obsessed with how Hallow never shied away from the brutality and gore associated with the dead. Corpses decay and rot, bugs and maggots crawl over everything. What does a bucket of blood smell like. What does a body taste like. What an honor it is to die, but also, what an honor it is to continue on and share everything you are for eternity. The prose was stunning and vivid, each character POV was unique and individual, I understood perfectly their desires and fears. My favorite was Irene, who through sheer force of will and strength carried this story even at her weakest points. I adored the way Hallow approached magic and spellwork, particularly the way Agnes and Irene were forced to come up with new spells on the spot.
I will say though, I wish this was a duology, even if I would have been so frustrated waiting for the sequel. There are elements to the world that felt a little unexplained - it's common to have magical households items and there are magical judges, yet magic is also frowned upon? How did St. John's transmutations work, if he could turn blood to water and bone to silver, could he not try something to protect the books? The events of the book happened so quickly (and at times, rather slow) that I feel maybe it would have been interesting to follow Irene, Agnes, and St. John just a little longer. I loved them, their tender dynamics and just how willing all three of them are willing to go for each other.
January 25, 2026
** Thank you to NetGalley and the publishers for an early copy in exchange for an honest review. **
Be sure to check the trigger warnings book before reading! This book does not shy away from the darker aspects.
The halls of the dead is a vibes book. It follows three characters in England in the 1800s. It is full of deep descriptions, dark actions, and necromancy.
It does not shy away from including the uglier aspects of necromancy(smells, dirt, bugs, etc.) which I’m quite appreciative of. It speaks as an ode to it without glamorizing the process like I’ve seen previously.
The characters are the shining piece of the story. From Agnes trading one “prison” for another, to St. John’s devastating journey, to Irene’s determination they were an immense joy to follow.
But this is a slow book, and I really struggled with it in the beginning. So much time is spent on the descriptions, that the plot does not start to get moving until at least a third of the way into the book. Once it started to get going plot wise, I enjoyed it a lot more.
With that being said, there were times in the beginning of the book I felt like I was just dropped into this story with no explanations, to the point I thought this might be a sequel. I had to let it go in order to get further.
Overall I’m glad I read it, and think this brings a new perspective to necromancy.
Be sure to check the trigger warnings book before reading! This book does not shy away from the darker aspects.
The halls of the dead is a vibes book. It follows three characters in England in the 1800s. It is full of deep descriptions, dark actions, and necromancy.
It does not shy away from including the uglier aspects of necromancy(smells, dirt, bugs, etc.) which I’m quite appreciative of. It speaks as an ode to it without glamorizing the process like I’ve seen previously.
The characters are the shining piece of the story. From Agnes trading one “prison” for another, to St. John’s devastating journey, to Irene’s determination they were an immense joy to follow.
But this is a slow book, and I really struggled with it in the beginning. So much time is spent on the descriptions, that the plot does not start to get moving until at least a third of the way into the book. Once it started to get going plot wise, I enjoyed it a lot more.
With that being said, there were times in the beginning of the book I felt like I was just dropped into this story with no explanations, to the point I thought this might be a sequel. I had to let it go in order to get further.
Overall I’m glad I read it, and think this brings a new perspective to necromancy.
June 30, 2026
3.5 rounded up for Goodreads and Netgalley.
It was a solid read, overall. Its strength, for me, was in its well-crafted dark and gloomy atmosphere. The author truly built something grim and eerie. The plot was interesting but a little bit weak at times, its pace was steady. The horror elements were assuredly there but I feel like they could have been even more detailed. There was some work on the characters for sure, but I didn’t connect with any of them. In fact, the two female characters were more developed than the male character, and I feel like he was sometimes useless. I would have preferred a story with Irene and Agnes only, there was potential for a stronger story with these two. Also, when I read the synopsis I thought the romance was going to be sapphic and I was unfortunately wrong. It was a polyamorous relationship between the three characters, and I didn’t like it very much. There was a little bit of disappointment there but it was wholly my fault so it doesn’t have an impact on my overall enjoyment.
It was a nicely written and atmospheric gothic romantasy with touches of horror sprinkled in there, and I definitely recommend it.
Thank you to Netgalley for an e-ARC in exchange for a honest review.
It was a solid read, overall. Its strength, for me, was in its well-crafted dark and gloomy atmosphere. The author truly built something grim and eerie. The plot was interesting but a little bit weak at times, its pace was steady. The horror elements were assuredly there but I feel like they could have been even more detailed. There was some work on the characters for sure, but I didn’t connect with any of them. In fact, the two female characters were more developed than the male character, and I feel like he was sometimes useless. I would have preferred a story with Irene and Agnes only, there was potential for a stronger story with these two. Also, when I read the synopsis I thought the romance was going to be sapphic and I was unfortunately wrong. It was a polyamorous relationship between the three characters, and I didn’t like it very much. There was a little bit of disappointment there but it was wholly my fault so it doesn’t have an impact on my overall enjoyment.
It was a nicely written and atmospheric gothic romantasy with touches of horror sprinkled in there, and I definitely recommend it.
Thank you to Netgalley for an e-ARC in exchange for a honest review.
June 15, 2026
The Halls of the Dead is an interesting book and not my typical read, but it intrigued me. My main issues are the pacing and the writing style. For about 40-50% of the book, I had no idea where we were headed or what the plot was actually going to be. Everything was described within an inch of its life (including the gore) but I still didn’t understand what we were actually doing or where these characters were trying to go. I think for folks who like a dark, gothic romance book and don’t mind some gore, this is a solid read. Just not my cup of tea.
Thank you to the publisher and NetGalley for the free advanced copy.
Thank you to the publisher and NetGalley for the free advanced copy.
January 26, 2026
3.5⭐️
The beginning was a struggle. The writing felt odd and disorienting, almost like I’d accidentally started with a sequel. About halfway through, though, it improved significantly and really found its way. The gore and body horror was great, and I especially loved the relationship between the three characters and how it evolved over time. I’ll always love a throuple. I would’ve rated this higher if the opening hadn’t been so rough, but overall it was a fun, haunting read.
Thank you NetGalley and Avon and Harper Voyager for the eARC.
The beginning was a struggle. The writing felt odd and disorienting, almost like I’d accidentally started with a sequel. About halfway through, though, it improved significantly and really found its way. The gore and body horror was great, and I especially loved the relationship between the three characters and how it evolved over time. I’ll always love a throuple. I would’ve rated this higher if the opening hadn’t been so rough, but overall it was a fun, haunting read.
Thank you NetGalley and Avon and Harper Voyager for the eARC.
