(On StoryGraph I technically gave this 3.25 stars)

I really enjoy Fatma and Hadia -- Siti as well is prominent in this and I really like her also. Fatma's dynamic with both is great. She is very hesitant to have a partner thrust upon her and quickly realizes that she's perhaps being unfair and treating Hadia exactly the way SHE was treated initially, as one of the only women in the Ministry. I liked seeing her realizing that she was alienating Hadia and that she should reach out and be a team with her instead.

I thoroughly enjoy this world. I like a bit of steampunk here and there and alternate history is always cool. Cairo is this epicentre of modernity and magic in this world and they were able to basically beat back the colonizers and stop the British from entirely taking over.

There's also a fair amount of Egyptian mythology involved and other cultures' mythologies mentioned as well. I'm always a fan of that!

This felt very light and airy, to me. And I think maybe I wasn't expecting it to be that way. I didn't hate the authorial voice by any means, but it wasn't necessarily what I wanted in this instance.

The pacing felt a bit slow, but I have to admit that I was trying to read this while approaching the closing on my house and then moving and all of that and I was a bit distracted for a solid two weeks, barely reading it. But even once I was able to get back into it, I had the feeling that maybe it was a bit longer than I felt it needed to be. I also figured out the "whodunit" around 45% of the way through and I'm not sure if I was meant to, so then it made it a bit frustrating to continue on for another 40%ish with the characters fumbling around trying to figure out the mystery, that seemed pretty obvious to me.

There were themes of colonization, for sure. Enslavement and subsequently, freedom. Feminism. Colorism and more blatant racism.

I had a good enough time with this, but it wasn't as enjoyable as I was hoping it would be. I'm still very excited to check out future works by P. Djeli Clark, though!

This novel was incredibly engrossing and well written, I was completely emerged in it’s culture and setting - pleasantly surprised how much I engaged with it’s pages.

The author does an excellent job of fleshing out the world without info dumping, you learn things slowly - as the main character learns them. The only thing I do not like, is the main character is somewhat of a Mary Sue. She is the top of her class, graduated early, and was allowed to work alone. It’s all very contrived - and she seems overpowered. I would have liked if she was more of a normal person, and had to work at what she does even harder - or if she had flaws.

The writing is easy to read, and flows well - keeping the story moving forward without interruption. The mystery is also equally engaging and I loved learning about the many ‘cults’ of the old gods. This book is definitely a recommendation to fantasy lovers, and world-building enthusiasts!

I want to sincerely thank Netgalley, and the publisher for providing me with an ARC for review! I will be purchasing this book!

4.4 Stars

Fatma my love! You're back.

I am grateful to the publisher for sending me a copy of this book for review

This was another great installment into the world of Fatma el-Sha’arawi. I am finding that I enjoy this story telling method of starting with shorter works (novellas) that eventually lead into the longer installments of a series. As the first full-length novel I've read from Clark I have mostly positive things to say. There were some pacing issues that made the reading experience feel tedious at times, but overall this was a great book. The writing style was enjoyable, the characters were well flushed out and interesting, and the plot was intriguing.

Clark has created a great world built on this alternate history Cairo setting, which he expands on in every installment. Just like in The Haunting of Tram Car 015, he makes sure to incorporate lore from outside of Egypt in order to give the story a larger scope. I really enjoy the mythological fantasy magic that isn't based on European historical settings or lore. This story features great conversations about racism, classism, and colonialism. We also get to see Fatma grapple with questions about her involvement in "law-enforcement" and the realities of the class divide that exists in her society.

This book was action packed and they were constantly dealing with high stakes situations. Though one can guess if things will work out for our characters, I found that the actual sequence of events was not predictable and the story remained interesting.

This is a great book and a great series, and I recommend for fantasy readers and fans of mythology.

I am a huge fan of P. Djèlí Clark. I have raved about every one of his previous books, and I was absolutely ecstatic to hear about his first full novel (as his previous books were more novella in length). He did not disappoint in this one! A Master of Djinn is absolutely riveting, with a unique cast of characters, an intriguing story, and nonstop twist and turns. Clark is a phenomenal writer; his work is filled with vivid imagery and brilliant storytelling. The setting of this book is probably one of my favourite parts of it: Clark's "A Dead Djinn in Cairo" and "The Haunting of Tram Car 015" left me wanting more from the historical AU of Cairo infused with magic and advanced technology. I love magic fantasy world, and this one was filled to the brim with sorcery and creatures like dragons, djinn, goblins, fairies, ghuls, and impressive technological advancements that elevates Egypt to the point where they can fight back against colonizers and become a global superpower. It's an intriguing setting and a whirlwind mystery with progressive politics despite taking place in a more oppressive past. I loved this novel. Would highly recommend it!

