I’m in the middle of Silvia Moreno-Garcia’s mannerpunk novel in preparation for an author interview. The Beautiful Ones (St. Martin’s Press), released this week, is quite different from Moreno-Garcia’s contemporary work. I’d describe it as Vanity Fair with telekinesis. Manipulation is the major theme: of objects, and of feelings. The imaginary country the author conjures has elements of the Belle Epoque-era France; you can see the ormolu clocks, rococo architecture and hear the frou-frou rustle of silk. It’s billed as “romantic” but a Machiavellian undercurrent of social climbing runs through the novel. Plus, kudos for the allusion to a Prince song.
BACK COVER COPY:
Antonina Beaulieu is in the glittering city of Loisail for her first Grand Season, where she will attend balls and mingle among high society in hopes of landing a suitable husband. But Antonina is telekinetic, and strange events in her past have made her the subject of malicious gossip and hardly a sought-after bride. Now, under the tutelage of her cousin’s wife, she is finally ready to shed the past and learn the proper ways of society.
But Antonina, who prefers her family’s country home to the glamorous ballrooms of the wealthy, finds it increasingly difficult to conform to society’s ideals for women, especially when she falls under the spell of the dazzling telekinetic performer Hector Auvray. As their romance blossoms, and he teaches her how to hone and control her telekinetic gift, she can’t help but feel a marriage proposal is imminent. Little does Antonina know that Hector and those closest to her are hiding a devastating secret that will crush her world and force her to confront who she really is and what she’s willing to sacrifice.