As a veteran fan of investigative mystery horror, adventure, and Mythos stories, the tropes here feel familiar. That seems intentional. These character and plot tropes are called on to lend the story its structure and familiarity, and they make the story quick and tight when it might otherwise require more explanation and exposition. This works well; it’s an expert’s use of the existing genre shorthand to sketch in structure and conventions, and it lets Clark explore ideas and settings that rarely make it into these genres. It’s skillfully done, and worth admiration.
That exploration is part of why I don’t mind P. Djèlí Clark’s reliance on tropes for narrative stability. He lavishes his attention on novelty elsewhere, with quick splashes of set dressing that seep slowly out of the scenery. The combination of elements is delicious (a turn-of-the-1900s ascendant Egypt, women’s increasing independence, religious turmoil, fantastical creatures and beings in our world following the removal of some of reality’s barriers…). It’s all very good. I love the world he’s created here and will happily read more of it.
But that reliance means I don’t yet have a sense of whether I’ll like P. Djèlí Clark’s other narratives. At some point I’ll want more than my enthusiasm for this cool setting; I’d love for the narrative and its tropes to feel exciting without feeling like they hew so closely to the genre’s conventions, and I’d love for Clark to take the standard tropes and twist them a little more firmly into his own setting’s image. That said, I’d certainly recommend this story over any number of other genre stories. He delivers the expected tropes at least as well as any of the older examples I have to hand, and the trappings of P. Djèlí Clark’s story are more appealing to me. Based on this, I hope he’ll find other ways to exceed those stories as well.