P. Djèlí Clark’s latest takes us back to 1912 Cairo, one in which djinn, angels, and other magics helped Egypt defeat colonial powers and take a place on the world stage. This is the first novel length story, following the novelette “A Dead Djinn in Cairo” (available for free at Tor.com), and the Hugo/Nebula/Locus award nominee for best novella, “The Haunting of Tram Car 015”.

Fatma el-Sha’arawi, special investigator with the Egyptian Ministry of Alchemy, Enchantments, and Supernatural Entities, is once again on the case. She’s also unwillingly tasked with a partner, another female agent for the Ministry. There are the usual lone cop with a rookie tropes, but it’s not too bad and Fatma trying to ditch her doesn’t last long. There are several female characters at the center of this novel.

The case is a whodunit (or whatdunit?) when an Englishman who is the head of a secret society devoted to Al-Jahiz – the man who open the doors for djinn and others to come to our world before disappearing 50 years ago – is killed along with everyone else in the society. This mass murder definitely is in the Ministry’s jurisdiction, as all the victims have been burned, but only their bodies. Their clothes and surroundings are untouched by the fire.

A man claiming to be Al-Jahiz appears, using magic far beyond anything ever seen before, taking to the streets to essentially preach to the locals and show off his power. Has the mysterious mystic returned, or is something else at work? The murder mystery isn’t all that complex on its own, but the elements it introduces ties this story together, with an epic conclusion. There are references to the two previous stories, but they’re not required reading, though I do think it enhances your reading enjoyment. They’re quick, and the first one is free, so it’s worth your time.

I really enjoy the setting of a pre-WWI Egypt, with this book introducing the idea that The Great War may indeed happen, just slightly differently what with magic and a different balance of power as a result. It’s also nice to see a fantasy story that doesn’t just use vaguely European mythology as its basis, with a few words or phrases slapped on to make it “original”. I recommend reading a digital copy to be able to access definitions, or having something nearby to look things up if you’re reading in print. Meanings can mostly be inferred, but learning about the real world behind the fantasy world is interesting, especially when you can compare our timeline to this alternate history timeline of events.

I liked taking a deeper dive into this alternate history of Egypt, filling out more details of how things work. Considering many of the sources of information are suspect, they may not be true, but if even some of them are, it’s good inspiration for future works in this universe.

I received an ARC from NetGalley in exchange for an honest review.

A steampunk detective walks into an underground, off-the-map jazz bar in early twentieth century downtown Cairo. The detective, Fatma el-Sha'arawi, is on assignment for the Ministry of Alchemy, Enchantments, and Supernatural Entities--but right now she's undercover. Which is hard to pull off, because she has a taste for flamboyant suit pieces that altogether present an eccentric and highly conspicuous look. But no matter--when it comes to tracking down rogue and elusive djinn, she's one of the best investigators the Ministry has to offer.

Fatma finds a seat at the bar next to some musicians she's befriended, men from America who brought the recently invented jazz music to Cairo and are blowing the lid off the place with their blaring horns, syncopated rhythms, and unbounded energy. Fatma plays nice with them, taking jokes as well as giving them out, but she's waiting for her partner to arrive. And the two young men with whom she's going to make an obviously unbalanced wager, who are just now walking through the door. Her partner is nowhere to be found, but she has to start right away.

Fatma wants to meet with the young men because of the bottle the younger, more skittish one is carrying. She bargains with them to give her the bottle in exchange for her turning a blind eye to how they got it in the first place. Its very valuable and highly sensitive contents are largely unknown to the two young men, but Fatma can't let them know what it is they have in their possession.

That all goes out the window when the young men make a break for the exit, and toss the bottle at the ground as a diversion. Instantly, a giant, heaving green mass, with searing eyes and a booming voice, fills most of the space in the air in front of the bar. The young men have unleashed a genie--a djinn--that has been asleep for thousands of years, captured in a bottle because he hates the pedestrian concerns of mortals. And now that he's awake, Fatma must talk him down, delicately and wisely, so that the djinn does not trick these two young men into wishing themselves into a lifetime of pain.

***
This is only a minor scene at the beginning of P. Djeli Clark's "A Master of Djinn," a fantastically imagined first novel that straddles the line between fantasy and mystery. My favorite aspect of the book is how skillfully the author taps into the reader's general awareness of early twentieth century modernity and builds his steampunk, retrofuturist world around that general awareness. The believable and compelling world that results is one, if it were a video game, I would love to roam for hours, just checking out the cityscape and architecture, back alleys, open air markets, and all the intricate details hidden between the lines of the page.

