Head below for a list of genre-bending titles—horror, mystery, short fiction collections, and more—heading your way in March!
Keep track of all the new SFF releases here. All title summaries are taken and/or summarized from copy provided by the publisher. Release dates are subject to change.
Week One (March 7)
The Girl From Rawblood — Catriona Ward (Poisoned Pen Press)
Young Iris Villarca is the last of her family’s line. They are haunted by “her,” a curse passed down through the generations that marks each Villarca for certain heartbreak and death. For generations, the Villarcas have died young, under mysterious circumstances. But Iris dares to fall in love, and the consequences of her choice are immediate and terrifying. As the world falls apart around her, she must take a final journey back to Rawblood where it all began, and where it must all end
The Trees Grew Because I Bled There — Eric LaRocca (Titan)
Eight stories of literary dark fiction from a master storyteller. Exploring the shadow side of love, these are tales of grief, obsession, control. Intricate examinations of trauma and tragedy in raw, poetic prose. In these narratives, a woman imagines horrific scenarios whilst caring for her infant niece; on-line posts chronicle a cancer diagnosis; a couple in the park with their small child encounter a stranger with horrific consequences; a toxic relationship reaches a terrifying resolution.
Monstrilio — Gerardo Sámano Córdova (Zando)
Grieving mother Magos cuts out a piece of her deceased eleven-year-old son Santiago’s lung. Acting on fierce maternal instinct and the dubious logic of an old folktale, she nurtures the lung until it gains sentience, growing into the carnivorous little Monstrilio she keeps hidden within the walls of her family’s decaying Mexico City estate. Eventually, Monstrilio begins to resemble the Santiago he once was, but his innate impulses—though curbed by his biological and chosen family’s communal care—threaten to destroy this fragile second chance at life.
Drinking From Graveyard Wells — Yvette Lisa Ndlovu (University Press of Kentucky)
“Even in death, who has ownership over Black women’s bodies?” Questions like this lurk between the lines of this stunning collection of stories that engage with African women’s histories, both personal and generational. Their history is not just one thing: there is heartbreak and pain, and joy, and flying and magic, so much magic. An avenging spirit takes on the patriarchy from beyond the grave. An immigrant woman undergoes a naturalization ceremony in an imagined American state that demands that immigrants pay a toll of the thing they love the most. A first-generation Zimbabwean-American woman haunted by generational trauma is willing to pay the ultimate price to take her pain away―giving up her memories. A neighborhood gossip wakes up to find that houses are mysteriously vanishing in the night. A shapeshifting freedom fighter leaves a legacy of resistance to her granddaughter.
Infinite Constellations, An Anthology of Identity, Culture, and Speculative Conjunctions — edited by Khadijah Queen and K. Ibura (University of Alabama Press)
The innovative fictions in Infinite Constellations showcase the voices and visions of 30 remarkable writers, both new and established, from the global majority: Native American/First Nation writers, South Asian writers, East Asian writers, Black American writers, Latinx writers, and Caribbean and Middle Eastern writers. These are visions both familiar and strange, but always rooted in the mystery of human relationships, the deep honoring of memory, and the rootedness to place and the centering of culture.
A Witch’s Guide to Fake Dating a Demon — Sarah Hawley (Berkley)
Mariel Spark is prophesied to be the most powerful witch seen in centuries of the famed Spark family, but to the displeasure of her mother, she prefers baking to brewing potions and gardening to casting hexes. When a spell to summon flour goes very wrong, Mariel finds herself staring down a demon—one she inadvertently summoned for a soul bargain. Ozroth the Ruthless is a legend among demons. Powerful and merciless, he drives hard bargains to collect mortal souls. But his reputation has suffered ever since a bargain went awry—if he can strike a bargain with Mariel, he will earn back his deadly reputation. Ozroth can’t leave Mariel’s side until they complete a bargain, which she refuses to do (turns out some humans are attached to their souls). But the witch is funny. And curvy. And disgustingly yet endearingly cheerful. Becoming awkward roommates quickly escalates when Mariel, terrified to confess the inadvertent summoning to her mother, blurts out that she’s dating Ozroth. As Ozroth and Mariel struggle with their opposing goals and maintaining a fake relationship, real attraction blooms between them. But Ozroth has a limited amount of time to strike the deal, and if Mariel gives up her soul, she’ll lose all her emotions—including love—which will only spell disaster for them both.
