Here are 81 books that The Perfect Assassin fans have personally recommended if you like
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I love fantasies that dream up totally new worlds! Some people condemn the fantasy genre as formulaic, and sometimes they’re right—but it shouldn’t be so! Fantasies can explore worlds as wide and wild and wonderful as the human imagination itself! Anything’s possible! But I also love a fantasy world that’s as real, coherent, and consistent as our own real world. I think that’s the ultimate challenge for any author: to create it all from the grassroots up. And for any reader, the trip of a lifetime! My personal preference is for worlds a bit on the dark side—just so long as they blow my mind!
It was a toss-up here between this book and The Scar, set in a different part of the same world. One of Miéville’s acknowledged influences is the wonderful Mervyn Peake, and like Peake, he’s never in a hurry to get a story underway.
I’d have probably tossed Perdido Street Station aside after 100-200 pages except for a friend’s fervent recommendation—and I’d have missed out big time if I had! Because the story as it develops is truly grand, truly epic. Like Peake, Miéville has a gift for raising action to a mythical status. I love, love, love a novel that builds up to a long, rolling, thunderous climax!
Winner of the August Derleth award and the Arthur C. Clarke Award, Perdido Street Station is an imaginative urban fantasy thriller, and the first of China Mieville's novels set in the world of Bas-Lag.
The metropolis of New Crobuzon sprawls at the centre of its own bewildering world. Humans and mutants and arcane races throng the gloom beneath its chimneys, where the rivers are sluggish with unnatural effluent, and factories and foundries pound into the night. For more than a thousand years, the parliament and its brutal militia have ruled over a vast array of workers and artists, spies, magicians,…
Having previously worked in the Urban Affairs side of academia and drawing heavily on my own experience living in the city of Portland, OR while writing my book, Moonshine, I’ve become very interested in how fantasy authors find creative ways to incorporate the supernatural elements of the genre with the extremely mundane aspects of urban planning and civics. I find that the most immersive fantasy worlds are the ones that concern themselves with the gritty details of how their societies operate on a basic logistical level, and I think a well-written fantasy city can very much shine as a character in its own right.
The world-building in The Hundred Thousand Kingdoms explores how the powering of societies can come at a human cost—though in this case, the humans have outsourced that cost to the gods. Enslaved by the Arameri aristocratic family that rules over the Hundred Thousand Kingdoms, gods and godlings power the Arameri’s control of the city of Sky, allowing the city to flourish but at the expense of the common people’s or the gods’ agency. Compared to the other books listed here, this tale is more concerned with the structures of class and authority (and less so utility) that help turn the gears of society, but its examinations of these aspects of civics are still insightful and, ultimately, optimistic.
After her mother's mysterious death, a young woman is summoned to the floating city of Sky in order to claim a royal inheritance she never knew existed in the first book in this award-winning fantasy trilogy from the NYT bestselling author of The Fifth Season.
Yeine Darr is an outcast from the barbarian north. But when her mother dies under mysterious circumstances, she is summoned to the majestic city of Sky. There, to her shock, Yeine is named an heiress to the king. But the throne of the Hundred Thousand Kingdoms is not easily won, and Yeine is thrust into…
As a queer fantasy author, my work strongly focuses on detailed plots and lush world-building, but as a reader, I have to admit that the things that hook me on a story are vibrant characters—particularly when they come in couples. After all, it’s the characters that explore their lush worlds and who bring detailed plots to life. One of my absolute favorite reading experiences is following a dynamic couple as they play off each other’s strengths and defend one another’s weaknesses to overcome all odds. It’s just the best feeling, in my opinion. So if you’re looking for a great fantasy book—or series—featuring gay couples, here are five of my favorites!
The first book in the Kingston Cycle series, Witchmark is set in a magic-powered
Edwardian era just after the end of a World War. I loved the balance of soaring
magic and gritty realism as well as the unexpected revelations surrounding each
of the characters.
Miles — a witch who is desperate to keep from being used as a
power source by mages — has faked his death and lives in hiding as a military doctor.
