This piece originally appeared in the Washington Independent Review of Books:
Painters are disappearing throughout Lalverton with many devout citizens say this is just treatment for those who choose to paint–a creative outlet seen as holy and solely as the domain of the Great Artist. Conservatives including the governor fear the growing popularity in portraiture; the presence of Prodigy magic in Lalverton makes the taboo artform seem like even more of a threat.
With her mother–another Prodigy and talented artist–among the missing, Myra Whitlock knows she has to hide her own magical gift if she wants to keep herself and her younger sister, Lucy, safe. Scriptures are very clear that Prodigies are “a defilement of the power of our god, the Great Artist.” With magic that “gives a painter the ability to alter human and animal bodies with their paintings,” Prodigies have long been seen as “even more of an abomination than normal portrait work.” Their powerful ability also means that Prodigies “have been persecuted by the pious and captured by the greedy since the dawn of time.”
Lacking in proper training and control, Myra’s magic is even more dangerous. She can manipulate a person’s sevren threads to alter their appearance and heal injuries, but she can’t dictate when or how her magic will work instead having to paint through it while her magic buzzes “like a swarm of bees inside [her] head.” With finances dwindling in the wake of her parents’ disappearances, Myra desperately needs work to earn enough for rent, food, and for the nurse Lucy needs to help manage the symptoms of her chronic illness.
When Myra’s magic is discovered by the worst person possible, she forges an uneasy bargain with the governor’s wife. If Myra can use her Prodigy gift to resurrect the governor’s dead son, she could earn enough for a proper home, tuition to attend the conservatory, and even a real doctor to treat Lucy. If Myra fails, the governor’s wife will expose Myra as a Prodigy and her life could well be forfeit.
Spirited to Rose Manor in the dead of night, Myra has four days to complete her work before the body decays beyond help. Among the “ancient wealth and finery,” Myra sets to her grim work. But it soon becomes clear the governor’s son did not suffer an accidental fall as Myra has been told. Something more sinister is at work–something that could be even more dangerous to Myra than her exposure as a Prodigy. With reluctant help from August–the governor’s older, less favored son–Myra begins investigating the suspect death and trying to understand why her magic isn’t working. With time running out, Myra will uncover unsavory truths about the stately mansion and its residents in A Forgery of Roses (2022) by Jessica S. Olson.
Olson blends mystery and suspense with a gothic sensibility in this standalone fantasy where all characters are assumed white. Myra narrates with an artist’s eye focused on color as seen when she describes making ladyrose gel–a medium from the author’s imagination that allows oil paints to dry fast enough for artists to complete full paintings in a matter of hours–from burnt flower petals: “As soon as it hits the water, the rose blood fans out, a spiderweb of shimmering scarlet veins crawling through the pot until the whole thing clouds like it’s full of sparkling garnet dust.” Myra’s keen eye for detail also works well within the narrative to increase tension and broadcast danger with one character described as having eyes that “glimmer like pond-slick moons” and “pearl earrings glow milky white like bones on either side of her face, twitching with every word she utters.”
To resurrect the governor’s son, Myra also has to understand the circumstances of his death and his emotional state at the time of death. As Myra explains, sevren are the “connective fibers that bind the soul to the physical form, they’re born from each person or animal’s emotional perception of their bodies. The more emotionally significant a physical feature is to that person or animal, the tighter and denser the bonds become.” Because of this, Myra takes a clinical eye to the body she is trying to restore with grisly precision as she notes “the crushed and mangled ear, the blood congealing on the hair, the fragments of skull and brain tissue” and the “scraped skin and the way the blood has pooled on the bottom of the body” while trying to paint the body as it is before layering in her changes.
Feeling a sense of urgency as time begins to run out and her paintings continue to fail, Myra works (and flirts) with August to investigate his brother’s death. While searching for clues together, August opens up about his daily struggle with severe anxiety which is well-represented in the text. As August explains, “This anxiety will always be a part of me. It’s not going anywhere, and I’m going to have to live with it for the rest of my life. But I am not broken because of it.”
Myra’s desperation to complete her work before she is exposed as a Prodigy only increases when Lucy’s illness takes a turn for the worse. Although unnamed in the text, symptoms include food sensitivity and intestinal distress which Lucy manages with scientific precision in notebooks where “food logs, graphs, and lists of symptoms are mapped out carefully on each page.” Readers will also recognize Spoon theory, described in the text as juice in a glass where “Every action of daily life—getting out of bed, bathing, dressing, doing research—siphoned juice away. Once the glass was empty, no matter how much she had left she needed to do or how much she’d hoped to get done, her body needed to rest. To refill the glass.”
A Forgery of Roses combines art, fantasy, and a truly surprising mystery with authentic and respectful representation for both anxiety and chronic illness which are seen as points of strength rather than flaws in this story where as Myra notes about Lucy “As far as I’m concerned, I may be the one with magic, but she’s the truly powerful one. Because she’s fought where I have never had to.” Myra and August’s romance and a final act filled with the surprise twists that are a hallmark of gothic literature at its best further enhance this story where a picture is worth much more than a thousand words.
Emma Carbone is a librarian and reviewer. She has been blogging about books since 2007.
Possible Pairings: The Beautiful by Renee Ahdieh, Blood and Moonlight by Erin Beaty, The Invention of Sophie Carter by Samantha Hastings, Murder for the Modern Girl by Kendall Kulper, An Enchantment of Ravens by Margaret Rogerson, Belle Epoque by Elizabeth Ross, Gallant by V. E. Schwab, The Splendor by Breeana Shields, Hotel Magnifique by Emily J. Taylor, All that Glitters by Gita Trelease
Rome, 1610: Artemisia Gentileschi had limited options when her mother died at twelve. She could join a convent or she could work in her father’s studio grinding paint, preparing canvases, and modeling as needed.
Miss Print 