The actual story begins with the mass murder of an occult secret society by a mysterious force--a shrouded figure that is capable of duplicating himself and who follows orders from a man in a golden mask. The masked man claims to be al-Jahiz, who has returned to this world many generations after he first broke through to the spirit world and unleashed the djinn upon the earth. The djinn have mostly assimilated in Cairo and abroad, but there are plenty of misfits and rogues--the type that the Ministry is in charge of keeping a close watch on.

Fatma arrives at the crime scene after her experience with the young men at the bar. She goes to the estate of Alistair Worthington and sees that the bodies of all 22 society members have perished, burned to ashes--but their clothes and jewels are entirely intact. One poor member, standing in front of the table, had his head turned 180 degrees. Whoever could have committed such a peculiar and grisly crime is not their ordinary criminal. Then again, Fatma is no ordinary investigator.

As Fatma begins her journey to uncover mystery behind the murder and the masked man claiming to be al-Jahiz, she enlists the support of Siti--her on-again, off-again lover with her own peculiar abilities--and Hadia, a new agent to the Ministry assigned to partner with Fatma, and who happens to be the only other female investigator in the entire department.

The author builds out a compelling geography for the world and intricate development in its characters. Particularly interesting aspects about the characters are djinns' and angels' ability to employ illusions on humans that distort their perceptions and warp their knowledge, so that what they "see" and what they "know" becomes a product of characters' mastery of their own minds. Unfortunately, this detail is introduced only halfway through the book, and it was not utilized very much in the remainder of the story.

The book's shortcomings are also a product of character and world development. There are lots of scenes where Fatma and Hadia move from place to place seeking interviews with various informants. This leaves a lot of one-on-one time with different characters, and while this adds to the living details of each character's lives, it dragged down the pace of the story, particularly in the middle.

Aside from slight slumps in the action, this novel had me hooked from the beginning. There are enough twists throughout the mystery to keep the reader guessing as to whodunit, and there is still more action to come after the reveal. I got the sense that the author has big plans for this world, and that may be why some aspects are mentioned in passing but not taken up in great detail. As a first novel, I thought this took rewarding risks. I'll be happy to read what P. Djeli Clark writes next.

***
My sincere thanks to Tor Books and NetGalley for offering this digital ARC.

A Master of Djinn is literally a masterpiece, there is no other way to phrase it. Functionally, structurally, in characterization and in plot, it is masterfully crafted. I had not previously read any of Clark's works in the series, and yet references to previous plot points are expertly woven so as not to alienate a reader entering this far into the series. I started typing up this review as soon as I finished reading it- I am stunned, awed, in tears, with no exaggeration. Through the entire narrative, Clark constantly points the narrative away from just the immediate struggles of Fatma or Hadia- their stories are never just their stories, but the story of the city, of friends-of-friends, all told in the distinct storyteller quality of a North African story. As a Moroccan, I would mouth along whole sentences with a smile- the words simply fit in my mouth, flowing and natural. The characterization of Egyptians and Cairenes is so heartfelt and purposeful- to see things like twin bewabs or to have a scene interrupted by prayer time, it feels so human and true. I'm usually a little sloppy about how I convey how a book made me feel, but I cannot recommend A Master of Djinn any more highly. To have a butch Arab Muslim lesbian as a protagonist in a fantastical North African fantasy.... it's the stuff of dreams. I am literally going to devour everything Clark has every written after this.

I am so impulsive that I requested this book without checking that it was the THIRD one in the series. However, although I am aware that I have missed a lot of details and vital information (again, my bad) with a little bit of research of my part, mostly for mythology and culture that I am not familiar with, the book was absolutely manageable. I do not recommend doing what I did but, since the book contains a conclusive story, I did not feel lost with the plot at any moment.

I found absolutely fascinating this alternate version of steampunk Egypt filled with an abundance of supernatural creatures mostly due to its freshness and the author’s inspiration and background. For example, in this case, the alternate version countries like Egypt and India, are no longer colonial and this is not only on an anecdotal level but has a huge plot importance. The author threads very interesting topics this way with an outstanding result.

This is, in a way, a murder mystery who dunnit starting point kind of book but, as we continue reading, it will develop into so much more. From my point of view, it was quite easy to guess who the responsible was but, the different plots and subplots had me so committed, that I wanted to see how everything developed. It wasn’t so much about the destination, but how did they make it there, if that makes sense. It pains me not to ba able to fully describe the complexity of this novel, but at the same time, I would not want to spoil it for any of you because the layers of mystery that surround this adventure are a true thrill to unfold.

