“So. Magic. It is the loneliest thing in the world.”
In the suburbs, right now Ivy is ready for summer–even one that starts with a breakup (hers) and a broken nose (not hers). Ivy feels like strange things always happen around her, like she’s always waiting. But she’s never sure what for. She’s even less sure when strange things start happening around her house. First there’s the dead rabbit on the driveway. There’s the open door she knows she locked. Then there are the cookies, each with one perfect bite taken out while she’s home alone.
In another life, Ivy might talk to her mom Dana about what’s happening. But it’s been a long time since Ivy and her mom have been able to discuss anything. It’s been a long time since her mom has even looked at her, since she’s been anything close to present for the family.
Back then, in the city Dana is waiting for things to start. She’s always been perceptive, some might call it uncanny. She had to be to survive her childhood. Back then, the summer she turns sixteen, Dana realizes she might be able to be more than uncanny. With help from her best friend Fee and a striving newcomer, they could all be magic.
In another life, Dana might have seen the risks and understood the costs before it was too late. She doesn’t.
Instead Dana’s choices here in the city will have lasting consequences leaving a mark on her and on Fee and, most of all, on Ivy who will be left alone to unravel her mother’s secrets and the havoc left in their wake in Our Crooked Hearts (2022) by Melissa Albert.
Our Crooked Hearts is a stark urban fantasy where magic doesn’t come without a cost. Ivy and Dana are white, Dana’s best friend Fee is Latinx. The story alternates between Ivy’s narration (in the suburbs, right now) and Dana’s narration (in the city, back then) in Chicago and its suburbs.
Although the plot highlights their fractious relationship, Ivy and Dana follow similar character arcs in spite of their different trajectories. Both girls are brittle and filled with an abrasive vulnerability as they struggle to understand their place in a world that never feels like it fits–a theme that gains potency as more of their backstories are revealed. This dual storyline is used to great effect with each plot moving toward its inevitable and potentially painful conclusion.
It’s impossible to read any book now without considering the mental landscape where it germinated, particularly in the context of the global pandemic. Both Ivy and Dana struggle with isolation as they flirt with power in a literal (magical) sense and in relation to their own agency as teenage girls. These struggles can easily be writ large and applied to so many of the changes we have all had to make because of the pandemic. One quote in particular, “I could still observe the shock of it, the impossibility, but I’d run out of the energy to feel them.” encapsulates living and working through the pandemic so clearly–especially the burnout and stress and increasingly bleak current events.
Both narratives are imbued with a noir sensibility and a keen eye for detail that lead to observations like “It was one of those raw, unjust spring afternoons when the air is so bright and clean it focuses the whole world like a lens, but it’s cold still and you’re shivering.” Albert blends fantasy and horror elements into a tense story that feels like it could happen anywhere, to anyone, while also possessing a strong sense of immediacy that makes it impossible to turn away.
Our Crooked Hearts is a magic-filled, intergenerational story with all of the edges sharpened into razors; a dangerous fantasy with an eerie stepped-out-of-time otherness.
Possible Pairings: Book of Night by Holly Black, The Scapegracers by Hannah Abigail Clarke, Practical Magic by Alice Hoffman, Mayhem by Estelle Laure, Extasia by Claire Legrand, Tigers, Not Daughters by Samantha Mabry, Angel Mage by Garth Nix, Never-Contented Things by Sarah Porter, A Room Away From the Wolves by Nova Ren Suma, House of Hollow by Krystal Sutherland, The Insomniacs by Marit Weisenberg
*An advance copy of this title was provided by the publisher for review consideration*