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Kalynn Bayron is a debut author and a classically trained vocalist. She grew up in Anchorage, Alaska. When she's not writing, you can find her listening to Ella Fitzgerald on loop, going to the theatre, watching scary movies and spending time with her kids. She currently lives in San Antonio, Texas, with her family.
Ever since she can remember, Briseis has had power over plants. Flowers bloom in her footsteps and leaves turn to face her as though she were the sun. It's a power she and her adoptive mothers have spent her whole life trying to hide. And then Briseis inherits an old house from her birth mother and suddenly finds herself with the space and privacy to test her powers for the first time. But as Briseis starts to bring the house's rambling garden back to life, she finds she has also inherited generations of secrets. A hidden altar to a dark goddess, a lineage of witches stretching back to ancient times, and a hidden garden overgrown with the most deadly poisonous plants on earth. And Briseis's long-departed ancestors aren't going to let her rest until she accepts her place as the keeper of the terrible power that lies at the heart of the Poison Garden. Cinderella Is Dead author Kalynn Bayron brings a message of proud inclusivity to this empowering fantasy about a young woman finding the strength to challenge everything she has been told is true.
August 2020 Debut of the Month | In this rip-roaringly feminist re-imagining of Cinderella, our justice-seeking heroine, Sophia, seeks a princess rather than a prince, and bodice-ripping is done in the name of shedding the shackles of patriarchy. Giddily entertaining, and spiced with dagger-sharp dialogue and romantic attraction, one message beams bright through Sophia’s story - “do not be silent. Raise your voice. Be a light in the dark.” Though 200 years have passed since Cinderella’s time, a twisted version of her legacy lives on in Lille, where the present-day Prince Charming, King Manford, has decreed that girls must recite the fairy tale daily and, at the age of sixteen, they will be sent to the palace to be chosen by a man at a grand ball. Attending the ball is law, and, in the words of Erin, Sophia’s best friend and lover, “It is our only hope for making some kind of life”, for those not chosen are doomed to an even worse existence than being married off. As Sophia’s father admits, “I’d rather see you unhappy than imprisoned or killed.” Such is the impossible situation. So, Sophia goes to the ball, still hoping to escape with Erin, still burning with anger that the “founding tenet of our laws is that women, no matter their standing, are at the mercy of the fickle whims of men.” At the grandiose selection event, girls are put on show for the male suitors, some of them old enough to be Sophia’s grandfather, “but that doesn’t stop them from shamelessly ogling the young girls.” As shocking events unfold here, she flees and finds a sisterly comrade in flame-haired Constance, who also sets her heart alight. As the feminist fugitives go on the run, Constance reveals truths about Cinderella’s real story - a story that was suppressed and twisted into patriarchal propaganda by men in power. And so they embark on a quest to find the White Wood, the last known location of the original fairy godmother, who might just hold the key to further truths that will help Sophia rouse revolution. What an inventive, entertaining and flamboyantly feminist treat this is.