Does 'A Great And Terrible Beauty' Have A Love Triangle?

I've read 'A Great and Terrible Beauty' multiple times, and while romance is present, it doesn't center around a traditional love triangle. Gemma, the protagonist, has complex relationships with two male characters—Kartik and Tom—but it never evolves into a full-blown rivalry for her affection. Kartik serves as her mysterious guide with supernatural ties, while Tom represents the safe, societal expectations of her time. The tension comes more from Gemma's internal conflict between duty and desire rather than two men competing. The book focuses more on female friendships, magical awakening, and Victorian societal pressures than romantic entanglements. If you're expecting a dramatic 'Team Kartik vs. Team Tom' scenario, you might be disappointed, but the nuanced relationships add depth to Gemma's coming-of-age journey.

As someone who analyzes YA literature patterns, I can confirm 'A Great and Terrible Beauty' subverts the typical love triangle trope. Gemma's relationships with Kartik and Tom exist on completely different planes. Kartik is her forbidden connection to the mystical realms, a figure shrouded in secrets who challenges her worldview. Their interactions crackle with unresolved tension, but it's more about destiny than romance. Tom, meanwhile, represents the conventional path—a childhood friend who offers stability in her chaotic new life at Spence Academy.

The real brilliance lies in what Libba Bray chooses to emphasize instead. The most intense relationships are between Gemma and her classmates Felicity and Pippa. Their bond veers into obsessive territory, blurring lines between friendship and something darker. The magic system actually feeds off their emotional connections, making interpersonal dynamics far more crucial than any romantic subplot. When Kartik does show genuine interest, it's overshadowed by his mission to control Gemma's powers. Tom barely registers as competition because Gemma's true struggle is balancing her supernatural responsibilities with human attachments.

Readers craving a proper love triangle might prefer 'The Infernal Devices' trilogy, where the dynamic between Tessa, Will, and Jem becomes legendary. 'A Great and Terrible Beauty' deliberately avoids that formula to explore more unconventional relationships. The romantic elements serve the larger themes of power and self-discovery rather than driving the plot.

Let me break down the romance in 'A Great and Terrible Beauty' like I'd explain it to a friend. There's potential for a love triangle with Kartik and Tom, but Bray keeps it simmering on low heat. Kartik is all smoldering glances and cryptic warnings—the bad boy who knows too much about her visions. Tom's the sweet, predictable choice back home, barely present after she leaves for boarding school. The book spends way more time on Gemma navigating the toxic friendship between Felicity and Pippa than worrying about boys.

What makes it interesting is how the supernatural elements affect relationships. Kartik isn't just a love interest; he's practically Gemma's magical probation officer. Their scenes have this push-pull dynamic where attraction clashes with distrust. When Tom briefly reappears later, it feels more like Gemma testing normalcy than real romantic conflict. The lack of a standard love triangle actually works in the book's favor—it leaves room for darker, weirder relationship explorations, like Felicity's manipulative hold over the group. If you want proper romantic tension, check out 'These Hollow Vows' where the love triangle actually impacts the protagonist's choices.