Gareth Brown’s sophomore effort, The Society of Unknowable Objects, proves that lightning can indeed strike twice in the same literary place. Following the remarkable success of his debut The Book of Doors, Brown has crafted another enchanting tale that seamlessly weaves magical realism into the fabric of contemporary life, creating a narrative that feels both fantastical and remarkably grounded.
The story centers on Magda Sparks, a thriller novelist whose ordinary life takes an extraordinary turn when she’s dispatched to Hong Kong by Frank Simpson, the elderly keeper of a mysterious bookshop in London’s Marylebone. What begins as a simple investigation into a peculiar chess piece quickly spirals into a globe-trotting adventure that reveals the existence of a secret society dedicated to protecting the world from magical artifacts—and protecting these artifacts from the world.
The Architecture of Wonder
Brown demonstrates a masterful understanding of how to construct wonder within familiar settings. His London bookshop, Frank’s Books, becomes more than just a setting—it transforms into a character in its own right, complete with hidden basement archives and the comforting smell of old books that any bibliophile will recognize. The author’s background working in the civil service perhaps informs his ability to create bureaucratic structures around magic, giving the Society of Unknowable Objects a refreshingly practical approach to the supernatural.
The pacing throughout the novel showcases Brown’s growing confidence as a storyteller. While The Book of Doors occasionally felt rushed in its revelations, this second novel allows its mysteries to unfold with deliberate care. The Hong Kong sequences crackle with tension as Magda encounters James Wei, the enigmatic art curator whose discovery of a magical chess piece sets the entire plot in motion. Brown’s description of the bustling city, from the Peninsula Hotel to authentic noodle shops in Kowloon, creates an immersive backdrop that grounds the fantastic elements in tactile reality.
Character Development and Emotional Resonance
Magda Sparks emerges as a compelling protagonist who feels genuinely human despite her extraordinary circumstances. Her grief over her mother’s death, her complicated relationship with Frank as a father figure, and her growing attraction to James create emotional anchors that prevent the novel from floating away into pure fantasy. Brown has a particular gift for writing dialogue that reveals character—Magda’s dry humor and Frank’s paternal concern come through in their conversations with natural ease.
The supporting cast, particularly Henrietta “Henry” Wiseman and the mysterious antagonist Lukas, adds layers of complexity to what could have been a straightforward good-versus-evil narrative. Brown’s willingness to explore the moral ambiguity of keeping magical objects secret—even from those who might use them for good—elevates the material beyond simple adventure fiction.
Perhaps most impressively, Brown manages to make the magical feel logical. When Magda discovers she can fly using her mother’s pendant, the scene reads with such careful attention to the physical sensations and emotional impact that readers will find themselves believing in the impossible. This is magical realism at its finest—magic that feels earned rather than convenient.
Themes That Resonate
Beneath its adventure-story surface, The Society of Unknowable Objects grapples with weighty themes about inheritance, both literal and metaphorical. Magda inherits not just her mother’s magical pendant but also the burden of secrets, the weight of responsibility, and the complex legacy of a society built on noble intentions but questionable methods. The novel asks uncomfortable questions about who has the right to decide what knowledge should be kept from the world.
The theme of found family runs throughout the narrative, as Magda navigates relationships with Frank, James, and the other Society members. Brown explores how families can be built through shared purpose and mutual care, even when blood relations provide no foundation. The bookshop itself becomes a symbol of this alternative family structure—a place where knowledge is preserved and shared, where different generations connect through their love of stories.
Areas for Improvement
While Brown’s second novel shows significant growth from his debut, it’s not without its minor flaws. The villain’s motivations, while eventually explained, feel somewhat underdeveloped in the early portions of the book. Readers may find themselves wanting more insight into what drives someone to pursue magical objects with such relentless determination.
The novel’s conclusion, while satisfying on an emotional level, wraps up certain plot threads with perhaps too much convenience. Brown’s acknowledgment in his author’s note that this was a “difficult second book” to write occasionally shows through in moments where the machinery of plot becomes visible beneath the narrative surface.
Some readers might also find the concept of a secret society protecting magical objects familiar from other works in the genre. However, Brown’s particular approach—grounding the fantastic in mundane settings and bureaucratic structure—gives the concept fresh appeal.
Writing Style and Craft
Brown’s prose style has matured considerably since his debut. His sentences flow with natural rhythm, and his descriptions strike the right balance between atmospheric detail and narrative momentum. He has a particular gift for capturing the sensory experience of magical events—the way gravity feels when Magda flies, the electric sensation of holding an unknowable object.
The author’s background in Scotland and his love of travel shine through in his vivid descriptions of various locations. From the narrow streets of London’s Marylebone to the humid bustle of Hong Kong to the desert landscapes of Nevada, Brown creates settings that feel lived-in and authentic.
His dialogue deserves special mention for its naturalistic quality. Characters speak like real people rather than plot devices, with conversations that meander and interrupt in the way actual conversations do. This attention to realistic speech patterns helps ground the fantastic elements in recognizable human behavior.
Comparison to Similar Works and Author’s Previous Book
While The Society of Unknowable Objects shares DNA with other contemporary magical realism works—think Neil Gaiman’s urban fantasies or Erin Morgenstern’s atmospheric novels—Brown has developed his own distinctive voice. Unlike The Book of Doors, which focused more tightly on a single magical concept, this novel expands its scope to create an entire hidden world of magical objects and their guardians.
The book’s exploration of secret societies protecting magical artifacts will remind readers of works like Ben Aaronovitch’s Rivers of London series or Jim Butcher’s Dresden Files, but Brown’s approach feels more grounded and less action-oriented. His magic is quieter, more contemplative, focused on the human cost of keeping secrets rather than spectacular displays of power.
Verdict and Recommendation
The Society of Unknowable Objects succeeds as both an engaging adventure story and a thoughtful exploration of how magic might exist in our contemporary world. Brown has created a novel that will appeal to readers who enjoy their fantasy grounded in recognizable reality, their magic systems logical rather than arbitrary, and their characters driven by genuine human emotions rather than archetypal destinies.
The book works particularly well for readers who appreciate the slower pace of literary fiction but crave the wonder and escapism of fantasy. Brown never talks down to his audience or over-explains his magical systems, trusting readers to follow along as his characters discover the rules of their hidden world.
For fans of The Book of Doors, this novel provides a satisfying return to Brown’s particular brand of accessible magical realism. For newcomers to his work, it serves as an excellent introduction to an author who understands that the best fantasy fiction makes the impossible feel inevitable.
Similar Reads You Might Enjoy
If The Society of Unknowable Objects appeals to you, consider exploring these similar titles:
- The Ten Thousand Doors of January by Alix E. Harrow – Another portal fantasy that grounds magical concepts in emotional reality
- The Midnight Library by Matt Haig – For its exploration of parallel possibilities and life choices
- The Starless Sea by Erin Morgenstern – Features mysterious books and secret societies in atmospheric settings
- The Invisible Life of Addie LaRue by V.E. Schwab – Combines magical realism with deep character development
- The Once and Future Witches by Alix E. Harrow – Secret magical societies and inherited power
- Rivers of London by Ben Aaronovitch – Urban fantasy with logical magic systems
- Mr. Penumbra’s 24-Hour Bookstore by Robin Sloan – Mystery and magic centered around books and bookshops
The Society of Unknowable Objects stands as proof that Gareth Brown is developing into one of the most promising voices in contemporary magical realism. While it may not revolutionize the genre, it offers exactly what readers of literary fantasy are seeking: intelligent magic, genuine characters, and stories that remind us that wonder can be found in the most ordinary places—if we know how to look for it.