Rating: 1.5
Book 1: Grinning Assassin Series
✨Disclaimer: This review strays from the usual format ✨
I would like to start this review by saying that I’ve had the opportunity to interact with the author of this book on several occasions, and she is a very kind and welcoming person. I hope that she does not take this review personally, but as an opportunity for growth. With that being said, she is more than welcome to discuss the review with me.
I started reading this book with a lot of hope and optimism but unfortunately the best way to describe it is, “I don’t think X means what you think it means”.
This book is marketed as a Moroccan inspired fantasy, and it does a disservice to the culture. A lot of what is borrowed from Morocco is misused, misunderstood, and misplaced, and if this series is to continue, I hope the author hires a Moroccan sensitivity reader to correct and enhance her story. If she does not, then well this will be one more author, one more book, and one more story that unfortunately uses BIPOC stories to peacock around their “woke cred” and say they support diversity.
What follows is just some of the things that are questionable with regards to its Moroccan background:
LANGUAGE:
o Riad – Strictly speaking, the definition of riad is garden. But by popular use, it is a type of house. For a good 3rd of the book I thought there was a whole guest home inside the palace.
o Medina – It is not a town square. It is the word for city. Today it is used to differentiate the medieval part of cites from the new part. Specially in Marrakesh and Fes.
o Bismillah – If there is no Allah, there is no Bismillah, Mashallah or Inshallah.
CULTURE:
o Msemen is for breakfast or teatime, and although made with some butter, it is by no means buttery on its own, and only served outside of breakfast to tourists.
o A kaftan is not a dress. It is a robe or loose tunic that by no means shows the back (Serein shows off her scars), nor does it restrict arm movement to fight. If anything, it would cause more issues getting tangled in the legs.
o Elephants – I would legit love to see an elephant try to walk inside the Medinas.
o Zilllig tile – In Morocco, the tile only ever covers the wall and no more than about two meters high. It is not on the ceiling. You’ll kill someone with a falling tile.
o Souks or sooqs are not next to homes. The Medinas are not built that way either. This is due to common sense. You do not want the dye souk, the tanneries, or the copper squares next to your homes. You need a lot of water to dye fabrics (they’re next to the river), the tanneries stink, and the copper is a hell of noise. You also do not have the spice souk next to the clothes souk. Imagine if a wind blows and now you have powder all over your clothes.
o Adding middle eastern elements to Moroccan culture is like adding Inca elements to Aztec culture. Just… don’t. Morocco is quite proud the Ottomans never conquered their land. Why would you even mix them all up? You cannot divorce culture from history and place.
Some of these things do not particularly affect the story, but I can’t help but feel that the Moroccan inspiration was simply used as seasoning to try to set the story and book apart from the one thousand and one European inspired ones, and that is a real shame. BIPOC cultures should not be used that way.
As for the story itself, well there isn’t one. You see little of Serein actually being an assassin, and her motivations are never quite solidified. At the beginning she really doesn’t want to escape prison, she is half-assed on her supposed revenge against the King, and you would think going back to her Sun and Stars would be her top priority, but it doesn’t seem like it. So, I found myself disengaged for all of it, and the end was so abrupt and dragged out that whatever little I cared for Serein went out the window. She didn’t even get a final confrontation with the man that made her what she was/is meant to be.
And then there is the use of Chromesthesia. Considering how this is also such a large part of the marketing done for this book, I expected it to have a larger part in the story. It does not. Like Morocco, this is another pretty trapping. Actually, an annoying trapping because the descriptions got overly repetitive, long and unnecessary, and even inconsistent. There are two types of individuals with chromesthesia: Projectors see the colors in the external space, and associators are those that perceive the colors in their mind’s eye. Through the book however, Serein is both, and while discussing this book with a friend, the story switched so often from one to the other, my friend firmly believed Serein was mainly an associator and I believed she was a projector. What is the point of including such a cool and seldom explored neurodivergence if it is going to be misused thus?
I am genuinely sad that this book let me down so much, but sadly I see it as a perfect example of what is wrong with recent indie publishing trends. I am by no means the ultimate authority on BIPOC subjects but it has become too common place for white authors to use BIPOC cultures to “inspire” their works, but unfortunately they just do the bare minimum to set their books apart and say that they are diverse. As it is, Serein is marketed as a brown woman but by the end of the story I am quite convinced that the Old Kingdom is Spain, and that would bring a whole lot of other issues…
Sadly too, this book also solidifies an observation I have made of the indie author community. Since a lot of the authors are friends, they are too afraid of genuinely helping each other without causing hurt feelings or facing calls of jealousy. A lot of authors become stuck in silos that echo back toxic positivity and create the false idea that stories like these are perfect, fine, and woke. They are not.
This book in particular is also an SPFBO semi-finalist, which further reinforces the idea that using BIPOC cultures for your “unique” worldbuilding will get you far, even when used badly. This is mainly a criticism leveled at the competition because it is NOT ENOUGH to propel diverse stories further if you do not propel diverse writers and do not have more DIVERSE JUDGES. With a variety of judges, stories like these are more likely to get sifted out, because a wide variety of backgrounds bring about more informed decisions that can take into consideration diverse perspectives, cultures, languages, and histories.
I hope all of this changes.