Donald Maass Literary Agency

Publishers Weekly: In this highly original novel by Lee (the Machineries of Empire series for adults), 13-year-old Min must venture to the stars of the Thousand Worlds in order to find her older brother, Jun, who is suspected of deserting the Space Forces to search for the legendary Dragon Pearl. Min’s quick wits and technical prowess come in handy, but it’s her abilities as one of the fox people to shape-shift and charm others that prove vital after she leaves her home planet of Jinju aboard the freighter Red Azalea. When her brother’s former ship rescues the vessel from mercenaries, she poses as slain cadet Bae Jang, promising his ghost that she will avenge his death in exchange for impersonating him on the ship. Disguised as the dead cadet, Min is able to continue both quests, enlisting the aid of two of Bae’s friends—female dragon Haneul and nonbinary goblin Sujin—all the while avoiding the scrutiny of Captain Hwan as the ship heads to the Ghost Sector, the probable location of the Dragon Pearl. Lee offers a perfect balance of space opera and Korean mythology with enough complexity to appeal to teens.

New York Times: Martha Wells’s EXIT STRATEGY (Tor.com) is the fourth and final part of her brilliant Murderbot Diaries, a series of far-future novellas set in a universe worn out by corporate indifference and bureaucratic inertia. A single grumpy security unit—Murderbot—fights for life, liberty, and the pursuit of hours and hours of soap operas. The first book, “All Systems Red,” won both Nebula and Hugo Awards this year and is definitely the place to start.

I came late to these novellas, and during a difficult month this year I read almost nothing else. Murderbot’s voice, a beautiful blend of exhausted cynicism and deep, helpless love, was the only thing that felt like both a match to my mood and an appropriate response to the events provoking it. Murderbot has no illusions about the way the world works and will say so blisteringly, but remains so passionately committed to the people it loves and doing what’s right that I kept welling up in response. Its angry, poignant point of view, wrapped up in sharp, short bites of space adventure, is utterly addictive, and I’m genuinely delighted—as well as a little relieved—that the series’ success has greenlit a full-length Murderbot novel, so that I don’t yet have to bid it goodbye.

Publisher’s Weekly: Anyone who enjoys space opera, exploration of characters, and political speculation will love this outstanding novel, Bear’s welcome return to hard SF after several years of writing well-received steampunk (Karen Memory) and epic fantasy (the Eternal Sky trilogy). As an engineer on a scrappy space salvage tug, narrator Haimey Dz has a comfortable, relatively low-stress existence, chumming with pilot Connla Kuruscz and AI shipmind Singer. Then, while aboard a booby-trapped derelict ship, she is infected with a not-quite-parasitic alien device that gives her insights into the universe’s structure. This makes her valuable not only to the apparently benevolent interstellar government, the Synarche, but also to the vicious association of space pirates, represented by charismatic and utterly untrustworthy Zanya Farweather. While fleeing Zanya, Haimey and her crew discover a gigantic, ancient alien space ship hidden at the bottom of a black hole at the center of the galaxy, and at that point, things start getting complicated. This exciting story set in a richly detailed milieu is successful on many levels, digging into the nature of truth and reality, self-definition vs. predestination, and the calibration of moral compasses. Amid a space opera resurgence, Bear’s novel sets the bar high.