However, when Tristan Hunter brings a dying man to Miles’ hospital, Miles’ secrets
are threatened. But Tristan isn’t interested in blackmailing or exposing him.
Instead he needs Miles to help him to track down a murderer and uncover an epidemic
threatening to destroy all the magic in their world.
Obviously, the setting and premise had me from the start but
the real fun of the book was following Miles and Tristan as they tried…
In an original world reminiscent of Edwardian England in the shadow of a world war, cabals of noble families use their unique magical gifts to control the fates of nations, while one young man seeks only to live a life of his own. Moving at a brilliant pace and pulsing with deadly intrigue and unforgettable characters, Witchmark grabs readers and doesn't let go until the thrilling conclusion.
Magic marked Miles Singer for suffering the day he was born, doomed either to be a slave to his family's interest or to be committed to a witches' asylum. He went to war…
Having previously worked in the Urban Affairs side of academia and drawing heavily on my own experience living in the city of Portland, OR while writing my book, Moonshine, I’ve become very interested in how fantasy authors find creative ways to incorporate the supernatural elements of the genre with the extremely mundane aspects of urban planning and civics. I find that the most immersive fantasy worlds are the ones that concern themselves with the gritty details of how their societies operate on a basic logistical level, and I think a well-written fantasy city can very much shine as a character in its own right.
Tapping into Edinburgh’s grim history of graverobbers (which, if you haven’t had the chance to play tourist in Scotland before, is absolutely fascinating), The Resurrectionist of Caligo uses the dark fantasy staples of blood magic and necromancy to explore the death industry, its role in urban environments, and its storied connection to academia and medicine. Following the trials of Caligo’s local “resurrectionist”, Roger, this book examines what happens to the dead in fantasy worlds, tracing the journeys of their cadavers from death to autopsy to burial to exhuming, taking a closer look at the ceremony and taboo surrounding death and how cities manage the nitty-gritty logistics of storing (or utilizing) their dead once the funerals are over.
"Man of Science" Roger Weathersby scrapes out a risky living digging up corpses for medical schools. When he's framed for the murder of one of his cadavers, he's forced to trust in the superstitions he's always rejected: his former friend, princess Sibylla, offers to commute Roger's execution in a blood magic ritual which will bind him to her forever. With little choice, he finds himself indentured to Sibylla and propelled into an investigation. There's a murderer loose in the city of Caligo, and the duo must navigate science and sorcery, palace intrigue and dank boneyards to catch the butcher before…
My quest after culture began as a child reading National Geographic and wondering about exotic peoples. Later with a PhD in anthropology and living decades in the Middle East, I had a chance to immerse myself in the lives of people going about their normal activities. Eventually their thinking became almost as familiar as my own. The anthropologist Edward Hall says culture is elusive, “and what it hides it hides most effectively from its own practitioners.” He suggests that detached outsiders sometimes see cultures more clearly than local observers who have difficulty viewing themselves dispassionately. As outsider-writers, they validate insights much like anthropologists do, through comparisons of cultural values across time and space.
In the 2000s, Tahir Shah travels around Morocco collecting traditional wisdom stories and relying on the hospitality of local people for shelter and food. Shah is an outsider in a different way from the rest of the outsider authors here. Although growing up in the West, he nonetheless absorbs the Afghan culture of his family. From his Afghan father especially he learns the importance of storytelling as a way of passing on cultural values. The Moroccans know he is a foreigner but see him as an Anglo-Afghan more sympathetic than the normal Westerner. As a result, they reveal facets of their lives not normally shared with outsiders. The book shows how those seeking to understand culture must be open to finding it in all sorts of places.
