C. S. E. Cooney (she/her) has twice won the World Fantasy Award for her fiction. Her books include Saint Death's Daughter, The Twice-Drowned Saint, Dark Breakers, Desdemona and the Deep, and Bone Swans: Stories, as well as the poetry collection How to Flirt in Faerieland and Other Wild Rhymes, which includes her Rhysling Award-winning poem "The Sea King's Second Bride." In her guise as a voice actor, Cooney has narrated over 120 audiobooks, as well as short fiction for podcasts such as Uncanny Magazine, Beneath Ceaseless Skies, and Podcastle. As the singer/songwriter Brimstone Rhine, she crowdfunded for two EPs: Alecto! Alecto! and The Headless Bride, and produced one album, Corbeau Blanc, Corbeau Noir. Her plays have been performed in several countries, and her short fiction and poetry can be found in many speculative fiction magazines and anthologies, most recently: "A Minnow or Perhaps a Colossal Squid," in Paula Guran's Year's Best Fantasy Volume 1, "Snowed In," in Bridge To Elsewhere, and "Megaton Comics Proudly Presents: Cap and Mia, Episode One: 'Captain Comeback Saves the Day!'" in The Sunday Morning Transport — all in collaboration with her husband, writer and game-designer Carlos Hernandez. Forthcoming soon from Outland Entertainment is a table-top roleplaying game co-designed by Cooney and Hernandez called Negocios Infernales. She is at work on Saint Death's Herald, the second volume chronicling the adventures of Lanie Stones, Necromancer. Find Cooney online at csecooney.com.

Dark Breakers by C. S. E. Cooney

2023 World Fantasy Award finalist for Best Collection

2023 Locus Award finalist for Best Story Collection

A young human painter and an ageless gentry queen fall in love over spilled wine—at the risk of his life and her immortality. Pulled into the Veil Between Worlds, two feuding neighbors (and a living statue) get swept up in a brutal war of succession. An investigative reporter infiltrates the Seafall City Laundries to write the exposé of a lifetime, and uncovers secrets she never believed possible. Returning to an oak grove to scatter her husband's ashes, an elderly widow meets an otherworldly friend, who offers her a momentous choice. Two gentry queens of the Valwode plot to hijack a human rocketship and steal the moon out of the sky.

Dark Breakers gathers three new and two previously uncollected tales from World Fantasy Award-winning writer C. S. E. Cooney that expand on the thrice-enfolded worlds first introduced in her Locus and World Fantasy award-nominated novella Desdemona and the Deep. In her introduction to Dark Breakers, Crawford Award-winning author Sharon Shinn advises those who pick up this book to "settle in for a fantastical read" full of "vivid world-building, with layer upon layer of detail; prose so dense and gorgeous you can scoop up the words like handfuls of jewels; a mischievous sense of humor; and a warm and hopeful heart."

CURATOR'S NOTE

My little publishing company, Mythic Delirium Books, had a proud capstone for our 25th anniversary year when the World Fantasy Award judges selected C.S.E. Cooney's Dark Breakers as a finalist for best collection. Chockablock with frightening and majestic fey folk — known as Gentry — the underworldly schemes of goblins, and unexpected romance, this remarkable book recasts America's decadent Gilded Age as a time of magical worlds in collision. – Mike Allen

 

REVIEWS

  • "Welcome to a Gilded Era like you've never before known and will never be able to forget. If Titania herself were to commission a book, it would be this one."

    – Fran Wilde, two-time Nebula Award-winning author of Updraft and Riverland
  • "Few people create worlds as lavish and sensual as those that spring from Cooney's effervescent imagination. Her writing isn't so much inspirational, but inspiration itself: gentry-magic spun into pages and paragraphs of glittering, fizzing, jaw-dropping beauty."

    – Cassandra Khaw, Bram Stoker Award-winning author of Breakable Things
  • "The stories in Dark Breakers—which, when read together, have all the depth and complexity of a novel—demonstrate Cooney's love for language, her inventive worldbuilding, and her remarkable skill at shaping memorable characters."

    – Locus
 

BOOK PREVIEW

Excerpt

The Two Paupers

Chapter One: The Merciful Heist

Analise Field did not steal the statue because it was the most beautiful thing she ever saw. (Though it was.)

She did not steal it because she was angry at its maker, and wanted to exact an awesome—a fearsome—a, frankly, mythopoeic—vengeance upon him for any number of recent slights. (Though she was.)

She did not steal it for the thrill, or the pleasure, or the danger, or even because she wanted to keep it for her own. (Though she did.)

No. Ana stole the statue to save its life.

If she had not, Gideon Alderwood would have destroyed it like he had all the others.

She could not let that happen.

Not when it opened its eyes and looked at her like that.

* * *

Gideon stared at the space where the statue had been. He stared, but the empty plinth remained empty, and the sight of it was like an icy crowbar smashing through his breastbone, prying his ribcage apart, and ripping out the organ it was put there to protect.

On the plinth: a smear of paper clay, like a footprint.

The faucet in the outer hall plinked. That sound had kept him awake for three nights running. It would plink, and he would pace, and as he strode back and forth, back and forth, Gideon would listen as, on the other side of their shared garret wall, Analise Field turned restlessly on that diabolically squeaky mattress of hers. And even though he knew which floorboards to avoid, and how to move soft-footed as a cat, and how heavily Ana slept, he also knew that she would hear him pacing anyway. The walls were that thin.

Sometimes Gideon thought he heard the sound of her eyelids opening in the dark, felt the weight of her glare as it rested on the wall. As she thought of him, and loathed him.

Stopped him mid-stride, thoughts like that.

But the empty plinth? That stopped his heart.

Had the statue walked?

They usually did not move the first day after completion. Not while they were still wet. But they never stayed wet for long. After twenty-four hours, his statues always hardened spontaneously, as if fired from within by some infernal kiln. Gideon might wake to some noise, or turn at some sound, only to find that the plaster surface of his latest statue had become as smooth and cool as an eggshell.

Not long after that—another day or so—and the statue would start quickening.

At first the shifts were subtle. A hand lifted. A chin tilted. Blank pallid eyes opening like holes in space to reveal orbs like the metallic carapaces of fig beetles: black-shining-green. Eyes like exoskeletons. An alien luster that revealed nothing.

It wasn't until they opened their eyes that he destroyed them.

Gideon thought he could just about bear them if they stopped at movement. If they simply stirred, like Ana in her bed next door. Slightly, in their sleep.

He would have spared them the hammer if only they did not look at him.

Plink. Plink. Plink.

No. It was too soon. The newest statue could not have walked yet. It had not been a full day since he had smoothed the last lines. The curve of the ear, the high forehead, the careless loops of hair. Not a day since he had washed the paper clay from his hands.

That left only…

Plink. Plink. Plink.

It was past midnight. But no one stirred next door.

"Analise Field," Gideon Alderwood whispered. "Godsdamnit."

* * *