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dark
emotional
hopeful
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:
Yes
Content Warnings
Moderate: Ableism, Domestic abuse, Homophobia, Rape, Self harm
Incredibly gripping. Felt long at times, but definitely worth reading.
Content Warnings
Graphic: Homophobia, Self harm, Sexual violence
adventurous
challenging
dark
emotional
sad
medium-paced
Plot or Character Driven:
Character
Strong character development:
Yes
Loveable characters:
Yes
Diverse cast of characters:
Yes
Flaws of characters a main focus:
Yes
Content Warnings
Graphic: Ableism, Sexual violence, Torture
Moderate: Homophobia, Miscarriage
adventurous
challenging
dark
emotional
hopeful
informative
inspiring
mysterious
reflective
sad
tense
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
After She Who Became The Sun, I knew I would love this, but i’m still shocked by how much. I was just as immersed in this one, despite different perspectives, and the emotional payoff was huge.
This is a 5-star read, no question. If I were Shelley Parker-Chan, I would feel so proud to have created such a dynamic work of art.
This is a 5-star read, no question. If I were Shelley Parker-Chan, I would feel so proud to have created such a dynamic work of art.
Content Warnings
Graphic: Body horror, Body shaming, Bullying, Child death, Death, Emotional abuse, Gore, Homophobia, Misogyny, Self harm, Sexism, Slavery, Torture, Transphobia, Violence, Medical content, Kidnapping, Grief, Medical trauma, Murder, War, Injury/Injury detail, Classism
Moderate: Sexual assault, Sexual content, Fire/Fire injury
Minor: Chronic illness, Pregnancy
Most content warnings come from the fact that the story is about war, but it’s still challenging regardless, especially the torture.
adventurous
dark
tense
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
This was a much darker sequel to She Who Became the Sun. While it’s a good exercise in the power of grief, some of it feels brutal in its use of sex. Especially Baoxiang and the Third Prince. A few times the language took me right out of the moment. I was still rooting for Zhu and Ouyang but had trouble with their continued character building.
While I don’t regret reading, I much preferred the first half of the duology.
While I don’t regret reading, I much preferred the first half of the duology.
Content Warnings
Minor: Homophobia, Sexual violence
challenging
dark
emotional
mysterious
sad
tense
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
Content Warnings
Graphic: Death, Domestic abuse, Homophobia, Self harm, Sexual content, Blood, Grief, Murder, Pregnancy, Outing, Dysphoria, Injury/Injury detail
adventurous
challenging
dark
inspiring
mysterious
tense
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:
Yes
If it wasn't for the holiday season and getting into a reading slump I know I would have finished this book a lot quicker. Once I was able to pick the book back up, I could not put it down and always got annoyed when anyone would interrupt me. I love Shelley's writing style as it's everything I love. Especially the dynamic between Zhu and Ouyang.
It was one of my favorite things in book one and I love that we got to see them interact so much more here. They are such great foil characters as they both have the same capacity for ruthlessness and determination even if their goals are slightly different. They both strengthen each other
but also are the other's weak spots because no one knows their weakness better than someone who's just like you.
As much as I hated seeing Xu Da and Ouyang die at the end I do think that was exactly what the story needed. Zhu had too many things working for her so it was interesting to see how she would deal with losing people dear to her. Every single time we were in Zhu's POV you believed in her, knowing she would achieve what she wanted because nothing has stopped and nothing would. Which was an interesting contrast from the other's POV. I also loved how as the reader you were always with each of the mandates of heaven candidates but it wasn't until it was further into the story you realized so much of what occurred was all due to Baoxiang. GENIUS writing because I seriously did not expect him to just kill the Third Prince, especially since it was a part of his plan all along. GENIUS
I also loved that we had more of Ma, she is such an underrated character that I'm glad they brought more attention toI also love the scene where Ma lets Zhu know that both she and Xu did what they did because they believed in her. Zhu didn't have to ask things of them because they had the same beliefs and knew that in a world where Zhu would be accepted and loved like they loved her would only be brought by Zhu herself.