Shortly after the 2005 London bombings, Tahir Shah was thrown into a Pakistani prison on suspicion of spying for Al-Qaeda. What sustained him during his terrifying, weeks-long ordeal were the stories his father told him as a child in Morocco. Inspired by this, on his return to his adopted homeland he embarked on an adventure worthy of the mythical Arabian Nights, going in search of the stories and storytellers that have nourished this most alluring of countries for centuries. Wandering through the medinas of Fez and Marrakech, criss-crossing the Saharan sands and tasting the hospitality of ordinary Moroccans, he collected…
I grew up in Michigan where I was outdoors in the woods most of the time, running around with my imaginary friends. I built an entire world in my imagination where girls and women were powerful and ruled the world. I wrote stories about that world, and I’ve never stopped writing or reading myths, folklore, and fairy tales. Stories are the best way to bring the mythic and hidden realms of our existence out into the open. When I catch a glimpse of other worlds through storytelling, it always feels healing. It gives me hope that there is more to our existence than what we ordinarily see.
In The Thousand and One Nights, Scheherazade famously told stories to keep herself alive. In this novel the wife of a man in a coma uses stories to coax him back to life. The storytellers she brings to his hospital bedside include a raven, a ghost, a centaur, and Scheherazade herself. Even a housegets a monologue here. I love how this book brings the mythic aspects of life into every day for the purpose of healing. The underneath here is the man’s subconscious. The entities speaking to him exist in the every day; we just don’t normally see them. This book brings them all to life. A beautiful story beautifully told.
Do stories have the power to heal? For Gary Hawken, life in a coma offers few perks. Nurses care for him and people sit by his bed and tell him stories, but the glorious mess of life passes him by. In a world where survival depends on his ability to understand his stories, Gary must recognize the value of his own soul. A hypnotic tale of one man’s struggle to find the truth in his own epic life.
I’ve always been fascinated by monsters. Growing up I saw television shows and read books about famous ones like Bigfoot and Nessie, and always wanted to search for them and discover the truth. That led me to a degree in psychology to learn about human cognition and perception, and a career in folklore to understand how legends and rumors spread. But I also wanted field experience, and spent time at Loch Ness, in Canadian woods said to house Sasquatch, to the Amazon, Sahara, and the jungles of Central America looking for the chupacabra. Along the way became an author, writing books including Tracking the Chupacabra, Lake Monster Mysteries, Big—If True, and Investigating Ghosts.
While some people may not think of genies (or jinn) as monsters in the same category as Bigfoot or dragons, from a cultural and folkloric point of view they definitely are.
Most Americans probably think of the wisecracking genie in Disney’s Aladdin, but belief in genies is both serious and widespread. In his book Legends of the Fire Spiritsjournalist Robert Lebling describes how the creatures appear in the Koran (hint: it’s closer to the recent filmThree Thousand Years of Longing).
They are in some ways the Muslim equivalent of Christian angels, imbued with magical powers and viewed by the devout not as real and tangible as you or I. What I love about this book is how Lebling reveals the real stories of jinn—in both their wonder (granting wishes) and terrible vengeance (mass murder).
As with all monsters, whether you believe in them or not is…
In the magical tale of Aladdin in "The Arabian Nights", the genie that suddenly appears out of the lamp is powerful, playful and utterly mysterious. Supernatural, shape-shifting figures have been given many names over the ages - genie, demon, spirit, ghoul, shaitan and jinn. Those who have seen them believe jinn shadow us in our daily lives, causing endless mischief, providing amazing services and sometimes inducing sheer terror. "Legends of the Fire Spirits" explores the enduring phenomenon of the jinn. From North Africa to Central Asia, from the Mediterranean to sub-Saharan Africa and beyond, this riveting book draws on long-forgotten…
In my college days, I majored in dance and political science. It was the 1960s, so marrying art with politics made countercultural sense. After realizing I wouldn’t become the next Martha Graham, I chose to pursue a doctoral degree in political science. But I never abandoned my first love, the arts. Following a more than twenty-year career teaching about women and politics at several universities, I returned to school myself, completed an M.F.A. in creative writing, and published my debut novel, Cities of Women.
Readers may be familiar with The Arabian Nights, the source material behind this fascinating novel. Yet, what distinguishes Jamila Ahmed’s retelling is her focus on the famed storyteller, Shaherazade, whose exposure of the Seljuk king’s wife’s infidelity sets in motion a violent chain of events in twelfth-century Persia.
