The City of Brass

The City of Brass follows Nahri, an 18th-century Cairo con artist who accidentally summons a djinn warrior named Dara and discovers she's the last descendant of the Nahid dynasty, a powerful family of daeva healers thought extinct for decades. Together they journey to Daevabad, the legendary city of brass, where Nahri becomes entangled in dangerous court politics, ancient tribal conflicts, and power struggles between djinn factions. The novel blends Middle Eastern folklore with themes of identity, political intrigue, and the consequences of power.

The City of Brass is perfect for readers who enjoy adult fantasy with intricate world-building, morally grey characters, and complex political intrigue. Fans of Middle Eastern-inspired mythology and settings will appreciate S.A. Chakraborty's rich cultural details and djinn lore. This book appeals to those who don't mind slow-burn pacing in exchange for deep character development and elaborate court politics. However, readers should note it contains graphic violence, slavery themes, and heavy descriptions that require patient engagement with its complex tribal dynamics and naming conventions.

The City of Brass is worth reading for its unique Middle Eastern fantasy setting and exceptionally rich world-building that stands out in the fantasy genre. While the pacing drags in the middle sections, the explosive ending and intricate court politics make up for slower moments. S.A. Chakraborty crafts morally complex characters and weaves together magic, politics, and personal discovery in refreshing ways. The novel's exploration of prejudice, power dynamics, and cultural identity provides depth beyond typical fantasy fare, though readers should prepare for a demanding but ultimately rewarding experience.

Daevabad is the legendary city of brass, home to six djinn tribes living behind gilded brass walls laced with enchantments and protected by six gates. The city serves as the political and magical center of the djinn world, where ancient resentments simmer between different tribes and social classes, particularly between pure-blooded djinn and shafit (mixed-blood humans). Daevabad is ruled by the Qahtani family, who overthrew Nahri's ancestors, the Nahid dynasty, from the throne over a thousand years ago. The city represents both opportunity and danger as characters navigate its complex power structures and deadly court politics.

Nahri is a streetwise con artist and healer living in 18th-century Cairo who discovers she possesses mysterious magical abilities and djinn heritage. She's revealed to be the last descendant of the Nahid family, a legendary dynasty of daeva healers thought to have been completely wiped out two decades earlier. Throughout The City of Brass, Nahri transforms from a survival-focused trickster into a key political player in Daevabad, caught between her love for the warrior Dara, her alliance with Prince Ali, and the dangerous ambitions of King Ghassan. Her journey explores themes of identity, belonging, and the price of power.

The City of Brass explores identity and heritage as Nahri discovers her true bloodline and grapples with what it means to belong to a lost dynasty. S.A. Chakraborty examines systemic prejudice through the oppression of shafit (mixed-blood people) and tensions between djinn tribes, highlighting how discrimination shapes political power. The novel delves into the consequences of violence and the burden of history, as characters like Dara carry the weight of past atrocities. Loyalty versus betrayal forms a central tension as characters navigate complex political allegiances in a world where magic cannot shield them from dangerous court machinations.

The City of Brass concludes with Dara being killed by Ali, who is possessed by a marid (water spirit), while trying to escape Daevabad with Nahri. King Ghassan forces Nahri to publicly denounce Dara and agree to marry his son Muntadhir to control the rebellious Daeva tribe, threatening to reveal she's actually shafit if she refuses. Ali is stripped of his titles and exiled after his father discovers his role in the marid possession, essentially sending him to await assassination. The ending leaves Daevabad in turmoil, with Nahri trapped in a political marriage, her people alienated, and the city on the brink of chaos under Ghassan's increasingly brutal rule.

The City of Brass is the first book in The Daevabad Trilogy by S.A. Chakraborty. The series continues with The Kingdom of Copper and concludes with The Empire of Gold, following Nahri's ongoing journey through the political landscape of Daevabad. The trilogy maintains the complex world-building and character development established in the first book while expanding the scope of conflicts between djinn tribes. Readers should expect cliffhangers and unresolved plotlines that carry through the entire series, as The City of Brass primarily serves as an intricate foundation for the larger narrative arc.

The City of Brass receives criticism for its uneven pacing, with many readers finding the first three-quarters slow and the middle sections dragging before an explosive finale. The complex world-building, while praised by some, overwhelms others with intricate tribal names, histories, customs, and political systems that can leave readers confused. Some reviewers note the characterization feels insufficient for such elaborate plotting, and the writing relies heavily on descriptions rather than action. The inclusion of a love triangle frustrates readers who prefer character-driven romance over political machinations. Additionally, the book's complexity requires patient engagement that not all readers find rewarding despite its unique setting.

Dara is an ancient daeva warrior known as the Afshin who was enslaved and tortured by ifrit for over a thousand years before Nahri accidentally summons him. He has a violent reputation for slaughtering entire cities in the past, but becomes Nahri's protector and love interest as they journey to Daevabad. Ali is the pious younger prince of the ruling Qahtani family who becomes entangled with Nahri despite being on the opposite side of ancient tribal conflicts. Both characters represent opposing forces in Daevabad's politics—Dara embodies Daeva heritage and old power, while Ali represents Qahtani rule and religious devotion, creating moral complexity as readers question which side to support.

The City of Brass features exceptionally rich and intricate world-building rooted in Middle Eastern folklore and mythology, centering on djinn, daevas, ifrit, and marid spirits. S.A. Chakraborty creates a complex social hierarchy with six djinn tribes, political factions, religious divisions, and a persecuted shafit underclass that mirrors real-world prejudice. The setting spans from 18th-century Cairo to the magical city of Daevabad with its brass walls, enchanted gates, and elaborate court systems. While some readers find the detailed tribal histories, naming conventions, and political structures overwhelming, others praise the thorough development and cultural authenticity that distinguishes it from typical Western fantasy.

The City of Brass remains relevant in 2025 for its exploration of systemic oppression, prejudice against marginalized groups, and the complexities of political power that resonate with contemporary social issues. S.A. Chakraborty's Middle Eastern-inspired fantasy offers crucial representation in a genre traditionally dominated by European medieval settings, providing fresh perspectives on magic and mythology. The novel's examination of immigration, mixed heritage identity, and cultural belonging speaks directly to ongoing global conversations about diversity and inclusion. Its morally grey characters and rejection of simple good-versus-evil narratives align with modern readers' preference for nuanced storytelling that reflects real-world moral ambiguity rather than straightforward heroism.