Sapphique

Finn has escaped Incarceron, but Keiro and Attia are still Inside. Outside, things are not at all what Finn expected - and both Finn's and Claudia's very lives hang on Finn convincing the Court that he is the lost prince. Back Inside, Keiro and Attia are on the hunt for Sapphique's glove, which legend says he used to escape. In order to find it, they must battle the prison itself. Incarceron has built itself a body and it wants to go Outside - just like Sapphique, the only prisoner Incarceron ever loved. "High-intensity, mind-bending . . . Fisher further explores themes of reality, illusion, and freedom without losing her intensely original world-building and authentic characters." - Booklist, starred review "Even as the steadily ratcheting certainty of impending catastrophe keeps the pages turning, the sheer richness of the evocative descriptions demands that every sentence be savored. . . . For those who can appreciate the interplaying reflections of lies, myths and memory, a modern masterpiece." - Kirkus Reviews, starred review

Incarceron is a prison so vast that it contains not only cells and corridors, but metal forests, dilapidated cities, and wilderness. It has been sealed for centuries, and only one man has ever escaped. Finn has always been a prisoner here. Although he has no memory of his childhood, he is sure he came from Outside. His link to the Outside, his chance to break free, is Claudia, the warden's daughter, herself determined to escape an arranged marriage. They are up against impossible odds, but one thing looms above all: Incarceron itself is alive . . .

A world on the edge of devastation, where nothing is as it seems--Front cover.

The obsidian mirror. Its power is great and terrible. Men have been lost in it, the dead brought back to life through it, and the future annihilated by it. Or this is what will happen unless the mirror is destroyed. Three people seek the mirror: the first has been sent from the future to shatter its power; the second will protect the mirror at all costs, obsessed with its power; and the third needs the mirror to find a murdered father and save his life. But only one can succeed. The mirror can send you to the past, but it will not bring you back. With superb world-building that includes the real world, the faery world, and a dystopic future, this hauntingly astonishing adventure is the start of a new trilogy from the master of the sci-fi/fantasy genre, Catherine Fisher. Fans of Orson Scott Card, Dr. Who, Shakespeare, and Blade Runner won't be disappointed.

Breathtaking sequel to The Oracle, the Archon must face a journey of treachery and adventure across the pitiless desert in a bid to save his people ... The Archon vows to lead a pilgrimage to the Well of Songs to seek peace with the Rain Queen and save the land from the terrible drought. The Well is hidden in the mountains across the desert. But he is not the only one with his sight set on the mountains: Argelin, the tyrannical and power-hungry General, follows behind, an ever-present threat, with his heart set on the riches to be found. With only Oblek, Seth and two tomb-thieves known as the Jackal and the Fox for company, the Archon's journey is treacherous and dangerous. They must face the Great Desolation and the monstrous animals outlined on the desert floor, animals with mythical powers, and they must survive without Mirany, bearer-of-the-god and true friend of the Archon, who has had to remain behind to face a threat much closer to home ...

It is a life-changing deal—and it will end your life as you know it. Sarah Trevelyan would give anything to regain the power and wealth her family has lost, so she makes a bargain with Azrael, Lord of Darkwater Hall. He will give her everything she needs to restore the Trevelyan name, and one hundred years to do it—in exchange for her soul. Fast-forward a hundred years to Tom, who dreams of attending Darkwater Hall School. A professor named Azrael offers him a bargain. Will Sarah be able to stop Tom from making the same mistake? Catherine Fisher's version of Faust is utterly spellbinding!

In an absorbing mystery thriller, a teenage girl with a past arrives in a city: new name, new identity, new foster family. She has chosen the city herself, and is fascinated by its harmony and beauty, but is clearly in fear of discovery. She is nursing a secret from her early childhood, a secret that produces new terrors for her the moment she fears her identity has been spotted. A parallel narrative tells of a young architect's apprentice, Zak, in 1750 - working with Jonathan Forrest, a man obsessed with past Druidic mysteries and a new architectural vision for the city. He plans to create the world's first circular terraced street, the King's Circus - a plan greeted with scorn and derision. Zac soon realises there's more than just obsession with an architectural vision; there is some secret associated with building a hidden chamber in the centre of the Circus. But Zac himself has his own confused and highly destructive agenda ... These narratives are framed by the voice of Bladud - mythical first builder of the city, destined to die in trying to fly. And ultimately his narrative brings all together in a clever and brilliantly intriguing climax.

Saints are currently undergoing a resurrection in middle grade and young adult fiction, as recent prominent novels by Socorro Acioli, Julie Berry, Adam Gidwitz, Rachel Hartman, Merrie Haskell, Gene Luen Yang, and others demonstrate. Cyborg Saints: Religion and Posthumanism in Middle Grade and Young Adult Fiction makes the radical claim that these holy medieval figures are actually the new cyborgs in that they dethrone the autonomous subject of humanist modernity. While young people navigate political and personal forces, as well as technologies, that threaten to fragment and thingify them, saints show that agency is still possible outside of the humanist construct of subjectivity. The saints of these neomedievalist novels, through living a life vulnerable to the other, attain a distributed agency that accomplishes miracles through bodies and places and things (relics, icons, pilgrimage sites, and ultimately the hagiographic text and its reader) spread across time. Cyborg Saints analyzes MG and YA fiction through the triple lens of posthumanism, neomedievalism, and postsecularism. Cyborg Saints charts new ground in joining religion and posthumanism to represent the creativity and diversity of young people’s fiction.