All That Gothic Atmosphere for a Romance I’ve Read Before ⭐️⭐️⭐️✨ (3.5 Stars)
Thank you to NetGalley, Heba Al-Wasity, and Del Rey, Random House Worlds, Inklore | Del Rey for the eARC in exchange for my honest review.
🕯️ A Haunting Premise with Serious Promise
In this debut gothic fantasy—and the first book in a planned trilogy—Weavingshaw introduces us to Leena Al-Sayer, a young woman cursed with the ability to see the dead. It’s a power she keeps hidden, knowing that discovery would mean confinement in an asylum.
When her beloved brother, Rami, falls gravely ill, Leena is forced into an impossible choice: let him die, or barter the only thing of value she has—her secret—to afford the medicine that could save him.
Enter the Saint of Silence.
A feared and magnetic purveyor of dark secrets, Saint Silas is a man wrapped in rumor, cruelty, and power. He agrees to help Leena, but at a steep cost: she must locate the ghost of Percival Avon, the last lord of Weavingshaw. Failure means losing her freedom forever.
🩸 Gothic Vibes… Until the Romantasy Kicks In
The beginning of this novel genuinely works. The gothic atmosphere is strong, the premise is intriguing, and the characters initially feel distinct and purposeful. For a while, it feels like you’re stepping into a story that knows exactly what it wants to be.
But about halfway through, once the romantic tension between Leena and Saint Silas takes center stage, the narrative begins to stumble—and unfortunately, it falls into very familiar romantasy territory.
Saint Silas is introduced as an untouchable, feared villain within his domain… and that edge disappears far too quickly. His shift from ruthless and cruel to emotionally accessible feels rushed and largely motivated by romance alone. The buildup simply doesn’t justify the payoff, which makes all that early hype feel a bit hollow.
🕸️ Characters That Lose Their Bite
As the story progresses, both Leena and Saint Silas start to feel less like fully realized individuals and more like roles we’ve seen countless times before. Their depth fades as the romance takes over.
And Rami? He feels oddly underdeveloped—present mainly to justify the plot rather than to exist as a meaningful character. By the end, I found myself surprisingly indifferent to his fate, which isn’t ideal considering how central his illness is to the story’s stakes.
🏚️ Worldbuilding That Stays on the Surface
For a gothic fantasy set in a sentient estate surrounded by dangerous moors, I expected a more immersive and influential world. While the atmosphere is there, the setting often feels like a backdrop rather than a living force shaping the characters’ choices.
I understand this is the first book in a trilogy, but first books matter. They lay the foundation—and this one doesn’t fully deliver on the depth it promises.
🕯️ Final Thoughts
Weavingshaw isn’t a bad book. There’s clear potential here, and the gothic framework is compelling. However, the execution—particularly when it comes to character depth and the romance—falls short of what it could have been.
If you’re a fan of gothic fantasy romance and don’t mind familiar tropes, this may still work for you. For me, though, the atmosphere was doing the heavy lifting while the characters and romance struggled to keep up.