Rating: 90% | A- | ★★★★★ Warnings: + Violence Synopsis (from Goodreads): On the eve of eighteen-year-old Lady Helen Wrexhall’s presentation to the queen, one of her family’s housemaids disappears-and Helen is drawn into the shadows of Regency London. There, she meets Lord Carlston, one of the few who can stop the perpetrators: a cabal of demons infiltrating every level of society. Dare she ask for his help, when his reputation is almost as black as his lingering eyes? And will her intelligence and headstrong curiosity wind up leading them into a death trap? Spoiler-Free Section: The Lady Helen Trilogy epitomizes YA historical fantasy romance. Like the His Fair Assassin Trilogy, the Lady Helen Trilogy is bolstered by its in-depth historical research, period-appropriate language, and outstanding world-building. Goodman take it upon herself to both recreate Georgian England and create her own magical world. Helen is a strong, admirable protagonist. Her headstrong attitude not only makes her a formidable opponent of the demons that she is enlisted to fight, but also the perfect person to speak out against the sexist double standards of Georgian England. However, Helen isn't perfect, and Goodman makes that clear. She is impatient and impulsive, and yet that makes her all the more endearing. Helen is also framed by an impressive—if a little static—cast of supporting characters: the mysterious Lord Carleston, the charming Duke of Selden, and the supportive brother-sister duo Lady Margaret and Hammond. The only complaint I have about the trilogy is its pacing. The trend among all three novels is a slow build-up at the beginning, and a fast acceleration towards a thrilling ending, which can make the overall story feel very off-kilter. Often the action (the demon-hunting) is interrupted by mundane (though historically accurate) activities, such as shopping for gowns and dining accoutrements. Ultimately, the Lady Helen Trilogy is a worthwhile read for anyone who enjoys historical fiction and acolytes of the Jane Austen School of Romancing While Not Being Allowed to Stand Too Close to One Another. (Click "Read More" for spoilers.) (All point values are averaged between the three books and may not add exactly to 100.)
Plot (23.3/30) Beginning (7/10) Plot is the weakest part of the trilogy, and the beginnings of all three books are fairly weak. While Goodman's writing attempts to cut through the tedium of Regency England's frivolous social customs, the expository scenes at the start of each novel still drag on. I also found that the period-appropriate language—though it immersed me completely—elongated the pace of certain scenes. Middle (7/10) The middle of each novel is also rather slow. As I read, I felt as though each book was a delayed train—chugging forward a few seconds before falling back. Goodman gives the reader a full recap of what occurred in previous novels, which is beneficial for readers who allow a bit of time to elapse before picking up the next book but also makes the pace of the story drag on even more. Helen spends much of the middle third of each novel training compared to Lord Carlston and Mr. Quinn, who seem to be actively searching through London for the Grand Deceiver. End (8.3/10) The first two books receive 8s; the last book receives a 9. The endings of each Lady Helen book are the strongest. It is only during the last third of each book that the plot begins to thicken in earnest and the pace picks up. Goodman ends each book with sufficient suspense, leaving the reader eager to pick up the next one. The last book in particular has a higher rating because of how neatly Goodman concludes the series. Though I find the grand reveal of the Duke of Selburn as the Grand Deceiver a little anticlimactic, I enjoy seeing Helen and Carlston resolve to build a life together, as well as the Duke's brother and his wife growing closer. It is one of the neatest and sweetest endings to a trilogy I have read in a while. Characters (28/30) Development (14.3/15) The first book receives a 13; the second and third books receive 15s. Goodman's writing (as it pertains to character development) sharpens in the second and third book. The first book is exposition-heavy, and I find that her period-appropriate language also poses an obstacle to adequate character development. 21st-century readers are accustomed to their characters being able to shout profanities to express anger, for instance; Regency-era characters certainly cannot do that. Goodman's strict conformity to Regency-era etiquette (which, again, I admire greatly) subdues some of her characters' emotions in the first novel. As the characters grow and develop through the series, however, their emotions become more pronounced and the reader acclimates to the subtleties of the era. Lure (13.6/15) The first book receives a 15; the second and third books receive 13s. After the initial cast of characters is introduced in book one, the remaining characters all fall flat. However, all of the main characters are well-rounded and three-dimensional; even Carlston, who is no longer strictly "enigmatic" after the first book, retains characteristics that make him affable and interesting to the reader. Writing (20/20) Descriptions (10/10), Flow & Worldbuilding (10/10) Writing is a 20/20 across the board for all three books. I admire Goodman's ability to create a world that is not only structurally sound in its own originality, but also conforms to the historical time period. Like Robin LeFever's His Fair Assassin series (which I have also reviewed in the past), the era-accurate dialogue and general linguistic cadence is what sets this series apart from other historical fiction-fantasy books. Closure/Set-Up (19.3/20) Logic (9.3/10) and Closure (10/10) Books one and two received full scores for both subcategories; book three received a 9/10 for logic. The ending of the last book troubles me because it is too neat. After spending three books searching for the Grand Deceiver, Helen and Carlston are able to defeat him in one chapter . . . that does not sit right with me. In general, however, Goodman has a good idea of where and how to end each story arc in each book, always leaving the reader wanting more.
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