Harley Merlin and the Cursed Child Mystery Twins is the second in the series, and first sequel to its equally underwhelming urban fantasy predecessor Harley Merlin and the Secret Coven. If you haven't read the first book in the series, don't worry. The first couple chapters of this sequel are a very detailed recap, which makes starting this novel feel a lot like putting on a pair of waders and jumping into a lake of molasses.
First off, in my review for the first novel, I expressed a desire for a deeper exploration of the foster system. I'd like to travel back in time by about 500 pages and punch myself in the face. This novel features the word foster (followed by kid / system / parent etc.) 62 times and boy oh boy do you feel every single one. Foster kids are a central plot of this novel, so this shouldn't really be a complaint, but I think it speaks to how clunky and uninspiring the writing is that you truly find the over use of 'foster kid' egregious. Because it's a main feature, you might think that it merits a deeper exploration of being in care, and the way that it truly did influence the central protagonist's quest to find somewhere that she belongs, and I believe it was supposed to, but instead it just seems to cause a load of "You don't know what it's LIKE" wankery from Harley, our main protagonist. Disappointing.
I say main protagonist because, joy of joys, we're joined by a new narrator! Tatyana is a Russian witch with the ability to communicate with the dead. We were introduced to her in the first novel, but she lost all interesting qualities as soon as we got inside her head and she turned out to be Harley 2.0. This is a serious problem with the author's attempt to include a second narrator. We, the reader, should be able to tell the two perspectives apart without relying on having noticed the chapter heading telling you whose POV you're in. If you are truly enthralled, you often skip extraneous headings. Even if you're not actually enthralled, you still glance over them. Louise Erdich, in her novel Tracks is a really great example of code switching between two narrators without using a trick of a different font, but rather tense and language. In Patrick Ness's Monsters of Men there are three separate narrators and even though font sets them apart visually, they are linguistically unique from one another and each equally engaging. In this novel, however, Tatyana and Harley narrate in the exact same way, and it was often only some way into the chapter I'd actually realise that they'd switched. Tatyana also had markedly fewer chapters to focus on her story. It seems that rather than having two equal narratives, the split narrator was a lazy trick to avoid having to logistically explain several occurrences from Harley's POV. If Taty had a more distinct voice that reflected her background, this would have probably been less of an issue. Fundamentally, I find her more interesting than Harley.
Harley was not my favourite protagonist in the first book, as she teetered on the precipice of being a mary sue. By this one, she has toppled over the top. She's got potential to be one of the most powerful witches ever, the big bad is gunning for her personally, and even the interesting backstory of her father murdering her mother (it's not a spoiler if the book description already mentioned it) is suddenly "Oh well he was CURSED. He didn't TRULY MEAN IT." clearing up the potential for drama this early in the series is a bit predictable.
We've still to meet the series' Big Bad but we get two minor villains this time and what can I really say except they were interesting enough until the final showdown where they turned into a standard over-confident, quippy, wisecracking archetype of a villain and I was left feeling "oh wow is that really my lot?" We've all see it done before. This was nothing exciting or new. I will also say that one of the fundamental issue with the villain in this novel, that is to say, KATHERINE SHIPTON, SCARIEST NAME IN THE WEST (don't worry if you forget, she's mentioned by name 146 times -- 87 of those in full, first and surname), is that it's two books in and it's still not exactly clear what her deal is. There's mention of Darkness and Light and that she wants to be Child of Chaos , but that's all just words. We're trying to stop her but I'm not sure WHY.
To expand on this, let's zoom out to some of the advertising for this book. "Harry Potter for Grown Ups", as I've seen it touted. However, it seems so desperate to Not Be Harry Potter that it rips off some things from that series whilst glancing over the aspects of worldbuilding that make Harry Potter and, particularly, its villain work. The books fumble through explaining the makeup of "magical" society and the coven system, but when you break it all down it seems to be Whatever Is Convenient at Any Given Time.
We don't see a lot of it, and when we do it doesn't seem to work well. Therefore, the disassembly of this society doesn't seem like a high enough stake. In Harry Potter you realise that a victory for Voldemort means a facist dictatorship that puts muggles (a position you, the reader, can generally relate with) on the bottom rung of society, followed by the persecution of muggle-borns (Hermione is the main character you have for reference here; a likeable character who is also the best and brightest sort of witch, and would be punished for no reason under Voldemort's regime), and positions people like the Malfoys (who at face value, come across as generally unpleasant) at the top of society. And despite the slow reveal of the depth of Voldemort's plans, over the course of the books, the characters and conflicts are established from the get go. At first the stakes are laid out: Harry stopped Voldemort's plans as a baby, Voldemort will try and kill Harry again as soon as he has power. Hermione is looked down upon by Draco Malfoy-- and specific muggle born related slurs exist in this society. Though it is over the next few books that more is revealed, the way society operates is present from the beginning. For Harley Merlin, however, there are no clear answers as to what is at stake and why we should care, because things are all over the place. Instead of starting with a simple conflict, we're thrown in at the deep end when we are not particularly invested. Our "misfits" aren't misfits at all. They're all physically powerful, and several have family in high places. What does Katherine's takeover threaten to change for them? What does she really represent? What does any of this "Child of Chaos" nonsense really MEAN?
Thanks for coming to my Ted talk.
Also just in case you got down this far, the book is poorly written. The ideas aren't bad but the presentation of the whole story is hampered by how lacklustre it is presented. No one wants purple prose, but it is nice to get some flair. Whilst it is grammatically sound, the style is simplistic to the point of being dull. There's a lot of telling and not showing, and as I already hinted, a LOT of repetitive use of language and certain words. Put it this way, when I was at 93% complete, I forced myself to listen to Tubthumping by Chumbawamba on repeat until it was finished. I listened to it 5 or 6 times in its entirety and still almost couldn't power through the last 5% which really didn't need to be included in this book, but rather exists to try and force the reader to buy the next one in the series.
Well.
I get knocked down.
But I get up again.