"A Game of Thrones meets X-Men in this 14th-century fantasy from Marie Lu (the Legend trilogy), in a world where "fear is power." Sixteen-year-old Adelina Amouteru is a malfetto, one whose appearance is "marked" by the blood fever that crippled the country of Kenettra and claimed her mother's life. The blood fever took Adelina's left eye, turned her hair silver, and gave her a power that's remained dormant--until the fateful night her merchant father agrees to trade her to a suitor in exchange for cleared debts. Adelina runs away from home, and once her father catches up with her, she taps into a great hatred within and conjures forth phantoms that quickly cause his death. It was an accident, but the Inquisitors arrest Adelina and sentence her to burn at the stake--a common punishment for malfettos--for the murder of her father. Master Teren Santoro, the 19-year-old Lead Inquisitor of Kenettra, works to cleanse the world of malfettos with ""demon"" abilities. When it comes time to burn Adelina in the central market square, Enzo Valenciano, a malfetto known widely as The Reaper, melts her shackles with his burning touch and releases her. He takes her to Estenzia, the northern port capital, where Enzo introduces Adelina to the world of the Dagger Society--a group of Young Elites with dangerous powers--and their mission to find malfettos like themselves before the Inquisition can. Adelina must pass a series of tests before she can undertake bigger missions with the other six Young Elites who can control their talents, and it's here with the Dagger Society that she discovers her ability to conjure illusions is rooted in darkness. But when Teren Santoro takes her younger sister hostage in exchange for information on the identities, location and plans of the Young Elites, Adelina is compelled to betray them, even if it means leaving the undiscovered malfettos all over the world prey to the Inquisitors, and risking her own death as punishment at the hands of the Elites. In Lu's compelling new novel, the characters are morally complex (the Young Elites are not fully innocent, there are depths to Adelina's darkness and layers to the cross Teren bears)--and no one is safe in the book's final conflict. What at first appears to be romance-lite unfolds in tricky and interesting ways. The many twists, cinematic battles and the overriding epic fantasy will keep readers hooked for book two, which teases to be quite the game-changer. Bring it on."

"I was only about 13 when I heard it and it was another one that I played a lot in my bedroom. There was a trilogy of females, which was Joni Mitchell's Blue, Kate Bush's Hounds Of Love and Bjork's Debut that I discovered when I was 12 and obviously had a huge impact on me. But Joni Mitchell, for me, her voice is like an instrument, the same as Bjork's - I just loved hearing a woman's voice that sounded so free and was doing weird things to my brain, pulling it around. How do you even talk about something like this? You just end up saying a load of cliches! There's songs like 'River' and 'Blue' and I didn't know anything really as a 13-year-old about California and Laurel Canyon and the psychedelic 60s and what had happened to everybody, the disenchantment they maybe felt later on. I didn't really understand the background of that, yet there was this woman coming out of my speaker, her feminine energy and her freedom, her expression, her unapologetic rawness, again, and the beauty and competence, and weird tunings, it all completely made sense to me. It all sounded like this amazing place that smelt like pine trees and had golden, yellow sunshine and long hair and tapestries and curtains and cats and guitars. I thought: "What is this place that this woman is talking about?" Actually it's just this universe inside of her, she's like this amazing building full of beautiful things, so complex and so deep and intellectual. I just think she's fully competent on so many levels! I was listening to Carole King, Tapestry, at the time, and that's another beautiful record, but Joni Mitchell's is just emotionally more complex. It was meandering and had movements and parts to it and her voice would soar. There's that bit where she's saying, "hell's the hippest way to go, I don't think so but I'm going to take a look around it": there's that onset of disenchantment, where she's sick of this bullshit, and Joni Mitchell's so good at seeing through the bullshit - it's not this throwaway, idealistic, hippy kind of thing, she's always burrowing a little bit under the surface. As a young girl, hearing women talk about travelling, going on an aeroplane, missing California, being in Paris, seeing some guy playing guitar and writing a love note on a napkin to her. It's like good life experience, listening to that through someone else."