June 4, 2026
This novel is a spectacular breakthrough in the tropes of gothic horror and horrormance! Marketed as a queer, gothic horror romance- this novel reads like a (high?) dark fantasy filled with beautiful prose and (historical) world building that pulls you in and won't let you go. This felt like reading an actual account of the history of necromancers. The author also weaves in subtle nods to Christianity/Christ (resurrection) in regards to the morality of raising the dead and those details gave the story extra depth that pulls you even deeper into this mystical and gothic world. The characters were phenomenal- I couldn't help falling in love with all of them. The romance in this novel is more of a polyamorous nature- and you will run into a few spicey scenes as well. If you like gothic horror like The Death of Jane Lawrence (5 star read for me) then you will absolutely love Halls of the Dead.
**Thank you to Avon and Harper Voyager | Harper Voyager, S.M. Hallow and NetGalley for providing me with an eARC of The Halls of the Dead in exchange for my honest review. Expected Pub Date: Aug 18 2026.**
**Thank you to Avon and Harper Voyager | Harper Voyager, S.M. Hallow and NetGalley for providing me with an eARC of The Halls of the Dead in exchange for my honest review. Expected Pub Date: Aug 18 2026.**
July 11, 2026
(4.5)
The perfect queer gothic horror. I won the ARC for this at my local bookstores book bingo and I couldn’t have made a better choice. St. John, Irene and Agnes’ relationship was mesmerizing and the way the story flowed was fantastic.
The perfect queer gothic horror. I won the ARC for this at my local bookstores book bingo and I couldn’t have made a better choice. St. John, Irene and Agnes’ relationship was mesmerizing and the way the story flowed was fantastic.
April 24, 2026
the halls of the dead said we are soulmates please text me back (arc read - my in-depth review is available on netgalley!)
Review of advance copy received from Netgalley
Original, mesmerizing, and magical! Fed my soul (😉) with every page!
Thank you Netgalley and S.M. Hallow for allowing me to read this ARC
Thank you Netgalley and S.M. Hallow for allowing me to read this ARC
Want to Read
January 12, 2026Not a want but a NEED
Review of advance copy received from Netgalley
thank you to netgalley for the earc in exchange for the honest review.
as a “gideon the ninth” fan, i saw sapphic necromancy and religious imagery and simply stopped asking questions. “the halls of the dead” by s. m. hallow is a gothic horror romance that stabbed my heart repeatedly both a knife and my own ribcage.
i mean honestly if your checklist includes:
- sapphic necromancers
- poly relationships (f/f/m, and the women's relationship is the center)
- cannibalism that somehow reads like a tender embrace
- chussy and stussy (this will make sense later)
- bringing someone back from the dead wrong trope
- gore hearty enough to make a butcher blush
- making out, and then some, while absolutely covered in blood
- religious imagery and allegories that hit like a midnight sermon
- killing all of the men who have ever done you wrong
then buckle up. this book will make your heart its plaything. the only thing to not like is that if you expected that this is about lesbian necromancers and then this random ass man comes into their relationship.
this book follows irene, a grieving woman who makes the extremely reasonable decision to resurrect her dead lover, agnes, using necromancy that is very much not approved by god, society, or common sense. agnes comes back wrong—but not unlovable—and their reunion spirals into a blood-soaked tangle of devotion, hunger, guilt, and religious horror. enter st. john, an unsettlingly charming third presence whose connection to death, desire, and divinity complicates everything further. set in a world steeped in gothic faith and rot, the story becomes less about cheating death and more about what it costs to love someone so much you’re willing to damn yourself for it.
the prose? gorgeous. like someone stabbed a quill into my chest over and over to make my heart leap and bound with every chapter. the writing is lyrical and lush, but also doesn’t shy away from the grotesque. it’s so beautiful and grisly you’ll find yourself composing haikus about entrails without meaning to.
irene, agnes, and st. john are three of the loveliest, most compelling leads i’ve read since “gideon the ninth.” agnes is effortlessly charming — the kind of person you want to protect forever, even after she comes back with a terrifying hunger and the emotional range of a cathedral storm cloud. irene’s development is slow and steady in the best way; i literally wanted her to obliterate every man who ever wronged her (fictionally or otherwise). and st. john? dear lord. a delightful undead companion who i wanted to hold in my arms and whisper that everything would be okay. the poly dynamic here actually works and brings a beautiful depth no one expected.
the worldbuilding is excellent. nothing is dumped on you all at once—instead, tiny details stack up over time, and it’s incredibly satisfying to piece everything together, especially if you enjoy engaging with religious allegory. the way faith, guilt, devotion, and resurrection intertwine felt thoughtful and deliberate. i loved slowly realizing how much the book trusted the reader to connect the dots.
and the gore. oh, the gore. this book isn’t shy about showing you the bloody underbelly of its world, and it does it with flair. kissing while smeared in blood? yes. cannibalistic hunger mixed with tragic love? absolutely. resurrection gone terrifyingly sideways? chef’s kiss. it’s gruesome, yes, but always in service of the story and emotional stakes — not just shock for shock’s sake. i’ve never been happier to see people carved into strands.
overall, this was lush, brutal, tender, and deeply unsettling in the best way. a love story wrapped in blood and belief, with characters i cared about intensely and prose that refused to let me go. five stars, no notes—except maybe a warning that this book will crawl inside your ribcage and rearrange things.
as a “gideon the ninth” fan, i saw sapphic necromancy and religious imagery and simply stopped asking questions. “the halls of the dead” by s. m. hallow is a gothic horror romance that stabbed my heart repeatedly both a knife and my own ribcage.
i mean honestly if your checklist includes:
- sapphic necromancers
- poly relationships (f/f/m, and the women's relationship is the center)
- cannibalism that somehow reads like a tender embrace
- chussy and stussy (this will make sense later)
- bringing someone back from the dead wrong trope
- gore hearty enough to make a butcher blush
- making out, and then some, while absolutely covered in blood
- religious imagery and allegories that hit like a midnight sermon
- killing all of the men who have ever done you wrong
then buckle up. this book will make your heart its plaything. the only thing to not like is that if you expected that this is about lesbian necromancers and then this random ass man comes into their relationship.
this book follows irene, a grieving woman who makes the extremely reasonable decision to resurrect her dead lover, agnes, using necromancy that is very much not approved by god, society, or common sense. agnes comes back wrong—but not unlovable—and their reunion spirals into a blood-soaked tangle of devotion, hunger, guilt, and religious horror. enter st. john, an unsettlingly charming third presence whose connection to death, desire, and divinity complicates everything further. set in a world steeped in gothic faith and rot, the story becomes less about cheating death and more about what it costs to love someone so much you’re willing to damn yourself for it.
