In the following article, we will explore in detail Even Though I Knew the End, a topic of great relevance and interest in today's society. Over the years, Even Though I Knew the End has captured the attention of academics, professionals and the general public, generating multiple debates and reflections around its importance, implications and possible solutions. From various approaches and perspectives, we will examine the different facets of Even Though I Knew the End, providing an in-depth and critical analysis that will expand our knowledge and understanding of this topic. Without a doubt, Even Though I Knew the End plays a fundamental role in various aspects of daily life, so it is essential to address it with rigor and seriousness to contribute to the debate and collective reflection.
Even Though I Knew the End is a 2022 urban fantasy novella by Canadian speculative author C. L. Polk. It was first published by Tor Books.
In 1941, Elena "Helen" Brandt is a private detective and augur in Chicago, who agrees to hunt a serial killer even though she knows that she will die in three days when her decade-old deal with the Devil comes due.
Even Though I Knew the End won the Nebula Award for Best Novella of 2022,[1] and was a finalist for the 2023 World Fantasy Award—Novella,[2] the 2023 Hugo Award for Best Novella,[3] and the 2023 Aurora Award for Best Novelette/Novella.[4] Publishers Weekly commended Polk for their "focus on character development makes every interaction matter a layered exploration of love and power with genuine emotional stakes and a soaring, perfectly bittersweet payoff", and judged that "readers will wish they had more time to explore ".[5]
Lightspeed called it "the queer supernatural detective noir everyone needs", lauding Elena's narrative voice as "catchy and funny in the way good urban fantasy protagonists are", and noting the "quick pacing".[6] Strange Horizons observed parallels with Supernatural and praised the novella as a "straightforwardly terrific yarn" that "also explores questions of justice, queerness, and the arduous work of making moral choices within immoral structures", noting that Polk included "enough period detail to make her world feel real, historical, and populated with actual humans."[7]
James Nicoll, while conceding that his own expectations in terms of worldbuilding may be unfair, nonetheless faulted Polk for depicting a setting which is identical to 1941 Chicago except for magic historically being real and publicly acknowledged; he also expressed his "pessimis about Helen and Edith's long-term prospects, what with their habit of not telling the other about stuff they think might upset their sweetheart", but overall found that "t's well-written and moves fast", concluding that he "liked it a lot".[8]