I could discuss the dynamics, the writing, and so much about this book nonstop. I know for sure I reread them to properly do a character study as I always imagined my OCs to have a similar dynamic as Zhu and Ouyang who need one another to achieve what they want even if they don't want to accept it.
I tend to hate endings because I don't want things to end, but Shelley managed to write it in a way that all things were wrapped up in such a nice way but still left a slightly open ending, it gives you an idea of what to come. Especially if you know a little about the dynasties.
It was one of my favorite things in book one and I love that we got to see them interact so much more here. They are such great foil characters as they both have the same capacity for ruthlessness and determination even if their goals are slightly different. They both strengthen each other
but also are the other's weak spots because no one knows their weakness better than someone who's just like you.
I also loved that we had more of Ma, she is such an underrated character that I'm glad they brought more attention to
I could discuss the dynamics, the writing, and so much about this book nonstop. I know for sure I reread them to properly do a character study as I always imagined my OCs to have a similar dynamic as Zhu and Ouyang who need one another to achieve what they want even if they don't want to accept it.
I tend to hate endings because I don't want things to end, but Shelley managed to write it in a way that all things were wrapped up in such a nice way but still left a slightly open ending, it gives you an idea of what to come. Especially if you know a little about the dynasties.
Content Warnings
Graphic: Rape, Self harm, War
Moderate: Child abuse, Homophobia, Sexual assault
adventurous
dark
emotional
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:
Complicated
I’ve had this sitting on my bookshelf since it came out but, as so often happens, having it just laying around meant it faded to the background whenever I was deciding what to read next. Not the worst case of that (there’s a lovely of Cyteen that’s been sitting on my dresser and shaming me for at least a year now), but certainly long enough for me to regret it.
The story is a direct sequel to She Who Became The Sun, a low fantasy retelling of the fall of the Yuan Dynasty and the ascension of Zhu Yuanzhang to the imperial throne – though in this universe the ‘real’ Zhu Yuanzhang died a starving peasant child, and his sister assumed his identity and his destiny of greatness, willing to do anything and everything it takes to force the world into alignment with it. The book starts with her having lost her right hand, and only gets more emphatic about making her prove it from there.
Aside from Zhu, the narration’s split between several different points of view that fill out the struggle for the future of China. The book honestly does a better job with multiple POVs than the vast majority of epic fantasy I’ve read – every one is a thematic mirror of Zhu on one level or another, and every one has an arc dedicated to the book’s twin fascinations of what it means to be willing to do anything to achieve what you want on one hand, and gender nonconformity and queerness in an intensely patriarchal traditional society on the other.
The actual plot of the story is almost episodic – Zhu encounters some new obstacle on her way to victoriously marching to the Mongol capital at Dadu that can’t be defeated with the blunt force she has available, and she and some collection of the supporting cast goes on an insane adventure to snatch victory regardless. Then every so often there’s a cutaway to Wang Baoxiang (who, among all the other POVs, is easily the one that comes closest to deuteragonist status) scheming his way through imperial court politics in Dadu in his incredibly operatic and self-degrading scheme for revenge on his dead brother. The plots start affecting each other quite early, but I’m pretty sure it’s only in the last twenty pages or so that the two of them actually meet face to face (it is in fact a minor plot point that Wang can’t recognize Zhu when he sees her). It all manages to feel like it’s capturing a whole swathe of political intrigue beyond any one person’s understanding and feel fairly well plotted and cohesive as it comes together. Not that there aren’t plenty of points where you have to just run with it and not push back at what the book’s telling you but nowhere where it’s serious or blatant enough to actually be an issue.
