Publisher: Recorded Books (Audiobook – 4 August 2020)
Series: The Locked Tomb – Book Two
Length: 19 hours and 51 minutes
My Rating: 5 out of 5 stars
Sensational author Tamsyn Muir follows up her incredible 2019 debut with another epic, complex and infinitely entertaining hybrid novel, Harrow the Ninth.
Tamsyn Muir burst onto the writing scene with a real vengeance last year with her debut novel, Gideon the Ninth, the first book in The Locked Tomb series. Gideon the Ninth was an extremely clever and compelling novel that followed a group of spacefaring necromancers who were summoned to the house of their Emperor and god, and given an opportunity to learn from him and become Lyctors, immortal beings with immense necromantic power who are considered to be living saints. What they instead found was a haunted manor filled with secrets, weird experiments and mysterious hints at the past. The protagonist of this first novel was the titular Gideon, a smart assed, foul mouthed lesbian swordswoman who was reluctantly serving the necromantic lady of the Ninth House, Harrowhark Nonagesimus. I absolutely loved Gideon the Ninth and it was easily one of my favourite debuts of 2019. As a result, I was rather intrigued when I heard about its sequel, Harrow the Ninth (which, as you can see above, featured another intense and beautiful cover by the talented Tommy Arnold) and I eagerly grabbed an audiobook copy of it when it came out. I have to say that I am extremely glad that I decided to do so as Harrow the Ninth turned out to be a truly outstanding book and I had an incredible time reading it.
Harrow the Ninth is set shortly after the dramatic conclusion to Gideon the Ninth and switches the focus of the novel over to Harrowhark, who has succeeded in becoming a Lyctor at great personal cost. Now alone, mentally scarred and more powerful than ever, Harrow finds herself in the personal care of the Emperor of the Nine Houses, who is determined to use his new Lyctor in a deadly war against an ancient and powerful terror, a Resurrection Beast, the insane and vengeful ghost of a murdered planet.
Travelling to the Mithraeum, the Emperor’s isolated sanctum, Harrow finds herself trapped aboard a desolate space station with her god and her fellow Lyctors. Each of her companions on the station has their own agenda and motive for being there, and all of them are seeking to use Harrow for their own ends. Worse, as Harrow attempts to learn the full extent of her new powers and abilities, it becomes apparent that something has gone wrong with her transition to Lyctorhood. Her body keeps failing her, her swordcraft is shoddy, her blade makes her nauseous and her mind keeps presenting her with impossible scenarios.
As the Resurrection Beast comes ever closer to the Mithraeum, Harrow desperately attempts to understand everything that is happening to her and learn how to survive the oncoming attack. However, she finds herself distracted with the machinations and plots of her untrustworthy rival and the attitudes of her three ancient tutors, especially as at least one of them is trying to kill her. Can Harrow unwrap all of the dark secrets that lie hidden on the Mithraeum before it is too late, or will the entire Empire fall into ruin before them?
Well damn, now that was a truly enjoyable and incredible read. Harrow the Ninth is a complex, clever, entertaining and exceptionally well written novel that does an awesome job following on from Muir’s impressive first novel. I had an absolutely amazing time reading this fantastic book, which I think in many ways is somewhat stronger than Gideon the Ninth. Not only does Harrow the Ninth have a deeply captivating story that successfully utilises elements from a range of different genres, but it also features some memorable and compelling characters, excellent universe building and a magical system that really stands out thanks to its descriptive necromantic powers. Harrow the Ninth also serves as a marvellous follow-up to Gideon the Ninth, continuing the clever story from the first book with the same distinctive tone and writing style, while also featuring an intriguing reimagining of prior events. All of these makes for an epic read which gets a full five-star rating from me.
At the heart of this amazing novel is an intense and multilayered narrative that presents a compelling tale of love, tragedy, treachery and self-discovery. The story is actually split into several distinct sections, with the main storyline focusing on Harrow after her transformation to Lyctorhood as she spends time in the Mithraeum with the Emperor and the other Lyctors. This part of the book expertly jumps back and forth through time and is an extremely entertaining part of the book, detailing Harrow’s education under the Emperor and the other Lyctors and her attempts to survive the various internal politics, plots and personal chaos. The other major part of the story shows a curious alternate version of the events of Gideon the Ninth, shown from Harrow’s point of view, made distinctive due to the complete lack of Gideon, who appears to be erased out of existence. This alternate version of the prior book is a really intriguing part of Harrow the Ninth’s story, and while I was initially a little confused about why it was included and where Gideon had disappeared to, it proved to be an extremely clever and compelling part of the book, especially when everything becomes fully revealed. Due to this reimagining of already existing narrative, as well as the continued references to the events of the first book, readers interested in checking out Harrow the Ninth really do need to have read Gideon the Ninth first, as the story gets a little confusing and significantly less impactful without this established knowledge.
