I try to express only my most honest opinion in a spoiler-free way. Unfortunately, there is still always a risk of slight spoilers despite my best efforts. If you feel something in my review is a spoiler please let me know. Thank you.

I did not really like this book. I know an obvious statement considering my rating, but the most accurate I could think of. It had promise and the plot of the story could have been good if it wasn't told in one of the most boring ways possible. This is a book filled with suspense, horror, action, and mystery, but I found it utterly boring. I won't be continuing the series. ( )

I give Westside points for imagination and atmosphere, but the book is overlong and its heroine's hairsbreadth escapes and continued survival against all odds test even my suspension of disbelief. The setting is New York City of 1921, a city now separated by a wall running down Broadway for the length of Manhattan. In the Westside, people disappear in alarming numbers and 24th Street is the dividing line between the parts of the city run by two chieftains--one male, one female, who as we'll discover, have a long history. By the end of the book, the author has succeeded in tying pretty much every character to one another, but it just becomes more and more implausible. The heroine, a detective who only works on "tiny mysteries", in this case a missing glove, is likable and her first person narration is engaging, though perhaps a bit overwrought, especially in the audio version I listened to. The story is sensational enough; the narrator would have done better to read it a little less expressively. As I said at the beginning, there is a lot of imagination here, and the depictions of both sides of the city, the prospering, "normal" East Side and the mysterious West Side, are very well done. There are lots of memorable characters along the way, and some of them we wish we could get to know a bit better. (But there's a sequel, so I guess readers who can put up with more of this will get to do so.) Toward the end, the author introduces the biggest twist of all, which I won't spoil for you, but I just don't think it works. It all becomes just too ridiculous by the time of the last gunfire and explosions. I can't really recommend it. ( )

Gilda Carr is a fantastic detective protagonist and the strange and terrifying world Akers builds is endlessly fascinating. His twisted version of 1921 New York feels natural and organic while simultaneously being precisely *correct*: nothing ever feels out of place, or makes you stop to question the internal logic. I might have done with approximately 1.75 fewer characters to keep track of, considering that "Westside" isn't a tome by any stretch, but that's a quibble. ( )

Gllda's New York of 1920 is a divided city, with the west side derelict and the east side more affluent and recognizable. People have been mysteriously disappearing, including her police officer father two years earlier, and she is determined to save her west side and herself from being swallowed up by shadows. With various forces competing for dominance, bootlegged booze and guns, gangs, and conflicting loyalties, Gilda faces powerful odds for herself and her city. ( )

Fascinating worldbuilding and rich historical detail enrich this adventure story. There is, however, a paucity of connective character development that makes the resulting story feel more like a sequence of vignettes than a novel.

For example, the main character, Gilda, has (had?) an intimate relationship with a character nicknamed Cupid, with whom she has a hilarious inside joke about roast beef that is also a critical character development point for Gilda, but their scenes lack the detail and dialogue that would give necessary clues to the read about their emotional connection and history. Gilda's closest female friend has several distinctive quirks but little back-story to connect the quirks, several behaviors unique to her but few details that clarify what place her friendship with Gilda occupies in either character's life. A caretaker/housekeeper figure has wonderfully colorful reactions to the troubles that invade Gilda's home life, but neither dialogue nor specific moments give the reader a fully dimensional feel for the relationship or for the character's motivations.

The metaphysics of Gilda's world become startlingly clear for one moment late in the book, but this, like the identity of Gilda's father's killer, lacks anchoring in the story. Portions of Gilda's house vanish throughout the book, but other than references to those specific absences and some broad scenery points like the presence of a lighthouse and brightly kept bonfires in an adjacent neighborhood, the story lacks reminders that characters navigate these absences. Were this a film rather than a book, the camera could provide such information wherever the story does not signify it, but the result in text is more the idea of impressionism or magical realism than a story created with such techniques.

Does the story merit telling? I kept reading long after I became deeply confused about which characters might do what next, and thus unable to feel any of Gilda's convictions with regard to the facts of her father's death, because the mystery itself and the history and alternate history were fascinating. The conceptual work of creating plausible gangs in a fantastical Manhattan made me want to experience their interactions. Do the metaphysics support a story? They clearly can. The infrequency of transitions and of dialogue clues or metonymic signifiers that work in place of exposition in cinematically written stories, however, drains this realization of this story of the compelling quality it could have had with a few more beta readings or better editorship.

PS: Will bookmark the author, because I'm hoping this was just a premature release of a wonderful debut. The alternate history built into the fantastic element really is that good, and the switchbacks on Gilda's path to answers really are that tantalizing. ( )