the prose? gorgeous. like someone stabbed a quill into my chest over and over to make my heart leap and bound with every chapter. the writing is lyrical and lush, but also doesn’t shy away from the grotesque. it’s so beautiful and grisly you’ll find yourself composing haikus about entrails without meaning to.
irene, agnes, and st. john are three of the loveliest, most compelling leads i’ve read since “gideon the ninth.” agnes is effortlessly charming — the kind of person you want to protect forever, even after she comes back with a terrifying hunger and the emotional range of a cathedral storm cloud. irene’s development is slow and steady in the best way; i literally wanted her to obliterate every man who ever wronged her (fictionally or otherwise). and st. john? dear lord. a delightful undead companion who i wanted to hold in my arms and whisper that everything would be okay. the poly dynamic here actually works and brings a beautiful depth no one expected.
the worldbuilding is excellent. nothing is dumped on you all at once—instead, tiny details stack up over time, and it’s incredibly satisfying to piece everything together, especially if you enjoy engaging with religious allegory. the way faith, guilt, devotion, and resurrection intertwine felt thoughtful and deliberate. i loved slowly realizing how much the book trusted the reader to connect the dots.
and the gore. oh, the gore. this book isn’t shy about showing you the bloody underbelly of its world, and it does it with flair. kissing while smeared in blood? yes. cannibalistic hunger mixed with tragic love? absolutely. resurrection gone terrifyingly sideways? chef’s kiss. it’s gruesome, yes, but always in service of the story and emotional stakes — not just shock for shock’s sake. i’ve never been happier to see people carved into strands.
overall, this was lush, brutal, tender, and deeply unsettling in the best way. a love story wrapped in blood and belief, with characters i cared about intensely and prose that refused to let me go. five stars, no notes—except maybe a warning that this book will crawl inside your ribcage and rearrange things.
Review of advance copy received from NetGalley
The Halls of the Dead, the debut novel of S. M. Hallow, is a romantic horror fantasy about trauma, grief, historical preservation, and, as you might guess, death. It takes place in an alternative Victorian London, in a timeline where magic is real and highly regulated by the church and state. It’s a lush, Gothic novel with the angst and melodrama ratcheted to the top, with an interesting magic system, take on the afterlife, and compelling romance, though it loses some tension near the end. Like many of the books I’ve been reading and reviewing lately, it should easily be placed into the romantasy genre, though I don’t think it’s likely to be marketed alongside the Sarah J. Maas and Rebecca Yarros’s of the world.
I could see this book making the transition to stage play - albeit one with great special effects - since it takes place almost entirely within the confines of one London manor home, owned by an immortal illusionist filled with grave dirt and bugs named St. John, and his necromantic protege, savant, and wife Irene. The two have been in a lavender marriage of sorts, giving Irene the ability to practice her forbidden necromantic arts without having to subsume her will and goals to live as a conventional housewife. At the beginning of the novel, we discover that Irene’s lover (and St. John’s friend) Agnes has died, having been executed for her magical murder of her abusive and controlling brother. Irene, already traumatized by the events of a mysterious trial of her own, kneels before Agnes’ grave, stabs a knife through the center of her palm, and begins to cast a spell.
In this world, necromancy allows the magician to reanimate, manipulate, and prolong the “life” of a corpse, though “true resurrection” has not been achieved since Jesus resurrected Lazarus. Irene aims to be the next. And she succeeds, though Agnes is not entirely as she was before…
Everyone has their favorite fictional tropes and motifs, and one of mine is characters making terrible arcane sacrifices to resurrect a loved one. It’s the premise of many of my favorite stories, including the novel I’m revising at the moment. Most of these stories present this Faustian bargain as a mistake; death is inevitable and irreversible, they say, and the mature and healthy thing to do is learn to move on. True resurrection is impossible, or else comes with a cost too terrible to bear. The Halls of the Dead seems to follow in this mold at its beginning but eventually takes a refreshing turn away from the pat moralizing. St. John’s perpetual existence as a living record of the forgotten necromancers offers a counter to the necromancy-as-evil narrative. Yes, he’s something of an abomination, yes, he’s filled with writhing bugs, and yes, he has no internal organs, but he’s lived through centuries of trauma and stayed a good and selfless person. And Agnes’ terrifying new condition may not be all it seems.
While the love triangle between Irene, St. John, and Agnes takes up a lot of its page count, the most unique and interesting part to me was its approach to necromancy and the afterlife. I won’t go into details here, since the book’s gradual unspooling of this element is really fun, but I was particularly drawn to the history of the necromancers as one of constant death and rebirth. These are people whose love drives them to break the laws of man, church, and nature, who must hide their practices from prying eyes, who try to build up communities and records while fleeing from destruction every few generations. I can sense echoes of queer history and religious minorities here; people related not by blood but by practice, losing access to the knowledge of their predecessors but trying to reconstruct all they can.
I had a good time with this book, but I ultimately found the ending a little pat. It gave me what I wanted in my immediate, fan brain, but as a writer and lover of storytelling it felt like an easy way out, where I wanted more complexity. But ultimately, I think this is a great pick for fans of Gothic romance who can stomach a lot of descriptions of guts and rotting flesh and many, many, grave bugs.
Rounded up from 3 1/2 stars.
The Halls of the Dead is set to publish August 18, 2026.
Thanks to NetGalley for the advance copy in exchange for an honest review. All thoughts expressed are my own.
I could see this book making the transition to stage play - albeit one with great special effects - since it takes place almost entirely within the confines of one London manor home, owned by an immortal illusionist filled with grave dirt and bugs named St. John, and his necromantic protege, savant, and wife Irene. The two have been in a lavender marriage of sorts, giving Irene the ability to practice her forbidden necromantic arts without having to subsume her will and goals to live as a conventional housewife. At the beginning of the novel, we discover that Irene’s lover (and St. John’s friend) Agnes has died, having been executed for her magical murder of her abusive and controlling brother. Irene, already traumatized by the events of a mysterious trial of her own, kneels before Agnes’ grave, stabs a knife through the center of her palm, and begins to cast a spell.
