*Steelstriker is the conclusion to Lu’s Skyhunter duology. Start at the beginning with Skyhunter to avoid spoilers.*
Six months after the fall of Mara, the Karensa Federation works mercilessly to absorb the formerly free nation into its sprawling empire. Mara’s artifacts are carted to Federation museums and sculpture gardens, their heritage erased. Prisoners await execution or transformation into Ghosts–the hideous monsters the Federation uses so effectively against both its enemies and its subjects.
Talin Kanami watches helplessly. Once an elite Striker, Talin and her friends tried to stop the Federation’s invasion but they were too late. Now Talin stands at the Premier’s side as a Skyhunter–a human turned war machine with lethal strength and steel wings. Talin is the Premier’s unspoken threat against all who would defy him. She is also his hostage; her good behavior ensuring her captive mother’s continued survival until Talin’s transformation is complete and the Premier controls her completely.
Red escaped the Federation once, his desperate flight bringing him to Mara and to Talin. Her hope made him believe things could change. But now watching another invasion, his wings damaged in battle, the first Skyhunter knows he will need more than rage and regret to help his new friends–especially Talin in Steelstriker (2021) by Marie Lu.
Steelstriker is the conclusion to Lu’s Skyhunter duology. Start at the beginning with Skyhunter to avoid spoilers.
Chapters alternate between Talin and Red’s first person narrations as the protagonists try to find their way back to each other and continue fighting the Federation. The strong link they shared in book one is weaker now as Talin struggles to contain her emotions before the Premier can use them against her. Isolated and worried about each other, this leads to repetition in the story as both Talin and Red wonder what has become of the other.
Seeds of rebellion and resistance spark action in this story which expands the sophisticated and nuanced world building from book one. Questions of who is fit to run a nation and how power is bestowed add further depth to the book’s political landscape while references to Talin’s tortuous transformation (which occurred between books) remind readers how very dangerous and cruel the Federation can be. As the Premier tries to harness (presumably nuclear) technology from the Early Ones, it becomes clear that sometimes mistakes are doomed to repeat.
Lu once again delves into the brutality of war and invasion as Talin–whose vocal chords were damaged in the invasion of her birthplace, Basea–and Red–who was recruited by the Federation as a child soldier–both reflect on what has brought them to this point. Steelstriker fast-paced and brutal but ultimately a satisfying conclusion to a strong dystopian duology.
Possible Pairings: The Scorpion Rules by Erin Bow, Defy the Stars by Claudia Gray, Birthmarked by Caragh M. O’Brien, War Girls by Tochi Onyebuchi, The Kiss of Deception by Mary E. Pearson, Scythe by Neal Shusterman, Uglies by Scott Westerfeld
*A more condensed version of this review appeared as a review in an issue of School Library Journal*
The mystery aspect is handled well here. Although it was possible to guess the ending early on, the pieces of the puzzle still twisted in a direction that was difficult to anticipate. Although the plot meanders with Becca’s doubts and fears, the story is generally solid.
The chapters about Amelia are particularly well-done as they illustrate Amelia’s growth as she comes into her own before her life is cut tragically short. Amelia Anne is Dead and Gone is a frank and unflinching story. Both Becca and Amelia do not shy away from talking about sex or other topics in their narratives. That said, it would have been nice to have a little more context when Amelia talks to her boyfriend about rougher behavior (Specifically she says to him: “Haven’t you ever thought about grabbing me from behind and throwing me against the wall? Just taking what you wanted?”). After the topic is initially raised there is not, unfortunately, any talk of consent and instead the chapter ends abruptly with no further discussion.
Unfortunately there isn’t much sense of character here. The only person readers really know is Amelia while Becca feels more like a convenient frame for a mystery that wouldn’t flesh out into a full novel. Becca rarely comes across as truly real and Amelia’s chapters stretch the limits of an omniscient narrator when combined with the first person structure of the rest of the novel. The secondary characters are painted with sharp vignettes that remain closer to caricature than actual characterization.
The narrative voice never quite works with many different tones competing in one slim book. In addition to Becca’s first-person musings there are also third-person chapters about Amelia. In addition, Becca’s narrative often goes off on tangents about the hive mind of small towns and the “we” mentality that often develops as a result. These “we” passages feel lofty.
While this was an interesting story about cause and effect and the lingering impact of consequences it still feels more like a literary exercise than a mystery novel. Amelia Anne is Dead and Gone is, however, undoubtedly well-written and demonstrates that Rosenfield is an author to watch.