![]() ![]() ![]() I’m disappointed to report that much of the problems present in Gideon the Ninth were only exacerbated in Harrow the Ninth. ![]() ![]() Going into a space saga sequel, I expect the author to have learned from the pitfalls of the debut. I can forgive a debut novel for iffy pacing and overly dense backstory. Unfortunately, while I loved certain aspects of the novel (aesthetic included), it was a letdown compared to its predecessor, Gideon the Ninth. Muir has committed to her aesthetic and it is an aesthetic that I can sink into like a velvet-lined coffin. Her prose––for better or for worse––feels like an ornate candelabra, heavy in my grip. Tamsyn Muir has undoubtedly spun one of the most unique science fiction horror sagas to ever exist. Witness a murder plot that starts and ends with a thin broth. Be swallowed by a semi-corporeal river of Eldritch terrors. Get ready to experience ten thousand years of sexual tension among saints on a deep space station. Harrow the Ninth is a necromantic space opera featuring only the most mouth-watering of clavicles. She had cost too much to die.” – Harrow the Ninth, Tamsyn Muir “But Harrowhark––Harrow, who was two hundred dead children Harrow, who loved something that had not been alive for ten thousand years––Harrowhark Nonagesimus had always so badly wanted to live. ![]()
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