In this world, necromancy allows the magician to reanimate, manipulate, and prolong the “life” of a corpse, though “true resurrection” has not been achieved since Jesus resurrected Lazarus. Irene aims to be the next. And she succeeds, though Agnes is not entirely as she was before…
Everyone has their favorite fictional tropes and motifs, and one of mine is characters making terrible arcane sacrifices to resurrect a loved one. It’s the premise of many of my favorite stories, including the novel I’m revising at the moment. Most of these stories present this Faustian bargain as a mistake; death is inevitable and irreversible, they say, and the mature and healthy thing to do is learn to move on. True resurrection is impossible, or else comes with a cost too terrible to bear. The Halls of the Dead seems to follow in this mold at its beginning but eventually takes a refreshing turn away from the pat moralizing. St. John’s perpetual existence as a living record of the forgotten necromancers offers a counter to the necromancy-as-evil narrative. Yes, he’s something of an abomination, yes, he’s filled with writhing bugs, and yes, he has no internal organs, but he’s lived through centuries of trauma and stayed a good and selfless person. And Agnes’ terrifying new condition may not be all it seems.
While the love triangle between Irene, St. John, and Agnes takes up a lot of its page count, the most unique and interesting part to me was its approach to necromancy and the afterlife. I won’t go into details here, since the book’s gradual unspooling of this element is really fun, but I was particularly drawn to the history of the necromancers as one of constant death and rebirth. These are people whose love drives them to break the laws of man, church, and nature, who must hide their practices from prying eyes, who try to build up communities and records while fleeing from destruction every few generations. I can sense echoes of queer history and religious minorities here; people related not by blood but by practice, losing access to the knowledge of their predecessors but trying to reconstruct all they can.
I had a good time with this book, but I ultimately found the ending a little pat. It gave me what I wanted in my immediate, fan brain, but as a writer and lover of storytelling it felt like an easy way out, where I wanted more complexity. But ultimately, I think this is a great pick for fans of Gothic romance who can stomach a lot of descriptions of guts and rotting flesh and many, many, grave bugs.
Rounded up from 3 1/2 stars.
The Halls of the Dead is set to publish August 18, 2026.
Thanks to NetGalley for the advance copy in exchange for an honest review. All thoughts expressed are my own.
Review of advance copy received from NetGalley
In the Victorian London of The Halls of the Dead, many types of magic are accepted and revered - all except necromancy, which is punishable by death. And, in fact, that is exactly what has happened to Agnes Driscoll, hanged at the gallows for using witchcraft to murder of her brother. The book opens on both her love and close friend, both fellow devotees, attempting something that has long been considered impossible: a resurrection. But Irene Haley is a necromancer of the utmost skill, and her husband St. John is an ancient being with generations of knowledge.
Though they are successful in bringing Agnes back to life, there are unintended consequences. For this Agnes is not the Agnes of before - she now hungers for flesh, with a craving to bring to justice those that have harmed their kind. As Irene and St. John attempt to return things to how they were, they must avoid the increasing attentions of Sir Silas Underhill, the Chief Justice intent on ending them once and for all - before it’s too late.
*World-building/Plot: Though the book only took course over a few days within the confines of the Hasley’s house, the magic system itself was very rich and complex. I absolutely loved the idea of necromancers turning themselves into spell books and passing on their knowledge to the next generation, and the rituals throughout the story were very well-done/believable. The afterlife concept here (the titular Halls of the Dead) was also super interesting. The plot was high-stakes, with all three characters suffering deep prejudice and persecution because of their practices. Most of these experiences were exposed via flashbacks, which while effective were a bit unsatisfying - I think that a longer book going into more detail about their pasts (in a more linear timeline) would have done a great job of showing off the world created here. As-is, the place setting was claustrophobic enough that I was left wanting more.
*Character Development: There are three different POVs included in The Halls of the Dead: Irene’s, Agnes’, and St. John’s. This was definitely a case where rotating the POVs works very well - not only do we get to experience the deep love that all three feel for each other, we get a glimpse of their lives through their flashbacks, where we learn about their relationships with their families and experience their very personal journeys that lead to their love of necromancy. This book had a ton of emotional heart, with the particular standout for me being the relationship between Irene and her sister.
*Pacing/Writing Style: Overall, the pacing is rather slow, which, while not my favorite for fantasy books, really serves to highlight how beautiful S.M. Hallow’s writing is. What I would consider the first real piece of “action” didn’t occur until 75% into the book, and much of the story was told through flashbacks (with the outcome already having been revealed beforehand). Because of this, what is a high-stakes story feels somewhat routine - so much time was spent jumping back in time that any conflict in the current-day had to be resolved rather quickly (by the end of the chapter) to enable another flashback and/or POV jump. However, the gothic vibes were immaculate, so for readers who prefer setting/character-driven storylines, this probably wouldn’t be an issue.
For readers who aren’t put off by a bit of gore (or insects, or grave-digging…), The Halls of the Dead is a quick and atmospheric read perfect for a stormy night by the fireplace.
Thank you to NetGalley and Avon and Harper Voyager for this ARC in exchange for an honest review!
Though they are successful in bringing Agnes back to life, there are unintended consequences. For this Agnes is not the Agnes of before - she now hungers for flesh, with a craving to bring to justice those that have harmed their kind. As Irene and St. John attempt to return things to how they were, they must avoid the increasing attentions of Sir Silas Underhill, the Chief Justice intent on ending them once and for all - before it’s too late.
*World-building/Plot: Though the book only took course over a few days within the confines of the Hasley’s house, the magic system itself was very rich and complex. I absolutely loved the idea of necromancers turning themselves into spell books and passing on their knowledge to the next generation, and the rituals throughout the story were very well-done/believable. The afterlife concept here (the titular Halls of the Dead) was also super interesting. The plot was high-stakes, with all three characters suffering deep prejudice and persecution because of their practices. Most of these experiences were exposed via flashbacks, which while effective were a bit unsatisfying - I think that a longer book going into more detail about their pasts (in a more linear timeline) would have done a great job of showing off the world created here. As-is, the place setting was claustrophobic enough that I was left wanting more.
*Character Development: There are three different POVs included in The Halls of the Dead: Irene’s, Agnes’, and St. John’s. This was definitely a case where rotating the POVs works very well - not only do we get to experience the deep love that all three feel for each other, we get a glimpse of their lives through their flashbacks, where we learn about their relationships with their families and experience their very personal journeys that lead to their love of necromancy. This book had a ton of emotional heart, with the particular standout for me being the relationship between Irene and her sister.
*Pacing/Writing Style: Overall, the pacing is rather slow, which, while not my favorite for fantasy books, really serves to highlight how beautiful S.M. Hallow’s writing is. What I would consider the first real piece of “action” didn’t occur until 75% into the book, and much of the story was told through flashbacks (with the outcome already having been revealed beforehand). Because of this, what is a high-stakes story feels somewhat routine - so much time was spent jumping back in time that any conflict in the current-day had to be resolved rather quickly (by the end of the chapter) to enable another flashback and/or POV jump. However, the gothic vibes were immaculate, so for readers who prefer setting/character-driven storylines, this probably wouldn’t be an issue.
