Reading this was... a choice. The premise (or at least part of it) sounded promising: Labyrinth but make it sexy? You have my attention. I was going to give this three stars, but did I like it? Did I find enough pros to outweigh the many cons and the absolute chore I felt coming back to this book and walking away drained because I kept forcing myself to read it? Despite this low rating of 2.5, I am a Natalia Jaster fan. My copy of Trick is so beloved that after only two years on my shelf, it sports a curled cover, broken spine, and don't even get me started on Tempt; my tear drops splotched the ink. So what went wrong? Let's begin with the good:
Pros
-Initial premise
*Our heroine, Lark ventured into the Fae lands, which is a big no-no. Because of this, she and her adopted sisters are summoned by three adopted Fae brothers to different areas, each given a different task, and told not to divulge any information regarding it or their location to one another. The two catches? If one loses, they all die, and because they're not kept in the loop as to their locale/status, they're flying blind and could simultaneously drop dead at any time (except we all know they won't because mates/true love). And the Fae have their own motive for wanting the mortals to take on the challenge: for every human they get, a fauna that the humans destroyed during a vengeful attack gets restored.
-The opening scene
*Lark getting up from a tumble in the sheets, jumping from the bedroom onto her horse, leaving the guy high and dry/screwing up his poaching plan. Cut Throat Island could never... literally because it was such a bomb it bankrupted an entire studio. Really hope someone gets that reference.
-Pacing/imagery
*Because Lark is on a quest to reach the mountain top, the story utilizes many different settings and Natalia Jaster plays to her strength: description. Lush forests, foods that may glamour themselves into delicious delicacies-tempting as any living Fae- despite their rotten reality. That bit felt very magical.
-Lark isn't your typical fairy tale heroine
*She hasn't any qualms about expressing her sexuality, wields a whip as well as Wonder Woman, and actually pays attention to the rules. Ex: When cornered by Moth, she remembers how to properly phrase her questions, making sure she actually gets an answer rather than a riddle.
-Cerulean
*I mean, he's literally Jareth with blue hair. Enough said.
-The masquerade
*This will bleed over into another list, but reading how Lark gets tossed/spun from dancer to dancer until she meets Cerulean, her dress fanning out in a firestorm of feathers, the tension of knowing if her mask slips, she'll be attacked. And the sweetness of them saying: "It was you?" "It's me." Chef's kiss!
-Their past connection
*Turns out, they met as children when Lark freed Cerulean from an iron cage fashioned by evil humans. Makes their connection easier to swallow.
-Their conflicting ideas as to the other's superiority
*Lark believes humans are innocent/defenseless pawns in a Fae's game (seeing as Cerulean and his brothers have trapped herself and her sisters in realms where not only they rule, but have the advantage of magic). Whereas Cerulean counters this with the idea that Fae were never vengeful; they only became defensive once the humans exacted their cruelty on them, including killing their fauna (which housed the children, a rarity among the Fae).
Labyrinth elements
-The book is literally dedicated to the fictional Goblin King
-Lark's joke about asking the owl to take her sisters so she can have a break kickstarts their tasks, much like Jareth overhearing Sarah telling a story to her baby brother Toby, which ends with her improvising the request that he be taken from her, prompts her expedition into the labyrinth to win the bargain she and Jareth make.
-One of Cerulean's forms is that of an owl. It even flies around Lark before Cerulean himself shows up to make a deal. This exact thing goes down in Labyrinth, even incorporating the owl watching Lark in the fields before she even trespasses (in the film, Sarah is LARPING on her own and notices an owl flitting past as she recites the story).
-Cerulean's attire
*The man wears a billowing white deep V shirt, tight black trousers, black boots, and his only variation is a russet cloak instead of black one.... exactly like you-know-who.
-His mountain comes equipped with oubliettes, one of which Lark is given to sleep in. Jareth in Labyrinth comes across Sarah and Hoggle in what he calls an oubliette.
-The scene where Lark falls into a tunnel and is helped then hurled down by unseen hands is also ripped from Labyrinth
-Lark reciting a fable that enables her to win the challenge is akin to Sarah's: "Through dangers untold and hardships unnumbered, I have fought my way here to the castle beyond the Goblin City to take back the child you have stolen, for my will is as strong as yours and my kingdom as great. You have no power over me!" bit. Although, unlike Jareth and Sarah, Cerulean does have power over Lark, but so does she in the form of true love.