In lush, sensuous prose, Ahmed fills this vividly imagined, action-packed novel with compelling characters and labyrinthine tales within tales populated with mythical adventurers and creatures with magical powers.
The elaborate, psychologically complex portrait of Shaherazade at the heart of the novel celebrates the power of storytelling while paying homage to the agency of the storyteller.
In this riveting take on One Thousand and One Nights, Shaherazade, at the center of her own story, uses wit and political mastery to navigate opulent palaces brimming with treachery and the perils of the Third Crusade as her Persian homeland teeters on the brink of destruction.
In twelfth century, Persia, clever and dreamy Shaherazade stumbles on the Malik’s beloved wife entwined with a lover in a sun-dappled courtyard. When Shaherazade recounts her first tale, the story of this infidelity, to the Malik, she sets the Seljuk Empire on fire.
I am a fiction writer and currently live in Cairo, where I have lived for over twenty years. I noticed that the way I started telling stories was influenced by learning Arabic and by listening to the stories of the people in the city. My interest in Arabic also led me to read Arabic literature, like A Thousand and One Nights.
I enjoyed Mafouz’s marvelous retelling of the Thousand and One Nights.
Although Mafouz sets the time in mediaeval era, the novel is a
political fable with contemporary overtones for any authoritarian
government.
Arabian Nights and Days,
tells the story of the Sultan, Shahriyar, and his entourage of rotating
police chiefs, spies, and informers. Many of the same characters from A Thousand and One Nights
appear in his version: Sindbad the Sailor, Aladdin, Shahrazad and her
sister, Dunyazad. And characters do tell stories to one another, but
Shahrazad is not as prominent.
The “jinn” or evil spirits do take
over each of the most noble characters, who are tempted by money, sex,
and power. Many “fall into the abyss” either in this world or the next.
There are disappearances, robberies, murders, purges—and those who are in favor might have their fortunes drastically changed in the course of…
The Nobel Prize-winning Egyptian writer Naguib Mahfouz refashions the classic tales of Scheherazade into a novel written in his own imaginative, spellbinding style. Here are genies and flying carpets, Aladdin and Sinbad, Ali Baba, and many other familiar stories from the tradition of The One Thousand and One Nights, made new by the magical pen of the acknowledged dean of Arabic letters, who plumbs their depths for timeless truths.
I am a fiction writer and currently live in Cairo, where I have lived for over twenty years. I noticed that the way I started telling stories was influenced by learning Arabic and by listening to the stories of the people in the city. My interest in Arabic also led me to read Arabic literature, like A Thousand and One Nights.
I loved this quirky, surreal novel, which is set in Cairo during the time of the Mamluks. Alternating between dreams and fables, the novel also takes us on a tour of Cairo. He uses the mock diary of a traveler for every section of old Cairo, but then diverges into the individual stories of characters in the city.
Balian, a British pilgrim who has come to visit St. Catherine’s Monastery in Sinai, is really a spy sent by European powers to scout out the power of the Mamluk force, as well as the political intentions of the Sultan. Soon over his head, he finds himself meeting a variety of flamboyant characters. An Italian spy, Giancristoforo, is soon arrested and disappears into state custody. Balian has bizarre dreams at night, but even during the daytime he can’t distinguish between dream and reality.
Arabian Nightmare is a book which has hung around…
' ...a classic orientalist fantasy tells the story of Balian of Norwich and his misadventures in a labyrinthine Cairo at the time of the Mamelukes. Steamy, exotic and ingenious, it is a boxes-within-boxes tale featuring such characters as Yoll, the Storyteller, Fatima the Deathly and the Father of Cats. It is a compelling meditation on reality and illusion, as well as on Arabian Nights-style storytelling. At its elusive centre lies the affliction of the Arabian Nightmare: a dream of infinite suffering that can never be remembered on waking, and might almost have happened to somebody else.' Phil Baker in The…
