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3.66 AVERAGE
3.66 AVERAGE
adventurous
emotional
funny
inspiring
fast-paced
Plot or Character Driven:
A mix
Strong character development:
No
Loveable characters:
Yes
Diverse cast of characters:
Yes
Flaws of characters a main focus:
No
adventurous
emotional
mysterious
medium-paced
Plot or Character Driven:
A mix
Strong character development:
Yes
Loveable characters:
Yes
Diverse cast of characters:
Yes
Flaws of characters a main focus:
No
adventurous
funny
tense
fast-paced
Plot or Character Driven:
A mix
Strong character development:
Yes
Loveable characters:
Yes
Diverse cast of characters:
Yes
Flaws of characters a main focus:
Complicated
Enjoyable and engaging story about Yoruba gods - struggle for power, thrilling heist, love story all in one. Took me a while to get into it because I was not a fan of the artsy writing style (way too many similes imo) but that kind of faded as the story picked up. Also there were some kind of crazy editing mistakes in this lol doesn’t affect my rating but there were multiple typos, missing words, and one sentence that just ended randomly in the middle of a clause
adventurous
emotional
tense
medium-paced
Plot or Character Driven:
A mix
Strong character development:
Yes
Loveable characters:
Yes
adventurous
funny
tense
fast-paced
Plot or Character Driven:
A mix
Strong character development:
Yes
Loveable characters:
Complicated
Diverse cast of characters:
Yes
Flaws of characters a main focus:
Yes
adventurous
informative
mysterious
medium-paced
Plot or Character Driven:
A mix
Strong character development:
Yes
Flaws of characters a main focus:
Yes
I did not know about Nigerian spirits, which was the reason I was drawn to the book.
But after reading it, I am not sure if I learned that much more. I definitely want to do more research on it, but I wish I would have gotten a better impression from the book. The impression I got was, that the book was definitely written by a man. The main female character was a sex spirit, robbing peoples souls by bringing them to a climax and here also focusing more on heteronormative sex scenes, while I think there was only one scene where the female spirit took the soul of another woman.
But more generally I feel like the book wanted to be many different things in one, but with that, missed the mark on any of it for me. It was a heist book, business structure book (and critic?), lightly fantasize, maybe erotic? I am unsure.
But after reading it, I am not sure if I learned that much more. I definitely want to do more research on it, but I wish I would have gotten a better impression from the book. The impression I got was, that the book was definitely written by a man. The main female character was a sex spirit, robbing peoples souls by bringing them to a climax and here also focusing more on heteronormative sex scenes, while I think there was only one scene where the female spirit took the soul of another woman.
But more generally I feel like the book wanted to be many different things in one, but with that, missed the mark on any of it for me. It was a heist book, business structure book (and critic?), lightly fantasize, maybe erotic? I am unsure.
TLDR: Yoruba gods, messy characters, rich mythology, erotica, character-driven story.
Wole Talabi’s Shigidi and the Brass Head of Obalufon is an intriguing blend of Yoruba mythology, urban fantasy, and character-driven storytelling. The novel immerses readers in a richly layered world where gods and spirits are intimately tied to the lands and people who believe in them. Talabi does an excellent job introducing the Yoruba Orishas, explaining their roles and relationships, while also weaving in references to other pantheons like Santería, showcasing a world where multiple religious systems coexist and influence one another.
The book’s structure is engaging, with each chapter clearly marking the time and place, which helps ground the reader as the story shifts through the timeline. This nonlinear approach allows the narrative to explore the complex lives of its characters, particularly Shigidi, a minor Yoruba deity of nightmares, and his succubus partner, Nneoma. While the plot centers on a heist, this aspect takes a backseat to the deeply character-driven story. The novel focuses on how Shigidi and Nneoma meet, grow, and wrestle with their own flaws and choices. Their journey is messy and human, as both characters struggle to self-actualize in the face of divine politics and personal insecurities.
Talabi’s prose is sharp and immersive, blending humor, heart, and a sense of cultural authenticity. The gods’ political shenanigans add intrigue, while Shigidi’s origin story is a standout moment that connects the reader to the divine complexities of the world. However, Shigidi himself is not always relatable, and his friction with Nneoma over her personality traits makes their dynamic feel realistic, if occasionally frustrating.
