ORNAMENTAL, Colombian author's chilling dystopia from eleven years ago, published in pandemic times

ORNAMENTAL
JUAN CÁRDENAS (tr. Lizzie Davis)
Coffee House Press (non-affiliate Bookshop.org link)
$16.95 any edition, available now

Rating: 4* of five

The Publisher Says: The lives of a doctor, his wife, and his patient collide, laying bare the political and personal narratives they have carefully constructed for themselves.

A scientist recruits volunteers for the trial of a new recreational drug that exclusively affects women. Among them is “number 4,” who becomes emotionally involved with first the scientist, then his wife, a well-known visual artist in the midst of a creative crisis. The scientist is oblivious to the atrocities his new drug will bring to the city; his wife is oblivious to the superfluousness of the objects she committed her life to exhibiting in galleries and museums. Number 4’s presence pierces the couple’s complacency, gradually undoing the many certainties they’ve accumulated in their lives of ease.

I RECEIVED A DRC FROM THE PUBLISHER VIA EDELWEISS+. THANK YOU.

My Review: Somebody has a poor opinion of medical professionals and the industry they perpetuate: "Today they finally brought in the participants: four middle-aged women whose unremarkable medical histories show no record of addiction or criminal activity. The only peculiarity is that they all had children at a fairly young age, but that’s not unusual for women from the inferior classes." says the PoV doctor in the journal where he recounts his clinical trials of what is, effectively, soma. It's really a shame the world has moved on from Huxley's Brave New World, because it explains so very much of the 2020s is rooted in the feared and despised efforts of utopians to bring peace and order through conformity. Enforced by drugs.

A story about a medical researcher who wants to make women more docile by granting them euphoric indifference to the mundane world. A drug that, once administered, has the user in its thrall ever afterward, and of course the administrators are men.

Does any of this sound familiar, Huxley readers? Does anything about this social agenda...subjugating women by hooking them on a dream of happiness that's been standardized...sound politically motivated and as though it might be in progress? The reason this book, published in 2020, made no ripples feels likely to be that pesky pandemic we have all memory-holed, that kind of ate all the attention the world had at that moment. Because it was spot-on and prophetic.

No one has a name in the narrator's journals, only functional labels. Logical empiricism writ interpersonal. It's a way of universalizing those involved in the action, showing them not to be characters with inner lives but mere function-servers in the narrator's mind. We;re in his journals, his are the only thoughts we're vouchsafed, so he has no need to pretend he has a scintilla of interest in them as monads only as they serve his purposes.

Purposes are, in his view, those actions that leave traces; he wants to leave a trace. His view of the function-servers as not being characters is forcefully ridiculed by "Number 4"'s insistence that you can't have a city without a name, there can't be a city occupied by function-servers but people who need and want and create, as well as manufacture and consume. Her use of the doctor's drug does not so blunt her edges that even the doctor's wife, a maker of frivolous brummagem ornaments, is struck by "Number 4"'s perceptions of creation. She becomes closer to "Number 4" on her artistic and creative level, appearing to head into a real assessment...can't call it a reassessment because there is no indication of any such thing ever having taken place before...of the purpose of making the gauds she makes.

And then "Number 4" goes away and the doctor and his wife submerge in the soma-like miasma of their dystopia, resuming their pointlessness and indifference.

Exactly as I see around me, function-servers failing to connect dots in persistent patterns. I found it disheartening but very very well-made. Sentences lure we-the-reader on and on into the buildings that have no meaning and form no city.

Don't go into this tale expecting there to be an ending. More an evocation of The End, and one I'm still chilled to the marrow while looking at the diorama of the author's story made by a manic fifth-grader without perspective.

JULY 2026 IN REVIEW & August 2026 is #WITMonth

Amplifying voices: celebrating women in translation month | ProZ.com, via LinkedIn
JULY IN REVIEW

A month of wonders was had by all. Forty-one reviews written, fifty-three DRCs received; twenty-three of those reviewed in their publication month. That's 43%! Could not be happier with that. Of the remaining eighteen reviews, one was a five-star review of a 2020 novel from New Vessel Press: The Piano Student by Lea Singer, translated from German by Elisabeth Lauffer. I five-starred Beginning Middle End by Valeria Luiselli, and all but five-starred Ada by Mark Haber; Unsayable: A Life in Writing by Michael Cunningham; The Sixth Nik by Pulitzer-winner Daniel Kraus; Event Horizon by [[Balsam Karam]]; and shockingly Grief Eater, lesbian zombie story by [[Emma Osborne]].

