Author of THE LUMINOUS DEAD Caitlin Starling’s THE DEATH OF JANE LAWRENCE, pitched as a Crimson Peak-inspired gothic horror about a young woman who makes a marriage of convenience and soon finds herself trapped in her new husband’s decrepit and possibly haunted mansion, and spirals down a dangerous path of ritual magic in an effort to save them both, to Sylvan Creekmore at St. Martin’s Press, at auction, by Caitlin McDonald.
Publishers Weekly: The 27 intimate, thought-provoking stories of this doorstopper collection span over a decade of Hugo Award–winner Bear’s illustrious career. Though many of these offer glimpses into vast, intricate worlds, all are grounded in deep human feeling and small, interpersonal dramas, as with “Two Dreams on Trains,” which is set in a complex, futuristic vision of New Orleans and focuses on the clash between a mother’s hopes for her son and the boy’s goals for himself. In the emotional standout “Tideline,” a sentient war machine named Chalcedony, who was not programmed to feel emotion, uses her last reserves of energy to scour a beach for sea glass to turn into mourning jewelry in honor of her fallen human platoon. Bear’s protagonists range from machines (the living spaceships of “Boojum”) to the human (the tired homicide cop in “Dolly”) to the monstrous (the discontented vampire of “Needles”), but she crafts them all with huge helpings of empathy and heart. This excellent collection offers readers the chance to immerse themselves in Bear’s singular imagination.
USA Today and Wall Street Journal bestselling author of MY SISTER IS MISSING and forthcoming LIKE FOLLOW KILL, Carissa Ann Lynch’s SHE LIED SHE DIED, in which an aspiring true crime writer comes face to face with the female killer that has haunted her since her youth and receives a cryptic warning: when bad girls lie, good girls die, to Charlotte Ledger at One More Chapter, in a two-book deal, for publication in Fall 2020, by Katie Shea Boutillier.
Fate of the Fallen is the start of a brand new adventure from New York Times bestselling author Kel Kade
Not all stories have happy endings.
Everyone loves Mathias. Naturally, when he discovers it’s his destiny to save the world, he dives in head first, pulling his best friend Aaslo along for the ride.
However, saving the world isn’t as easy, or exciting, as it sounds in the stories. The going gets rough and folks start to believe their best chance for survival is to surrender to the forces of evil, which isn’t how the prophecy goes. At all. As the list of allies grows thin, and the friends find themselves staring death in the face they must decide how to become the heroes they were destined to be or, failing that, how to survive.
Audio rights to Kathryn Craft’s THE ART OF FALLING, to Kim Budnick at Tantor Media, by Katie Shea Boutillier.
Audio rights to a new novella in Martha Wells’ Hugo and Nebula Award-winning The Murderbot Diaries series, to Brian Sweany at Recorded Books, by Michael Curry for Jennifer Jackson.
Audio rights to Premee Mohamed’s novella THE APPLE-TREE THRONE, to Stefan Rudnicki at Skyboat Media, by Michael Curry.
Czech rights to USA Today bestselling author Tamsyn Muir’s GIDEON THE NINTH, the first book in the Locked Tomb trilogy, to Host, by Milena Kaplarević at Prava i prevodi in association with Michael Curry for Jennifer Jackson.
Turkish rights to the third and fourth books in Martha Wells’ Nebula and Hugo Award-winning The Murderbot Diaries series, ROGUE PROTOCOL and EXIT STRATEGY, to Ithaki, by Merve Öngen at ONK Agency in association with Michael Curry for Jennifer Jackson.
