Strong Tale of Multi-Generational Grief Marred By Preachiness On Certain Topics. First off, let’s clear the air about one thing: Harper Ross isn’t a debut author. This is “Ross” debut *under that pseudonym* and *in this specific genre* of magical realism, but Ross is actually a well established author that I’ve read and reviewed many books from over the years and we actually know each other through that level of communication and speaking about book related topics on social media a few times.
Because I know Ross, I can tell you that while those who believe her to be a debut author could think that perhaps the seriousness of certain sections of this book was new to her, I actually know that these types of discussions were actually where she had been already heading, and indeed she had had similar types of discussions in other books I had read from her.
And honestly, I thoroughly enjoy what she was attempting to pull off here and much of what she did in fact pull off. As a whole tale, this book is an *extremely* powerful look at loss and regret and parents trying to do what is best for their kids and adults seeking to navigate all of their complex relationships as best they can. Seriously, on all of these notes, this is quite likely the most depth and emotion Ross has ever achieved – which is saying quite a bit, because if I remember correctly, some of those prior books involved a few dusty rooms.
One thing that sets this book apart – beyond the obvious – is that in not having some of the guard rails and prerequisites Ross once had, she was more free to plumb real emotional depth and not be hogtied on some levels by previous requirements, and this freedom combined with Ross’ apparently innate storytelling strength really allows her to excel here in areas she wasn’t really allowed to go into before, certainly not to this level or for this long. Yes, there were some *moments* of such depth in prior works, but here the entire tale is more rich and full within these spaces than Ross has ever done before. Which was truly awesome, and knowing some of the prior books, it really does go to show just how great a storyteller she is that she can navigate from one to the other.
Where this book falls is in its heavy handed preachiness on a couple of key topics in particular. As both are spoilers since they are not in the description – and one is absolutely a spoiler since it is *the very secret the description says is in the story*, I’ll not reveal here what they are. Instead I’ll add a postscript after the ultimate recommendation with the spoilers but with several lines of warning before I speak to them for people who do not wish to see them. I will also enclose them in spoiler tags on platforms where this review appears that support such tags. That way you, the reader of my review, can choose to look for them or not. Now, Ross has gone perhaps a touch heavy on similar ish issues before – but it was never to this level. Perhaps a downside of not having those guardrails and prerequisites she was bound by in earlier efforts, or perhaps just a genuine misstep in these even more contentious times. Ross has her views on these subjects and I have mine and let’s just say that we learned long ago neither is going to change the other. Unfortunately for this tale, she just goes *so very hard* within the book for several pages on one of them in particular, and the book ultimately suffers for it. Yes, this is specifically about the secret in the description, which is revealed in the story at around the 90% ish mark.
Ultimately, I’m truly elated to see Ross writing again. I truly love her style and what she is able to do, and I think this particular tale is actually *on its whole* a great new evolution of her capabilities. I genuinely hope St. Martin’s agrees and keeps her on for quite a while, but if something every happens and she finds she must, I hope Ross is never afraid to perhaps go the Independent route to get her stories out. The world would be lesser without them. Truly. But Ross, you know I’m not going to bullshit you: Find a way to get your message across without being so heavy handed about it. Please. You can integrate those exact same topics into the story and have them not be so preachy, and you’re good enough to figure out how to do that.
Very much recommended.
And now for the spoilers.
I’m adding several lines here so that people can stop reading and not see what I’m about to write.
Or at least that is my intention.
Seriously, if you don’t want to see spoilers, STOP READING NOW.
Don’t make me warn you again. SPOILERS AHEAD.
THIS IS YOUR LAST CHANCE TO AVOID SPOILERS!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
The two topics that Ross is heavy handed on:
1) alcoholism and treatment. For most of the tale, this is actually handled *really* well. Even through most of the fallout of some of the alcoholic’s actions, Ross still does quite well with showing an emotional and powerful tale. It is specifically during the treatment section and its fallout that Ross gets particularly preachy, and it does come across as just too much. Add in that Ross highlights an unconventional (for many) path/ doesn’t highlight the most well known path (or at minimum have a throw away line about how problematic it can be itself and thus the character doesn’t want to go that route), and you’ve got something that is both preachy and contentious, and it doesn’t actually add much to the story to be this preachy and contentious here – if anything.
2) Abortion. This is the secret from the description, and pretty well everything about the entire discussion here is heavy handed and preachy. It comes across more as a semi-moderate 2020s feminist lecture about the topic (in that at least one character thinks the boyfriend should have been at least informed about the pregnancy before the abortion, while still emphasizing that it was entirely the girl’s decision) than a real heartfelt emotional scene the way Ross was clearly intending. It is also something that by its presence and in particular the way Ross chose to handle it will turn at least some segment of readers completely away. Which is a business level decision rather than a storytelling one, at least to this reviewer. I know from prior works that Ross *can* be at least slightly more balanced on contentious issues, but that prior restraint/ balance doesn’t really come through here *at all* except for the one line (ish) about wishing the boyfriend had been informed first.
This review of The Unwritten Rules of Magic by Harper Ross was originally written on January 23, 2026.