The main character, Fatma (she/her) works as an agent for the Ministry of Alchemy, Enchantments and Supernatural Entities and if you already think she is as cool as she sounds, wait until you get to know her a bit more. Although Egypt is quite advanced in allowing women to work, they are still a minority and this leads to Fatma getting, against her ideas and preferences, a new partner: Hadia (she/her). At first I did not quite feel a good dynamic and partner chemistry between them both but as the plot developed and they interacted more with secondary characters (that are also really good) my opinion changed drastically. I think they make such a good team. Their interactions are so good and how they end up supporting each other is an absolute delight to read.

The pace was a bit slow at the beginning for me. This is entirely my fault, as I decided to slow down to truly be able to understand and submerge myself in the world building of this universe. I think it totally paid off as it started to pick up and then I ended up wanting to keep reading until I found the answers to my questions. It is one of those cases where the more you read, the more questions you have and towards the end everything starts falling with satisfaction into place giving you a good resolve, but also, small clues and hints for possible future adventures.

In a way I regret not having read the two first instalments because I know the experience would have been much better in order to pick up references. However, what I am going to do now is go back and read the first two because I definitely want to read more about this book, this world and about their characters.

For the past year or so, the shape of escapism I've wanted has been a murder mystery. I struggle with stories that are too frothy and joyful when the world around me isn't. Mysteries offer a world where evil exists, but can be contained: a fantasy of justice. But for the past year I've been more acutely aware than ever that justice in America is a fantasy in the pejorative sense.

P. Djèlí Clark's book A Master of Djinn, set in an alternate 1912, is a mystery novel for people who want to imagine that justice could work differently. The heroine, special investigator Fatma el-Sha'arawi, works for the Egyptian Ministry of Alchemy, Enchantments, and Supernatural Entities, a new bureau formed to manage the chaos caused by the late nineteenth-century reappearance of djinn. Egypt is central, here. It is the cosmopolitan land that the djinn chose; Cairo is now full of shining buildings designed by djinn architects. The colonizing European countries, suspicious of magic, form a smug sort of backwater.

Master of Djinn waltzes backwards and in very sharply shined shoes through a number of classic mystery tropes. I particularly enjoyed seeing Fatma, with her bowler hat and huge collection of coordinated pinstriped suits, as the cynical and grumpy senior detective resisting a new partner. The partner in this case, Hadia Abdel Hafiz, is a feminist activist who wears bright blue hijab and knows a mosque that holds Friday services for women. Like all good grumpy detectives, Fatma is entangled with a mysterious and alluring woman. The femme fatale in question holds an unsettling allegiance to the goddess Hathor and occasionally manifests literal claws. She also has a large and loving family who run a bustling restaurant, and an aunt who, in classic matriarchal fashion, dispenses wise advice. But my absolute favorite reframing of mystery tropes is the moment when the masked antagonist who has been posing as a literal master of djinn reveals a fascination with Fatma, a grand rivalry propelled by rhetoric about twins and shadows, and Fatma laughs at the ridiculous overweening arrogance this construction entails.

Though Master of Djinn is hanging out in a cool club drinking sarsaparilla with mysteries, its home is the fantasy genre. The clues that matter are clearly telegraphed, but the reason why each clue matters involves magic and the nature of the city itself, and the reader won't have the context to generate these explanations until the story gets there. The key, I think, is interlocking gears. The center of the Ministry of Alchemy, Enchantments, and Supernatural Entities is a clockwork brain designed by a djinn. It represents the interlocking factions and desires, some humans and some more than human, actively maintained by the commitments and collisions that make a city. I hadn't read Clark's previous novels about Cairo, but I'm looking forward to consuming all of them, joyfully and in no particular order, bolstered among pillows or curled in a cozy chair, or (someday, again) on trains and planes.

She’s back! This the third installment in the series dedicated to Fatma el-Sha’arawi , a young Ministry of Alchemy, Enchantments and Supernatural Entities agent, but experienced beyond her years. This time, she’s hot on the trail of the next case with a partner, Hadia, in tow. A mass murder involving members of a secret society filled with rich, eccentric members with powerful political ties sets the stage for a high-stakes, crime-fighting whodunit. The steampunk-inspired Egyptian backdrop is filled with intelligent magical beings, sacred secrets, and an underlying “good-vs-evil” tug-of-war which just adds layers of wonder and mystery.

