Written by Christa Wojciechowski
Oh, how I’ve missed Christa Wojciechowski’s writing. After discovering the author’s works with the disturbingly delicious Popsicle in late 2022, I jumped into the author’s The Sculptor series, with the first two books, Oblivion Black and Hierarchy of Needs. Following a wait of a little over eighteen months, I’m excited to have finally read the trilogy’s conclusion, Darklands. With the previous two books occupying different spaces as they tell the transgressive love story between Ona and Antoni—and Popsicle being a completely different beast altogether—I’ve been eager to see where Wojciechowski takes these characters next, and I’m enamoured with the answer.
The simple answer to where the author takes the characters is New Orleans and the Caribbean, marking a large departure from the New York setting of the first two books. The change of location means a change of supporting characters, with those from the first two books largely being absent for this conclusion. As fantastic as these characters are, and as wonderful as the setting of the first two books is, it’s a testament to the story and the author’s skilled writing that these elements aren’t missed. Protagonist, Ona, and her romantic interest, Antoni, embark on a fresh start, which means leaving what they know behind.
To say what, exactly, these characters are leaving behind would be to spoil the events of the previous two books, especially the pulse pounding finale of the previous book. Throughout its 315 pages in paperback (and its estimated 359 pages on Kindle), Darklands continues the story established by the first two books and spins it into new, entertaining, and above all, interesting areas. Oblivion Black and Hierarchy of Needs both had different tones and styles to their stories (resulting in me not enjoying the second book as much as the first), and Darklands not only continues this trajectory, but it represents the biggest departure of the trilogy. It’s all the better for it: whether it’s the story being told, the way its themes come together, or in Wojciechowski’s use of the prose and dialogue, she has truly saved the best for last.
Whilst many series focus on upping the ante, making the subsequent entries bigger, bolder and brasher, The Sculptor’s finale takes the opposite approach. The previous entry was far bigger in its scope than the first book, but instead of trying to top those events, Darklands slows down for a quieter story as the characters work through their trauma. This latest entry is just as transgressive as what came before, but doesn’t feel the need to push the boundaries further (though, it will push those same boundaries in new ways). The themes from the first two books are not only present and accounted for, but they come to a head as this novel caps off the series. Like those books, Darklands explores themes around beauty, sex, addiction, love and mental health. They are explored with the same level of darkness as those first two books, but they are also presented with an unflinching honesty that rings more true than what came before. As these characters work through their trauma, a new theme bubbles under the book’s surface: hope, and the dream of a better future.
Despite the differences from the first two books, Darklands’ presentation continues what they established. The majority of the book is told in the first person via Ona’s narration. This has always been handled wonderfully throughout the series, and that continues into this novel. The author has always had a firm grasp of the character and has presented her narration in a way that both reads beautifully and sounds as natural as if you were being told the story in a conversation. The remainder of the book is written in the third person, from Antoni’s perspective. It lacks the beauty of Ona’s perspective, and feels somewhat aloof in comparison, outlining the events. Not only does this difference work for the characters, the shift between first and third perspective have the effect of making sure the reader never feels too comfortable. It’s a wonderful literary effect that adds to these books’ atmosphere.
The book’s focus on its two leading characters would only go so far if their characters didn’t back it up, but perhaps The Sculptor’s biggest strength is in these characters. Ona and Antoni have been beautifully defined characters from the outset, and Darklands serves to explore them further. These characters are entirely human, with their strengths and weaknesses, positive aspects and their flaws. Readers may or may not have anything in common with the characters, but regardless of how similar they may or may not be, these two characters are easy to relate to. Like the book’s themes, which tie so closely to these characters, they are written with raw honesty. Darklands features a sprawling cast of side characters, the majority of whom don’t have the benefit of appearing in the previous books. Whilst they are seen from the perspectives of Ona and Antoni, they still feel like real people—even those with the smallest roles—and add colour to the story’s world.
Both New Orleans and the Caribbean feel like their own characters. Again, these locales are seen through the prism of the book’s characters, and represent the new start they are looking for. Darklands is primarily focused on these characters and their emotional journey, yet the locations they’re physically within are presented immaculately, making the reader feel as though they’re right there with Ona and Antoni. Even though this story could be told elsewhere in the world, these locations are presented with such vibrancy that they add another layer to the novel.
Although it seems counterintuitive for the final book in a trilogy, particularly one where the first two books are linked by a cliffhanger ending, Darklands stands on its own. If readers choose to, they could enjoy the book without reading Oblivion Black and Hierarchy of Needs—likewise, they could enjoy those two books without reading Darklands—although I would recommend against it. Darklands has a heft of its own that resonates, but this heft doesn’t compare to the emotional punch the book packs when you’ve read the first two. It also helps that the first two books are fantastic stories in their own right.
Darklands is the perfect finale to a wonderful series. Each book resonates on a different level, and while people will take different things away from each of the books, this finale brings the elements together in a way that feels even more assured than what came together. The book’s themes carry an emotional weight that is brought to life through its characters, all explored with honesty. Like the first two books before it, this is a transgressive tale that pushes boundaries, but more than those earlier stories, it’s so much more. It’s a darkly beautiful story that makes me want to sit down and read the entire trilogy again.
Favourite Passage
I took in the strange room, the weight of its history, the dank air, the unfamiliar sounds. In a few hours, we were in a different world. “I know. It’s funny. Why did it seem such an impossibility to leave? We left it all. Just like that.” Well, not all of it, I thought. Antoni was still crippled by trauma. I nursed my lingering grief over Jojo and the aching place left by heroin, miraculously weaning myself off methadone only to replace it with obscene amounts of alcohol. At least an obsession with booze was acceptable in society.
Darklands, Chapter 3: “NOLA”
Darklands was provided by BookSirens for the purpose of an honest review.
Darklands is available in paperback and on Kindle, exclusive to Amazon.
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Darklands (The Sculptor Book 3)
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