God of Endings — Jacqueline Holland (Flatiron)
Collette LeSange has been hiding a dark truth: She is immortal. In 1834, Collette’s grandfather granted her the gift of eternal life and since then, she has endured centuries of turmoil and heartache. Now, almost 150 years later, Collette is a lonely artist running an elite fine art school for children in upstate New York. But her life is suddenly upended by the arrival of a gifted child from a troubled home, the return of a stalking presence from her past, and her own mysteriously growing hunger for blood.
The Curator — Owen King (Scribner)
It begins in an unnamed city nicknamed “the Fairest”, it is distinguished by many things from the river fair to the mountains that split the municipality in half; its theaters and many museums; the Morgue Ship; and, like all cities, but maybe especially so, by its essential unmappability. Dora, a former domestic servant at the university has a secret desire—to find where her brother went after he died, believing that the answer lies within The Museum of Psykical Research, where he worked when Dora was a child. With the city amidst a revolutionary upheaval, where citizens like Robert Barnes, her lover and a student radical, are now in positions of authority, Dora contrives to gain the curatorship of the half-forgotten museum only to find it all but burnt to the ground, with the neighboring museums oddly untouched. Robert offers her one of these, The National Museum of the Worker. However, neither this museum, nor the street it is hidden away on, nor Dora herself, are what they at first appear to be. Set against the backdrop of a nation on the verge of collapse, Dora’s search for the truth behind the mystery she’s long concealed will unravel a monstrous conspiracy and bring her to the edge of worlds.
Mr. & Mrs. Witch — Gwenda Bond (St. Martin’s Griffin)
Savannah Wilde is a witch, a very powerful one―an identity that only her fellow witches know. Following a whirlwind romance that surprised herself and her family, Savvy is all set to marry the love of her life. But she isn’t the only one with a secret that needs to be kept, even from her soon-to-be husband. Griffin Carter is a top agent for a clandestine organization that, well, used to primarily hunt witches, but now mainly tries to shut down supernatural threats their own way. He can’t wait to lay his eyes on the woman he’s about to spend the rest of his life with. As Savvy walks down the aisle to Griffin, the wedding quickly goes from blessed day to shit show when their true identities are revealed. To say there’s bad blood between their factions is putting it mildly. Savvy and Griffin are tasked to take the other out, but when they discover a secret that could take down both of their agencies, they realize the only way to survive is to team up. With assassins hot on their trail, will Savvy and Griffin make it out alive to try again at ‘I do’?
Week Two (March 14)
Moths — Jane Hennigan (Angry Robot)
Forty years ago, the world changed. Toxic threads left behind by mutated moths infected men and boys around the globe. Some were killed quietly in their sleep, others became crazed killers, wildly dangerous and beyond help. All seemed hopeless. But humanity adapted, healed and moved on. Now matriarchs rule, and men are kept in specially treated dust-free facilities for their safety and the good of society, never able to return to the outside. Mary has settled into this new world and takes care of the male residents at her facility. But she still remembers how things used to be and is constantly haunted by her memories. Of her family, of her joy, of him. Now the world is quiet again, but only because secrets are kept safe in whispers. And the biggest secret of all? No one wants to live inside a cage.
Piñata — Leopoldo Gout (Nightfire)
It was supposed to be the perfect summer. Carmen Sanchez is back in Mexico, supervising the renovation of an ancient abbey. Her daughters Izel and Luna, too young to be left alone in New York, join her in what Carmen hopes is a chance for them to connect with their roots. Then, an accident at the worksite unearths a stash of rare, centuries-old artifacts. The disaster costs Carmen her job, cutting the family trip short. But something malevolent and unexplainable follows them home to New York, stalking the Sanchez family and heralding a coming catastrophe. And it may already be too late to escape what’s been awakened.
Week Three (March 21)
Flux — Jinwoo Chong (Melville House)
Four days before Christmas, 8-year-old Bo loses his mother in a tragic accident, 28-year-old Brandon loses his job after a hostile takeover of his big-media employer, and 48-year-old Blue, a key witness in a criminal trial against an infamous now-defunct tech startup, struggles to reconnect with his family. So begins Jinwoo Chong’s dazzling, time-bending debut that blends elements of neo-noir and speculative fiction as the lives of Bo, Brandon, and Blue begin to intersect, uncovering a vast network of secrets and an experimental technology that threatens to upend life itself. Intertwined with them is the saga of an iconic ’80s detective show, Raider, whose star actor has imploded spectacularly after revelations of long-term, concealed abuse. Flux is a haunting and sometimes shocking exploration of the cyclical nature of grief, of moving past trauma, and of the pervasive nature of whiteness within the development of Asian identity in America.
