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Sequel to Gideon the Ninth, this novel turns a galaxy inside out as one necromancer struggles to survive the wreckage of herself aboard the Emperor's haunted space station. Nothing is as it seems in the halls of the Emperor, and the fate of the galaxy rests on one woman's shoulders. Harrowhark Nonagesimus, last necromancer of the Ninth House, has been drafted by her Emperor to fight an unwinnable war. Side-by-side with a detested rival, Harrow must perfect her skills and become an angel of show more undeath -- but her health is failing, her sword makes her nauseous, and even her mind is threatening to betray her. Sealed in the gothic gloom of the Emperor's Mithraeum with three unfriendly teachers, hunted by the mad ghost of a murdered planet, Harrow must confront two unwelcome questions: is somebody trying to kill her? And if they succeeded, would the universe be better off? show lessTags
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Member Recommendations
Aquila Very different books except for one important point of similarity.
Aquila The experience of reading Harrow kept making me think of The Stars are Legion.
Aquila If you enjoyed trying to work out wtf was going on in Harrow you'll enjoy Children of Memory, but you probably need to read the first two books first (if you're going from Children of Memory to Harrow you definitely need to read Gideon the Ninth first).
Member Reviews
OMFG, what? I mean, whaaaaaaaat?!?!?
I hardly know how to review this, because it is by far the most compelling mindfuck I've ever fallen into, and I'm not sure if I like that? And I'm not entirely sure that I even understood all of the plotlines, but I sure as hell didn't want to put it down. Be prepared for a descent into madness, I mean, probably. Be prepared to question your own sanity/memory, after a while. Be prepared for the body-exploding, sword-fighting, necromantic lesbians to come raging back, eventually. Good luck. it's totally worth the journey.
Advanced Reader's Copy Provided by Edelweiss.
I hardly know how to review this, because it is by far the most compelling mindfuck I've ever fallen into, and I'm not sure if I like that? And I'm not entirely sure that I even understood all of the plotlines, but I sure as hell didn't want to put it down. Be prepared for a descent into madness, I mean, probably. Be prepared to question your own sanity/memory, after a while. Be prepared for the body-exploding, sword-fighting, necromantic lesbians to come raging back, eventually. Good luck. it's totally worth the journey.
Advanced Reader's Copy Provided by Edelweiss.
Rounding up to 2 stars.
75% nonsensical 2nd person prose poem
25% 3rd person action movie
100% clinically expressed bones and viscera
0% horror
0% personal investment in the characters
I'm fine with well-deployed poetry, but this wasn't. I'm fine with well-deployed 2nd person (see NK Jemison's Broken Earth series for a stellar example of how to do it right), but this wasn't. I'm even fine with well-deployed nonsensical madness. The trick is leavening it with a reliable narrator so the reader can develop some compassion for the character who thinks she's crazy -- not, ftr, stacking half a dozen more unreliable voices on top.
Which is to say, I utterly failed to care about ANYONE in this book until Gideon's extremely tardy first person arrival show more 75% in. I don't know why Gideon or Ianthe cared about Harrow; she seemed only to exist as alleged "protagonist" in order for Muir to have someone to whump, which just isn't enough to build a novel on. Even one that hides behind a self-proclaimed shield of "experimentalism." (Fun fact: it isn't experimental, but it's very 90s MFA writing program.)
I wish there had been a cycle of alternating points of view. That would have allowed a lot of room for further world-building and maintaining a focus on any. possible. shred. of plot. As well as establish stakes somewhere before the 65% mark. And maybe make me care about the non-Gideon people. That would have been good.
TLDR; it's a steaming mess of a book. OTOH, I could go for some Gideon/Ianthe enemies to friends to lovers fic for Yuletide. They could save the universe together show less
75% nonsensical 2nd person prose poem
25% 3rd person action movie
100% clinically expressed bones and viscera
0% horror
0% personal investment in the characters
I'm fine with well-deployed poetry, but this wasn't. I'm fine with well-deployed 2nd person (see NK Jemison's Broken Earth series for a stellar example of how to do it right), but this wasn't. I'm even fine with well-deployed nonsensical madness. The trick is leavening it with a reliable narrator so the reader can develop some compassion for the character who thinks she's crazy -- not, ftr, stacking half a dozen more unreliable voices on top.
