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384 pages, Hardcover
First published July 19, 2022
Access to this copy: purchased a bookplate SIGNED copy for $5.70 at the Book Warehouse Outlet's monthly sale in Pickens, SC in 2025. Bought the entire series in order to donate it to my local Spruce Pine Public Library in Spruce Pine, NC.
Spoilers ahead, because they're helpful for the sake of clarity, but not tantamount to understanding the concepts outlined.
As an older reader of young adult literature, I'm gonna see a lot that needs to be implied when my Big Auntie Radar flares reading these works. What seems like injustices are later interpreted as blessings by the protagonist, but without proper implications.Grayson was just a sexist pig, expecting a male with a name like Blake! The St. Christopher pendant Blake wears ballooned in popularity during the 1960's. They were most popular with surfers (which would've made a sensible correlation had her parents or her been more into the Beach Boys than a passing mention of relevance late in the book), but a better allegory Cervantes could have connected was its forebearance with Instead, there's only a fleeting mention of a curandera. Not that they were practicing Catholics, but the iconography could've bore more import on the plot and Cervantes just decided... Not to? Instead we get named characters in class foisted on the reader that do nothing to move the plot near the endgame (and have minor, questionable inclusion at three different intervals), but I'm getting ahead of myself.
And this criticism bleeds brighter when the reader is barraged with baffling impressionistic dreams. Stylistically, the cacophony conveyed remains true to the effect it has on Blake and it performs allegorical acrobatics to remit art styles to the reader. The prose also mirrors unsettling hallucinogenic effects of psychotropics that were popular of the period and Cervantes conveys this in ways unflattering to read. Books like Illuminae may set the bar too high, but Repeat After Me sublet creative typefacing to assist the plot when . All the reader is afforded are italics. Granted, the mediocre typesetting employed is ALSO a method to illustrate how blended this feels to Blake's reality, but only insomuch as a vinaigrette must be shook prior to deluge on a salad. Blake mentally never struggles diverting from trance to reality states, , only gains new clarity over time, while the reader may struggle to adapt. Since this book is set in a modern era, if other characters remarked Blake's actions resembled a seizure or sleepwalking, it would better reference the effects of the trance as it was conveyed in Broken Wish. Maybe these books were being compiled at the same time and the authors lacked access to previous installments to reference established acts of trance induction. Nevertheless, the mental mindscape could be better touchstoned by the cascading hills of San Francisco as much as the fog.
And while Cervantes did a ...serviceable job creating a sense of place in San Francisco, all other settings are two-dimensional at best. What happened to would not have likely happened as much as accidental manslaughter during SA from a male nurse, especially on wards with Alzheimer's patients, because the doors require keycards. And having spent so much time in nursing homes in the 80's and 90's personally (mother was a nurse at a few nursing homes in the Southeast where even poorer regions employed keycard usage), why was there no mention of the white nursing dresses and caps worn? Why did Cervantes leave out the hum of fluorescent lighting, the mild squeak of shoes on tiled floors, the mild antiseptic smell (mixed with other unknown origins)? Had the nursing home been an elder care facility run by a convent, all of the other nods to Catholicism's prevalence in the area would have reinforced and supplied regional context (and removed fears of SA from my Big Auntie Radar). The church we go to where Martin Luther King Jr. speaks only gets the benefit of stained glass lighting because it serves for clue discovery, not because any time is spent on the setting as much as it is what people are wearing. The reader lacks benefit from resinous or woodsy residue on Blake's hands when she climbs the tree to sketch. So much setwork absent from the pages when we could and should have been spared a few hallucinations, or hamburger/milkshake dates.
And now my greatest complaint about the ending: This is where the veneer of Cervantes periwinkle prose thinned to a wash, and everything that attracted me in the first hundred pages began to dilute. The narrative wheels threw their lugs as chapter 33 barreled to the Epilogue. Had the paragraphs following 33 interceded around chapter 18 (or chapter 23 at the latest), it would've cemented this book as a 4-star, instead of rounding down my 3.5 to a 3.
Also, the entire plot beat of Ms. Ivanov was unnecessary in regards to the Epilogue. Blake can infer artistic integrity whether in spite of failure. Instead, relying on Blake achieving her specific goals is required precedent. Cervantes wrote the Epilogue to allow Blake to unintentionally assimilate elitism, much like one of the plot setbacks of Shattered Midnight.
Was that supposed to be the happy ending? College acceptance? With the plot left as fractured as the pacing, I guess college acceptance was the goal.
Thankfully, the racial diatribes remained more of an underpinning compared to Shattered Midnight. Where Cervantes recognizes that money, institutions, and coordinated economic strategies were forms of patriarchal submission in this era, the dialogue created didn't hijack the entire narrative like Clayton allowed. These injustices weren't a Mary Sue motivation, making Blake more realistic in her aspirations.
Let it be known that my Big Auntie Radar doesn't implicate necessity of more adult, wizened themes. This is a work written for young adults about young adults. Nonetheless, there is value in writing adults as adults. Guardians should cringe, bluster, and make mention of explicit or implied atrocities that occur (or they intend to commit) in the book. These characters should be worthy of mature characterization beyond heart disease, but they're not. Worthy discussions to be had, problems posited through prose, pathways for readers to engage in mature dialogue with adults... Neglected. Adults should be conveyed as more than glorified chauffeurs and custodians (a sophomoric oversight in most young adult works), to subconsciously engender personification of parental figures for readers to remit in their relationships with their own. A healthy cohabitation is present in Olivia's relationship with her mother, but it's barely a mentioned blip, and apart from emotional codependence between Remi and Cole for Blake's orphanhood, not a lot of structure is established to convey a healthy relationship, either. Healthier than Harry Potter, but that's not saying much.
Overall, while the plot is fanciful and much better at conveying a sense of place than Shattered Midnight in all of the dimensions it decides to traverse (even with Rose "living in the bright place of her best memories [page 45]"), the diction wavers as it kaleidoscopes between them. A lot of the mystery aspects and symbolic interpretation lag behind convoluted crushing that even Blake barely seems invested in. And while the relationship between Blake and Olivia seemed suspiciously sapphic (and could've been better contextualized specifically in the 1960's), all semblance of counterculture awareness that burgeoned during this period (especially in Big City art scenes {don't even get me started about Haight-Ashbury's mention}) is sanitized to the point of censorship. Why use these extreme settings if they're mere caricatures; the story itself didn't need to hamper itself like the artist at Coit Tower.
At the start of my read, I expected to have kept this book, yet at the end decided its better suited for its intended audience at my local library. It inspired no personal evaluation, no unrecognized revelation, no moral clarity. The framework the beginning established beleaguered itself with its own comported complexity, pruning my interest when the plot accelerated towards exciting events like birthdays and fairs and ... breaking into school? When ideas like Rose existing liminally, Blake's paternal matriarch involvement, concepts like binding magic and mediumship in the tent were treated like scaffolding instead of worthwhile framework (like for a window, or at least a bracing cornice), my excitement waned.
And still, at the end, this book itself was an Italianate, or a Victorian, or an Italianate Victorian house (Cervantes never decided): so much set dressing reliant on pre-existing styles, multi-leveled, exuberant, and eclectic, yet without structural integrity. The audience reflects the region the book is set: both are unfamiliar with earthquake and upheaval, because curses.