This was a very immersive, engaging reading experience. What I enjoyed was the author’s mirroring of this imagined world to our own - the good and the bad. He skillfully weaved in concepts surrounding xenophobia, "racism/colorism,” territorial disputes steeped in centuries-old grievances, the issue of slavery, "the struggles of the "have nots," and the perceived arrogance, snobbery, and indifference of the "haves." These themes played perfectly into the novel without politicizing the plot/story. We were treated to the return of old, beloved characters (like Siti and members of the ministry) and introduced to new ones (like Hadia and Ahmad) who were easily loveable as well.

There was never a dull moment - I enjoyed turning the pages as the plot had just as many twists and turns as the streets and alleyways of this enchanted Cairo. As mentioned earlier, this book is the third in a series, but is a standalone novel. There’s no need to read the first two in order to enjoy this one, but don’t deny yourself the treat! I’ve enjoyed all of the author’s novels and look forward to whatever he offers next (including more of Fatma)!

P. Djèlí Clark’s A Master of Djinn returns to the alternate Cairo of 1912 featured in A Dead Djinn in Cairo and The Haunting of Tram Car 015. This time Clark has given us a full-length novel that offers much deeper insight into the richness of this remarkable world. Special Investigator Fatma el-Sha’arawi of the Ministry of Alchemy, Enchantments and Supernatural Entities is back and has to solve a spectacular case of mass murder committed by magical means.

Identifying the killer, though, is only one step in uncovering a terrifying plot that could rock Cairo and the world forever. A Master of Djinn is great historical fantasy/mystery that makes a Cairo full of djinn, ghuls, flaming spirits and terrifying angels powerfully real. But it also has a light touch and humor that can be tricky to blend with the action and sense of urgency essential to building tension. Clark is a master at striking just the right balance. This is a book to get lost in, one of my favorites of the past year.

TL;DR: A Master of Djinn is a delightfully sharp action-packed mystery set in early 20th-century Cairo. Fatma is a charming dandy with a razor wit and a nose for solving supernatural crimes, and she exists in a deftly built alternative history where magic has returned to the world, ending the British occupation of Egypt. The first two installments set in this world, "A Dead Djinn in Cairo" (available for free on Tor.Com) and The Haunting of Tram Car 015 (novella, available wherever books are sold, I guess), are well worth the read until you can get your hands on this one in May 2021.

-

I received a digital ARC of A Master of Djinn from Tor.Com/NetGalley in exchange for an honest review. This review makes mention of the climax with no details of the events transpiring in the scene.
Since reading The Haunting of Tram Car 015, I've been a die-hard Clark fan: I'll pick up anything the man writes, hands down, no questions asked. While I've enjoyed all of his works, it's been Fatma's world in particular that has won my heart. Decades before the events of these stories, a mystic named al-Jahiz created a rift in spacetime, allowing djinn, ifrit, ghouls, and all sorts of other magical beings to enter the world. In so doing, he changed the course of history; not only did this event usher in a new technological era, but it also effectively ended the British occupation of Egypt.

In A Master of Djinn, we meet Fatma el-Sha'arawi at the start of another case: a British brotherhood dedicated to the history of al-Jahiz (read: buying all the relics associated with him) has been killed en masse in a magical inferno. With a rookie partner determined to prove herself and a gorgeous, secretive love interest at her side, Fatma works to track down the mysterious gold-masked man rumoured to have been at the scene of the crime.
Clark's novel features a striking number of twists and turns that take the reader all around Cairo; each setting is so vividly realized that it feels like the author is an illusion djinn himself. There are enough hooks throughout the story to lead us to a dozen spin-off stories, which I truly hope we'll get. I simply don't want to leave this world. It's a perfect balance of magic and realism: while there are djinn and spells and mysterious women ready to sweep you off your feet (yes, I have a crush on Siti, leave me be), Clark is keeps a careful eye on the political realities of our world and the magical implications of the changes he's envisioned. He's clearly a historian; I always feel like I'm learning even as I'm entranced.

In spite of my enjoyment of the book, this wasn't a perfect read. The climax felt like it dragged on a bit, with a few plays for humour that didn't quite hit the mark for me. Furthermore, I got the sense of the author being a little too self-aware sometimes: for example, right before the villain reveals their motivations, one of the characters comments on how they hope there won't be a "villain speech" - which feels both anachronistic and like Clark is apologizing for not getting the full motivations on the page in another way. On an extremely nitpicky level, there was also a distracting number of exclamation points throughout. Still: these moments were only a temporary distraction from my overarching love of the piece.

I recommend this book for everyone who wants an action-packed mystery with a strong sense of history and politics; the book manages a delightful escapism while making significant historical observations that never come off as flippant or out-of-place. While this is a standalone work, I recommend taking a read through both "A Dead Djinn in Cairo" (available for free on Tor.Com) and The Haunting of Tram Car 015 ahead of time, since there are some references to both throughout. I'm already looking forward to more.

