Merrill deftly uses the standard format of romance—alternating perspectives of the two mains—to reflect the difference between Kal’s inner and outer expression, allowing her to share Kal’s perspective on modern life from his place outside of normal time and his slowly returning memories of childhood trauma well before he’s ready to speak, while also leaning into the mystical strangeness he presents to the outside.
Playful tour-bus camaraderie, casual acceptance of gay relationships, and a general aesthetic of goodwill among the members of Hush, with whom Kal and Ryan end up spending most of the book, set an overall light tone that balances the trauma work that Merrill sets as the primary challenge for the characters. Secondary characters are thoughtfully developed, even for readers who have not met them in earlier volumes: music lovers will see a lot of their joy reflected here, and plot arcs around band drama, record-label rules, and creative expression create an enjoyable ensemble story separate from the romance arc. The relationship between Ryan, his dead best friend’s witchy aunts, and the carnival feels emotionally convincing compared to the rest of the characterization, but otherwise the whole novel pulls together organically.
Takeaway: Sweet gay romance with a focus on growth after trauma and a mystic, musical touch.
Comparable Titles: Cecilia Tan’s Taking the Lead, Ella Frank and Brooke Blaine’s Halo.
Production grades
Cover: A
Design and typography: A
Illustrations: N/A
Editing: A
Marketing copy: A