For readers who aren’t put off by a bit of gore (or insects, or grave-digging…), The Halls of the Dead is a quick and atmospheric read perfect for a stormy night by the fireplace.
Thank you to NetGalley and Avon and Harper Voyager for this ARC in exchange for an honest review!
Review of advance copy received from Netgalley
The Halls of the Dead by S. M. Hallow is a queer gothic horror romance story set in Victorian era London. Irene with the help of her undead husband St. John is determined to resurrect her lover Agnes. After attempting to resurrect her sister Willa, Irene hasn’t accomplished a true resurrection. Yet. Determination and the refusal to let true love die powers both the characters in The Halls of the Dead and the story in the book itself.
“I am the haunter of The Halls of the Dead.”
This book was very captivating. The content warnings included are definitely needed. Blasphemy and blood play (and other important tags) are necessary for the story and the world built but knowing about them before delving in can definitely help someone make the decision to continue forward.
The characters were very engaging. The determination and grit required to both learn an illegal magic system and use it to bring a loved one back from the dead is amazing. Irene, St. John and Agnes are all strong-willed in the face of persecution. St. John, especially. He has lived for so long and lost so many loved ones. Finding people to help him achieve his life purpose who also care for him deeply and teach him about love is written perfectly. Marriage is told as a deeper relationship than what’s traditionally done. I personally loved a love triangle that actually has three sides, where all three people involved are in love with both of the other people.
The primary setting of The Halls of the Dead is Victorian era London. S. M. Hallow obviously did her research and was able to write the city in a beautiful way. Since The Halls of the Dead is obviously focused on death and the control of death though necromancy, the afterlife is necessary to discuss. S. M. Hallow writes a celestial home for the spirits of the world. The Halls of the Dead is both a place and an entity. It exists for the souls of the dead and gives power to the necromancers who call on it.
The necromancy magic system is woven into the story. This way of presenting the rules of necromancy was a more engaging way than just telling through teaching. I was able to follow the characters through their exploration of the banned magic while also learning how it works. The libraries being made out of people through magic was a creative take on the traditional trope of flesh-bound books.
S. M. Hallow was able to merge the past and present together in a way that enhanced both the story and the characters. I was able to see how the characters met and how they slowly learned what exactly they all meant to each other. Since the book starts with Irene and Agnes as a couple, we already know there are feelings there. Reading the full story of how they met and the struggles they went through really helper to understand why Irene would risk so much for Agnes. St. John’s discovery of feelings he didn’t expect to have for both Irene and Agnes was a perfectly written. Learning how St. John came to be and viewing alongside Agnes and Irene how he gets remade was both enlightening and disgusting.
The main problem I have with this book doesn’t occur until maybe three-fourths of the way in the book. St. John the undead husband is a reanimated corpse that has been hallowed out and filled with grave dirt including bugs. Having seen himself as a servant not lover for most of the book, him going down on Agnes seemed too close to necrophilia for me. I would not recommend this book for that reason.
“I am the haunter of The Halls of the Dead.”
This book was very captivating. The content warnings included are definitely needed. Blasphemy and blood play (and other important tags) are necessary for the story and the world built but knowing about them before delving in can definitely help someone make the decision to continue forward.
The characters were very engaging. The determination and grit required to both learn an illegal magic system and use it to bring a loved one back from the dead is amazing. Irene, St. John and Agnes are all strong-willed in the face of persecution. St. John, especially. He has lived for so long and lost so many loved ones. Finding people to help him achieve his life purpose who also care for him deeply and teach him about love is written perfectly. Marriage is told as a deeper relationship than what’s traditionally done. I personally loved a love triangle that actually has three sides, where all three people involved are in love with both of the other people.
The primary setting of The Halls of the Dead is Victorian era London. S. M. Hallow obviously did her research and was able to write the city in a beautiful way. Since The Halls of the Dead is obviously focused on death and the control of death though necromancy, the afterlife is necessary to discuss. S. M. Hallow writes a celestial home for the spirits of the world. The Halls of the Dead is both a place and an entity. It exists for the souls of the dead and gives power to the necromancers who call on it.
The necromancy magic system is woven into the story. This way of presenting the rules of necromancy was a more engaging way than just telling through teaching. I was able to follow the characters through their exploration of the banned magic while also learning how it works. The libraries being made out of people through magic was a creative take on the traditional trope of flesh-bound books.
S. M. Hallow was able to merge the past and present together in a way that enhanced both the story and the characters. I was able to see how the characters met and how they slowly learned what exactly they all meant to each other. Since the book starts with Irene and Agnes as a couple, we already know there are feelings there. Reading the full story of how they met and the struggles they went through really helper to understand why Irene would risk so much for Agnes. St. John’s discovery of feelings he didn’t expect to have for both Irene and Agnes was a perfectly written. Learning how St. John came to be and viewing alongside Agnes and Irene how he gets remade was both enlightening and disgusting.
The main problem I have with this book doesn’t occur until maybe three-fourths of the way in the book. St. John the undead husband is a reanimated corpse that has been hallowed out and filled with grave dirt including bugs. Having seen himself as a servant not lover for most of the book, him going down on Agnes seemed too close to necrophilia for me. I would not recommend this book for that reason.
June 29, 2026
Rating: 4.75 ⭐
While I expected to like this book based on the premise alone, I was completely blown away by how much I LOVED this book! The Halls of the Dead is a fantastic mix of Gothic horror, fantasy, and romance, and it being set in Victorian-era London is honestly icing on the cake! The witchcraft is dark and bloody, the necromancy lore is lengthy and elaborate, and the romance plays out in a way I didn't anticipate but LOVE.
I fully expected a love triangle, and while I guess it was in the most literal sense, I adore how much love Irene, Agnes and St. John have for each other, how all of that love is rooted in friendship and respect, and how the trio collectively decides that they all need to be together to feel whole. This was my first novel with a poly relationship, and honestly, love that for me, because the author makes the circumstance feel completely natural and right for these characters.
I think S. M. Hallow's writing is beautiful; while I am only just dipping my toes into Gothic fiction, Hallow's contemplative, descriptive, eerie prose is exactly what I want out of a modern Gothic novel. I loved getting POV chapters from all three main characters, and I deeply appreciated all the flashbacks. They helped contextualize how events evolved the way they did and they gave us so much insight on Irene, Agnes, and St. John. I also LOVE when a story digs into its lore and magic systems, but in a way that feels natural rather than info-dumpy, and The Halls of the Dead really delivers in that regard!
