Kirkus
Copyright © Kirkus Reviews, used with permission.

Hemmed in by long-kept silences and problematic histories, a complicated family in 18th-century Amsterdam struggles to find its future. Burton’s sequel to her bestselling debut, The Miniaturist (2014), picks up a generation later, in 1705, in a world riddled with secrets. Nella Brandt, the challenged wife of the previous book, now returns as aunt to 18-year-old Thea, the illegitimate daughter of her sister-in-law Marin and Otto, the African manservant who worked for Nella’s late husband. As the story opens, Thea, conducting a forbidden love affair with a scene painter at the Schouwburg Theatre, still yearns to understand the circumstances of her secret conception and to know more about the mother who died giving birth to her. Moreover, what are the details of Otto’s background in Surinam and Nella’s choice never to return to her now-derelict family home, Assendelft? The Brandts are also keeping secret from society at large the fact that they have no savings left and that Otto has lost his job. And there’s one more family enigma that may have resurfaced, as perfect, small, doll-like crafted objects start appearing on their doorstep. Has the strangely prescient miniaturist who haunted Nella’s marriage returned? Despite this welter of intrigues, there’s a static feel to the novel’s first half, scarcely alleviated by the introduction of Jacob van Loos, a wealthy possible suitor for Thea who might be the solution to the family’s financial distress. While two dramatic turning points eventually jolt the narrative forward, the story’s plotting is limited and its mood dominated by introspection, reminiscence, and unhappiness. Among a cast of isolated characters, it falls to Nella to act as the lynchpin once again, enabling a resolution which arrives sweetly but without answers to many of the preceding questions. The magic is missing in this intense yet less-well-consolidated return trip. Copyright © Kirkus Reviews, used with permission.

Publishers Weekly
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Burton returns with a captivating standalone companion to 2014’s The Miniaturist. In 1705 Amsterdam, 18-year-old Thea Brandt lives in a cold mansion with her father, Otto, a Black man who was formerly enslaved; her aunt Nella; and her elderly nursemaid and cook Cornelia. The family can barely afford the house, which Otto inherited, leading to Nella intensifying her efforts to find a wealthy husband for Thea, whose mother was white, and Otto thinking about partnering with a botanist to cultivate pineapples in Holland. Thea finds refuge at a nearby theater with her friend Rebecca, a fierce and talented leading lady; and Walter, the chief set-painter and Thea’s secret lover. However, after Walter breaks her heart, Thea resigns herself to marrying a wealthy lawyer from a prominent family. Throughout, the mysterious “miniaturist” of the previous book surreptitiously delivers warnings in the form of detailed figurines on Thea’s doorstep, each with its own eerie significance and seeming supernatural power, just as she had done years ago with Nella. While the ending feels a little abrupt, the vibrant period detail, the characters’ vibrant inner lives, and Thea’s fulfilling journey to maturity make for a winning combination. Readers will relish the return of Nella and her world. Agent: Jenny Bent, Bent Agency. (Aug.)

Book list
From Booklist, Copyright © American Library Association. Used with permission.

Burton’s The Miniaturist (2014) was an international bestseller with a subsequent TV miniseries, and this keenly awaited sequel should more than fulfill expectations. Exhibiting the same finely etched atmosphere of historic Amsterdam, it deepens characterizations by bringing the action forward while illuminating the childhood of the original protagonist, Nella. In 1705, secrets flourish in the Brandt house on the Herengracht canal. Nella’s mixed-race niece, 18-year-old Thea, who knows little about her mother or events before her birth, conducts a furtive romance with an unsuitable man. With money tight, Nella hopes to find Thea a rich husband who will improve their fortunes. Thea’s father, Otto, has his own ideas, and their competing plans clash dramatically. Meanwhile, the miniaturist of Burton's previous novel, whose designs are unnervingly perceptive, has returned with gifts for Thea. With an artistic eye, Burton explores women’s lives, socioeconomic concerns, and the ways they intersect. This tale has few of the first novel's supernatural elements, instead emphasizing the effect of the miniaturist’s creations. Both heroines grow and change in this smartly written historical novel about family relationships and recognizing truth.

Library Journal
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Fans of Burton's best-selling novel The Miniaturist will find this a worthy and satisfying sequel. In 1705 Amsterdam, Thea Brandt is celebrating her 18th birthday. The joy of the occasion is muted by her family's refusal to speak of her mother (who died giving birth to Thea), their strained finances, and Thea's recent moodiness. Her father, Otto, is struggling to see Thea as an adult, and her Aunt Nella is determined to get her married into a comfortable life free of the woes Nella has faced as a widow with diminishing fortunes in status-obsessed Amsterdam. An invitation to a ball hosted by one of Amsterdam's wealthiest families introduces the Brandts to a well-off young man, to a strange pineapple grower, and possibly to the miniaturist who sent Nella oddly prescient gifts years ago, when the miniaturist herself was 18. Will these three people help the Brandts return to their prior life of fortune, or will their carefully crafted façade finally crumble? VERDICT A beautifully written and wholly engrossing tale. New readers will be delighted that they can enjoy this book without having read the first one, but they'll probably seek it out to spend a bit more time in Burton's magical Amsterdam.—Portia Kapraun

Library Journal
(c) Copyright Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.

