The lesbian necromancers in space are back!
Harrow the Ninth is the second novel in Tamsyn Muir’s Locked Tomb trilogy, following Gideon the Ninth, and I need to get this out of the way first thing—if you haven’t read Gideon yet, go do that first, I’ll wait (and here’s my review of Gideon if you’re interested: https://davewritesanddraws.com/2020/02/27/book-review-gideon-the-ninth-by-tamsyn-muir/). Everything that happens in Harrow is directly related to what happens in Gideon, and honestly, I think Harrow would be a tough read if you tried to tackle it first.
Assuming you’ve now read Gideon (welcome back to the blog!) you know that Muir is a writer of rare and miraculous skills. Harrow the Ninth continues the story started in the first novel, and if anything, the plot is even wilder, more convoluted, more open to multiple interpretations, with more layers of reality. Harrowhark Nonagesimus is the main character here—she joins a small group of god-like Lyctors, and God himself, as they prepare to face Resurrection Beasts, revenants of dead planets intent on annihilating them. She’s ascended to Lyctorhood as well, but she’s a broken, incomplete Lyctor, and to top it off, one of the other Lyctors keeps trying to kill her.
Sound confusing? It is, truthfully, and for me that’s part of this novel’s immense charm, because the plot is in part a vehicle for Muir’s marvelously inventive language, her high-wire act of storytelling. She alternates chapters detailing Harrow’s present-day story, written expertly in second person, with flashbacks to scenes from Gideon written in third person, but those scenes do not match up with the original story. Are they distorted memories, or something more complicated, more insidious?
As in Gideon, Muir uses words and phrases like her own personal playthings. Her language is dense, scintillating, intense, downright baroque at times. She mixes necromantic bone, blood, and spirit magic with hard science fictional concepts, presents an arresting and wholly original concept of an afterlife, introduces dead characters who may be alive and living characters who may be dead, and invites us to consider deeply serious meditations on the concepts of self, sacrifice, and grief. If I’m making this sound like reading Harrow the Ninth is too much work, it’s far from it. This novel is a rollicking good time, often uproariously funny, with thrilling action set pieces, and imagination to burn. The dialogue, as in Gideon, is often snarky, profane and utterly contemporary. None of this should work, yet it all works, beautifully.
Also like Gideon, the last quarter of Harrow the Ninth delivers a whole series of shocking surprises and emotional gut punches.
I have never read anything quite like these novels, and I can’t wait for the third novel in the trilogy. I feel like Muir is an utterly original artist of uncompromising talent.