This being book 2 of The Language of Magic series, I read ‘Threadneedle’ first, and I could not have enjoyed that novel more. In fact, I only located ‘Threadneedle’ in order to jump into this, but I ended up falling chronically in love! Not since ‘Wilder Girls’ by Rory Power or Deirdre Sullivan’s ‘Perfectly Preventable Deaths’ series have I enjoyed YA Dark Academia so heartily. So I was beyond delighted to return to Anna and Effie’s universe in the Coven of the Dark Moon. Here’s the snag, though: the first book in Cari Thomas’s series is billed as YA (or New Adult), yet this follow-up looks to be classified as General Fiction (Adult). And is it really truly Dark Academia? Maybe ‘Shadowstitch’ is just a weird and wiggly riddle of a novel.
Thomas restarts her series immediately from when the first book ended. And, in terms of a series, what struck me – intentional or not – was that Cari Thomas often paints sets, constructs scenes, and pitches character interactions that recall pieces from the Harry Potter series. I couldn’t help but think that this is the Potterverse done right. With a remarkable absence of the boyish, elements such as Christmas at Rowan’s family abode (battier, more boggling, and so much better than the Weasleys’!) tickled my reader’s brain in a way that felt more nuanced, more like me. (And for what-would-have-been the next generation of Neil Gaiman fans, Cari Thomas rewrites and completely surpasses ‘Neverwhere’ with the addition of her London Underworld and its populace.)
So, the tension that was strung in ‘Threadneedle’ as Anna’s quest to evade Binding, has snowballed into a literal – nigh global – witch hunt in ‘Shadowstitch’. It sprouts from a magic-soaked atmosphere of hysteria and it’s not just the pubescents in Anna’s school this time. Anna’s struggles to puzzle out this new Big Bad are compounded, of course, by Machiavellian Effie, who keeps being Machiavellian. Although! In Book Two, it might appear that she actually has a heart. And of course we know that Thomas can write a complex character who suffers with imbalances in her inner life – just look at Anna’s own character arc across the two books (however, there remains a gulf where Thomas could be exploring her main character’s abuse at the hands of The Aunt). But it is delicately done, the touches here and there of Effie’s struggle too.
‘Shadowstitch’ avoids any risk of being derivative, I should say; it excels beyond the progenitors with which it bears similarities. In it, the backdrop of a world in the throes of a witch hunt is not employed frivolously. Rather, glancing back from the novel's conclusion upon its development, it seems like the only set-up that there could have really been for the furtherance of Thomas’s world-building at this point in the series. And what world-building! I’ll go as far to say that it exceeds the vision of Book One. For me, this time, Cari Thomas’s biggest success is how she binds world-building to character. Her characters are all frankly unforgettable; emotionally intelligent, dramatically robust, they maintain meaningful interrelationships despite the plot’s often breakneck unspooling. Just look at how Effie’s ‘teen witch’ wit sizzles amidst all the brooding and all the danger, and comes across as entirely authentic. All of Thomas’s characters resonate in like ways; and when they interact, via her original dialogue, that’s when the act of reading gets forgotten, and it’s all just happening right in front of you.
And there’s more magic that takes place on the audiobook, where madly successful narrator Helen Keeley meets our bestselling novelist. I’ll admit that I jumped at this partly because Keeley narrates it and I’d just finished listening to her perform a Camilla Bruce release. If you don’t know Keeley’s voice and this is your genre, then listen to her perform ‘Weyward’ by Emilia Hart.
‘Threadneedle’ was a ginormous audiobook at over 20 hours, but ‘Shadowstitch’ is a mammoth listen at almost 27. This was music to my ears (forgive the pun), because if – as a librarian – books are my life, then audiobooks are my passion. (Also, I go weak at the knees for a good book cover, and just look at these for The Language of Magic!)
At times, I think I preferred some of Bea Holland’s voices from the first book – Attis’s British/American/Irish chameleon of an accent was spot-on there. (Even though Thomas says he grew up in Wales in this second instalment, I resent the fact that he’s just Welsh in ‘Shadowstitch’). Some of Keeley’s characters can get a little screechy in comparison, but overall, her soulful narration brings this beautifully crafted gothic world to life in the audiobook, whether the moment she’s voicing is eerie or thrilling, whether it’s a streak of humour or a flash of gore.
So what would give ‘Shadowstitch’ that fifth star for me? Some stronger queer girl representation other than Effie’s occasional tokenistic allusions to sex with girls. Let’s have a convincing lesbian side character who doesn’t lust for the main hetero love interest, please.
With its solid four stars, Book Two in The Language of Magic has me rightly slobbering for Book Three. Cari Thomas, what are you doing to us with these cliffhanging novel conclusions!?
My thanks to HarperCollins UK Audio / HarperVoyager for the advanced review copy of this marvellous audiobook via NetGalley.