Grave witch Alex Craft can speak to the dead, but that doesn’t mean she likes what they say.
Like in several other urban fantasy fictions I have read, Grave Witch uses the literary device of a society transformed by the coming-out of paranormals or, in this case, the fae. Magic was awakened in the world, allowing some humans to better understand and practice it. There are the usual spell casters who can create charms ranging from homing origami messages to complexion charms. One of the rarest forms of ability was communicating with the dead, called grave witchcraft.
Alex, a talented grave witch, is hoping to get a break by helping the police solve cases and DA get convictions through the shades she calls up. A favor for a sister gets her into more than she can chew. She gets attacked by a shade and then shot at. Death saves her, pushing Alex out of the way. That she has been seeing and talking with a soul collector since childhood is another of Alex’s idiosyncrasies. A detective who is more than he seems starts tailing her, suspecting she knows more than she lets on. Which is true.
After Queen of Shadows, Grave Witch is a treat. I love the love triangle formed between Alex, Death, and detective. The relationship between Alex and Death reminds me of Tanya Huff’s The Last Wizard, where Crystal and Death form a rare friendship; they can never touch and he can never claim her, as wizards’ souls are off-limits to him. The detective may seem at a disadvantage, in terms of mystique. I thought so, but not for long (read to find out why). I don’t know who I’m rooting for actually.
There are shades of the Greywalker series here, too, in how both heroines can interact with different levels of reality, from the physical to the ghost world. Very Twilight Zone. That sort of stuff always appeals to me.
I can do with fewer interrupted dialogue, though; it’s a literary device that’s more irritating than intriguing. There must have been over a dozen examples where the character go, “I’ve got to, uh…” Argh.