Kirkus Review

Seventeen-year-old Joan Sands faces off in new fights with the Fae in this sequel to 2023's That Self-Same Metal. Joan's godfather, Baba Ben, is still locked away in the Tower of London, so it's Joan's job as one blessed by the Orisha Ogun to protect their people with her power to manipulate metals. Fae creatures that feast on the bones and blood of humans are growing bolder and stronger now that the Pact forged to keep them in their own realm has been broken. Since iron is the only defense against Fae folks, Joan's gift is critical in the fight against them. But Titanea, queen of the Fae, has risen from the ashes of an explosion that killed England's real queen, Anne, and she now sits on the throne, having assumed Anne's identity. Titanea keeps Joan close by, appointing her as one of her ladies-in-waiting, which interrupts the Sands' plot to restore the Pact. When more tragedy strikes, Joan, her family, and her friends are forced to engage in open warfare with the Fae. The gory outcome is a feast for the senses. Williams' narrative steadily focuses on the journey of a Black girl in 17th-century England who's finding her place in an upturned world, and she masterfully emphasizes family bonds and community care as critical to the allies' small but mighty collective. As various characters continue to explore queerness and polyamory, consent and honesty show up beautifully. A shining, expansive sequel. (map, dramatis personae, historical notes, cultural note) (Fantasy. 13-18) Copyright (c) Kirkus Reviews, used with permission.