Which is to say, I utterly failed to care about ANYONE in this book until Gideon's extremely tardy first person arrival show more 75% in. I don't know why Gideon or Ianthe cared about Harrow; she seemed only to exist as alleged "protagonist" in order for Muir to have someone to whump, which just isn't enough to build a novel on. Even one that hides behind a self-proclaimed shield of "experimentalism." (Fun fact: it isn't experimental, but it's very 90s MFA writing program.)
I wish there had been a cycle of alternating points of view. That would have allowed a lot of room for further world-building and maintaining a focus on any. possible. shred. of plot. As well as establish stakes somewhere before the 65% mark. And maybe make me care about the non-Gideon people. That would have been good.
TLDR; it's a steaming mess of a book. OTOH, I could go for some Gideon/Ianthe enemies to friends to lovers fic for Yuletide. They could save the universe together show less
There is basically nothing I can say about 'Harrow the Ninth' without spoiling it. If you haven't read it, this is all you need to know: I found it an entirely satisfying sequel to [b:Gideon the Ninth|42036538|Gideon the Ninth (The Locked Tomb, #1)|Tamsyn Muir|https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/books/1546870952l/42036538._SY75_.jpg|60943229] and an enormously enjoyable novel in its own right. Both books have been particular highlights of my lockdown reading. Give them a try, but don't even think about reading this review first.
At first, I didn't think I'd enjoy 'Harrow the Ninth' as much as [b:Gideon the Ninth|42036538|Gideon the Ninth (The Locked Tomb, #1)|Tamsyn show more Muir|https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/books/1546870952l/42036538._SY75_.jpg|60943229], as it dispensed with two of my favourite things about the latter: Gideon's hilarious point of view and the crumbling castle of skeletons. Instead, the reader finds themself in space with Harrowhark, as she's become a Lyctor and Gideon is dead. With incredible gall, Muir does not even mention Gideon's name for THREE HUNDRED AND EIGHTY PAGES. I am absolutely in awe of this. While the first book revolved around a mystery that characters were involved in, this one places the reader in a double Harrow point of view that makes the narration itself an intriguing mystery. Chapters following her in third and second person alternate, seemingly showing different times and contradictory events that Gideon has been edited out of. My curiosity about this rose to fever pitch, therefore I read the whole book in just over 24 hours. The audacity of the resolution delighted me, especially as it was preceded by several alternate universes delightfully inflected with fanfiction tropes. In order to preserve Gideon's soul, Harrow gave herself brain damage to edit Gideon out of her memories. As you do. When Gideon returns in Harrow's body, her inimitable wit is all the more enjoyable after four hundred pages of anticipation. While Gideon sword-fights monster wasps, Harrow is busy in the afterlife having important discussions with ghosts.
Although Gideon's return is very satisfying, Harrow's prior adventures as a Lyctor (not a doctor, spellcheck) were likewise excellent. While Harrow might not have Gideon's sardonic mien, she's a fantastic character. I also find her general physical flimsiness, which everyone comments on, very relatable. She joins God in his space station and is trained by one of his immortal Saints to be a Lyctor, while another of them repeatedly tries to murder her. Her fellow trainee Ianthe, a third ancient Lyctor, and a corpse round out the dysfunctional household. The dynamics between this lot are amazingly melodramatic and highly entertaining. The first two-thirds of the book include a lot of world-building and character development details that neatly set up the action- and plot-heavy final third. Harrow initially wrestles insanity, bickers with Ianthe, and explores the River, a sort of afterlife where dead souls hang about angrily. It becomes increasingly clear that God (aka the Undying Emperor) and his regime are appallingly evil; perhaps all the necromancy should have been a clue. He sends his Lyctors to destroy all life on various planets, as part of his ongoing conflict with vast implacable ghost monsters. The latter are described in a way that made me laugh out loud:
In fact, I laughed many times during 'Harrow the Ninth', as the intensely gothic, grim, and gory happenings are constantly leavened by sarcastic comments, moments of complete farce, and references to memes ("none Houses, with left grief" and "jail for Mother" stood out). Harrow's recurring primness was a delight, particularly her horror when two Lyctors distracted God by getting him drunk and initiating a threesome. I also loved her assassination soup, displeasure at being given a makeover, and the letters written by her past self. Of course, when I got to the end and realised that Harrow and Gideon did not interact even once throughout the entire book, I emitted a small inarticulate sound. I cannot wait for more glorious necromantic nonsense in [b:Alecto the Ninth|39325106|Alecto the Ninth (The Locked Tomb, #4)|Tamsyn Muir|https://s.gr-assets.com/assets/nophoto/book/50x75-a91bf249278a81aabab721ef782c4a74.png|60943284], when I can only hope they will argue bitterly yet lovingly once more. Tamsyn Muir is a genius for combining black magic, lesbians, comedy, and space opera with just a whole lot of bones.