These separate storylines complement each other is exceedingly cleverly. This novel does start off a tad slow, but this is mainly because Muir is re-establishing the narrative from the previous book and loading up the front end of the story with hints and foreshadowing about the multitude or revelations that come throughout the course of the plot. A lot of big events and reveals occur towards the end of Harrow the Ninth, including a few reveals that were hinted at in the previous novel, and I felt that the author set all of these up perfectly. This results in an extremely epic conclusion to the novel and I was really impressed by how it all turned out. This novel contains a unique blend of genres, as Harrow the Ninth features elements from the fantasy, science fiction, psychological thriller and murder mystery genres. All of these disparate features work together extremely well in the story and it helps to produce a distinctive and entertaining narrative, especially as Muir adds on a rather good comedic edge. The end result is a fascinating and exceedingly captivating overarching narrative, and I had an outstanding time getting pleasantly blindsided by the inventive twists and turns.
This excellent and unique story is expertly supported by a distinctive writing style that I felt did an amazing job enhancing the narrative. Perhaps one of the most noticeable elements is the clever narration that accompanies the story. While Harrow is the point of view character for most of the novel, she is not actually the one narrating the story. Instead Harrow’s actions, emotions and thoughts are identified, summarised, and relayed back to Harrow by an unidentified second person narrator. Naturally, this proved to be an interesting and unusual way to tell this story, although it works well in the context of the overall narrative, even if it takes a little to get used to. This narrative format plays into certain character reveals and plot points of the novel and it makes a lot of sense once you get further into the book, with the style itself actually being a hint about what is happening with Harrow. This narration style changes at a certain point towards the end of the book in accordance with certain plot developments and the subsequent deviation is clever and reminiscent of past events. I also really must highlight the author’s extremely descriptive form of story writing, as every event, person or location is described in overly vivid detail. Not only did this ensure that the reader got the full breadth of certain magical action and developments but it also helped to enhance the overall gothic feel of the book and ensure that reader was able to easily imagine the various locations the protagonist found themself in. This really helped the story to shine and I have a lot of love for how Muir was able to work story elements into this style.
In addition to the great story that Muir has come up with for this book, Harrow the Ninth also boasts an impressive array of amazing characters. The central protagonist is the titular Harrow, who takes over from Gideon as the main character after the first book. Harrow is a vastly different character to Gideon as she has a much more subdued personality, less self-esteem, and a more restrained, subtler sense of humour. Due to Gideon’s somewhat biased narration in the first novel Harrow was mostly viewed as an extremely arrogant, confident, and brilliant person, and this is how Harrow attempts to act throughout most of the novel. However, certain vulnerabilities in Harrow’s character that were previously explored in Gideon the Ninth once again come to the fore in this second novel. Harrow was already an extremely complex individual, having been birthed by dark magic, ended up being responsible for the death of her own parents and having an interesting love interest. However, following her alteration into Lyctorhood, Harrow is a much more damaged person due to the absorption of her cavalier. Harrow’s already fractured psyche is made even worse throughout the course of the book, as she sees all manner of things that are not there and has some very different ideas of the past or how she perceives the world. In addition, Harrow bears an immense amount of guilt on her shoulders as a result of various events in her past and the many deaths on her conscience. Harrow needs to work through all these issues throughout the course of the story if she has a chance to survive, and this becomes a major and dramatic part of the story that was really intriguing to explore. I had an amazing time seeing the story primarily through Harrow’s eyes and it was a refreshing and compelling change of pace from the first book.
Harrow the Ninth also focuses on a great collection of supporting characters who add some intrigue and drama to the story. Perhaps the most distinctive side characters in this novel are the five beings that Harrow finds herself trapped with aboard the Mithraeum, the Emperor of the Nine Houses and his four other Lyctors. This is an extremely fascinating collection of people and much of the story revolves around Harrow’s unique interactions with them as each of them attempts to teach her, manipulate her or kill her at various points within the book. These characters are really entertaining and distinctive, from the seemingly kind, patient, and infinitely calm Emperor, to the three ancient Lyctors, the cool and confident Augustine, the exceedingly self-involved Mercymorn and the ultra-focused and lethal Ortus. In addition, we see the return of the manipulative Ianthe, who became a Lyctor at the same time as Harrow and who forms a very distinctive relationship with her throughout the course of the book. I really enjoyed the complex interactions and relationships that forms between all of these characters (including some wild relationships between various participants), with the Emperor acting as the father figure, the three existing Lyctors portrayed as older siblings who have a complicated power dynamic with each other, while Ianthe and Harrow are the younger sisters learning the ropes from the others.