What a fun read! I loved the characters, the world-building, the dialog and the plot. I have already read another book in this series and am looking forward to enjoying others written by the author.

5/5

(*Please note that this is NOT an own voice review. Therefore, my opinion on representation is not valid. Please check out own voice reviews before judging the representation in this book.*)

This fantasy/steampunk historical fiction takes place in Cairo in 1912. In this alternate version, a mysterious man called al-Jahiz has come to Cairo and unleashed magic and mysterious powers, bringing djinns and angels to the world. Cairo is now the biggest political power on Earth. This is the third book in this setting. In this one, we are following Fatma el-Sha'arawi, a field agent for the Ministry of Alchemy, Enchantments and Supernatural Entities. In this book, she has to solve a very strange murder involving multiple burned bodies with intact clothing and building. The culprit announces itself publicly as beingthe real al-Jahiz. Lots of magical mysteries to solve throughout this wild adventure in Cairo.

I do not have any negative (constructive critism) to say about this book, which is very rare for me. I did read the first two books (which are novellas) pretty fast and loved them. At first, I was scared that this one wouldn't be quite as good as the first two since it's a full novel, but I was not disappointed. The world building itself is just incredible. As mentioned at the beginning of this review, I am not an own voice. Therefore, I do not know that much about Egyptian culture, and even less Egyptian culture in 1912. I did take the time to stop my reading and google words, food, location pictures, etc, to help me understand said culture. I think that it was very immersive (which I appreciated greatly) and it had just the right amount of cultural references (enough to be immersive, but not too much to keep me from reading forward).

The pacing was just right and I think it the world building, the character development and the action scenes were well balanced. I really appreciated the representations in this book. Again, I am not an own voice reviewer, but from my point of view I think it was well done. There was a lot of talk about feminism, sexual identity and race. Coming from a male author, I found that the feminism subject was brilliantly done and it made me want to research more on the subject.

You can really tell that this author is a historian. Everything in this book is thoroughly thought. I do have to admit that I guessed the final twist, but there was so many mysteries involved and pieces to put together that it didn't bother me at all. I really didn't understand the motive for the murders until the very end, which I enjoyed. The ending was left with a big opening, which makes me think there might be another book coming into the series after this one. I really hope that happens because this was an amazing discovery for me and an awesome read. I can't wait to read more from this author.

I recommend this book to a lot of readers (this book definitely deserves a hype!). If you like fantasy, historical fiction, steampunk, "who dunnits", djinns, I strongly recommend this book. Although it is not necessary to read the first two books before reading this one, they are very worth it nonetheless. They are novellas and you can consider them as being long prologues to this book.

A special thanks to NetGalley and tor.com for the e-ARC.

P. Djeli Clark returns to his alternate universe Cairo for the 3rd tale of Fatma el-Sha'arawi, agent of the Ministry of Alchemy, Enchantments and Supernatural Entities. The first being the short story, "A Dead Djinn in Cairo" and the second, the Hugo Award winning novella, "The Haunting of Tram Car 015". This is Clark's debut novel and it is full of the wonder and worldbuilding that made his short fiction so recommended. Think of a steam,punk Cairo with fantasy elements, the return of djinns and "angels" and other supernatural entities.

Cairo, 1912, complete with boilerplate eunuchs and mechanical taxies, forms the background for, what is at heart, a murder mystery. A British aristocrat and his followers are discovered murdered. Enter Agent Fatma, with her new partner, Agent Hadia, rare female agents, as they begin their investigation which leads them to the magical underbelly of Cairo.

The politics of this alternate world along with the characters make it stand out.

Absolutely glorious! Clark's alternative Cairo is a treat to frolic in, even if only briefly, but here we get a whole novel's worth (what have we done to deserve such treasures?)! Agent Fatma returns in this twisty mystery where a long lost folk hero reappears to wreak havoc on the modern world. I've loved both novella's set in this world, so I knew I'd enjoy the setting & general flavor of this book, but I also found myself very drawn in by the main mystery plot and the expanded interpersonal relationships. Both branches are carefully & cleverly crafted to leave you in suspense (though not so much that I needed to peek at the ending as I am wont to do in stressful plot times) and support the other arm of the narrative. I wouldn't say it's startlingly well done (as I'm not surprised by Clark's brilliance, having read many of his previous works) but it Is difficult to pivot from novella to full length novel. A Master of Djinn handles it wonderfully.