EDIT 10/09/22
I re-read this and the short story As Yet Unsent in preparation for [b:Nona the Ninth|58662507|Nona the Ninth (The Locked Tomb, #3)|Tamsyn Muir|https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/books/1643298298l/58662507._SY75_.jpg|92285474]. [b:Harrow the Ninth|39325105|Harrow the Ninth (The Locked Tomb, #2)|Tamsyn Muir|https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/books/1602323622l/39325105._SY75_.jpg|60943273] is an absolute joy from beginning to end. I loved it as much if not more the second time around, with knowledge of what was going to happen. It was delightful to spot clues and more of the meme references than I managed before. Absolute brilliance. I await Nona with the following questions:
- Who is in Gideon's body? (Nona?)
- Who is in Harrow's body? (Still Gideon?)
- Is Harrow in Alecto's body?
- What the fuck is Ianthe doing?
- Is Commander Awake alive, a ghost/revenant, or gone?
- Who is Nona?
I'm very excited to not get answers to most of these until the last ten pages of [b:Nona the Ninth|58662507|Nona the Ninth (The Locked Tomb, #3)|Tamsyn Muir|https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/books/1643298298l/58662507._SY75_.jpg|92285474], if then. There's nothing like this series and whatever I read straight afterwards always feels a bit flat by comparison. show less
Although Gideon's return is very satisfying, Harrow's prior adventures as a Lyctor (not a doctor, spellcheck) were likewise excellent. While Harrow might not have Gideon's sardonic mien, she's a fantastic character. I also find her general physical flimsiness, which everyone comments on, very relatable. She joins God in his space station and is trained by one of his immortal Saints to be a Lyctor, while another of them repeatedly tries to murder her. Her fellow trainee Ianthe, a third ancient Lyctor, and a corpse round out the dysfunctional household. The dynamics between this lot are amazingly melodramatic and highly entertaining. The first two-thirds of the book include a lot of world-building and character development details that neatly set up the action- and plot-heavy final third. Harrow initially wrestles insanity, bickers with Ianthe, and explores the River, a sort of afterlife where dead souls hang about angrily. It becomes increasingly clear that God (aka the Undying Emperor) and his regime are appallingly evil; perhaps all the necromancy should have been a clue. He sends his Lyctors to destroy all life on various planets, as part of his ongoing conflict with vast implacable ghost monsters. The latter are described in a way that made me laugh out loud:
"Each Beast is different. I have fought numerous now, and each Beast is quite unlike any other... Number Two spewed quicksilver and remade itself into hundred-foot spikes. Number Six kept sucking us into enormous sphincters and spraying us with worms. I cannot even remember what it looked like. I remember Number Four... it was a humanoid creature with a beautiful face who held me under the water, and it spoke in a lovely voice but it only repeated, die, die - and I recall Number One as a great and incoherent machine... when I saw it I thought it had a great tail, and a thousand pillars on its back, but Cassiopeia saw it as a mechanical monster with swords for wings, and great horns of myelin, tessellated over with graves."
