Death at Morning House by Maureen Johnson is a slow-burn mystery that takes readers to the eerie Morning House, a mansion on a secluded island, where past and present collide. Despite high expectations, especially after Johnson's standout Truly Devious series, the book falls flat in many ways.
The story is told between two timelines—1932 and the present day. In the past, the focus is on the enigmatic Ralston family and the tragedy that claimed two of their lives. The present follows Marlowe Wexler, a teenager who, after accidentally starting a fire during a date, escapes to a summer job at Morning House–the very site of the decades-old tragedy.
Unfortunately, the mystery itself is a letdown. The pacing is painfully slow, with the actual mystery only starting to take shape halfway through the book. The first half feels like an overly drawn-out setup, lacking tension or intrigue to keep the reader engaged. It doesn’t help that Marlowe’s role in the mystery feels passive; she doesn’t set out to solve anything, and the first half is entirely devoid of the usual detective work that keeps a reader engaged in a mystery novel. When the big reveal finally comes, it’s not through Marlowe's efforts but rather a conveniently discovered letter that spells everything out for her. This heavy reliance on “telling” rather than “showing” undermines the suspense, robbing readers of the satisfaction of unraveling the mystery alongside Marlowe and making the resolution feel unearned.
Additionally, the dual timelines had a lot of potential, but the execution falls short. The mystery surrounding the 1932 deaths offers an intriguing and interesting concept, yet it ultimately feels underwhelming. The flashbacks and narrative style lack the depth needed to bring the past to life, making the events feel more like reading about the mystery rather than experiencing it alongside the characters. It’s a missed opportunity to really flesh out the past and create more of a suspenseful, atmospheric mystery.
What makes Death at Morning House stand out, however, is Marlowe. She’s a mess but in the most relatable and charming way. The slow unraveling of her personal story keeps readers invested even when the mystery itself feels like an afterthought. Her narration, filled with quirky self-deprecating humor, brings her to life as the only truly vivid character in an otherwise stilted plot. Her self-reflection adds depth and charm as she navigates personal struggles and unwittingly becomes entangled in the danger surrounding Morning House.
The queer representation in this book is another highlight. Marlowe’s feelings for Akilah are integral to her journey, and it’s refreshing to see the narrative treat these emotions with such care. Johnson weaves this representation into the narrative without making it the focal point. It’s subtle, and refreshing, and adds another layer of depth to Marlowe's character.
Overall, Death at Morning House just didn’t hit the mark. While Marlowe is a character worth rooting for, and the concept of a haunted mansion and a historical tragedy offers intriguing possibilities, the execution falls flat. The mystery is too obvious, the pacing too slow, and the payoff too little too late. It’s a book that offers glimpses of greatness but ultimately fails to spark the intrigue it should have. Fans of Johnson’s Truly Devious series may be disappointed by how lackluster this standalone mystery feels in comparison.