My only minor critiques of the story was that the beginning did feel slow, and I found it a bit difficult to fully get into the story, but once I did, I was IN IT. I also do wish there was a little more focus on Agnes; I felt like we got to know Irene incredibly well, and St. John, too, but Agnes could have been a bit more fleshed out.
This book was such a surprise in the best way! Its raw, bloody take on life, death and grief is haunting and will stick with me, and the love shared between Irene, Agnes and St. John will be remembered fondly (and, humorously, every time I hear "God Rest Ye Merry Gentlemen").
I will say, though, that while this book checks a lot of boxes for my specific interests and fictional tastes, The Halls of the Dead will definitely NOT be for every reader. It's a slower-paced story, there's a lot of gore, the plot is far more character-driven than plot-driven, you've got to be on board for a poly relationship, but you've also got to anticipate that this is more of a Gothic horror/fantasy than a Gothic romance. While romance is an important piece of the story and is the driving factor behind a lot of the characters' actions, I don't think this a story that a traditional romance novel enjoyer would like.
Read If You Like:
- Gothic Fantasy/Horror/Romance
- Witches/Stories with Dark/Necromancy Magic
- World-Building/Lore
- Slower-Paced Reads
- Queer/Poly Romance
- Body Horror/Gore
Thank you to Harper Voyager, NetGalley and the Epic Tastemakers Program for the ARC in exchange for an honest review!
While I expected to like this book based on the premise alone, I was completely blown away by how much I LOVED this book! The Halls of the Dead is a fantastic mix of Gothic horror, fantasy, and romance, and it being set in Victorian-era London is honestly icing on the cake! The witchcraft is dark and bloody, the necromancy lore is lengthy and elaborate, and the romance plays out in a way I didn't anticipate but LOVE.
I fully expected a love triangle, and while I guess it was in the most literal sense, I adore how much love Irene, Agnes and St. John have for each other, how all of that love is rooted in friendship and respect, and how the trio collectively decides that they all need to be together to feel whole. This was my first novel with a poly relationship, and honestly, love that for me, because the author makes the circumstance feel completely natural and right for these characters.
I think S. M. Hallow's writing is beautiful; while I am only just dipping my toes into Gothic fiction, Hallow's contemplative, descriptive, eerie prose is exactly what I want out of a modern Gothic novel. I loved getting POV chapters from all three main characters, and I deeply appreciated all the flashbacks. They helped contextualize how events evolved the way they did and they gave us so much insight on Irene, Agnes, and St. John. I also LOVE when a story digs into its lore and magic systems, but in a way that feels natural rather than info-dumpy, and The Halls of the Dead really delivers in that regard!
My only minor critiques of the story was that the beginning did feel slow, and I found it a bit difficult to fully get into the story, but once I did, I was IN IT. I also do wish there was a little more focus on Agnes; I felt like we got to know Irene incredibly well, and St. John, too, but Agnes could have been a bit more fleshed out.
This book was such a surprise in the best way! Its raw, bloody take on life, death and grief is haunting and will stick with me, and the love shared between Irene, Agnes and St. John will be remembered fondly (and, humorously, every time I hear "God Rest Ye Merry Gentlemen").
I will say, though, that while this book checks a lot of boxes for my specific interests and fictional tastes, The Halls of the Dead will definitely NOT be for every reader. It's a slower-paced story, there's a lot of gore, the plot is far more character-driven than plot-driven, you've got to be on board for a poly relationship, but you've also got to anticipate that this is more of a Gothic horror/fantasy than a Gothic romance. While romance is an important piece of the story and is the driving factor behind a lot of the characters' actions, I don't think this a story that a traditional romance novel enjoyer would like.
Read If You Like:
- Gothic Fantasy/Horror/Romance
- Witches/Stories with Dark/Necromancy Magic
- World-Building/Lore
- Slower-Paced Reads
- Queer/Poly Romance
- Body Horror/Gore
Thank you to Harper Voyager, NetGalley and the Epic Tastemakers Program for the ARC in exchange for an honest review!
Review of advance copy received from NetGalley
”Necromancy is the art of saying no… ‘No, I won’t let you go. No, I won’t let you be destroyed.’”
The Halls of the Dead follows necromancer lovers Irene and Agnes, along with Irene's undead servant/platonic husband, St. John. Yes, it's a triad, and yes, it's excellent.
The book opens with a bang: a hanging, a necromantic ritual gone wrong, and enough gore to immediately establish exactly what kind of story you're in for. It's gritty, grotesque, and wonderfully atmospheric from page one.
Set in a magical London where some types of magicians are respected professionals while necromancers are reviled and executed, the story centers on three characters. St. John is a centuries-old gentleman zombie held together by grave dirt, insects, and sheer determination. His life's work is rebuilding the Crypt, a vast library of forbidden necromantic texts crafted from human flesh and souls that was destroyed generations ago. Irene, his newest necromancer partner (their marriage serving as a respectable cover in polite society), joins him in hunting down these lost tomes to restore the library. Naturally, plans go awry.
The third member of this beautifully unconventional relationship is Agnes, a socially gracious, piano-playing young woman accused of murdering her brother through necromancy. After she's hanged and left to rot on the gallows for weeks, Irene and St. John attempt to bring her back.
This also goes horribly wrong.
Enter: exquisitely described cannibalism, a resurrection with devastating consequences, and an unwelcome passenger that refuses to leave Agnes alone, in death as in life.
The narrative shifts between the present and flashbacks as Irene struggles to repair her failed resurrection and find her way back to the people she loves. I really enjoyed the breadcrumb approach to revealing the characters' histories and relationships, though I don’t quite understand the purpose of the interludes versus the regular chapters.
What surprised me most was just how romantic this book is. The horror isn't separate from the love story—it enhances it. Necromancy is shown to be an intensely intimate magic, one that deals equally in flesh and soul, making the romance feel visceral in every sense of the word. It's deeply queer, deeply macabre, and somehow deeply tender all at once.
With only the lightest spoilers, I'll say the ending is a lovely, gruesome Christmas miracle with bonus queer joy.
This is an incredibly compelling, atmospheric read that I couldn't put down. Just make sure you bring a strong stomach... and maybe some tissues.
Content warnings: death (obviously), necromancy, torture, amputation, cannibalism, religious trauma, blasphemy, family abuse, period-typical homophobia and heteronormativity, misogyny, and explicit sexual content. Probably more.
As an agnostic asexual who enjoys the occasional horror novel and gays being happy, I absolutely loved this!
