Suyana Sapaki’s a failure in the International Assembly. She’s not charming on camera, which is crucial for a Face: public image is ninety percent of diplomacy, they tell you right from the beginning. The United Amazonian Rainforest Confederation has been the site of scandal, so she’s short on allies. It’s a system designed to make you useless, but she’s fighting. People back home are trusting her, and she has a country to save, one way or the other.
New York City, 1927. Twelve girls appear at the Kingfisher Club s if by magic; they hit the floor like it’s the last night on earth, and vanish before dawn. They never give names. For some, it’s a way of life. For the oldest, who remember what it’s like to be trapped, it’s still a dream just to buckle their shoes for the Charleston. It’s taken them years to make the place their home. But the Kingfisher Club is about to get them in trouble.
Come inside and take a seat; the show is about to begin…Outside any city still standing, the Mechanical Circus Tresaulti sets up its tents. Crowds gawk at the brass-and-copper troupe and their impossible feats: Ayar the Strong Man, the acrobatic Grimaldi Brothers, fearless Elena and her aerialists. War is everywhere, but while the Circus is performing, the world is magic. And that magic is no accident…
The Penguin Book of Witches, NPR.org
"And Was Obliged to Go On Dancing": The Red Shoes and the Chastised Woman, Strange Horizons, September 2014
Yesterday, issue 35 came out, and I officially became the writer of DC’s CATWOMAN. That was a pretty nice day. I love this story and am beyond excited to have a chance to tell it.
This is page 13 of issue #35, featuring Garry Brown’s work from pencils to inks, and Lee Loughridge’s colors. The penciled page was the first art from my Catwoman run I ever saw, and I’ll never forget it.
Backstage at the 1954 Pierre Balmain Couture show. Photos by Mark Shaw.