Reading "Las luces de septiembre" (September Lights - I don't understand the point of changing the title in the English translation) in September, also the month of Zafón's birth, was poetic. With this, I finished his young adult trilogy, and I can finally say I have read all his published books. Unfortunately, it's a short list. Like his other books, this is also an enchanting gothic tale, part mystery, part fantasy.
We're in Normandy, and we follow Irene Sauvelle, a teenager whose father's death has left the family struggling financially. Along with her younger brother, Dorian, and her mother, Simone, she leaves Paris to start a new life on the coast of Normandy, as Simone has found work at Cravenmoore, the mysterious mansion of Lazarus Jann, a reclusive toymaker famous for his intricate automatons. But something unnatural stirs within its walls, an ancient shadow bound to Lazarus's past, that begins to threaten Irene's family.
The atmosphere is where the novel shines. Cravenmoore itself is practically a living character, with its vast corridors, forbidden rooms that appear out of nowhere in places where nothing was before, and mechanical toys at every turn. Zafón plays with classic Gothic tropes (illness, masks, locked rooms, curses) while still weaving them into a modern, fairy-tale-like story. His style is cinematic, including full-on action scenes that I could easily see being transposed into a movie. It starts slow, with descriptions of the quiet village life, almost like a cozy gothic, but it picks up the pace in the second half, feeling like an adventure film. It's not as complex as his famous "Cemetery of Forgotten Books" tetralogy, but he still gave us a story full of mystery. The spirit world here is not the realm of ghosts in the traditional sense, but rather something darker, a force of possession.
My one pet peeve was the use of names that are clearly not French (Bahía Azul, Cravenmoore, Lazarus Jann), despite the story taking place in France. It took me out of the story at times, because my mind feels the need to nitpick and rationalize everything.
Zafón writes characters with a mix of warmth and tragedy. However, I felt them a bit flat. There's soul infused in Irene, in particular, but maybe the YA format didn't allow for more extensive development. They lack growth, we see them defined by just one moment. Together, they create a web of love and obsession, but each of them is rather an archetype (the orphaned girl, the tragic inventor, the innocent boy, the shadow of evil). Still, they remain defining for what we know and love about Zafón's books, with a sense that their lives are stories trapped within larger stories. Especially because we have an easter egg - the presence of Andreas Corelli, the memorable editor from "The Angel's Game".
The Shadow is a collective mirror for all the other characters, a dark reflection of each character's deepest fears and desires. To Lazarus, it represents guilt, broken promises, the price of ambition. To Irene and Ismael, the fear that love can be stolen by darkness. Zafón sets up these mirrors and oppositions to highlight the novel's central theme: every light has its shadow, and every choice, whether born of love or ambition, creates its echo.
I enjoyed "The Watcher in the Shadows" a lot, with its gothic fable about dangerous deals people make with darkness, reminiscent of Faust. It may not have the complexity of his more mature works, but for a shorter novel, it delivers the right mix of mystery and tenderness.