The Halls of the Dead follows necromancer lovers Irene and Agnes, along with Irene's undead servant/platonic husband, St. John. Yes, it's a triad, and yes, it's excellent.
The book opens with a bang: a hanging, a necromantic ritual gone wrong, and enough gore to immediately establish exactly what kind of story you're in for. It's gritty, grotesque, and wonderfully atmospheric from page one.
Set in a magical London where some types of magicians are respected professionals while necromancers are reviled and executed, the story centers on three characters. St. John is a centuries-old gentleman zombie held together by grave dirt, insects, and sheer determination. His life's work is rebuilding the Crypt, a vast library of forbidden necromantic texts crafted from human flesh and souls that was destroyed generations ago. Irene, his newest necromancer partner (their marriage serving as a respectable cover in polite society), joins him in hunting down these lost tomes to restore the library. Naturally, plans go awry.
The third member of this beautifully unconventional relationship is Agnes, a socially gracious, piano-playing young woman accused of murdering her brother through necromancy. After she's hanged and left to rot on the gallows for weeks, Irene and St. John attempt to bring her back.
This also goes horribly wrong.
Enter: exquisitely described cannibalism, a resurrection with devastating consequences, and an unwelcome passenger that refuses to leave Agnes alone, in death as in life.
The narrative shifts between the present and flashbacks as Irene struggles to repair her failed resurrection and find her way back to the people she loves. I really enjoyed the breadcrumb approach to revealing the characters' histories and relationships, though I don’t quite understand the purpose of the interludes versus the regular chapters.
What surprised me most was just how romantic this book is. The horror isn't separate from the love story—it enhances it. Necromancy is shown to be an intensely intimate magic, one that deals equally in flesh and soul, making the romance feel visceral in every sense of the word. It's deeply queer, deeply macabre, and somehow deeply tender all at once.
With only the lightest spoilers, I'll say the ending is a lovely, gruesome Christmas miracle with bonus queer joy.
This is an incredibly compelling, atmospheric read that I couldn't put down. Just make sure you bring a strong stomach... and maybe some tissues.
Content warnings: death (obviously), necromancy, torture, amputation, cannibalism, religious trauma, blasphemy, family abuse, period-typical homophobia and heteronormativity, misogyny, and explicit sexual content. Probably more.
As an agnostic asexual who enjoys the occasional horror novel and gays being happy, I absolutely loved this!
Review of advance copy received from Netgalley
Thank you NetGalley for the ARC!
This is the gothic, queer novel of my dreams. It's blood, gory, full of ghosts and death, but also brimming with longing, love, and devotion. It is beautifully written, with necromancy described in the context of a world of magic users where all magic is permitted except for necromancy, which is a death sentence for anyone discovered to be using it.
Into this world, we meet Irene, genius necromancer platonically married to the Saint of the Crypt, the undying St. John, and desperate to bring back her lover, Agnes, recently hanged for necromantically murdering her brother. All three characters are a delight to read and see interact together; Irene is the brooding genius, broken from having part of her soul eaten by the inspector Underhill, but never ever giving up. St. John is the lovely helper to necromancers, always encouraging both Irene and Agnes to do their worst and taking care of them--but make no mistake, he's as vicious as his loves and he has lived thousands of years and has a long memory. And lastly, Agnes, vivacious but tormented by the new hunger that the Halls of the Dead have gifted her in her resurrection. The three of them are an unholy team, and they work together so well, while also growing ever closer; the yearning between all of them is palpable, and .
Besides that, the worldbuilding is also a delight, with the Halls of the Dead described in a flurry of bewilderingly eerie ways--but at the same time, the Halls are alive, and they will always have their due. The plot is delightfully gothic and satisfying .
I read this book long into the night (only stymied by my e-reader running out of battery), and I think anyone who loves gothic novels will be as well. Definitely read this one!
All these years later, a sense of awe still blooms within me, unfurling like evening primrose under rich moonlight, as a book reveals the secrets I've paid for with the crimson essence of my life.
This is the gothic, queer novel of my dreams. It's blood, gory, full of ghosts and death, but also brimming with longing, love, and devotion. It is beautifully written, with necromancy described in the context of a world of magic users where all magic is permitted except for necromancy, which is a death sentence for anyone discovered to be using it.
I chant in the necromancer's tongue, the backward language of cutthroat murder and spiritual slaughter, that rough and hard-earned dialect of the dark. When I speak it, a snake slides up my throat and hisses with my mouth; the shadow behind my mangled soul wraps its raven wings around my ribs.
It is a homecoming.
It is the world of the dead welcoming me to the place where I belong.
Into this world, we meet Irene, genius necromancer platonically married to the Saint of the Crypt, the undying St. John, and desperate to bring back her lover, Agnes, recently hanged for necromantically murdering her brother. All three characters are a delight to read and see interact together; Irene is the brooding genius, broken from having part of her soul eaten by the inspector Underhill, but never ever giving up. St. John is the lovely helper to necromancers, always encouraging both Irene and Agnes to do their worst and taking care of them--but make no mistake, he's as vicious as his loves and he has lived thousands of years and has a long memory. And lastly, Agnes, vivacious but tormented by the new hunger that the Halls of the Dead have gifted her in her resurrection. The three of them are an unholy team, and they work together so well, while also growing ever closer; the yearning between all of them is palpable, and .
Besides that, the worldbuilding is also a delight, with the Halls of the Dead described in a flurry of bewilderingly eerie ways--but at the same time, the Halls are alive, and they will always have their due. The plot is delightfully gothic and satisfying .
I read this book long into the night (only stymied by my e-reader running out of battery), and I think anyone who loves gothic novels will be as well. Definitely read this one!
Review of advance copy received from Netgalley
TW: (taken from the front of the book, which I love) cannibalism, gore, murder, drowning, miscarriage, death in childbirth, self-harm-induced magic, depression, suicidal ideation, possession and loss of autonomy (added) bugs/pests, period typical misogyny, child abuse
So, this settled in my stomach, and wouldn't leave. I have a favorite type of book, and it's a book with queer adults engaging in sacred cannibalism.
First, the plot: In almost like our world Victorian London, Irene practices necromancy, a banned magic in her world. Together with St. John of the Crypt, her undead husband/servant/ mentor, they resolve to resurrect Irene's lover and wife Agnes who has been killed for practicing necromancy. They do succeed, but Agnes comes back with a devouring hunger, and the magistrate who killed her is prowling around the three, looking for a reason to send Irene to an asylum.
I love the characters so much. Irene is driven and damaged, and a true delight to read. I love the way that she cares about both Agnes and her magic with a fierce grasping love. St John is also great; I love his perspective as a man who's lived for centuries, and his affection for Irene and Agnes is understandable and appreciated.
