Tag Archives: urban fantasy

Book Review Double Feature: Hold Me Closer, Necromancer & Necromancing the Stone

18 Jan

8041873Hold Me Closer, Necromancer and Necromancing the Stone by Lish McBride

Henry Holt and Co. (October 12, 2010)/(September 18, 2012)

Both 352 pages

4 out of 5 stars

Synopsis: Samhain Corvus LaCroix–Sam, for short–is a college dropout with a dead-end job. He’s also a necromancer, though he doesn’t know it until a chance encounter with the sinister Douglas Montgomery sets off a chain of events that will threaten everyone Sam cares about.

Review: If you think the titles are hilarious, then you’ll probably enjoy Hold Me Closer, Necromancer and its sequel, Necromancing the Stone. If you think they’re cheesy, give the books a chance anyway. It’s an odd series, not quite one thing or the other. It isn’t a comedy, exactly, nor is it horror. It’s not Young Adult, but it’s not really New Adult or Urban Fantasy.

It takes a few chapters for Hold Me Closer to warm up, but when it does, things start to get interesting fast. McBride makes some bold choices, especially <spoiler>killing off cute, funny Brooke and having the boys carrying around her reanimated head in a bowling bag</spoiler>. Some of these choices are more effective than others. The tone and point of view shifted frequently, and I sometimes got narrative whiplash. Sam’s sections are in first person while everyone else is in third, which was somewhat jarring. The Douglas and Brid sections both contained multiple flashbacks, and at one point there were nested third-person flashbacks from Sam’s mom inside his first-person narration. The structure felt unnecessarily complicated, and I would have enjoyed spending more time with Sam and less time flitting about in the heads of the other characters.

13409145Hold Me Closer, Necromancer is the rare book that tells a complete story while still leaving the door open for a sequel. The second book in the series, Necromancing the Stone, is actually better than the first in some ways. The narrative jumps around a lot less, and the magical world gets more developed as Sam earns his new place on the Council of magical creatures that governs the Pacific Northwest. McBride also delves deeper into Douglas’s past, making him if not sympathetic at least understandable. If the first book was about Sam discovering his powers, the second is about his choices in how to use them. He gets a little high-falutin’ with his moralizing, and as often happens, the supporting characters are a lot more fun than the protagonist.

There’s one part of Necromancing the Stone that really bugs me, however. Although she dances around actually naming him, Douglas’s minion (called only Minion) is a zombie Keanu Reeves. There are a ton of little winking jokes at his expense, and I found it distracting to the point of annoyance. Also, the lawn gnomes were a bit much. McBride simultaneously ramped up the camp and the drama, and I’m not sure that it works. I still really enjoyed both books–they’re unique in an industry that values copycats, and McBride is an excellent wordsmith. I’m looking forward to seeing what she does next. Unfortunately, we’re going to have to wait a long, long time for Sam’s adventures to continue; Lish McBride has said on her blog that she’ll be publishing a new, related series with her publisher before she returns to this one.


Book Review: The Line by J.D. Horn

3 Jan

18010355The Line (Witching Savannah, Book 1) by J.D. Horn

Published by 47North (February 1st, 2014)

296 pages

2 out of 5 stars


As the only magic-less member of a long line of witches sworn to protect the Line, the mystical barrier protecting our world, 20-year-old Mercy Taylor has never felt fully accepted by her family or “regular” Savannah society. When her great aunt, the matriarch of the Taylor clan, is murdered, it sets off a series of events that will change Mercy’s life forever.


After finishing a book, I often wonder why the author felt called to write it. What was it about these particular characters that clamored to have their story told? To me, The Line had a curious emptiness at its heart. It felt as if Horn had made a list of the elements most likely to appeal to readers of paranormal romance–plucky heroine, supernatural world, love triangles, Deep South quirkiness, melodramatic plot twists–and checked them off one by one. I read a few blog posts and interviews with the author, trying to glean why he’d written Mercy’s story, and saw that he has a fondness for Dark Shadows. His book embraces the melodrama of the campy supernatural soap, but misses the mark in so many other ways.

The only character that seemed to truly interest Horn was Oliver, Mercy’s gay, rakish uncle. Everyone else was flat, especially the wide-eyed Mercy, whom I found insufferably mealymouthed. Then again, the Sookie Stackhouse books, to which the Witching Savannah series claims to be the heir, gets similar criticism and still manages to be a bestselling behemoth.

The plot puts Mercy through the ringer, but all the events happen to her without requiring her to do anything. By the end, she’d been betrayed, double-crossed, deceived, and placed in peril so many times that it was almost funny. The revelations in the last quarter of the book–no doubt meant to be shocking–piled up one after the other like cars on the Interstate. And like a traffic accident, I found it difficult to look away. To Horn’s credit, I did keep reading to find out what happened next.

Despite a few genuinely charming Southern colloquialisms, most of the dialogue is stilted and heavy. Below is a quote from the police officer investigating Great Aunt Ginny’s death:

He bent back in and looked me squarely in the eye. “Really,” he repeated. “But I am sure you are aware that in most cases someone is murdered by someone they know. And more often not, buy someone in their own family.” He paused.

The proofreading was also a bit slapdash; I counted for or five instances where it looked as if the author had started to type a phrase, changed his mind, and moved on without deleting what he’d already written. For example, “You’re the one who looks likes more like your mama, you know” (1815/3785 on the Kindle). The sloppy writing and ludicrously one-dimensional characters (many of whom were villains of the mustache twirling persuasion) lent the book an amateurish feel, and the world’s shortest seduction scene was a disappointment as a fan of paranormal romance.

If you’ve already read everything by Ilona Andrews, Seanan McGuire, Patricia Briggs, Charlaine Harris, and Kim Harrison and find yourself desperate for a quick paranormal romance/urban fantasy fix, you could do worse than spending an afternoon with The Line–but, like all low-calorie substitutes, it’ll leave you feeling unsatisfied.

(Book Source: Free download from Amazon’s Kindle First program)