Very good, a delicious, satisfying read. It moved fast, but not so much that the pace was unsustainable or unlikely. I felt like Peter was exceptionally naive in dealing with Simone; shouldn't he wonder why he had this intense lust/fascination? Shouldn't he be more bothered that her last lover died abruptly two weeks ago and she doesn't seem to have any grief? I feel like most police wouldn't make the mistake of interacting on a very personal level so quickly. I found the shagging interludes kind of distracting, and not particularly congruent with the Peter of Midnight Riot, but perhaps Aaronovitch is trying to expand Peter's life. Still, he's been opened to this world of magic and discovering how like attracts like; it was hardly a surprise when Simone turned out to have very magical properties. I was only surprised by Peter's efforts to bring her into the Folly. I think Nightingale was right in pointing out that she and her sisters are responsible for 200 plus deaths. "Mental disorder," perhaps, but according to all copper standards, that still warrants locking up. I was most pleased with how Peter interacted with Leslie. The most common way authors seem to handle tragedy in their male protagonists' lives is through excruciating guilt, and by telling us about the guilt. Instead, Peter visits, continues somewhat normally by texting, and then through the phone. He's used to bouncing ideas off Leslie, and this trend continues. There are hints at his guilty feelings, but they do not dominate their interactions or Peter's thoughts.There's a fair amount of British colloquial slang and police terms, the most obvious is "copper" instead of police. Aaronovitch doesn't even explain in passing, so sometimes meaning is a challenge to pick up. This is only a minor bother, however. Overall, the language is fun, and sophisticated, and a thorough reading will generate a lot of chuckles, particularly in scenes with Peter and Stephanopoulis.