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It’s hard to write about the aftermath of oppression: when a system has begun to break, but hasn’t been fully slaughtered just yet. Witchmark ended off on a strong note, with the grand conflict of the world solved and a society ready to move on. Stormsong deals with what comes next. And� well, this was actually incredible. I think this was better than book one for me, honestly.

Grace Hensley, sister to °Â¾±³Ù³¦³ó³¾²¹°ù°ì’s main character Miles, is a politician to her core. She knows how to play the game, and up until recently, it’s been easy for her. In contrast to her fairly morally-upstanding brother and journalist Avia Jessup, she’s focused on her career, not doing what’s right. Butâ€� well, her world has been complicated, and her ambition no longer serves as a straightforward motive.

In general, this book is endlessly interesting. After a series opener that set up a complex world with multiple conflicts, this book had a lot of dynamics to play with, and did it perfectly. C.L. Polk is genuinely excellent at writing political intrigue, something that wasn’t quite as clear in book one.

It’s difficult to write a good arc for a character who has previously been a part of the oppressive system. So many of these in literature or film just feel half-assed, ignoring consequences or characterization for the sake of a quick turnaround (this especially goes for those featuring attractive white men who become love interests). But when done right, they’re wonderful—think Zuko from Avatar. The trick to arcs such as these is allowing these characters to come to terms with their role as a pawn in the system slowly, and allowing their character motivations to be redirected to a good cause. I think this arc is done exactly right, allowing her to slowly realize problems in her world in a way that feels both natural and complete.

Her romance with Avia echoes that tension; Avia is a narrative foil to her, equally ambitious but pushing for justice. In this role, she pushes her to think critically. Their dynamic features some absolutely killer tension, but is also genuinely sweet. (The international implications of both the dance scene and the bed sharing scene� excellent.)

When Grace is given a choice point between her own ambition and her love for other people, we believe it when she chooses. She tells Avia that she loves who she is around her; she must choose to become that.

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