It was the Saint of Duty who said restlessly: "Number Eight was a giant head."
"Finned like a fish," said Augustine, lost in reverie. "Its ribs were bloody bandages, and its teeth protruded through its own skull, tangled about its face like a nest. It was red, and it had a single eye of green that moved all about the body... Look," he said, coming back to himself, perhaps seeing something in your and Ianthe's expressions. "They're not great, is what we're saying."
In fact, I laughed many times during 'Harrow the Ninth', as the intensely gothic, grim, and gory happenings are constantly leavened by sarcastic comments, moments of complete farce, and references to memes ("none Houses, with left grief" and "jail for Mother" stood out). Harrow's recurring primness was a delight, particularly her horror when two Lyctors distracted God by getting him drunk and initiating a threesome. I also loved her assassination soup, displeasure at being given a makeover, and the letters written by her past self. Of course, when I got to the end and realised that Harrow and Gideon did not interact even once throughout the entire book, I emitted a small inarticulate sound. I cannot wait for more glorious necromantic nonsense in [b:Alecto the Ninth|39325106|Alecto the Ninth (The Locked Tomb, #4)|Tamsyn Muir|https://s.gr-assets.com/assets/nophoto/book/50x75-a91bf249278a81aabab721ef782c4a74.png|60943284], when I can only hope they will argue bitterly yet lovingly once more.
EDIT 10/09/22
I re-read this and the short story As Yet Unsent in preparation for [b:Nona the Ninth|58662507|Nona the Ninth (The Locked Tomb, #3)|Tamsyn Muir|https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/books/1643298298l/58662507._SY75_.jpg|92285474]. [b:Harrow the Ninth|39325105|Harrow the Ninth (The Locked Tomb, #2)|Tamsyn Muir|https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/books/1602323622l/39325105._SY75_.jpg|60943273] is an absolute joy from beginning to end. I loved it as much if not more the second time around, with knowledge of what was going to happen. It was delightful to spot clues and more of the meme references than I managed before. Absolute brilliance. I await Nona with the following questions:
- Who is in Gideon's body? (Nona?)
- Who is in Harrow's body? (Still Gideon?)
- Is Harrow in Alecto's body?
- What the fuck is Ianthe doing?
- Is Commander Awake alive, a ghost/revenant, or gone?
- Who is Nona?
I'm very excited to not get answers to most of these until the last ten pages of [b:Nona the Ninth|58662507|Nona the Ninth (The Locked Tomb, #3)|Tamsyn Muir|https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/books/1643298298l/58662507._SY75_.jpg|92285474], if then. There's nothing like this series and whatever I read straight afterwards always feels a bit flat by comparison. show less
More than halfway through Harrow and I was ready to give the book three stars. Harrow follows directly from where Gideon ended, but is written very differently. Most of the book takes place on a space station, the Seat of the Emperor. There are only six people there: The Emperor, Harrow, Ianthe, and the Emperor’s three remaining Lyctors, Mercymorn, Augustine and Ortus. However, there is something wrong with Harrow; making her an “unreliable” narrator who is blindly following instructions she has left for herself, written in her own hand. I’m not the biggest fan of narration by possibly insane characters, but it was an even bigger struggle here because Muir chose to write nearly all the book in second person point of view. I show more completely understand why she chose to do so – the style suits the story being told. I still hate it. It’s an awkward POV and makes it easy to forget who the events are happening to. The waters are muddied further by the fact that some alternating chapters go back to the events of the first book, but those events are now different. I figured out quickly what was happening, so it felt like a lot of time – too much time – was spent unnecessarily “rewriting” history until the big reveal of why Harrow came to be like she is. The plot did not advance for far too long.
Nevertheless, I read the book almost straight through because of the worldbuilding. Readers get a bit about the Great Resurrection through which the Emperor saved humanity, much more information about the planet revenants that are hunting the Emperor and a whole lot on necromancy. I enjoyed how Muir’s necromancy is treated more like a science, with expertise in various disciplines (bone magic, flesh magic, spirit, etc.) I like the new Lyctors. And frankly, I absolutely loved the Emperor Undying/God. He is fascinating and his interactions with Harrow and the rest of the characters are the highlight of the book.
