I'm going to write a really long review for a book that probably doesn't merit one, but with all of the five-star reviews here I'd like to just point out everything that bothered me about it. Maybe see if I'm the crazy one for these things sticking out to me.
I can't say this is a terribly well-written book, but there were elements of the story and characters that were strong and kept me slogging through. For a book that isn't that long or dense it took me a long time to get through it; it simply was not super-pleasurable to read. I have not read any of the author's previous work, so I don't know if his writing style is just a choice for this novel or if this is how all of his novels are. Either way, the sentences are so short and simple that it gives The Queen's Poisoner a choppy feel that really slowed me down. I can't say with certainty but there were simply no long sentences. It was all quite straightforward and blunt, chopping up thoughts and action into so many small sentences at the expense of a good narrative flow. You could take two, three, four of his short sentences and put them into a single, flowing sentence. I get it if that's a choice to mirror the mind of our 8 year old protagonist--but even so it's a choice that got old fast for me, and made me almost feel talked down to; plus, as I'll point out later, much of the dialogue is vastly superior to the narration, which makes me think it was a purposeful choice to write in such painfully simple sentences.
The writing is often redundant too, with such dialogue descriptors like "she whispered quietly", as though we would have thought the whispering was loud? (Of course a whisper can be loud, but given the context why would anyone assume anything besides it being quiet?) The author over-describes certain actions and lines of dialogue that don't need extra clarification, making me quite often say "What else did you expect me to think?" I think there's a trick with writing where you just need to trust your writing as well as the reader, and pull back on description at the expense of beating the audience over the head with the obvious.
Another thing that bothered me is the seemingly limited vocabulary (it seems purposeful--or just unimaginative?) used by the author, as well as repeated phrases that pop up in the actions of certain characters. This is not bad in and of itself, but it really annoyed me. There are at least a dozen times that people say a line of dialogue "gruffly." Voices and people "ghost" up to others (never heard that word used as a verb before, not sure if it's real?). Almost every appearance of Ankarette includes her folding her hands in her lap, possibly multiple times in the same scene. Again, maybe I'm too sensitive to this stuff--all of the five star reviews here would indicate that nobody else really noticed or cared.
The strength of this book, I think, lies in some of the characters (not all! which I will get to), as well as, perhaps unusually, the dialogue. Characters like Evie and King Severn are perhaps the most attention-grabbing, followed possibly by Mancini. These characters all have a bit of danger to them--you're not sure what they're going to do next (of course for 8 year-old Evie, it's more about what brash and mischievous thing she will do; with Severn, it's about what is making him tick, and if he is a good or evil person; with Mancini, it's about whose side is he on, and can you trust him). On the other hand, some of the more "important" characters are way less interesting: namely--and you might laugh when I say this--Owen, our main protagonist, ostensibly whom this series will follow from childhood to adulthood; and Ankarette, who is the titular character of this novel. Neither of them seem particularly multi-dimensional, and while Owen does go through a little transformation from beginning to end (going from a tongue-tied, nervous nelly who is overwhelmed by his surroundings, to a... somewhat less-tongue-tied nervous nelly who is not so overwhelmed anymore), it's not really that satisfying and he has no mystery or unpredictability to him; likewise, Ankarette is pretty predictable once you get to know her, and sometimes seems like she's only there to dispense backstory and work behind the scenes to propel the plot.
The best thing this novel has going for it is the dialogue, which is actually quite good, and is the only reason (along with the good characters mentioned above) that I give a rating of two stars instead of one. King Severn, especially, shines through his dialogue, which shows his conflicted nature. The scenes that are dialogue heavy are easily the best, including the big scene at the end when Owen tells him his last dream. I think the dialogue has the harmful effect of making the narration look extra-poor. I really wish the narration had not been so bare-bones simple.
I'm not sure if I'll spring for book 2 in the series. I might, if the writing style becomes more grown up along with Owen. However I don't think I can make myself go through another installment of the series if it's written like The Queen's Poisoner.
Well, there you have it. You can trust me, one of maybe three people to rate this book under five stars, or all the folks who say that this is a very good book. I know who I would trust!