Kirkus: When magic and illusion collide, anything is possible.
Sixteen-year-old Jack, magician’s assistant and pickpocket, is ready to steal the show—and anything else he can get his hands on—when the Enchantress, aka Evangeline Dubois, magician, con artist, and his guardian, sets her eyes on the 1909 Seattle World’s Fair. At the same time, 16-year-old Wilhelm, a boy with the ability to magically transport himself and others, is forced to perform there by Teddy, his abusive captor. Teddy has plans to use Wil’s gifts to pull off the ultimate heist, and his desire for notoriety results in a plan in which the two masquerade as a magician and his assistant, causing Jack’s and Wil’s worlds to collide. With the help of street-smart dancer Ruth and clever Jessamy, the boys examine the abuses they suffer and work to build a stable life together. Like all good magic acts, the novel will keep readers on the edges of their seats as they follow the twists and double-crosses that fill the lives of con artists and magicians. The book flawlessly combines magic and suspense in a well-crafted heist story that’s sweetly sprinkled with queer romances. A final unanswered question hints at a sequel and will have readers shouting for an encore. Ruth is Black; all other main characters are White. Jack, Wil, Ruth, and Jessamy are openly queer.
A delight.




Booklist: Sharpson’s debut novel takes place in the 2200s in the Caspian Republic, a totalitarian state that is in theory a safe haven from “the Machine,” inhabitants’ term for the rest of the world and its utopian society administered by and populated with sentient AI. The narrative follows Nikolai South, an operative for StaSec, one of the two security forces in charge of maintaining the status quo in the Republic. When a prominent, rabidly anti-Machine journalist dies and is revealed to have been an AI living in a clone body, South is assigned to look after the AI widow of the deceased as she comes to view her husband’s remains. He is thrown into a whirlpool of intrigue as various factions conspire to use the widow’s visit for their own ends, and is simultaneously dragged back into his own muddled past by the widow’s resemblance to his own dead wife. Well-written and suitably grim, this picture of one dystopian holdout in a utopian world should please many sf readers interested in visions of a post-AI future.