If you are a fan of alternative history, steampunk, and/or magical mysteries I cannot recommend this series highly enough! While the two novellas that pre-date this are not Required reading to enjoy this story they are certainly suggested (especially A Dead Djinn in Cairo ) and marvelous reads in their own rights. I eagerly await any& all other tales of Fatma, Cairo, or Djinn that Clark might send our way!

Many thanks to NetGalley for access to this ARC!

I was super excited to see a full length novel in this series after reading those other two. It is a fast paced novel with great characters, and fantastic world building and this is no exception. I love Agent Fatma and enjoyed the steampunk feel along with the folktales it follows.

My only complaints are that while Agent Fatma is a great character, at times she seemed to miss things she shouldn't and I felt the ending was a bit rushed, considering a lot of the time was spent running around.

We follow Fatma who works for the Ministry of Alchemy where she has to deal with not only dangerous humans but all sorts of supernatural entities and magic. Together with her girlfriend and colleges they have to figure out who is responsible for the murders and put a stop to it.

Readers will be immersed in a gorgeous meticulously built Cairo where goblins, djinns, and other magical creatures exist with humans. It’s also a fun LGBT+ story where we get to know flawed but human and intriguing characters who make the story much reacher and enjoyable. A Master of Djinn is a perfect read for those who love diverse stories, atmospheric settings, and love to learn more about other cultures through enchanting stories.

While there are two previous books in the series first-time will have no problem understanding the story or the characters.

* I received an ARC in exchange for an honest review

A supernatural murder mystery set in steampunk Egypt with a badass sapphic MC of the suit-wearing variety. What more could you ask for?

Set in 1912 Cairo, A Master of Djinn follows Agent Fatma of the Ministry of Alchemy, Enchantments and Supernatural Entities who teams up with her girlfriend Siti and (rather begrudgingly) partner Agent Hadia to uncover the secrets behind the mysterious murder of an Englishman and his brotherhood devoted to the man who brought magic into the mortal realm, al-Jahiz.

This book was such a wild ride and just so freakin cool. The world? The mystery? The vibe? All exquisite. To start, the unique alternate world Clark has created in this series is, for lack of a more sophisticated word, awesome. With a blend of steampunk elements and tales and creatures from Arabian mythology, it's also queer, diverse, and incredibly well fleshed out and immersive. The mystery itself was also very nicely paced and highly engaging. I was a bit unsure about it at first, but as the story progressed and various new pieces of information were revealed, I found myself getting more and more invested and drawn in, and the way everything came together at the end was so damn satisfying. The characters all had so much personality, and getting to experience the story through them was such a treat. This book was also humorous at times, had some great commentary, and is overall just extremely well crafted.

Basically, if you want to read a highly original book with fun characters, an incredible world, and an exciting murder mystery OR just want to have a grand old time, read this book! You won't likely regret it!

Actual rating: 2.5 stars
Thank you to Macmillian-Tor/Forge

A Master of Djinn is the first work of fiction I have read by author P. Djèlí Clark and the third entry in his Fatma el-Sha’arawi series. I had no idea that I was reading the series out of order, but it didn’t put me at too much of a disadvantage. However, I definitely wished that I had read the previous entries for further clarification. What initially drew my attention to this novel and intrigued me the most was the setting, which is in an alternate steampunk Cairo, in 1912. In this universe, magic is a very real thing, and djinns abound in Cairo. Main protagonist, Fatma is an agent of the Egyptian Ministry of Alchemy, Enchantments, and Supernatural Entities, which investigates magical and supernatural crimes. A Master of Djinn is interesting, witty, and full of representation, but I found that the parts of the novel that fascinated me the most were not the focus of the story.

“But she was a Ministry agent. That meant protecting people from the world of the supernatural and the magical--even when they ran stupidly headlong into it.”

We first meet Agent Fatma as she is called to investigate a mysterious mass murder in a well-known society member’s house. There, he and the members of his secret brotherhood, which was dedicated to finding antiquities of Al-Jahiz, were gruesomely burned to death by a masked man. I was immediately intrigued by these murders. However, Agent Fatma soon realizes there is much more going on than a simple murder mystery and before she knows it, the entire world is at stake. I was kind of dismayed that the A Master of Djinn went in this other “saving the world” route, especially when this referenced the previous entries in the series that I hadn’t read, as I really was quite interested in the murder mystery aspect. I found myself losing interest as the novel moved away from the murder mystery, and threw in world politics, goblins, and other magical creatures, such as steampunk “angels.”

“The arrival of djinn and magic pouring back into the world had impacted people’s faiths in strange ways. It was inevitable a few would go seeking Egypt’s oldest religions, whose memory was etched into the very landscape.”