The New York Times: Tamsyn Muir’s GIDEON THE NINTH is a devastating debut that deserves every ounce of hype it’s received, despite the bafflingly misleading marketing around it
Everything I read about Gideon the Ninth before publication seemed to suggest it would be a lighthearted wacky adventure, with much made of the tagline “lesbian necromancers in space”—but I experienced the book as meticulous and moody, full of anguish, haunted by difficult and complex feelings in a wasted universe. Muir marshals a gorgeous cast of characters to delirious effect in a perfectly paced haunted house murder mystery, but it’s less gonzo than it is Agatha Christie writing Gormenghast. Muir is fantastic at both humor and horror, not to mention moving me to tears. I should also note that Gideon the Ninth is not a romance, though queer longing abounds; it’s deft, tense and atmospheric, compellingly immersive and wildly original. It’s honestly perfect as both a satisfying stand-alone and the launch of a trilogy, and I can’t wait until the sequel lands next year.
‘Absolutely chilling’ Wendy Heard, author of Hunting Annabelle and Kill Club
‘One word of advice when reading this book—trust no one’ Wendy Heard
Badly scarred after the accident that killed her husband, Camilla Brown locks herself away from the world. Her only friendships are online, where everyone lives picture-perfect lives.
In private Camilla can follow anyone she likes. And Camilla likes a lot.
Especially her old school friend Valerie Hutchens. Camilla is obsessed with Valerie’s posts, her sickening joy for life, her horribly beautiful face. But then Camilla spots something strange in one of Valerie’s posts – a man’s face looking through her window, watching, waiting…
And then Valerie goes missing…
Her genre-blending debut The Prey of Gods landed on the scene in 2017 with the self-same subtlety of a Roman candle stuck up your nose. Artificial intelligence and African folklore, mind control and murder, demigods and dik-diks, The Prey of Gods had has everything. Her sophomore effort, Temper, an Afrofuturist romp through a world in which your social identity is defined by your balance of vice and virtue, continued in the same audacious vein, plus twice the world-building.
Now comes Escaping Exodus, Drayden’s third novel, as pleasantly and characteristically bonkers as ever. Eschewing her established skill at tossing science fiction and fantasy together in a blender, she leans full into her Octavia Butler fineries and drops us aboard a city-size starship carved in the innards of a drifting space beast.
Seske and Adalla’s relationship is compelling and serves as the framework for all the plot to come (including a few wild tangents that complicate matters significantly), but it is this theme of environmental justice that is the novel’s central concern. As Seske learns to lead, she grapples with the devastating consequences of her people’s way of life to the beast that carries them. Adalla, on the other hand, becomes obsessed with the class inequality that fuels the system. These twin threads feel true enough to our own time, and thoroughly modern, while aligning with science fiction’s long history of climate-focused, socially conscious works.
Both threads are also entwined with one of Drayden’s recurring concerns: the construct of gender and the subversion of its norms. Gender fluidity and explorative sexuality are key components of The Prey of Gods. Here, Drayden likewise flips gender roles on their head by crafting a matriarchal society focused on containing the population: families are composed of multiple mothers and fathers but are limited to one child apiece, in a setup that feels reminiscent of Butler’s Xenogenesis series.
In opposition to contemporary daydreams of smashing the patriarchy, Drayden’s society is far from a utopia. It is cruel and rigid: gender norms haven’t vanished, they’ve reversed, with men treated as second-class citizens, considered disposable and deemed unfit for much more than housework and child-rearing. While the situation may sound cathartic to some readers, its reality is troublesome and counter-productive, an inequity sowing seeds of rebellion every bit as much as Adalla’s realizations galvanize the working class.
Life aboard this spacebeast is chaotic, the mess tolerated so long as it’s hidden beneath a certain set of creature comforts. The question before both Seske and Adalla is what to do when the mess finds it way to the light.
While that’s a pickle for the characters, it’s a playground for Drayden, whose specialty is narrative chaos. In a rather stuffed novel, her outsized sci-fi sensibilities enliven the worldbuilding while allowing her characters emotional room to grieve, to fight, and to love, believably and heart-achingly.
However you slice it, Escaping Exodus doesn’t follow the path you think it will, and neither does its author. And that’s the fun of it all.