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3.68 AVERAGE
3.68 AVERAGE
slow-paced
Noah Medlock’s A Botanical Daughter enters the literary greenhouse with a premise that’s impossible to resist: queer Victorian lovers undertake a Frankenstein-esque experiment in their hidden botanical sanctuary, combining fungus, flora, and human remains to create intelligent life. It promises eerie, intimate horror in the vein of Mexican Gothic, with nods to Wildean wit and Shelleyan science.
Unfortunately, while the premise is striking, the execution struggles under its own ambition. The world-building — an entire home inside a greenhouse — raises more questions than it answers, especially in the absence of practical details that could help suspend disbelief. Moments that could lean into Gothic dread or slow-burning madness fall flat due to an inconsistent tone and awkward narrative pacing. Is this meant to be chilling? Campy? Cozy horror? The book never quite decides.
Characterization is another stumbling block. Simon and Gregor are intriguing in concept but lack the emotional depth or narrative consistency to ground their transformations. Their descent into obsession, guilt, or twisted parental devotion is rushed and often unconvincing. Their relationship, while central to the story, feels more like a plot device than a lived-in partnership. Secondary characters feel similarly underdeveloped, more like set dressing than meaningful players.
On a stylistic level, the prose is overwrought, occasionally bordering on self-parody. Overuse of adjectives, awkward phrasing, and unintentional repetition ("the whys and wherefores") detract from the story's atmosphere rather than enriching it. There are also notable continuity errors — particularly around character deaths — that pull the reader out of the experience.
That said, the botanical knowledge woven throughout is a highlight, and the concept of Chloe, the hybrid creation, holds eerie potential. But rather than digging into the unsettling questions her existence raises, the novel opts for surface-level horror tropes that don’t land as intended.
The Botanical Daughter contains all the raw ingredients for a unique, macabre tale — queerness, science, hubris, grief — but the result is more muddled than monstrous.
Unfortunately, while the premise is striking, the execution struggles under its own ambition. The world-building — an entire home inside a greenhouse — raises more questions than it answers, especially in the absence of practical details that could help suspend disbelief. Moments that could lean into Gothic dread or slow-burning madness fall flat due to an inconsistent tone and awkward narrative pacing. Is this meant to be chilling? Campy? Cozy horror? The book never quite decides.
Characterization is another stumbling block. Simon and Gregor are intriguing in concept but lack the emotional depth or narrative consistency to ground their transformations. Their descent into obsession, guilt, or twisted parental devotion is rushed and often unconvincing. Their relationship, while central to the story, feels more like a plot device than a lived-in partnership. Secondary characters feel similarly underdeveloped, more like set dressing than meaningful players.
On a stylistic level, the prose is overwrought, occasionally bordering on self-parody. Overuse of adjectives, awkward phrasing, and unintentional repetition ("the whys and wherefores") detract from the story's atmosphere rather than enriching it. There are also notable continuity errors — particularly around character deaths — that pull the reader out of the experience.
That said, the botanical knowledge woven throughout is a highlight, and the concept of Chloe, the hybrid creation, holds eerie potential. But rather than digging into the unsettling questions her existence raises, the novel opts for surface-level horror tropes that don’t land as intended.
The Botanical Daughter contains all the raw ingredients for a unique, macabre tale — queerness, science, hubris, grief — but the result is more muddled than monstrous.
dark
emotional
hopeful
mysterious
sad
medium-paced
Plot or Character Driven:
Character
Strong character development:
Yes
Loveable characters:
Yes
Diverse cast of characters:
N/A
Flaws of characters a main focus:
Yes
challenging
dark
emotional
mysterious
sad
medium-paced
Plot or Character Driven:
A mix
Strong character development:
Complicated
Loveable characters:
Yes
Diverse cast of characters:
Yes
Flaws of characters a main focus:
Yes
dark
medium-paced
Plot or Character Driven:
A mix
Strong character development:
Yes
Loveable characters:
Yes
Diverse cast of characters:
Complicated
Flaws of characters a main focus:
Yes
There were parts of this book I really liked and parts that I really disliked. But overall it mostly just felt confused to me, like the author couldn’t decide on a direction to go or a conclusion to make.
challenging
emotional
mysterious
slow-paced
Plot or Character Driven:
Character
Strong character development:
Yes
Loveable characters:
No
Diverse cast of characters:
No
Flaws of characters a main focus:
Complicated
dark
mysterious
sad
medium-paced
Plot or Character Driven:
Character
Strong character development:
Complicated
Loveable characters:
Yes
Diverse cast of characters:
Complicated
Flaws of characters a main focus:
Yes
challenging
dark
emotional
hopeful
mysterious
reflective
sad
slow-paced
Plot or Character Driven:
Character
Strong character development:
Yes
Loveable characters:
Complicated
Diverse cast of characters:
Complicated
Flaws of characters a main focus:
Yes
dark
medium-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
I just felt like a lot of the character development was really abrupt, and the two men never really discussed anything in depth. Like first Simon thought Chloe was an abomination! And then without talking to Gregor seriously at all about it, he suddenly decided she was his daughter! Gregor deciding that Chloe was a monster after seeing her murder her ex-father in front of him was more understandable, but the fact that Simon never really tried to talk to Gregor about it, even before Gregor really started his descent into madness arc, was really weird to me. Also sometimes it was really clear that the author was forcing the characters to do things to put them in certain situations. Which I mean is the point of a story, but it didn't really feel organic, if that makes sense. The hand of the author felt pretty obvious in general.
I think my final gripe is that it didn't really feel like Simon and Gregor loved each other. Actually, it just didn't really feel like there was a strong emotional core, which would have made the horror elements that much more visceral.
I think my final gripe is that it didn't really feel like Simon and Gregor loved each other. Actually, it just didn't really feel like there was a strong emotional core, which would have made the horror elements that much more visceral.