I was also extremely interested in another aspect of the novel, which concerned the worship of old Egyptian gods. These “idolators” as A Master of Djinn calls those that worship the old gods instead of Allah, are able to harness the power of the gods, which grants them unique abilities. One idolator in the novel is even turning into a crocodile himself in the midst of his worship. I found this entire concept really interesting and I really wish the novel would have spent more time on it. I also really enjoyed the relationship between the idolators and Muslims, who looked down on idolators. I found it even more interesting that Agent Fatma was dating an ardent idolator, but seemed to disparage her faith, despite seeing firsthand the abilities it granted her girlfriend.

This judgmental attitude was the main reason I didn’t really like Agent Fatma as a character very much. She is supposed to be one of the best Agents in the Ministry, and is notorious for having a bit of a lone wolf attitude. Despite working for a Ministry that involves magic, alchemy, and all sorts of other forces, Fatma is extremely close minded. So it’s really no surprise that she really wasn’t nice to her new partner, Hadia. Fatma immediately writes the young and eager woman off, thinking her incapable of being her partner, and making excuses left and right to bench the woman. I found Fatma’s attitude really annoying, especially as she is a self-proclaimed feminist who has met with plenty of her own judgement not only as a working woman, but also as a female Ministry agent in Western suits.

“A few months back, women had even been granted suffrage. There was talk of entering political office. But the presence of women in public life still unnerved her many. Someone like her boggled the senses completely.”

As Fatma and Hadia are the only female agents, why couldn’t Fatma be encouraging and supportive to her fellow woman trying to make it in a man’s world? She judges Hadia on every level, from her headscarf and appearance down to the fact that she enjoys doing paperwork, immediately deeming her a sheltered and privileged young woman incapable of being of any help to her or her investigation. But it doesn’t take long at all for Hadia to prove her worth, something she shouldn’t have had to do, constantly saving Fatma from physical violence and providing excellent insight and backup to the investigation.

“Fatma grunted. This is what notoriety got you.”

I definitely didn’t find Fatma’s behavior and attitude to be professional, so I was hoping she would at least be a genius investigator to merit the massive chip on her shoulder about taking a partner. But I didn’t find her to be that spectacular of an investigator at all, as she constantly misses the obvious, has her plans blow up in her face (even starting a massive riot in one instance), and altogether just doesn’t seem to have that much on the ball. In fact, she relies on her idolator girlfriend, Siti, and her new partner, Hadia, a lot more than she thinks. Watching her “lead” this investigation is like watching someone take all the credit for a group project when they actually contributed very little.

Despite my dislike of Fatma, I really loved the world-building of the novel. The steampunk environment of Cairo was really cool. I loved the descriptions of the beings that called themselves angels, and the idea that worshipping an old god could grant someone powers or transform them completely. The descriptions of the world, especially its clothing, felt really authentic as well. In fact, one might even say they were a bit too authentic, as I was constantly googling terms. There was no appendix or glossary of terms in the novel, so it was a bit of a drag not only constantly having to look up these innumerable terms, but also then finding out that they had really no importance other than as passing descriptions of dress. And boy, does author Clark love to describe clothing. I myself am not a big fan of these descriptions, and I got very tired of reading about Fatma’s suits and bowler hats every day, and those didn’t even have non-English terms I had to look up.

“Hopping a street trolley she found it packed with commuters--factory women in telltale light blue dresses and hijabs; businessmen in suits of Turkish fit and red tarbooshes; government clerks wearing kaftans over crisp white buttoned-up gallabiyahs, complete with shirt collars in the ministerial fashion.”

Even though I felt over encumbered by the frequency of these mostly trivial-to-the-overall-plot-terms, I was glad they were there, for representation purposes. It is so rare to read a novel with Middle Eastern characters, dress, and worship as the main focus. It is a joy to see, but I still wish there had been a glossary. And there is even more representation to be had in the way of LGBTQ+, as the main character Fatma has her own headstrong girlfriend, who I can’t help but feel is entirely out of Fatma’s condescending league, but I digress.

I think fans who enjoyed author Clark’s other series will probably really enjoy A Master of Djinnl, but as someone entirely new to the series, I found it disappointing. I simply couldn’t like Fatma, and lost interest in the story as it moved away from the murder mystery (which honestly wasn’t even that much of a case to solve), and turned into a race to save the world from an evil magical conqueror. To me, that type of story has been done many times before, and I wish A Master of Djinn had stuck more day-to-day magical investigations in steampunk, magical Cairo, while providing representation and witty commentary, for that is what it did best.