her limpid and sensuous prose style that sings with effortless graceĥ. the vividness of her settings, so beautifully drawn I can see them clearly in my mind’s eyeĤ. her characters-all so very different, with frailties and terrors and flaws that make them feel so very realģ. the way the pages just fly by while I’m reading, as if turning themselvesĢ. These are the thirteen things I love most about Kim’s booksġ. She is one of my all-time favourite writers, someone whose books I wait for impatiently and rush out to buy as soon as they hit the bookstores. I have read and loved every one of Kim’s books since. The Infernal had literally scared them away. I emerged hours later, petrified, shaken, exhilarated and without a contraction in sight. I became so instantly absorbed that I, incredibly, forgot about my coming baby. I bought The Infernal that muggy night in Melbourne and began to read it a few weeks later, pacing the floor with early contractions and desperate for distraction. To add insult to injury she was looking absolutely gorgeous in velvet and a starry tiara while I was barely able to waddle, being eight months pregnant. That night Kim’s book not only won the Fantasy Award, but she also walked away with the prize for Horror Fiction as well. which is a short-hand way of saying we both wanted to win. Writers of fantasy fiction are rarely shortlisted for any other kind of award. The Aurealis Awards are the premier prize in Australia for fantastic fiction. My first book Dragonclaw and Wilkins’ first book The Infernal had both been short-listed for the Fantasy Award. It was a hot oppressive evening in Melbourne, and we were shouting above a noisy crowd while waiting for the announcement of the 1997 Aurealis Awards for Speculative Fiction. Maya, my evil queen, has blue eyes and a black bob just like Kim, and ensorcels people with her beauty and charm. She laughed and took it as a compliment which, indeed, it was. The first time I met Kim Wilkins, I told her she looked like the evil queen in my novel. Internal illustrations copyright © 2013 James BlakeĪ Cataloging-in-Publications entry for this title is available from Introduction copyright © 2013 Kate Forsyth Page 261 constitutes an extension of this copyright page. Without limiting the rights under copyright reserved above, no part of this publication may be reproduced, stored in or introduced into a retrieval system, or transmitted in any form or by any means (electronic, mechanical, recording or otherwise) without the express prior written permission of the copyright holder concerned.
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