Week Four (March 28)
White Cat, Black Dog — Kelly Link (Random House)
Finding seeds of inspiration in the Brothers Grimm, seventeenth-century French lore, and Scottish ballads, Kelly Link spins classic fairy tales into utterly original stories of seekers—characters on the hunt for love, connection, revenge, or their own sense of purpose. In “The White Cat’s Divorce,” an aging billionaire sends his three sons on a series of absurd goose chases to decide which child will become his heir. In “The Girl Who Did Not Know Fear,” a professor with a delicate health condition becomes stranded for days in an airport hotel after a conference, desperate to get home to her wife and young daughter, and in acute danger of being late for an appointment that cannot be missed. In “Skinder’s Veil,” a young man agrees to take over a remote house-sitting gig for a friend. But what should be a chance to focus on his long-avoided dissertation instead becomes a wildly unexpected journey, as the house seems to be a portal for otherworldly travelers—or perhaps a door into his own mysterious psyche. Twisting and turning in astonishing ways, expertly blending realism and the speculative, witty, empathetic, and never predictable—these stories remind us once again of why Kelly Link is incomparable in the realm of short fiction.
Lone Women — Victor LaValle (One World)
Adelaide Henry carries an enormous steamer trunk with her wherever she goes. It’s locked at all times. Because when the trunk opens, people around Adelaide start to disappear. The year is 1915, and Adelaide is in trouble. Her secret sin killed her parents, forcing her to flee California in a hellfire rush and make her way to Montana as a homesteader. Dragging the trunk with her at every stop, she will become one of the “lone women” taking advantage of the government’s offer of free land for those who can tame it—except that Adelaide isn’t alone. And the secret she’s tried so desperately to lock away might be the only thing that will help her survive the harsh territory. Crafted by a modern master of magical suspense, Lone Women blends shimmering prose, an unforgettable cast of adventurers who find horror and sisterhood in a brutal landscape, and a portrait of early-twentieth-century America like you’ve never seen. And at its heart is the gripping story of a woman desperate to bury her past—or redeem it.
A House With Good Bones — T. Kingfisher (Nightfire)
Her brother’s words echo in Sam Montgomery’s ear as she turns onto the quiet North Carolina street where their mother lives alone. She brushes the thought away as she climbs the front steps. Sam’s excited for this rare extended visit, and looking forward to nights with just the two of them, drinking boxed wine, watching murder mystery shows, and guessing who the killer is long before the characters figure it out. But stepping inside, she quickly realizes home isn’t what it used to be. Gone is the warm, cluttered charm her mom is known for; now the walls are painted a sterile white. Her mom jumps at the smallest noises and looks over her shoulder even when she’s the only person in the room. And when Sam steps out back to clear her head, she finds a jar of teeth hidden beneath the magazine-worthy rose bushes, and vultures are circling the garden from above. To find out what’s got her mom so frightened in her own home, Sam will go digging for the truth. But some secrets are better left buried.
Chlorine — Jade Song (William Morrow)
Ren Yu is a swimmer. Her daily life starts and ends with the pool. Her teammates are her only friends. Her coach, her guiding light. If she swims well enough, she will be scouted, get a scholarship, go to a good school. Her parents will love her. Her coach will be kind to her. She will have a good life. But these are human concerns. These are the concerns of those confined to land, those with legs. Ren grew up on stories of creatures of the deep, of the oceans and the rivers. Ones that called sailors to their doom. Ones that dragged them down and drowned them. Ones that feasted on their flesh. Ones of the creature that she’s always longed to become: mermaid. Ren aches to be in the water. She dreams of the scent of chlorine—the feel of it on her skin. And she will do anything she can to make a life for herself where she can be free. No matter the pain. No matter what anyone else thinks. No matter how much blood she has to spill.
the book of webs — Jesse Kohn (University of Massachusetts Press — March 31st)
Word spreads from one recovering self-inflicted eye surgery patient to the next of a mystical book capable of overturning the Burlingtonian empire. Captivating and devious, the book of webs is constructed out of misremembered fragments, conflicting histories, and secrets whispered in the darkness. The insurgents tell of an enemy so powerful it owns the air, dictates reality, and has even managed to co-opt their thoughts. Their only hope is to conspire with the uprisings of their bodies: slips of the tongue, excretions, tics, bad hair days, and, most importantly, their dreams.