The worldbuilding is subtle, but I love it. Magic exists in this world, and there are forbidden arts that people don't have access to. I love that necromancer's in particular can live on as soul-books. However, I was unclear if this magic was hereditary or could be learned; I assumed it was hereditary.
The language was vivid, and I do appreciate how descriptive it was; the novel is split into three POVs, so be aware (again, I'm not typical, I was able to keep all three in my head, but be prepared to track back if you need to).
The explicit sex scenes are lovely. There is both a threesome and a scene between Irene and Agnes which I will not go into for spoiler reasons, but suffice to say they were both well written and in character. I loved the way it was very woman-centric. The sex enhances the story, but can be glossed over if that is a deal breaker, this isn't a romantic, as all three of the protagonists have feelings for one another of some sort.
This book is incredibly gory and intense. Hunger as cannibalism is a central theme, along with the aftermath of violation and abuse. If you're into that catharsis like I am, you'll enjoy this.
Thank you to NetGalley and Harper Voyager for the ARC!
See my drink paring and check out my other reviews at: https://theredreaderreviews.blogspot....
So, this settled in my stomach, and wouldn't leave. I have a favorite type of book, and it's a book with queer adults engaging in sacred cannibalism.
First, the plot: In almost like our world Victorian London, Irene practices necromancy, a banned magic in her world. Together with St. John of the Crypt, her undead husband/servant/ mentor, they resolve to resurrect Irene's lover and wife Agnes who has been killed for practicing necromancy. They do succeed, but Agnes comes back with a devouring hunger, and the magistrate who killed her is prowling around the three, looking for a reason to send Irene to an asylum.
I love the characters so much. Irene is driven and damaged, and a true delight to read. I love the way that she cares about both Agnes and her magic with a fierce grasping love. St John is also great; I love his perspective as a man who's lived for centuries, and his affection for Irene and Agnes is understandable and appreciated.
The worldbuilding is subtle, but I love it. Magic exists in this world, and there are forbidden arts that people don't have access to. I love that necromancer's in particular can live on as soul-books. However, I was unclear if this magic was hereditary or could be learned; I assumed it was hereditary.
The language was vivid, and I do appreciate how descriptive it was; the novel is split into three POVs, so be aware (again, I'm not typical, I was able to keep all three in my head, but be prepared to track back if you need to).
The explicit sex scenes are lovely. There is both a threesome and a scene between Irene and Agnes which I will not go into for spoiler reasons, but suffice to say they were both well written and in character. I loved the way it was very woman-centric. The sex enhances the story, but can be glossed over if that is a deal breaker, this isn't a romantic, as all three of the protagonists have feelings for one another of some sort.
This book is incredibly gory and intense. Hunger as cannibalism is a central theme, along with the aftermath of violation and abuse. If you're into that catharsis like I am, you'll enjoy this.
Thank you to NetGalley and Harper Voyager for the ARC!
See my drink paring and check out my other reviews at: https://theredreaderreviews.blogspot....
Review of advance copy received from Netgalley
Thank you to the publisher and NetGalley for this eARC. I am truly speechless and fear I might be very much incapable of expressing the depth to which I adored this novel.
This tale follows Irene, her husband St. John and Agnes on their journey of survival through sheer devotion. After Agnes is hanged, Irene and St. John embark on the path of the impossible made manifest. They will be a family again, at any cost and if Agnes returns as a monster then so be it. She is worth any price.
I only have praise for The Halls Of The Dead. The prose is immaculate. The way S. M Hallow tells the tale, the way she dives into her characters and just how much they love each other it is beautiful and heartbreaking thing to read. The level of love, support, admiration and devotion between our characters left me speechless. Irene and St John have been married over a decade by the time our tale begins and yet, they yearn for each other still. Their love for each other is absolutely unconditional, it is unwavering and there is no hell either of them could go that the other would not follow. We come up on them already loving each other that way, and yet it feels brand new. I have no words for the beauty protrayed in that. That love, how easily and beautifully they pour it into Agnes, in their ease of forgiveness, their understanding of who she has become. And that is without acknowledging how fascinating this story was. I was enthralled the entire read. Bloody, gory and obsessive.
I applaud our author for how well I understood all our characters motivations. How their choices had such terrible consequences but knowing they were always doing the best they could with what they had. The lore explained throughout coupled with the history of our characters ensured I never felt like I was being hit with world dumping or too much at once. A fascinating tale. Questions that I didn't even think to ask were being answered. Seeds are planted early, watered slowly and the fruit of such labor is exceptionally tender and sweet. Hallow strings the past, present and convergence of her characters lives with such seamless ease, such intentionality that you think the pieces you've put together are of your own accord and not something delicately fed to you.
This novel won't be for everyone however, I know the audience for it, I am part of it after all. A spectacular read and I am jealous of everyone else that will get to read this for the very first time.
This tale follows Irene, her husband St. John and Agnes on their journey of survival through sheer devotion. After Agnes is hanged, Irene and St. John embark on the path of the impossible made manifest. They will be a family again, at any cost and if Agnes returns as a monster then so be it. She is worth any price.
I only have praise for The Halls Of The Dead. The prose is immaculate. The way S. M Hallow tells the tale, the way she dives into her characters and just how much they love each other it is beautiful and heartbreaking thing to read. The level of love, support, admiration and devotion between our characters left me speechless. Irene and St John have been married over a decade by the time our tale begins and yet, they yearn for each other still. Their love for each other is absolutely unconditional, it is unwavering and there is no hell either of them could go that the other would not follow. We come up on them already loving each other that way, and yet it feels brand new. I have no words for the beauty protrayed in that. That love, how easily and beautifully they pour it into Agnes, in their ease of forgiveness, their understanding of who she has become. And that is without acknowledging how fascinating this story was. I was enthralled the entire read. Bloody, gory and obsessive.
I applaud our author for how well I understood all our characters motivations. How their choices had such terrible consequences but knowing they were always doing the best they could with what they had. The lore explained throughout coupled with the history of our characters ensured I never felt like I was being hit with world dumping or too much at once. A fascinating tale. Questions that I didn't even think to ask were being answered. Seeds are planted early, watered slowly and the fruit of such labor is exceptionally tender and sweet. Hallow strings the past, present and convergence of her characters lives with such seamless ease, such intentionality that you think the pieces you've put together are of your own accord and not something delicately fed to you.
This novel won't be for everyone however, I know the audience for it, I am part of it after all. A spectacular read and I am jealous of everyone else that will get to read this for the very first time.
Displaying 1 - 30 of 142 reviews