What a month! That's better than some years (notably 2018, only 65 reviews blogged the whole year)! Wile there were disappointments, they weren't Biblical disasters like The Dove and the Dragon: A Cultural History of the Apocalypse. *shudder*

On to August, with a high heart and a happy soul. Women in Translation Month is an August staple on my blog. Entries start in 2014. I'm always delighted to tell all y'all about this twelve-year tradition of shouting out the incredibly broad and wildly varied works by, about, and translated from every language and country I can think of, by women. Working in multiple languages to represent as accurately as possible the artistry of another person for the reading joy Anglophone readers is truly an act of the greatest generosity and highest cultural importance. Open Letter Books' site says, "Women in Translation Month is always an exciting time to discover, read, discuss, and celebrate books by women from around the world. It was created by Meytal Radzinski back in 2014, and has since spawned numerous articles, events, and even the Warwick Prize for Women in Translation." And WomenInTranslation.org, the Mothership if you will, says it most authoritatively:
"WITMonth—aka Women in Translation Month—is an annual celebration of women writers from around the world, writing in languages other than English. Started by Meytal Radzinski in 2014, WITMonth has grown to become a staple of the online literary community, as well as a prominent presence in independent bookstores around the world. Every August, readers from all continents around the world (except Antarctica, but we’ll get those penguins yet!) gather in spirit (and sometimes in person) to read, review, and discuss works by women writers in translation. The idea is to spread the word about the Women in Translation project at large, and promote individual women writers in translation specifically. Follow #WITMonth on Twitter, Instagram, Booktube, and across the world!" I'm planning to write at least thirty-one full reviews of works translated by women this month. Even if they're translating men's writing. (I've been told before that this is "not in the spirit of the celebration" and I'm "diluting the intended impact of the hashtag," both of which snarky stupidities I have very consciously and intentionally ignored. This will not change.)

As an act of celebration I'm including a few special discounts I know publishers are offering on parts of their lists below with all the relevant details and the links to their sites. I'll add to these links as and when I come across more:

SEVEN STORIESThrough the end of August 2026, take 25% off all currently available translated books by women authors! Please note that all forthcoming books are available for preorder at 10% off. https://sevenstories.com/blogs/385-celebrate-women-in-translation-month-2026

TRANSIT BOOKS 30% off all titles by women in translation through the end of August with the discount code WITMONTH. https://www.transitbooks.org/postscript/women-in-translation-month

OPEN LETTER BOOKS 40% discount on all Open Letter print titles written by women, along with any book translated by a woman, for the whole month of August. Discount applied automatically at checkout. https://www.openletterbooks.org/collections/women-in-translation-month

COLUMBIA UNIVERSITY PRESS Use coupon code WITM at checkout to save 20% on your purchase. https://cup.columbia.edu/promotions/women-in-translation-month/women-in-translation-booklist/*
More, I hope, to come below:

MAZELTOV, gay Jewish teen's bar mitzvah mishegas

MAZELTOV
ELI ZUZOVSKY
Henry Holt & Co. (non-affiliate Bookshop.org link)
$13.99 ebook, available now (preorder a paperback for $17.99, delivered 25 August, at that link too)

Rating: 3.5* of five

The Publisher Says: In a glorious debut, a boy confronts queer lust, shame, the threat of war, and the plague of family on the day he becomes a man.

At a banquet hall, at the onset of war, Adam Weizmann’s bar mitzvah party turns into a glorious catastrophe. On the cusp of manhood—and the verge of a nervous breakdown—Adam has been bracing for his special day, mired in family neuroses and national dysfunction.

In a chorus of voices, a fractious cast of well-wishers narrates Adam’s coming-of-age in Israel: his newly devout father and the mystic rituals he practiced on his young son; his best friend, Abbie, who points the way to joyful transgression; Khalil, a Palestinian poet, who offers a glimpse of a different way to be; and Adam himself, filled with shame and desire as he faces the brokenness of his world.

At once tender and lustful, a work of scathing satire and piercing insight, Mazeltov is a wholly original vision of a young man’s quest to know his own heart.

I RECEIVED A DRC FROM THE PUBLISHER VIA NETGALLEY. THANK YOU.

My Review: Framed as a long flashback from a future not filled in (so as not to give stuff away), this coming-of-age story centered on a religious rite of passage that's recognizing the adolescent mind's shift into high (adult) gear. Unsurprisingly that's also a time many queer kids become aware they're different...and some of those become aware of just exactly how they're different.

Adam's name, shared with the first-ever man in his religion's mythology, is a clever choice. It truly does feel as though one is the very first ever to go through the self-discovery process. Then there's his surname: Weizmann. Only the greatest Zionist of them all was Weizmann. Can't unsee that call-back. It's prestigious in Israel, very much the opposite in my world.

No matter how accepting one's peers and family might be, there is anxiety around recognizing one is Other in the eyes of the world. Most of us don't feel accepted in that awful 13-15 age bracket though, so the queer identity adding complexity to the existing tsurres is seldom welcome.

The Israel setting is going to be an issue to some who read my blog. The ongoing genocide against Palestinians is not foregrounded here, so make your decisions with that information in mind. I myownself was not minded to reject the book outright for not writing the details of a war crime that long predates the PoV character's birth into his personal story. You do you, though.

The multiple PoVs and the technique used to switch among them, along with quiet, unheralded details that are not consistent in the different PoVs, is more likely to cause readers problems than procrustean political tomfoolery. I'm sure some readers put these detail differences down to a lack of novelistic craft. I'm not of that opinion myownself. I think Author Zuzovsky put those variations in the narrative because the characters are going to have those differing recalls, and we as the listeners aren't necessarily going, or even likely to know whose version is factually correct...if any version is.

Adam's unhappily divorced parents are *awful*...and this is judging them from their own PoVs not from dam's adolescent one. Dad snipes at Mom in his remarks for the occasion, Mom can't be arsed to write a speech or her son's rite of passage...ick. Send these two to Gaza to be aid workers so they'll be forced to think of others not just themselves.

It's a sort read at under 200pp. I'll say I was never bored. I'll mention that I was empathetic for this kid's relatable, familiar struggles with naming and taking on his adult identity. I can't not say that I'm squeamish about Israeli literature because the way their government is acting is appalling...and my government's bankrolling it.

It's complicated, like Adam Weizmann's bar mitzvah. It's messy, like Adam Weizmann's bar mitzvah. It needs some room to grow it didn't get, like Adam Weizmann's bar mitzvah.

But it's a debut. More and even better things are to come. Like the aftermath of Adam Weizmann's bar mitzvah.

THE PIANO STUDENT, fictionalized gay love story from the scariest part of the 1930s

THE PIANO STUDENT
LEA SINGER (tr. Elisabeth Lauffer)
New Vessel Press (non-affiliate Bookshop.org link)
$10.99 ebook, available now

Rating: 5* of five

The Publisher Says: The Piano Student centers on an affair between one of the 20th century’s most celebrated pianists, Vladimir Horowitz, and his young male student, Nico Kaufmann, in the late 1930s.

As Europe hurtles toward political catastrophe and Horowitz ascends to the pinnacle of artistic achievement, the great pianist hides his illicit love from his wife Wanda, the daughter of the renowned conductor Arturo Toscanini. The affair is narrated by Kaufmann in the 1980s to another music devotee, who comes to him enchanted by Schumann’s composition Träumerei and awakens memories of the thwarted relationship. Kaufmann is spending his final years playing in small-time Zurich bars, never rivaling his teacher’s musical mastery and rapturously received concerts.

Based on unpublished letters by Horowitz to Kaufmann that author Lea Singer herself discovered in Switzerland, the novel portrays the anguish that the acclaimed musician felt about his never publicly acknowledged homosexuality and the attendant duplicity of his personal life. It's a riveting and sensitive tale of musical perfection, love, and longing denied, with multiple historical layers and insights into artistic creativity.

I RECEIVED A DRC FROM THE PUBLISHER VIA EDELWEISS+. THANK YOU.

My Review: Given the times and the stakes, Horowitz staying closeted was a solid decision to make. If his wife didn't see a golden opportunity in his necessary secret, I'll kiss a pig. But being "out" as we twenty-first centuryans conceptualize it would've been career...possibly literal...suicide.

Suicide's a major part of this work. Do not pick it up if you are in distress, or if ongoing ideation around ending your own life is an issue for you. This review will not be delving more deeply into the topic.

This novel polarizes readers. It's more a stream of consciousness work than a standard narrative. It does not spoon-feed readers, it expects you'll be paying attention to the details well enough to follow or at least be able to figure out who is speaking, whose head you're in, or whose PoV is dominant at that moment. For those not looking for a read of that nature just now, it's best to pass it by.

As a story this is a pretty ordinary one: lovers must hide from the world because the world does not and would not accept their love as valid or acceptable. This moment in history we in the Anglophone world are seeing how much that story resonates with readers and viewers with the wild ascendancy of Heated Rivalry. I do not recall anything like this level of investment or passion for a yearning-romance story since Moonlighting in the 1980s. I hope it does not fizzle like that show did...or this excellent novel has done in the past six years.

I'm certain that the author's choices of narrative complexity were deliberate and considered. The framing device of Robert Donati avoiding the consequences of a decision he made but regretted meeting Nico Kaufmann and exchanging stories is a well-worn one, only rescued from triteness by its stream-of-consciousness presentation. It establishes the psychological safety of baring one's soul to a stranger as the reason we're hearing the stories at all. Considering the pseudonymous author discovered the Kaufmann story in letters buried in an archive the device is very apt, reflective of her own presumptive experience of discovery.

The unbearably sad life of a man who does not control his own destiny isn't a new idea for a story either. Wanda Toscanini Horowitz managed the career of her husband for her benefit, his safety, and their material security. Horowitz did not have any freedom, any latitude, in the course of his musical career—though not one soul could claim much credit for directing his astounding musical gift, how it became world-famous cost him a lifetime of terrible depression, emotional collapses, and caustic unfreedom of living an honest, open love. Kaufmann was the first (we know of) musical protege who was really a lover. Nico's story makes it plain he loved Volodya very much but was ultimately unable to commit to a life on Wanda's terms. Or Volodya's...Nico was too young to consider monogamy a good personal choice, and that was always going to be their downfall as lovers.

It does not prevent their friendship, based in the camaraderie of living double (dishonest) lives, from persisting...Horowitz writes to Nico over the years of his ups and downs. It's a sad truth of life that friendships based in shared trauma can, as this one did, curdle; ultimately the choices of a life lived for an external goal amputate the lingering ties to a life lived for personal happiness incompatible with that goal.

Nico's unexceptional talent and Volodya's era-defining one were doomed to clash. Their moment of lovingkindness and connection was a gift each man treasured. It could not be celebrated in their world, but it can be now.

I'd recommend this passionate love-chronicle to the readers who enjoy, and are in the mood for, putting some effort into living inside a great love's contained world.

THE KING IN YELLOW (Deluxe edition), is indeed deluxe and handsome to look at!

THE KING IN YELLOW (Deluxe edition)
ROBERT W. CHAMBERS
Pushkin Press Classics
$9.99 ebook, available now

The Independent Press Top 40 Bestsellers: Fiction For the week ending July 28, 2026

Rating: 3.5* of five

The Publisher Says: The King in Yellow by Robert W. Chambers is a classic collection of weird tales that has captivated readers since its original publication in 1895. The stories in this collection are linked by the mysterious play "The King in Yellow," a fictional drama that drives those who read it to madness and despair. Set against the backdrop of a beautifully detailed yet unsettling world, the stories explore themes of existential dread, the supernatural, and the fragility of the human mind.

This illustrated edition not only brings the haunting prose to life but also offers captivating illustrations that enhance the eerie atmosphere of Chambers' tales. Alongside the stories, readers will find a summary of the collection, a biography of the author, and a comprehensive list of characters, providing further insight into the dark and mysterious world of The King in Yellow.

Chambers' masterful storytelling and exploration of the unknown have earned this collection a place in the genre of weird fiction, influencing later writers such as H.P. Lovecraft. This edition is perfect for fans of Gothic horror, supernatural fiction, and anyone who enjoys a chilling tale that lingers long after the last page is turned.

Whether you're reading for the first time or revisiting these tales, this edition of The King in Yellow offers a deeper connection to the eerie and the unknown, complemented by stunning illustrations that capture the essence of Chambers' haunting world.

I RECEIVED A DRC FROM EDELWEISS+. THANK YOU.

My Review: A collection of two halves, one being "The King in Yellow" sequence of gothic, eerie tales centering on the eponymous entity in art or (sur)reality; two stories set in Chambers' home country of the US (marked *) and two in the fin de siècle's default setting for perversity, Paris (marked **). These form what deels like a failed novel; like Chambers was heading for a larger goal but, for whatever reason, chose not to go there. I wondered if he simply lost interest once he thought to set the stories acrually *in* Paris, Sodom on the Seine working its decadent way on him as much as on his characters.

The remaining stories are only occasionally tinged with gothic overtones. They tend more towards romantic fiction in the older sense. They're not about modern concerns with coupling up and finding love, they're about the grand emotional sweeps and swoops of Romanticism. It's all very beautifully presented by Pushkin Press in this Deluxe edition.

In accordance with the Prophecy, the nine stories are herein dealt with by the Bryce Method of a short response to the story, a rating of it on its own, and the collection's gestalt being the overall rating.

**The Repairer of Reputations limns the iea of "have you found the Yellow Sign?" into your awareness. It is a strange, haunting, unsettling thing this sogn; it plays on arrogant narcissism ("Mr. Wilde" eh?) to induce paranoia which becomes the impetus for seeking it and the punishment fo seeking it at the same time. Deeply disturbing, very humidly told. 4.5*

*The Mask brings in the play "The King in Yellow," merely reading it will send a person into a spiral of madness! It unhinges all who dare to open it! Talk about a sales job, there's no better way to get huge sales for something than this except maybe banning it on grounds of immorality.

The sufferings of the artist who, drawn to experience these extreme things for Love (of course), mesh with weird period-appropriate pseudoscience in a fun but very, very 1890s way. 4.5*

*In the Court of the Dragon is so flippin' bizarre...why does the old weirdo want the guy's soul? What's the way he knows the guy's soul is of such interest and value? I fear this line of mental inquiry is why I'm just not a gothic-story habitué, but it's sure got the trappings of the best ones! 4*

**The Yellow Sign a coffin worm?!? *shudder* 4*

The Demoiselle d'Ys tells a very charming, if kind of trite in the twenty-first century, time-travel romance (in our modern usage). Left a mildly pleasant but very indistinct impression on me. 3*

The Prophets' Paradise compiles a series of prose poems that expand on the love, hubris, and dangerous supernatural bargaining of the first four stories' characters. Seems odd to me not to put it *within* those stories but permaybehaps Author Chambers didn't think of these small moments in time to do so...expanding the quotation from "The King in Yellow" that open the cycle's stories. 3.75*

The Street of the Four Winds is a Parisian tragic story in the era's typical style, with ruin and disaster following on from following a neighbor's cat. Very apt. 3*

The Street of the First Shell tells a deeply sorrowful tale set during the Siege of Paris (1870 through 1871), with tragic results from terrible decisions and awful actions forced by the cruelest of fates. 3.75* despite the melodrama (or because of it, NGL)

The Street of Our Lady of the Fields is another "bohemians bohemianing unoriginally across the dirty foreign streets of dirty foreign Paris' dirty foreign immoral soil." Spare me. 2.5*

Rue Barrée see above, only the story's as sick of the story as I am. Made it more fun to read. 3*
It's a beautiful object, and will no doubt be welcome for decorative value. I think many a gothic-story reader will get one, and that will be its fate. Sometimes it's not great to meet your heroes in person.

THE CHILDREN, YA fantasy monadnock looks at the storytelling tapestry from the other side

THE CHILDREN
MELISSA ALBERT
William Morrow (non-affiliate Bookshop.org link)
$14.99 ebook, available now

Rating: 4* of five

The Publisher Says: An intoxicating, haunting new novel from New York Times bestselling author Melissa Albert, in which the estranged adult children of a legendary author, written into their dead mother’s beloved fantasy series, contend with the vine-like creep of legacy, memory, and magic.

Guinevere Sharpe has two childhoods.

In one, she lives in the wooded shadow of her family's isolated Vermont farmhouse; in the other, the pages of her mother’s world-famous Ninth City books, where her magical adventures have made her a household name. In reality, Guinevere's childhood isn't the enchanted idyll her mother’s readers imagine: she and her older brother are growing up near-feral, unwashed and underfed, escaping each day to the lichen-clotted woods they’ve made their playland. As Edith Sharpe’s books explode into epic popularity, the threats of a rural childhood give way to the escalating perils of fame—until the night it all goes up in flames, leaving Edith’s series unfinished and her children the sole survivors.

