“In an original world reminiscent of Edwardian England in the shadow of a World War, cabals of noble families use their unique magical gifts to control the fates of nations, while one young man seeks only to live a life of his own.
Magic marked Miles Singer for suffering the day he was born, doomed either to be enslaved to his family’s interest or to be committed to a witches’ asylum. He went to war to escape his destiny and came home a different man, but he couldn’t leave his past behind. The war between Aeland and Laneer leaves men changed, strangers to their friends and family, but even after faking his own death and reinventing himself as a doctor at a cash-strapped veterans’ hospital, Miles can’t hide what he truly is.
When a fatally poisoned patient exposes Miles’ healing gift and his witchmark, he must put his anonymity and freedom at risk to investigate his patient’s murder. To find the truth he’ll need to rely on the family he despises, and on the kindness of the most gorgeous man he’s ever seen.”
If Witchmark is about sparking the revolution then Stormsong is about what comes next. Audre Lorde once said “For the master’s tools will never dismantle the master’s house. They may allow us temporarily to beat him at his own game, but they will never enable us to bring about genuine change.” Although she was speaking about women who refused to make room for intersectional feminism, the sentiment also applies to the running theme of Stormsong. In the first book, Polk asks the hard questions and in the second she answers. There are many who don’t like the questions and reject the answers, but we can’t expect the future to be better without examining the past and present…
To read the rest of my review, head over to Tor.com.
Thanks to the publisher for sending me a review copy.