The book’s focus on character development over plot, as well as its jumps through different timelines, may not resonate with all readers. Additionally, the heavy inclusion of erotica might feel excessive for some, detracting from the broader themes of power, identity, and rebellion. Despite these potential drawbacks, the characters are deeply layered, flawed, and compelling, which makes their struggles feel genuine and relatable.
For fans of mythological fantasy, Shigidi and the Brass Head of Obalufon offers a fresh perspective, blending traditional Yoruba beliefs with a contemporary setting. While the heist plot might be overshadowed by character exploration, Talabi has created a unique and thought-provoking narrative that stands out in the genre.
Wole Talabi’s Shigidi and the Brass Head of Obalufon is an intriguing blend of Yoruba mythology, urban fantasy, and character-driven storytelling. The novel immerses readers in a richly layered world where gods and spirits are intimately tied to the lands and people who believe in them. Talabi does an excellent job introducing the Yoruba Orishas, explaining their roles and relationships, while also weaving in references to other pantheons like Santería, showcasing a world where multiple religious systems coexist and influence one another.
The book’s structure is engaging, with each chapter clearly marking the time and place, which helps ground the reader as the story shifts through the timeline. This nonlinear approach allows the narrative to explore the complex lives of its characters, particularly Shigidi, a minor Yoruba deity of nightmares, and his succubus partner, Nneoma. While the plot centers on a heist, this aspect takes a backseat to the deeply character-driven story. The novel focuses on how Shigidi and Nneoma meet, grow, and wrestle with their own flaws and choices. Their journey is messy and human, as both characters struggle to self-actualize in the face of divine politics and personal insecurities.
Talabi’s prose is sharp and immersive, blending humor, heart, and a sense of cultural authenticity. The gods’ political shenanigans add intrigue, while Shigidi’s origin story is a standout moment that connects the reader to the divine complexities of the world. However, Shigidi himself is not always relatable, and his friction with Nneoma over her personality traits makes their dynamic feel realistic, if occasionally frustrating.
The book’s focus on character development over plot, as well as its jumps through different timelines, may not resonate with all readers. Additionally, the heavy inclusion of erotica might feel excessive for some, detracting from the broader themes of power, identity, and rebellion. Despite these potential drawbacks, the characters are deeply layered, flawed, and compelling, which makes their struggles feel genuine and relatable.
For fans of mythological fantasy, Shigidi and the Brass Head of Obalufon offers a fresh perspective, blending traditional Yoruba beliefs with a contemporary setting. While the heist plot might be overshadowed by character exploration, Talabi has created a unique and thought-provoking narrative that stands out in the genre.
adventurous
challenging
funny
hopeful
lighthearted
mysterious
tense
fast-paced
Absolutely loved this one. It’s an anti-colonialist, anti-corporate Nigerian mythology-inspired heist novel about a pair of demigod freelance mercenaries in a world where godhood has been corporatized—pantheons are spirit companies, belief is measured in market share, and pay is rendered in prayer—who are contracted to break into the British Museum to steal a Nigerian artifact.
God, but do I absolutely love the core conceit of this book. I love a good heist as well as corporate backroom politics, and this novel does both extremely well, in addition to kinetic action sequences, great writing, and excellent, full-bodied characters.
This book does feel like it’s set up for a sequel (and I really hope Talabi returns to this world), but its conclusion is absolutely satisfying on its own. I can already tell this book is going to be in the running for my favorite fantasy of the year.
If you’re reading this and thinking, “Hey, this sounds just like American Gods,” you’re on the right track—but, y’know, if American Gods was actually good (I did not like American Gods).
God, but do I absolutely love the core conceit of this book. I love a good heist as well as corporate backroom politics, and this novel does both extremely well, in addition to kinetic action sequences, great writing, and excellent, full-bodied characters.
This book does feel like it’s set up for a sequel (and I really hope Talabi returns to this world), but its conclusion is absolutely satisfying on its own. I can already tell this book is going to be in the running for my favorite fantasy of the year.
If you’re reading this and thinking, “Hey, this sounds just like American Gods,” you’re on the right track—but, y’know, if American Gods was actually good (I did not like American Gods).