The book jumped from three stars to five solely because of the last third (and that scene with the soup, OMG!). When Muir begins to tie all the threads together, when the plot against the Emperor is revealed, when we see what Harrow set in motion, who is in the Locked Tomb – I could not put the book down. The conclusion, while something of a cliffhanger, was excellent. I still feel too much time was spent on Harrow’s “madness”, but the story toward the end fulfilled the potential of book one so that I cannot wait for the finale, and more of John. show less
Nevertheless, I read the book almost straight through because of the worldbuilding. Readers get a bit about the Great Resurrection through which the Emperor saved humanity, much more information about the planet revenants that are hunting the Emperor and a whole lot on necromancy. I enjoyed how Muir’s necromancy is treated more like a science, with expertise in various disciplines (bone magic, flesh magic, spirit, etc.) I like the new Lyctors. And frankly, I absolutely loved the Emperor Undying/God. He is fascinating and his interactions with Harrow and the rest of the characters are the highlight of the book.
The book jumped from three stars to five solely because of the last third (and that scene with the soup, OMG!). When Muir begins to tie all the threads together, when the plot against the Emperor is revealed, when we see what Harrow set in motion, who is in the Locked Tomb – I could not put the book down. The conclusion, while something of a cliffhanger, was excellent. I still feel too much time was spent on Harrow’s “madness”, but the story toward the end fulfilled the potential of book one so that I cannot wait for the finale, and more of John. show less
Galactic goth space fantasy - the Emperor is trying to train up a few new lictors while a hiedous beast created from a murdered planet hunts them. One of them isn't a proper lictor, is having memories that do not match volume one, and one of the other, older, lictors is trying to murder her. A clever, violent, gothy, tricksy puzzle box of a narrative that pays off in terms of plot, character and world-building at the end, and it's drenched in atmosphere and spectacularly gory.
On relisten - what an ambitious and daring headwrecker of a sequel.
On relisten - what an ambitious and daring headwrecker of a sequel.
I thought Gideon the Ninth was insanity in a book, but then I read Harrow the Ninth by Tamsyn Muir. Really, this series should simply fall apart with everything that occurs, but it is like watching any sort of racing event wherein you secretly want all the crashes and accidents. Not only does Ms. Muir prove me wrong about just how crazy a story can get, but she also leaves me wanting even more of it.
In Harrow the Ninth, we have more of everything. There is more space, more ghosts, more necromancy, more bones, more danger, more characters, and infinitely more questions. In addition, we also have immortals, ghosts of dead planets, a mysterious enemy other than the dead planet ghosts, and a missing significant character. Nothing really show more makes sense, and you begin to wonder if reading the story is making you mad alongside Harrow.
The ending throws so much new information at you that you can only sit back and hope you absorb half of it. Honestly, after talking to others who already read Harrow the Ninth, I don't think any reader truly understands what happens or the new information we receive. What's more, because there is a universal lack of understanding, everyone's interpretation of the information greatly differs. It does make for some pretty interesting discussions, so that's a plus.
What makes Harrow the Ninth and its predecessor work is the writing. Simply, Ms. Muir is a genius. Her sentences are poetic but simple. Even better, she hides little joke nuggets in the simplest of dialogue, which enhances a scene to perfection. Added to that, her characters are so real as to be mundane. For example, the entire trilogy orbits around God, who just happens to be named John and acts as human as Harrow. No lofty naming convention for the immortal characters here and certainly no behavioral changes for immortals.
Harrow the Ninth starts out as the first novel's complete opposite in pretty much everything. Tonally, the story is darker. Harrow flits between second-person and first-person narrative, both of which show she does not have Gideon's flair for the dramatic or sarcasm. Plus, Harrow's memories of what occurred at Canaan House in the first book differ greatly from the book you actually read. Much like within that first book, all you can do is go with it. Doing so means you get to enjoy Ms. Muir's fabulous writing, which in itself is a reason to read this bizarrely fun story. show less
In Harrow the Ninth, we have more of everything. There is more space, more ghosts, more necromancy, more bones, more danger, more characters, and infinitely more questions. In addition, we also have immortals, ghosts of dead planets, a mysterious enemy other than the dead planet ghosts, and a missing significant character. Nothing really show more makes sense, and you begin to wonder if reading the story is making you mad alongside Harrow.
