The magic and horror of movie-making…
It was magic. In every world, it was a kind of magic.
“No maids, no funny talking, no fainting flowers.” Luli Wei is beautiful, talented, and desperate to be a star. Coming of age in pre-Code Hollywood, she knows how dangerous the movie business is and how limited the roles are for a Chinese American girl from Hungarian Hill — but she doesn’t care. She’d rather play a monster than a maid.
But in Luli’s world, the worst monsters in Hollywood are not the ones on screen. The studios want to own everything from her face to her name to the women she loves, and they run on a system of bargains made in blood and ancient magic, powered by the endless sacrifice of unlucky starlets like her. For those who do survive to earn their fame, success comes with a steep price. Luli is willing to do whatever it takes — even if that means becoming the monster herself.
Siren Queen offers up an enthralling exploration of an outsider achieving stardom on her own terms, in a fantastical Hollywood where the monsters are real and the magic of the silver screen illuminates every page.
“The magic of movie-making”: we’ve all heard people say and write things about Hollywood that sprinkle stardust and the otherworldly metaphors onto filmmaking. In Siren Queen, Nghi Vo asks readers to consider what if it wasn’t actually metaphorical? A clever novel that follows the career of screen star Luli Wei, I enjoyed this. Continue reading
I spotted Natasha Pulley‘s next novel, The Half Life of Valery K, while browsing
Bringing Molly Southbourne’s story to a bloody end
It was the cover for Erin Swan‘s upcoming new novel, Walk the Vanished Earth, that originally caught my attention. However, pitched as being “in the tradition of Station Eleven, Severance and The Dog Stars” (two of which I’ve read and very much enjoyed), the synopsis further cemented my interest in it. Due out in May, here’s what it’s about:
An intriguing, gripping novel of time travel, family, and humanity
A gripping, wrenching story of survival in modern America
There has been a string of novels over the past few years that take place in and adjacent to the 1970s music scene — most notably, Taylor Jenkins Reid’s Daisy Jones & the Six, Emma Brodie’s Songs in Ursa Major, Jessica Anya Blau’s Mary Jane, and Glenn Dixon’s Bootleg Stardust, to name but four. As it happens, I’m a big fan of this (sub-)genre, so I’m very much looking forward to Sarah Priscus‘s debut novel, Groupies, which “shines a bright light on the grungy yet glittery world of 1970s rock ‘n’ roll and the women – the groupies – who unapologetically love too much in a world that doesn’t love them back.” Here’s the synopsis:
The American crime and mystery genres are oversubscribed with novels and series set in the big cities — especially New York and Los Angeles (with a surprisingly large number set in Minnesota, too). There is a growing number of author setting their novels elsewhere.* A notable upcoming example is Eli Cranor’s
The cover for Nebula Award-winning author Rachel Swirsky‘s upcoming new novella, January Fifteenth was unveiled a little while ago, and it caught my attention. After reading the synopsis, my interest was further piqued:
Back in 2019, I was lucky to get a DRC of Robert Pobi‘s first Lucas Page novel, City of Windows. It offered everything a great mystery/crime/thriller novel should have — a gripping, fast-paced plot, an interesting and engaging protagonist, and some cool twists on genre conventions. The follow up, Under Pressure added to readers’ understanding of the main character as well as another clever and gripping mystery. In August, Minotaur Books is due to publish the third novel in the series, Do No Harm, and I am very much looking forward to reading it. Here’s the synopsis: