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A glorious retelling of the Russian folktale Marya Morevna and Koschei the Deathless, set in a mysterious version of St. Petersburg during the first half of the 20th century.
Catherynne M. Valente is a New York Times bestselling author of fantasy and science fiction. She is the author of The Orphan's Tales, In the Night Garden, Palimpsest (nominated for the Hugo Award and the Locus Award), and the bestselling The Girl Who Circumnavigated Fairyland in a Ship of Her Own Making, which won the Andre Norton Award for YA literature in 2011. Valente lives on a small island off the coast of Maine with her partner, two dogs, and one cat.
Romantic and blood-streaked, and infused with magic so real you can feel it on your fingertips - Deathless is beautiful. Cory Doctorow Valente's invention and ambition are extraordinary. The Times Cat Valente is the Ray Bradbury of her generation. Lev Grossman, New York Times bestselling author of The Magicians Swept away to the icy wastes of the Russian steppes and the frigid streets of Stalinist St Petersburg I felt I'd happened upon a forgotten classic. A spine-tingling mix of magic and darkness, it echoes both The Master and Margarita and Angela Carter's The Company of Wolves. The prose is perfect, the imagery - houses made of living skin, birds that turn into husbands and, oh, so much blood - is spectacular and the story totally absorbing. This book is not just good, it is genuinely extraordinary. -- Laura Kelly Big Issue Stories, unlike people ... can live again ... They must be revived by the miraculous touch of a very rare class of being, a kind of multi-classed genius/scholar/saint, who can restore them to life. Catherynne Valente is such a being. Lev Grossman A remarkable piece of speculative fiction - a collision of myth, magic, folklore and actual history (almost incidentally describing the story of Russia across the twentieth century) ... Bold, subversive, genre-defying. BookOxygen Writers such as Brockmeier, Mieville and Valente are returning to fantasy for the many ways it can unlock the truth. Perhaps it is a consequence of living in an era of such radical change, but the fantasic seems once again to play a part in expressing the truth of our time. Guardian