The first aspect of this book that snags the attention has to be the impeccable storytelling. S. A. Chakraborty’s book one of the Daevabad trilogy is an example of world-building at its best. The plot and the questions this book raise, aren’t really unique but the undeniably distinct setting of the novel is sure to draw you into the story within the first few pages.

If you’re new here, we don’t believe in spoiler-free reviews so read on at your own risk.

The question of the chosen being blessed or cursed in an interesting aspect that the novel deals with. It’s very middle-eastern setting of Egypt, Sahara and the mysterious city of Daevabad paints a dazzling picture. The book is devoid of long descriptive passages. There is always action or intrigue or sharp-witter exchange of dialogues.

The City of Brass being the first installment of the series is actually a great opener with allusions to backstories and introductions to characters. Interestingly, I liked the first book better than the sequels.

Nahri, a ragged thief and con artist in Cairo realizes her powers when she accidentally calls a djinn to her, Dara. He protects her but insists on dragging her back to where she supposedly came from. There is an allusion to a great war and Dara is a war criminal with thousand of deaths on his hand. He is frustratingly secretive and the first few chapters are a confusing blur mostly led by Nahri’s monologues and non-stop action.

This wainscot fantasy explores the different worlds within the same and arbitrary differences between human races and the magical ones. The power of words is delved into with racial slurs and their effects on the characters. It maintains a strong social commentary on the divided society where nobody really belongs.

Nahri is now tasked with reviving a culture that was almost lost, as she is revealed to be the last of her line with healing abilities. She is the last of the previous ruler’s bloodline, now in the palms of the new and cruel ruler of Daevabad. Nahri negotiates her identities, upbringing, responsibilities and relationship dynamics as she is thrust into this strange but strangely familiar world of kings and princes and magic.

The logic of Dara bringing Nahri to Daevabad alone without first judging how she would be received and actually showing up in front of the new king is lost on me. But the powerful confrontational scenes and very subtle romance, more than makes up for this little hole in the plot.

Slavery and cost of freedom takes up a big portion of the book. Possessing the power to change the world for the better and actually being able to change it are two different things, a reminder that is ever-present throughout this book. The conflicted hearts of the characters lend them depth and it is indeed beautiful characterization of them by the author.

And then everything goes to hell. The author makes sure that the readers understand that this is no fairytale. The readers know that there’s salvation ahead, but it still remains disappointing how close everything was to perfection if only Nahri’s plan had worked and Dara had some brains. The plot takes a classic Othello turn.

The depth of conspiracy deepens as the plot progresses and blood ties are emphasized upon greatly to uphold tradition and sometimes extract revenge. The world-building that begins in this book is just perfectly incomplete, leaving the mysteries concealed for the sequels. A lot of the event of the current plot links back to an almost unknown past which has many versions depending on who tells the story. Ironically, the truth when it comes, becomes too costly.

Trade, politics and power struggle are at the core of this plot, reminiscent of Sabaa Tahir’s works. Real chaos ensues when one ignorant girl gets her hands on superior powers and men who surround her, seek to exploit that very power. Without guidance and the real truth, violence becomes Nahri’s only way of escape and the plot becomes bloodier and bloodier still. The murkiness of the truth prevails and none of the older generation actually offer up what really happened to Nahri’s parents.

Nahri is street-smart, pragmatic and so utterly alone. Her instinct for self-preservation kicks in and she survives. A war between the factions that was already brewing under the sophisticated cultural city of Daevabad comes to fruition when Nahri walks into the city.

Unsurprisingly, it is a woman’s reputation that the plot comes down to. Similar to Red Queen series by Victoria Aveyard, Nahri is blackmailed into marrying the heir to the throne in an attempt to quell the rebellions. It is a compromise that ensures that a Nahid will be king again in the next generation. This plan backfires as plans are set into motion by greater forces for the biggest con ever.

The heir to the throne is in love with the minister’s son, across tribes, this is the only, albeit sad, love story of the plot. Hiding the homosexual relationship and marrying a girl to save face and do duty towards the throne is a questionable representation, which thankfully does not persist by the end of the series.

As the struggle for power puts lives at risk over misunderstandings, treason grows thick in the air.

This riveting read became my 5 star read of the year for it’s captivating narrative and distinct characters. It is a 10/10 recommended book and series.