Admittedly this is the first book of Ackerman's that I struggled with. It's not that it wasn't a good book it's more that it just took it's time getting there if that makes sense. It started out really strong, the first couple of chapters were well written and set readers up for an engrossing tale. But then somewhere around the 20% mark it started to lose steam for me. I had a hard time believing that Isabel wanted to go to Hawaii to basically retrace the footsteps of her deceased brother. On the surface it made sense but as we got into the story where she meets Mateo and retracing her brother's favorite spots as a catalyst for their romance just felt weird and off to me. For me it just didn't work and felt a little off. The first half of the book mostly covered Mateo and Isabel going to her brother's favorite spots and Mateo documenting those spots and the whole time I was thinking "Why???? What's the point of this???". And Mateo's devotion to all those spots and memories felt a little weird too. Can't explain it but it just didn't feel fitting some how. I struggled with Lu's parts of the book too. There seemed to be zero connection between Lu and Mateo later on in the book and I just really struggled to get into that part of the story. For some reason this whole book felt very mismatched and strung together but not in a good way. After the 50% mark things eventually picked up and got better (no spoilers!) but by that point I was already feeling disconnected and bored with some of the story. It took too long getting there and getting to the interesting parts for my taste. This was unexpected for me because Ackerman's books have generally been really good. This book started out with her trademark love of Hawaii and it's war time history. I loved that part and I loved the descriptions of the island and it's rugged beauty. But the characters felt lacking for me. While this book didn't excite me as some of Ackerman's other novels, I think it's still worth a read. It's not bad but for me, I felt like her other novels were stronger and I think this one could have been better than it was. Ackerman is still an author that I recommend a lot to readers looking for 'off the beaten path' WWII novels. She is a marvelous writer and I love how she writes and the stories she tells, but in this one I think it could have been better. Admittedly this is the first book of Ackerman's that I struggled with. It's not that it wasn't a good book it's more that it just took it's time getting there if that makes sense. It started out really strong, the first couple of chapters were well written and set readers up for an engrossing tale. But then somewhere around the 20% mark it started to lose steam for me. I had a hard time believing that Isabel wanted to go to Hawaii to basically retrace the footsteps of her deceased brother. On the surface it made sense but as we got into the story where she meets Mateo and retracing her brother's favorite spots as a catalyst for their romance just felt weird and off to me. For me it just didn't work and felt a little off. The first half of the book mostly covered Mateo and Isabel going to her brother's favorite spots and Mateo documenting those spots and the whole time I was thinking "Why???? What's the point of this???". And Mateo's devotion to all those spots and memories felt a little weird too. Can't explain it but it just didn't feel fitting some how. I struggled with Lu's parts of the book too. There seemed to be zero connection between Lu and Mateo later on in the book and I just really struggled to get into that part of the story. For some reason this whole book felt very mismatched and strung together but not in a good way. After the 50% mark things eventually picked up and got better (no spoilers!) but by that point I was already feeling disconnected and bored with some of the story. It took too long getting there and getting to the interesting parts for my taste. This was unexpected for me because Ackerman's books have generally been really good. This book started out with her trademark love of Hawaii and it's war time history. I loved that part and I loved the descriptions of the island and it's rugged beauty. But the characters felt lacking for me. While this book didn't excite me as some of Ackerman's other novels, I think it's still worth a read. It's not bad but for me, I felt like her other novels were stronger and I think this one could have been better than it was. Ackerman is still an author that I recommend a lot to readers looking for 'off the beaten path' WWII novels. She is a marvelous writer and I love how she writes and the stories she tells, but in this one I think it could have been better.

Kirkus
Copyright © Kirkus Reviews, used with permission.

Hemmed in by long-kept silences and problematic histories, a complicated family in 18th-century Amsterdam struggles to find its future.Burtons sequel to her bestselling debut, The Miniaturist (2014), picks up a generation later, in 1705, in a world riddled with secrets. Nella Brandt, the challenged wife of the previous book, now returns as aunt to 18-year-old Thea, the illegitimate daughter of her sister-in-law Marin and Otto, the African manservant who worked for Nellas late husband. As the story opens, Thea, conducting a forbidden love affair with a scene painter at the Schouwburg Theatre, still yearns to understand the circumstances of her secret conception and to know more about the mother who died giving birth to her. Moreover, what are the details of Ottos background in Surinam and Nellas choice never to return to her now-derelict family home, Assendelft? The Brandts are also keeping secret from society at large the fact that they have no savings left and that Otto has lost his job. And theres one more family enigma that may have resurfaced, as perfect, small, doll-like crafted objects start appearing on their doorstep. Has the strangely prescient miniaturist who haunted Nellas marriage returned? Despite this welter of intrigues, theres a static feel to the novels first half, scarcely alleviated by the introduction of Jacob van Loos, a wealthy possible suitor for Thea who might be the solution to the familys financial distress. While two dramatic turning points eventually jolt the narrative forward, the storys plotting is limited and its mood dominated by introspection, reminiscence, and unhappiness. Among a cast of isolated characters, it falls to Nella to act as the lynchpin once again, enabling a resolution which arrives sweetly but without answers to many of the preceding questions.The magic is missing in this intense yet less-well-consolidated return trip. Copyright Kirkus Reviews, used with permission.