The ending throws so much new information at you that you can only sit back and hope you absorb half of it. Honestly, after talking to others who already read Harrow the Ninth, I don't think any reader truly understands what happens or the new information we receive. What's more, because there is a universal lack of understanding, everyone's interpretation of the information greatly differs. It does make for some pretty interesting discussions, so that's a plus.
What makes Harrow the Ninth and its predecessor work is the writing. Simply, Ms. Muir is a genius. Her sentences are poetic but simple. Even better, she hides little joke nuggets in the simplest of dialogue, which enhances a scene to perfection. Added to that, her characters are so real as to be mundane. For example, the entire trilogy orbits around God, who just happens to be named John and acts as human as Harrow. No lofty naming convention for the immortal characters here and certainly no behavioral changes for immortals.
Harrow the Ninth starts out as the first novel's complete opposite in pretty much everything. Tonally, the story is darker. Harrow flits between second-person and first-person narrative, both of which show she does not have Gideon's flair for the dramatic or sarcasm. Plus, Harrow's memories of what occurred at Canaan House in the first book differ greatly from the book you actually read. Much like within that first book, all you can do is go with it. Doing so means you get to enjoy Ms. Muir's fabulous writing, which in itself is a reason to read this bizarrely fun story. show less
If the first book in this trilogy was something of a hot mess, but fascinating and over the top for all that, the second book is even more of a mess. This is, for much of the story, since everyone's favorite teenage necromancer is in a world of mental disassociation as a result of the events of the first book. Whatever else this story slams home is just how young our main character is, and how callow. The other thing this book slams home is all the bad faith and moral cut corners that this empire is built upon, crimes that have blow back from the cosmic level to the personal, and those choices are really going to detonate in the last third of this book. While I do feel that the first book is the better reading experience, I am left with show more a damn, WTF, kind of feeling, and the knowledge that Muir has felt the need to turn this exercise into a quartet does leave me feeling a bit frustrated.
As an aside, in the afterword, Muir gives a shout out to all the medical caseworkers who fed her anti-psychotic drugs, whether she wanted them or not. Muir apparently has hard experience with mental illness that she has filtered into this novel. Some readers seemed to resent this confessional aspect. I did not. show less
As an aside, in the afterword, Muir gives a shout out to all the medical caseworkers who fed her anti-psychotic drugs, whether she wanted them or not. Muir apparently has hard experience with mental illness that she has filtered into this novel. Some readers seemed to resent this confessional aspect. I did not. show less
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- Canonical title
- Harrow the Ninth
- Original publication date
- 2020-08-04
- People/Characters
- Harrowhark Nonagesimus; The Emperor Undying; Ianthe Tridentarius (Ianthe the First); Augustine the First; Mercymorn the First; Ortus the First (show all 13); Ortus Nigenad; Abigail Pent; Magnus Quinn; Palamedes Sextus; Camilla Hect; Dulcinea Septimus; Gideon Nav
- Epigraph
- One for the Emperor, first of us all;
One for his Lyctors, who answered the call;
One for his Saints, who were chosen of old;
One for his Hands, and the swords that they hold. - Dedication
- for Isa Yap,
who understood Harrow too well,
and without whom so much of me would not have happened
and
for pT - First words
- Your room had long ago plunged into near-complete darkenss, leaving no distraction from the great rocking thump-thump-thump of body after body flining iteself onto the great mass already coating the hull.
- Last words
- (Click to show. Warning: May contain spoilers.)"Not yet," said Camilla.
- Publisher's editor
- Engle-Laird, Carl
- Blurbers
- Schwab, V. E.; Ellis, Warren; Harrow, Alix E.; White, Kiersten; Stross, Charles
- Original language
- English
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- 110
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- (4.13)
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