-The masquerade (redux)
*The way she's watching the dancers in a daze, seeing him across the room among the patrons sipping from crystal goblets, dressed in masks with over exaggerated animal features, traipsing from person to person until finally she's in his arms only to run away before they kiss...
This next list may sting a little.
Cons
-Info dumping
*All the clever symbolism is snatched away by having the characters blatantly spell it out for you: from the birds and the avian sanctuary representing the sisters in their adopted father's home, to the book of Fairies being a representation of their love stories.... just let readers make the connection.
-Strange vernacular variants
*In the beginning, I felt that because this was a Fae centric story, the language would be Gothic with a touch of whimsy. But then we get inside Lark's head/hear her speak using words commonly associated with the Southern states: "reckon", "drawers" (undergarments), "hot damn", "gimme" "lemme". And I'm like, "ok, so it's going to be dark imagery/stakes with country slang, a la, Kathryn Bigelow's, Near Dark. But then Lark goes: "wanker", bollocks, "knickers", you know, British slang. And this isn't a one time thing (more on that next). So my question is... where is she supposed to be from? No one else in her family has her switch up, and even their father doesn't speak with either accent.
*Lark's only nineteen or so, yet she repeadtly calls Moth and the other Fae, "whippersnapper". Umm, why? If this was an attempt at condescension, it was a bad one.
-Lark's family horse is named Whinny Badass. The cringe hurts.
-The past connection between Cerulean and Lark should've been the prologue. Instead, it's mentioned nearly a hundred pages in, and because of this, it felt like an after thought that the author had to hammer home every chapter.
-Repetition
*First, the word "tykes" or "tyke" was in so many pages, I wondered if the author had some weird contractual obligation. And the above mentioned vernacular variants also made so many appearances, I could probably make a novella length spin-off with just them.
*There's only so many times I can watch Cerulean and Lark's sexy banter come to nothing. He'd either save her or pop up out of nowhere to taunt her, she'd get mad, spout some generic urban fantasy heroine reply over and over again. If they were clever/giveaways to next task or moved the plot along, that would be great. But mostly they were just about sex. Nothing wrong with sex. But we don't need the same dialogue in a different part of the mountain. Felt like someone forgot to edit or they liked the first scene so much, they copy/pasted a version every twenty pages.
-Their speaking styles were just jarring
*I'll play devil's advocate for a second: could be nice symbolism, human brashness juxtaposed against Fae's upper crust mannerisms. But every time Lark used slang, it took me right out of story. It just didn't work.
-A case of doing too much
* The Goodreads blurb boasts this will appeal to fans of Labyrinth (1986), Sarah J. Maas, and Laini Taylor. I see where they're going (I made a whole list for Labyrinth, we've got ruling Fae as supposed enemies turned lovers-ACOTAR anyone?- and Laini Taylor herself had a short story in her anthology, Lips Touch Three Times entitled "Goblin Fruit", which had a headstrong modern heroine falling for a tricky Goblin who speaks with an old fashioned tongue. That whole anthology was partially inspired by Christina Rossetti's poem "Goblin Market"). This novel tries and fails to be all those things at once while not knowing how to handle their various tones.
*Also, why they gotta be Fae? Was it just to feed off the Sarah J. Maas frenzy? I mean, the clunky bit of him having wings at the very end sure felt like it. When Googling goblins vs. Fae traits, it seems to make more sense for the brothers to be Goblins if you want the trickster/don't trust them angle.
Honestly, I'm more interested in Puck and Juniper; he's eloquent/hedonistic, she's smart and prudish. I can see them meshing. But these two... I saw the chemistry and I didn't. I hated rating this so low. I feel so sad when I don't like an author whose past books have moved me to tears. Pretty sure after Hunt the Fae, I'm out. I'm aware that a third book follows the third sister, but honestly I couldn't even remember her name, only that she was a pickpocket. If you're looking for Labyrinth-esque retellings, go for Wintersong by S. Jae Jones or Stolen Songbird by Danielle L. Jensen.