Space Opera (2018): Catherynne M. Valente


‘In space, everyone can hear you sing’. That tagline more or less sums up the spirit of this novel. When I said that I was looking forward to reading more of Catherynne M. Valente’s work, I wasn’t expecting anything quite like this. I don’t even know if I can conjure up its atmosphere for you. Imagine if Terry Pratchett and Douglas Adams got together, drank a bottle of gin, smoked something illegal, watched Velvet Goldmine, and then decided to write an intergalactic, sequin-drenched skit on the Eurovision Song Contest. And turned it up to eleven. It’s mad. No, it’s more than that: it’s exuberantly, gleefully insane. Its labyrinthine sentences spill over the pages like a Victorian lady bursting from a corset several sizes too small. But perhaps the biggest surprise is its humour: an anarchist, deliberately absurdist brand which feels very, very British.

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Deathless (2011): Catherynne M. Valente


Impatiently waiting for the third novel in Katherine Arden’s Bear and the Nightingale series? This is just the thing to tide you over until it’s published, but Catherynne M. Valente’s novel is no mere stopgap. Indeed, it’s more of an experience than a book, bulging at the seams of its 350 pages. Valente reworks Russian folklore into a dark, dense and compelling narrative which skips in and out of tragic reality. Unlike Arden’s books, it’s also firmly adult, encompassing war, death and desire, while its folklore is the unbowdlerised kind, drenched in sex and blood. The curtain rises at the dawn of the 20th century, in St Petersburg, as the old order collapses, the boundaries between worlds grow thin, and a young girl receives an unexpected suitor.

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