This was and wasn't as bad as I'd suspected it would be.
Has Hannah Whitten improved as a writer with this book? Yes, and noticeably so.
Has Hannah Whitten kept her weaknesses as a writer with this book? Also yes, and noticeably so.
I'll go with the positives first: the author has become a better storyteller. She had this raw talent that shows in her first book, but she wasn't that good at writing or at characterisation. Her writing was very tropey and meandering, with basic prose though lovely descriptions, and she would stretch a plot for too long. But at the same time she had intriguing ideas and was able to set up the atmosphere and world with little effort, she excelled at description and at immersing you in her stories, which compensated for her weaknesses.
She also writes unpretentiously, she isn't a belle prose writer, she writes like a contemporary person talks. Her dialogues are very modern, with slang and turns of phrase very typical of American English, and she doesn't pretend it to be anything else. This book might be inspired by Louis XIV's Versailles, but the people's attitude and language are those of modern Americans and she doesn't want it to be otherwise. She doesn't pretend they're "people of the times." I think it's quite bold. Personally, I prefer that when authors take a European setting as inspiration, they keep to the European feel, but I'm not a stickler for it in Fantasy as I am for Historical Fantasy; so long as it's not excessively modern as to include street slang, it's fine by me. This book isn't quite Versailles, it doesn't have the customs and culture and mores and protocols that characterised the Sun King's court, and to be honest if you hadn't told me this was inspired by Versailles, I'd not have made the connection. Because the world isn't all that developed, it's kind of generic Urban and Court setting, with all the typical tropes and expectations.
So, if there's nothing especially spectacular about the setting and writing, what does set this book apart? The plotline. It has an interesting magic system based on Mortem, a power to raise the dead that has a counterpart in Spiritum, the power of life. This power is highly regulated, only the Church can wield it, so when they catch Lore, an unauthorised Mortem user, she has to work for Church and Crown to uncover some mysterious deaths in which this magic is suspected to have been used. Forced into espionage, she is escorted around by Gabriel, a Presque Mort or priest that can channeld this magic, and comes to be close with Bastian, the Sun Prince she's supposed to spy on. What these three uncover is unexpectedly more than they thought but not quite shocking as you could already see that final development from afar.
Personally, I didn't care much for the magic system because, to be frank, the whole fallen gods and Church storyline reads like Catholic Church fanfiction written by someone who isn't Catholic. And because of that, it relies on stereotypes. I can tell the author comes from an Evangelical background based on how she has created her in-world Church. Compare it to Margaret Rogerson, who has a Catholic background and also used the Church for her fictional one in her books, but you can tell she knows the institution inside and out. Whitten doesn't, and it shows. The whole religion arc in this book isn't well handled, it's made up very superficially and based on stereotypes anyone can come up with.
It's this superficiality what's bothered me the most from this book. The feeling that nothing here goes beyond skin deep. Versailles? Superficial inspiration, we don't see how the royal palace is like beyond a few generic descriptions. Louis XIV-like king? Hardly a nod or two and mostly in copying his titles. Court life? Very cliché, indistinguishable from any generic Fantasy court regardless of time period. The aristocracy? Cliché, and they have no set of rules of behaviour and a court culture beyond the generic "decadent nobles" trope. The commonfolk? You don't see anything but the generic fighting & drug dens and a few lowlifes here and there, no overall feel for what kind of society this is. The ethnicities? Generic whites and the distant exotic and evil peoples... It's all so superficial.
The second thing that bothered me the most was the love triangle. There's an underlying "fated to be together" theme to this book's triangle. Why does Lore feel attracted to Gabriel? She doesn't know, she feels like she "knows" him since forever. Why does Lore feel attracted to Bastian? She doesn't know, she feels like she "knows" him since forever. And of course, the two men feel the same because they just "know" her. In other words, there's no earned trust, no earned respect, no earned love. It all happens because those two men are hot and she "just knows" in her gut that they're destined for something. And conveniently, a prophecy is revealed at the eleventh hour that confirms that these three are fated for something grand. Yeah, right. You can't choose, so you need a prophecy to validate your indecisiveness.
To her credit, Whitten doesn't drag the angst and hand-wringing for too long. Oh, there is angst, but it's subdued. And yes, she does resort to lame excuses to have Lore kiss both men at different points. Whoever says the author handled the triangle very well must have a high tolerance for triangles or they're just thankful this isn't so bad as your typical YA triangle. Yes, this isn't as bad as YA love triangles go, but that's a low bar. Comparatively, it isn't so bad. On its own, it is bad.
Characterisation-wise, this book has a better female lead than her previous duology, and this together with the improved storytelling is why I say Whitten has improved as a writer. Lore is a freer woman, more sure of herself, less burdened by silly mindsets. She's very refreshing in that sense, and that makes it all the more irritating that she's brought low by a triangle. Someone like her shouldn't be lusting after two guys; she's the type to bed 'em and kick 'em afterwards, a no-nonsense gal who is comfortable with her sexuality and isn't ashamed of it. So why does she have to be subjected to this triangle for no apparent reason other than Fate? Why can't authors not resist the need to undermine a woman's confidence by making her go stupid in the presence of two hot dudes?
The book ends on a cliffhanger, although not one that particularly bothers me because I could see it coming and can guess where it's going, but in case there's other readers out there that don't tolerate cliffhangers, I'd say wait until the next book is out to start this. This first book is a lot of set up, it's not quite a standalone, it is slow at the start, and Whitten's stories are generally better when you read all the books in a row.
I received an ARC through NetGalley in exchange for an honest review.