House of Blight (The Threadmender Chronicles, #1) — A Disappointment in the Manor
When I first heard about House of Blight by C.C. Rust, I was immediately drawn to its promise of gothic romance interwoven with fantasy elements. The blend of healing magic, family secrets, and that tantalizing quote—“The only pain I’d ever intentionally inflict on you is the agony of making you wait to feel the pleasure of release”—sighed to me like a siren from the pages. I was ready to dive into the world of Edira and the Fernglove family, yet, to my great dismay, I found myself putting the book down at 40%. Here’s why.
At a glance, the premise is set up beautifully: Edira Brillwyn, a threadmender with the burden of her powerful healing abilities, caught in a storm of magic and familial obligation. The stakes rise when her brothers fall victim to a deadly blight, forcing Edira into the heart of the glamorous—but ominous—Fernglove estate. As I turned the pages, I was ready to explore the dark corridors of gothic intrigue, but instead, I found a narrative that meandered more than it captivated.
One of the key themes presented in House of Blight is sacrifice. Edira’s power comes at a steep personal cost, a concept rich with potential for deep character exploration. However, I found myself apathetic towards her journey. The characters felt disappointingly flat, lacking the emotional depth and complexity that would make their struggles resonate. Orin, the head of the Fernglove family, promised a rich character arc filled with charisma and deceit. Instead, he became just another note in the monotonous score of predictability.
C.C. Rust’s writing style, while at times lyrical, felt uneven. The pacing staggered in moments where it should have raced, leading to drawn-out scenes that dulled my interest. A gothic estate should feel claustrophobic and intense, yet the manor felt surprisingly uninspired and missed the opportunity to become a character in its own right.
I kept hoping for that spark of excitement—a twist, a compelling conflict, anything to propel me forward. Instead, I found myself scrolling through TikTok during my precious reading time, a telling sign that the narrative just wasn’t doing it for me. The magical systems, particularly with the Evers, introduced an intriguing concept but weren’t explained in a way that enhanced my imagination; rather, they left me more confounded.
In essence, House of Blight had every possibility of being a gripping start to a duology but fell short of its gothic ambitions. For those who thrive on intricate world-building and profound character studies, this might not be the book for you. If I’m honest, I was looking for the dark allure of One Dark Window, which many have compared it to, but what I found was lackluster and uninspired.
In closing, I truly believed this book would deliver a thrilling ride—but it left me yearning for something more. Perhaps if you’re someone who enjoys beautiful prose with little action and character growth, you may find joy within these pages. For me, however, I’ll be placing this book back on the shelf, reflecting on a missed opportunity that could have been so much more. Happy reading, friends!
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