Now an adult coasting on her mother's name, Guinevere is mid-promotion for a ghostwritten memoir when her estranged brother, an artist who has until now spurned his family's legacy, announces an upcoming installation titled Mother. As rumors swirl around a death connected to his last show, unsettling recollections from Guinevere’s childhood begin to surface. Her public facade starts to crack, forcing her to confront the questions she's spent the last twenty years running from: What really happened the night of the fire? And what dark history lies behind their mother’s creative genius?

Wise to the mythic weight childhood memories gather over time, The Children whispers to you from the hallway outside your bedroom, lights flickering as you turn the pages of a book that didn't seem so scary a moment ago. It's a story for anyone who's ever revisited an old favorite and found it cast in a darker light, the line separating magic and memory blurring as the gap widens between the authors we imagined and the people they turn out to be.

I RECEIVED A DRC FROM THE PUBLISHER VIA NETGALLEY. THANK YOU.

My Review: Does George RR Martin have kids? Maybe one called "Dayana" or something? He's on track to die before agreeing to finish his astoundingly beloved fantasy series, like Edith...and to many of us not-fans it feels as though there's some kinda dark bargain involved in its globe-spanning popularity.

In the age of severely overprivileged fandoms for what is revoltingly, but accurately, called "IP," this story could not cut closer to the bone. There's a certain inevitability in Edith's appalling betrayal of her children, using them as close models for her fantasy characters. "Write what you know" taken to a dark extreme by a parent who gave little but took much. A bargain her children had no say over. It supports them to this good day. In a sense that's fair enough since it took their developmental years out of their own control.

Guin is the kid who bought in, albeit resentfully, to the hype and has become an apologist for Edith and her invasive behavior. Perhaps she's just making hay while the sun shines, perhaps she's getting her own back for the neglect and emotional absence of her self-centered parents...failed actor father, family-supporting writer mother. She's created a hollow kind of fame out of monetizing her childhood marked by the celebrity lifestyle her parents cultivated in place of actually being parents. Guin's project is to keep the spondulix rolling in. Brother Ennis has chosen a more rigorous path, though still cashing in on his beginnings, by becoming An Artist. Fame has followed, but he's chosen to cut Guin out of his life. Throughout this story we're in Guin's PoV so we're only told what she knows about why.


"Guinevere" is a terrible name to hang on a kid. It practically slams the door on an ordinary childhood because the teasing would be brutal. It's really of a piece with Edith's fantasy life-turned-hugely successful fantasy world: Guin's fated to be an unhappy princess who's become a queen in a realm not her own, and not of her choosing. "Nomen est omen" test case number skatey-eight skabillion. It feels as we're reading along as though Author Albert, author of multiple popular children's books, started wondering about how this creation thing works as a force outside your authorial control. It's clear Guin is traumatized. By what? Her parents are the first in line for blame. But she and Ennis are orphans. The fire that consumed their childhood home and killed their not-good parents was not caused by the parents themselves. What did cause it? How does...does...that unsolved mystery explain Edith's massive cultural juggernaut "The Ninth City?" It's eaten their lives, not knowing but knowing too much, not understanding but seeing more than they should. Ennis isn't working with Guin on solving what she sees as a strange mystery. It is as always up to Guin to do the work, shoulder the burden.

Author Albert uses the psychological reality of Guin's parentification to explore women's roles in our capitalist culture. It's also clear that there are...oddnesses...in this family system that clearly come from the psychological stress of bearing all the load on the females, woman and girl, in the system. When one looks at it out of the corner of one's eye there are ununsual things that cause unease in we-the-reader. They're not remarked on or attended to in the narrative. They are there and quite uneasy-making though...the woods, how cliche, have eyes and are watching you.

The fire destroys as fires do. No more parents, no more books to keep the mmoney comingin, no more brother because he buggers off leaving it to Guin to pick up such pieces as she can to make what she—she alone—will from the wreckage. The number of abandonments Guin suffers would warp anyone in her shoes. Her response...to take it all on, put it to the best use she can...is what fuels this novel of reckoning with her ghosts.

Literal ghosts? Probably, at least of a sort. Edith might not have been as inventive as her adoring and demanding fan base thinks.

It's here the missing fifth star is explained. The tinges of horror, of fantastical things not seen just beyond our line of sight, all crystallize in the last approximately ten percent of the story. I saw why, and saw the point, but I'm less interested in the fantastical than in the truly chilling psychological novel that precedes the ending. That is not to criticize the ending as a natural result of the preceding story. It absolutely fits, it's quite clearly signposted early on. It's definitely one of several possible results of the story as told.

