Remember Voices in the Theater, and how I didn’t like the book? Well… I read the second book. Why would I do that, you ask? Well, because I made the stupid mistake of buying the second book before I bought the first one. Like I did with the Twilight saga. So instead of letting the book go to waste, I decided to give A.S. Santos’s trilogy another try.
Samantha Davidson’s powers have been growing. Now, not only can she hear other people’s thoughts, but she can also sometimes see things through others’ eyes. They aren’t much—momentary glimpses, really—but these are dark things. Twisted things. Things she can’t bear to watch. But since she is the only one who can see them as they happen, she may be the only one who can prevent them from happening again.
Putting the book down, the first thing I thought was–this book is more cohesive than the first one was: from the way the story was structured, to the novel uses its characters, all the way to how it handles religion. That said, I still feel like it suffers the same crisis of faith as its predecessor.
But let’s start with the good things.
Although we don’t learn more about our main protagonist in Corpse in the Mirror, we do see a development in her relationships with the other characters–from her family, to the other members of the organization she’s with, and the guys she’s being paired with. One of the most noticeable differences in the two books is that Samantha is no longer left alone for stretches of time. She’s always interacting with someone, and that helps readers know more about who Samantha is without having to write paragraphs upon paragraphs of exposition.
There’s also less spotlight on characters who don’t actually do anything to propel the story forward. The first book had a few characters introduced who ended up not really contributing anything to propel the story forward, and it was really frustrating thinking about how we wasted pages on getting to know them, only for them to not really matter at all. This book has streamlined the characters to just the essential; and though we do get to meet new people, it never feels like they’re taking up valuable time away from the main players.
The romantic subplot and dilemma doesn’t feel forced. Although one of my biggest problems with the first book is carried over, in that our protagonist Samantha is inexplicably besotted with an angel, the conflict we actually get in this book doesn’t really stem from said angel. Author A.S. Santos actually offers two viable options for Samantha to agonize over, and you can understand why she can fall in love with either one.
And the best part about said subplot? It actually supports the main storyline of Samantha seeing a corpse in a mirror, and doesn’t take away from the actual problems that the protagonist is facing.
Corpse in the Mirror actually makes me want to read the book that follows it. Which I will. But before I do, I want to talk about my number one problem with A.S. Santos’s trilogy.
I am not a religious person. And I love that Samantha is agnostic. It opens her character up to readers who aren’t of the Catholic persuasion. And I also love that Author Santos actually posits the problematic relationship of the paranormal with religion through our main character and several peripheral characters in the book. The problem is being addressed. But that doesn’t mean the problem is actually being resolved.
Because at the end of it all, we know we’re never really going to be able to separate faith, superstition, and the supernatural. Especially here in the Philippines. So I feel like being upfront about Samantha’s lack of religion is something the author can look into in future printings of the book. Lean into the fact that Samantha isn’t just dealing with the paranormal for the first time, in a foreign land. But that she’s also doing so with no religious affiliations, and that it’s one of the things the book tackles.
As it is, I think one of the reasons why I was able to appreciate Corpse in the Mirror more than the first book in A.S. Santos’s trilogy is because I am fully aware of the religious leanings of the story now.