I’m not sure it’s a complaint per se, but one thing that did take some adjusting to is just how, melodramatic I suppose? All the POVs in the book feel very profoundly and effusively, and also have absolutely zero awareness or understanding of their own emotions. This is particularly acute with Wang and Madame Zhang, but in every case there’s just a lot of characters being driven by emotions too large to be contained within them. It kind of feels like a musical, in that respect (but absolutely no other, to be clear).
Anyways, this is a book with absolutely massive amounts of Gender in it. With like, literally one exception, every POV is to some great extent defined by struggling against their position in the gender system of medieval China, and all the issues doing so their entire lives has left them with (Zhu is far and away the most healthy and well-adjusted about this.) Importantly, being oppressed and marginalized for being a woman/effeminate man/eunuch is in no way edifying or ennobling – it’s mostly left everyone involved deeply damaged and full of coping mechanisms that serve them poorly and everyone around them far worse. There’s basically no mention of even the idea of solidarity among the oppressed here – Madame Zhang tortures, mutilates and kills her own maids and her husbands’ consorts whenever necessary, Wang operatic revenge plot involves befriending and seducing a queer prince knowing it will get him killed in the end, Ouyang hates how effeminate his body is and deals with this by becoming a pathological misogynist – even Zhu doesn’t spare much to think about the cause of woman’s liberation beyond herself and her wife. Given the state of a lot of modern genre lit I honestly found this rather refreshing.
As both cause and consequence of the choice of POVs, the book has a rather interesting relationship with normative masculinity. There’s, as far as I can tell, exactly two examples of successful heroic/virtuous normative masculinity in the book – General Zhang and the Grand Councillor of the Yuan – and despite both being really incredibly competent and fearsome on the battlefield and legitimately selfless and honorable, both end up condemned as traitors to their respective lieges (both indolent, vicious, and generally contemptible men without anything in the way of redeeming features, themselves) and dying unpleasantly after being outmanoeuvred in court intrigue. Victory in the end goes not to those who are cherished by their society but the ones who are overlooked and brutalized by it but are willing and able to do whatever it takes and use anything and everything they can to claw their way to the top despite it.
Speaking of – the overriding throughline of the story is what it means to be willing to do anything to achieve your life’s ambition. Being willing to endure pain and suffering goes without saying, and while the book does put its leads through the physical ringer, that’s not really what it’s interested in. Are you willing to spend the lives of those who trust and rely upon you? Sacrifice those you love, or ask them to die for you? Betray those who have only ever shown you kindness? Are you willing to degrade and humiliate yourself, or lie and betray your own hard-won and precarious identity? And once you’ve done all that, and finally achieved your heart’s desire – well, are you really sure it was all worth it? Three cases out of four in the book, at least, ended up regretting it in the end.
This is a book that’s very concerned with sex and sexuality but, like, very nearly exclusively in offputting or unpleasant ways. There’s something like a dozen sex scenes (okay, ‘scenes with sex in them’ is probably the less misleading description. If you come looking for porn you’ll be disappointed) in the book and of them I believe exactly one that you could characterize as enthusiastically consensual and mutually enjoyable. Maybe three, if you count the incredibly toxic relationship which boils down to asking for help dong self-harm and it turns into a sadomasochist thing. Which never becomes/is never understood as sexual by the people engaging in it but describing it is definitely the closest the book gets to erotica. In any event, just somewhat surprising to see so much sex paired with so little romance, relative to most modern stuff I’ve read. Ties into how alienated literally everyone is from their bodies, I suppose.
Also I really don’t know enough about the historical memory of the early Ming dynasty to know whether all the stuff about how Zhu knows what it’s like to be nothing and how she’ll reorder the world to care for everyone is supposed to read as really darkly ironic or not.
Content Warnings
Graphic: Ableism, Homophobia, Misogyny
Moderate: Sexual assault
adventurous
challenging
dark
tense
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
Content Warnings
Graphic: Homophobia, Misogyny, Physical abuse, Rape, Sexism, Sexual assault, Sexual violence, Torture, War
Moderate: Xenophobia
challenging
dark
emotional
tense
Vague spoilers ahead.