I also have to highlight the inclusion of several other characters who previously appeared in Gideon the Ninth. It was rather intriguing to see many of these characters return, especially as most of them died or appeared to die in the prior novel. Muir does a fantastic job working them into the fabric of this novel, such as by featuring some of them in the alternate version of the events of the first book, changing their roles and impacts on the story as a result. I particularly enjoyed the extended role of Ortus, cavalier of the Ninth House. Ortus, not to be confused with the Lyctor mentioned above (although the names are actually a clever clue to a big reveal), died early on in the events of Gideon the Ninth. But in this book the dour Ortus serves as a fantastic yet reluctant companion to Harrow, with surprising hidden depths and an entertaining obsession with gloomy epic poems and verse. He is also essentially the complete opposite to Gideon, resulting in a very different dynamic between necromancer and cavalier then we saw in the prior book. Overall, I have to say that I was exceedingly impressed with the characters featured within this amazing novel. Each of these complex and memorable characters added a heck of a lot to the story and it was deeply fascinating to see each of their storylines unravel and come to their compelling conclusions.
One of the major elements of this series that I love so much is the weird and wonderful necromantic magical system complements the science fiction of the book. Pretty much all of the main characters in this book are powerful necromancers, specialising in a different form or style of necromantic magic. All of this magic is extremely cool, and it was really awesome seeing it utilised in fight sequences and other scenes throughout the book. Most of the magical elements revolve around Harrow’s bone magic, as she creates skeleton and bone constructs, manipulates her own bones to either enhance herself or detach them to make weapons or other creations, as well as elements of biological alteration. Muir does an outstanding job explaining the full range of different powers that Harrow has, and there are some amazing scenes where the young necromancer does some really inventive and clever things with her bones. There is one sequence in particular that sticks in the mind, and I’ll certainly remember it when eating soup in the future.
In addition to Harrow’s abilities, Muir also showcases the creative and impactful abilities and magical powers that some of the other characters have. These various abilities are all biological or spiritual in nature, and it was quite fun to see what the different necromancers can do, especially when they go up against Harrow’s bone magic. All these magic scenes feature some rather vivid imagery and descriptions from Muir as she tries to show the full biological manipulations that are occurring, which really help to make these scenes pop. The author also does a truly fascinating deep dive into the origins and mechanics of her unique magical system. A lot of these new magical elements are explained to protagonist in some detail from one of her teachers, so the reader is able to understand these elements really well, and a lot of the lessons and explanations of magic have major impacts on the story down the line. This proved to be an extremely interesting and enjoyable part of the book and I have a lot of love for Muir’s creativity when it comes to her version of necromantic magic.
I also have a lot of love for the distinctive gothic settings that Muir has imagined up for this series. Each of the central story locations are filled up with all manner of dark and macabre trappings and features, which the author does a fantastic job bringing to life with her descriptive writing. This includes the dreary and dark Mithraeum, a vast and mostly abandoned space station where most of the story takes place, as well as an alternate version of the First House that appeared in Gideon the Ninth. All of these locations are described in great detail and each of these fun and distinctive settings helps to present a darker vibe to story and helps makes this series more unique and memorable as a result. Harrow the Ninth also contains some rather captivating and inventive universe building expansions as the author attempts to introduce new things into her universe. All of these extensions to this universe are really clever, playing into the story really well and I loved learning more about this fun fictional setting which does so much to enhance the story.
I found that the audiobook format of Harrow the Ninth proved to be an excellent way to enjoy this amazing novel. With a run length of just under 20 hours the Harrow the Ninth audiobook does require a bit of a commitment to get through it, although I felt that it was really worth the time investment. I do have to admit that it took me a little while to finish this audiobook, especially at the start. However, I absolutely flew through the second half of the novel once I became extremely invested in the story, and I managed to knock out the final six hours in rather short succession. I have to highlight the fantastic narrator for this audiobook, Moria Quirk, who does an outstanding job telling the story and bringing the various characters to life. I felt that Quirk utilised perfect voices for each of the main characters and you get a real sense of each character’s personalities and emotions from this vocal work, from the calm, composed tones of the Emperor to the exceedingly petulant voice of the Lyctor Mercymorn. This excellent voice work really added a lot to this audiobook. I really think that Harrow the Ninth translates well into the audiobook format, and listening to it really added to my enjoyment of this second novel, especially as I absorbed a lot more of the detail and gothic atmosphere through the narration.
Harrow the Ninth by Tamsyn Muir was an epic and exceptional piece of fiction that I deeply enjoyed, and which comes highly recommended. Not only did Muir present an impressive follow-up to her amazing debut novel, Gideon the Ninth, but she was able to turn out a complex and beautifully written sequel that proved extremely hard to stop listening to. Powerful, cleverly written and just generally outrageous, Harrow the Ninth is an outstanding read and you have no discovered Tamysn Muir and her fantastic pieces of literature, you are really missing out.