Just not the one I would've preferred.

DAGGERMOUTH, start of a dark fantasy series very relevant to the world of 2026

DAGGERMOUTH (The Heart #1)
H.M. WOLFE
Scarlett Press (non-affiliate Bookshop.org link)
$11.99 ebook, availble now

Rating: 4 wincing stars of five

The Publisher Says: Set in a corrupt surveillance state ruled by the masked elite, this true enemies-to-lovers dystopian romance that’s Conform meets V For Vendetta follows a mercenary who botches the assassination of the president’s son and ends up forced to marry him.

The first thing you’ll learn in New Found Haven is that mercy doesn’t exist. The second thing is that, from the highest glass atrium in the Heart to the windowless slums of the Boundary, the Veyra are always watching.

The last lesson is the hardest, but you must remember it: Love outside of your ring is a death sentence.

The city is carved into rings of privilege and poverty, ruled by the masked elite who will do whatever it takes to hold onto power. Obedience is demanded. Rebellion is crushed.

Greyson Serel has spent his life caught between two worlds. Publicly, he’s the flawless heir to the presidency. Privately, he’s entangled in secrets that could topple the regime. But when he’s forced into a political marriage meant to bind him tighter to the government’s brutal laws, he finds himself shackled to a bride as lethal as she is unwilling.

Shadera Kael is a mercenary raised to kill, not to wed. Yet when her bullet misses its mark, survival leaves her tied to the very man she was sent to eliminate. Trapped inside the corrupt heart of the city, she becomes both prisoner and wife, her every step watched, her every move tested.

Their union is no love story—it’s a battlefield. As secrets come to light and betrayals fester within the walls of power, Greyson and Shadera must decide between annihilating each other or burning the city to the ground together.

In a world where passion has consequences and loyalty is paid for in blood, their forced bond may be the spark that ignites a revolution. Or the fire that consumes them both.

I RECEIVED A DRC FROM THE PUBLISHER VIA EDELWEISS+. THANK YOU.

My Review: I read almost 550 pages of a "romance" I was the opposite of invested in. I prefer reading about romances I find involving, those between men; I'm willing read them about women finding and falling for each other; but men falling for women? Not on my Kindle. So I screwed up when I said yes to this DRC. I opened it to get it over with, write my "not for me" dismissal, and vowed to learn from my mistake.

Then I started reading, and the voice hooked me. "The first thing you'll learn in New Found Haven is that mercy no longer exists. Mercy is a weakness, and weakness will get you killed."

I'm sat.

I was able to flip past the "open-door" sex scenes, a term I had not realized was now mainstream enough to be in the publisher's comprehensive content warnings (as an aside, they also have a trigger statement with directions to the mental-health helpline, which...well, good on ya guys), and get absorbed into this only-slightly-darker than reality take on politics, social stratification, and populations under rigid control.

It's first in a set, a duology per the sales material though I suspect if this builds a goodly Tumblr, Threads, and/or Reddit following it could go farther into the world it's created. Goodness knows the potential is there, the commentary on the current state of the world is trenchant and tendentious, while the delineation of boundaries is sharp enough to slice a finger carelessly placed right off.

There's a great deal of strategic maneuvering once the promised rebellion begins, all explained in what might be too much detail for the romantasy-lite reader. I was happy, and involved, and invested. There is a lot of dystopia-defining detail that, honestly, could be pruned...cracks in things are on-the-nose after two, maybe three, iterations. The oppressive reality of living under surveillance is familiar to me as someone who lives in the *heavily* surveilled Bronx, with police cameras literally everywhere including on the light standard a floor below me outside my window. In Long Beach, the boardwalk had cameras everywhere as well. It's the reality of life under capitalism, where all those cameras had to be purchased, maintained, and then the collected data processed...for a fee.

So the read was, for me anyway, useless for the romance but terrific as a warning of "that's the way this parade is headed." I think the couple got together, don't quote me on that they coulda been cheating on each other for all I care; but the FMC is interesting from the beginning and, in a last-minute reveal of a secret, only becomes more so and thus points the next story in a really interesting direction.

This would be an almost-five-star warble of delight absent heteronormativity.

Perfection is not of this Earth.