This book. This freaking book.
Shelley Parker-Chan masterfully mixes the queer experience with the historic backdrop in SWBTS, and this continues in new wonderful and tragic ways in the sequel. It is stunning in its prose and pacing, and so well researched. The settings are vivid, from the smells to the backdrops of pirate ships. It spits in the face of gender, and gender roles, and challanges mysgony in every breath. I was angry, I was distraught, and I was heartbroken, but it was also so strangely beautiful and hopeful, in spite of all the darkness. This is a book about power, ambition, desire, and what you would do to seize your fate.
The character arc of each of these characters is astronomical, particularly in our main protagonist, Zhu Yuanzhang. Zhu has done nothing but survive for her entire life, but in HE, we begin to see her learn the costs of her will, her pursuit of greatness. We see Zhu learn about herself, own herself and her body, and learn to accept and give love to those she cares for. We see her learn and grow, and when we finally see her wants come to fruition, it feels so right.
Ouyang is a character I have EXTREMELY complicated feelings about. General Ouyang leads a tragic life from start to finish. Ouyang's desires juxtaposed against Zhu's reveal several similarities, but I think Ouyang is Zhu if she never learned to see outside of herself. The way these two characters balance against each other? Magic. Ouyang's entire arc just hurt, hurt in a way that made me want to hug my friends closer.
Baoxiang is a can of worms that I was not expecting from this book. His melodrama and flair and just sheer toxicity were like a bomb going off. It hurt to watch, but it hurt more to look away. Baoxiang was the quiet one, the one no one saw coming. His quiet ascent was bone chilling, but his bitter-sweet downfall brought forth Zhu's merciful side beautifully. I found myself relating to him one sentence, wanting to hug him in another, and then being horrified the next.
And that ENDING. Perfect. No notes.
This book. This freaking book.
Shelley Parker-Chan masterfully mixes the queer experience with the historic backdrop in SWBTS, and this continues in new wonderful and tragic ways in the sequel. It is stunning in its prose and pacing, and so well researched. The settings are vivid, from the smells to the backdrops of pirate ships. It spits in the face of gender, and gender roles, and challanges mysgony in every breath. I was angry, I was distraught, and I was heartbroken, but it was also so strangely beautiful and hopeful, in spite of all the darkness. This is a book about power, ambition, desire, and what you would do to seize your fate.
The character arc of each of these characters is astronomical, particularly in our main protagonist, Zhu Yuanzhang. Zhu has done nothing but survive for her entire life, but in HE, we begin to see her learn the costs of her will, her pursuit of greatness. We see Zhu learn about herself, own herself and her body, and learn to accept and give love to those she cares for. We see her learn and grow, and when we finally see her wants come to fruition, it feels so right.
Ouyang is a character I have EXTREMELY complicated feelings about. General Ouyang leads a tragic life from start to finish. Ouyang's desires juxtaposed against Zhu's reveal several similarities, but I think Ouyang is Zhu if she never learned to see outside of herself. The way these two characters balance against each other? Magic. Ouyang's entire arc just hurt, hurt in a way that made me want to hug my friends closer.
Baoxiang is a can of worms that I was not expecting from this book. His melodrama and flair and just sheer toxicity were like a bomb going off. It hurt to watch, but it hurt more to look away. Baoxiang was the quiet one, the one no one saw coming. His quiet ascent was bone chilling, but his bitter-sweet downfall brought forth Zhu's merciful side beautifully. I found myself relating to him one sentence, wanting to hug him in another, and then being horrified the next.
And that ENDING. Perfect. No notes.
Content Warnings
Graphic: Child death, Death, Homophobia, Mental illness, Miscarriage, Misogyny, Physical abuse, Self harm, Sexism, Sexual violence, Slavery, Violence, Murder, Fire/Fire injury, War, Injury/Injury detail
Moderate: Deadnaming