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WORK TITLE: Masquerade
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WEBSITE: https://www.oosangoyomi.com/
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Female.
EDUCATION:Princeton University, graduated, 2023.
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Writer.
WRITINGS
SIDELIGHTS
O.O. Sangoyomi is a Nigerian American writer. In 2023, she earned a degree from Princeton University.
While attending Princeton, Sangoyomi wrote her first novel, Masquerade, which was published in 2024. Drawing on her own West African heritage, Sangoyomi sets the novel in Timbuktu, in what is now the country of Mali. The story borrows elements from the Greek myth of Persephone, but it also incorporates details from Yoruba culture. The protagonist is a female blacksmith named Ododo, who is kidnapped and taken to Yorubaland to become the wife of the nation’s cruel but attractive leader. Ododo navigates her new life, becoming aware of its benefits and its dangers. In an interview with Anna Chung, contributor to the Princeton Alumni Weekly website, Sangoyomi discussed the creation of the character of Ododo, stating: “I haven’t seen a lot of African female characters, and I think the ones that I have seen are usually more symbolic than human. … I want her to feel real.” Sangoyomi discussed her intentions for the book in an interview with Matt Aragon-Shafi, writer on the American Booksellers Association website, stating: “The first and primary motivation I had for writing Masquerade was to highlight pre-colonial West African history, because I really wanted to see that in a book. I think that if readers take away more knowledge about that time period, or if they take away knowledge about Yoruba culture, that’s really great, because I’m always happy to share my culture, I think it’s so beautiful. I love that people are learning about it.”
Critics offered favorable assessments of Masquerade. Ashley Rayner, reviewer in Booklist, deemed the book “highly recommended for fans of palace intrigue … or scheming characters in a historical-fiction setting.” Writing in Library Journal, Kristi Chadwick commented: “Richly detailed worldbuilding and inspiration from the Persephone myth all lend to a layered, immersive storyline.” A Kirkus Reviews contributor praised Sangoyomi for “deftly interweaving West African culture with mythology in a way that keeps a familiar tale feeling fresh and new.”
BIOCRIT
PERIODICALS
Booklist, May 18, 2024, Ashley Rayner, review of Masquerade, p. 30.
Kirkus Reviews, July 1, 2024, review of Masquerade.
Library Journal, April, 2024, Kristi Chadwick, review of Masquerade, p. 81.
ONLINE
American Booksellers Association, https://www.bookweb.org/ (July 10, 2024), Matt Aragon-Shafi, author interview.
Grimdark, https://www.grimdarkmagazine.com/ (June 26, 2024), Fabienne Schwizer, author interview.
Jill Grinberg Literary Management website, https://jillgrinbergliterary.com/ (October 7, 2024), author profile.
O.O. Sangoyomi website, https://www.oosangoy0mi.com/ (October 7, 2024).
Princeton Alumni Weekly, https://paw.princeton.edu/ (March 6, 2024), Anna Chung, author interview.
O.O. Sangoyomi is a Nigerian American author. During a childhood of constantly moving around, she found an anchored home in the fictional worlds of books. Sangoyomi is a recent graduate of Princeton University, where she studied literature. Masquerade is her debut novel.
O.O. Sangoyomi
O.O. Sangoyomi is a Nigerian American author with a penchant for African mythology and history. During a childhood of constantly moving around within the US, she found an anchored home in the fictional worlds of books. Sangoyomi is a recent graduate of Princeton University, where she studied English and African American Studies. Her debut novel, Masquerade, an Indie Next Pick and recipient of three starred reviews, was published by Macmillan/Forge in July 2024.
Agent
Larissa Melo Pienkowski
An Interview with O.O. Sangoyomi
InterviewsJune 25, 2024By Fabienne Schwizer
Last Updated on June 26, 2024
O.O. Sangoyomi is set to dazzle the literary world with Masquerade in July. A story that is tender and slow just as much as it is dark and thrilling, the novel weaves historical West Africa with that of myth. The novel focuses on betrayal and politics, so it is a great fit for us at Grimdark Magazine. It was great to chat with her about debuting, complex relationships and power ahead of the book’s publication.
Masquerade[GdM] Congratulations on your debut novel, Masquerade. Can you introduce Masquerade in a sentence or two for our readers?
[OOS] Masquerade is a historical fiction novel in which a young Yorùbá woman climbs through the ranks of a Medieval West African warrior society. Loosely based on the myth of Persephone, the novel explores the cost of power and the lengths people will go to secure it.
[GdM] I’d love to know more about the inspiration for Masquerade. The story of Hades and Persephone for one, the Yoruba traditions another. How do you see yourself in the storytelling tradition(s)?
[OOS] I wrote Masquerade my sophomore year of college. It stemmed from my frustration about being unable to find classes related to Africa at my school, especially classes about pre-colonial Africa. I was born to Nigerian immigrants, so I’m passionate about the history of West Africa in particular. That interest inspired me to research Medieval West Africa in my own time. The more that I read about the richness of this historical era, the more inspired I became to write a story set within this time period. Especially because storytelling plays such an important role in Yorùbá culture in terms of preserving histories and memories, it was important to me to try fighting against the kind of death that comes when a culture or a history is no longer talked about.
[GdM] Can you talk a bit about the blacksmiths and why they occupy such a focal position in Masquerade?
[OOS] In Yorùbá culture, artisans are held in very high esteem. Not just blacksmiths, but also sculptors, weavers, carvers. In general, the act of creation is a revered endeavor. In regards to blacksmithing, that profession has always held a particular place of fascination in the imagination of the Yorùbá people. For a long time, the technicalities of blacksmithing were kept secret from the general public, making blacksmiths their own kind of closed guild. And because no one knew how they transformed metal, many people believed that the process was magical.
Historically, Yorùbá blacksmiths were men, and because of their abilities, they were highly respected in society. In Masquerade, I reimagined this position as one that is instead occupied by women. I wondered, if the same, seemingly mystical abilities of a blacksmith were in the hands of women, would it be as positively received? Probably not. Throughout history, witch-hunts have occurred in many parts of the world to whatever degree. They all derived from the same thing: the majority group in a society believing the minority group was becoming too powerful, and fearing how that power might be used against them. So it made sense to me that a group of women on whose abilities the empire is dependent would be highly resented.
[GdM] Òdòdó goes through a lot in Masquerade. Throughout, her resilience and cunning stand out. What do you hope the reader takes from her?
[OOS] Unlike most strong female protagonists, Òdódó has neither a fierce personality nor does she blatantly speak her mind. She tends to keep her cards close to her chest, and because of her quieter disposition, most characters who meet Òdódó in the book do not think much of her. Òdódó is aware of how people regard her, and she learns to use this against them. She does things like asking intrusive questions while knowing she can get away with it because no one believes her smart enough to use the information, and she is not afraid to lean into her perceived naivety if it helps her avoid suspicion. She is a fast learner, but she does not let on to just how much she has learned, and her enemies do not realize what a formidable opponent they have created in her until it is too late. So, if readers take anything from her, it can be that there is power to be had in being underestimated.
[GdM] I particularly enjoyed Òdòdó’s complicated relationships with her mother, as well as with the twins. What drew you to focus on these imbalances of power?
[OOS] A common theme in Masquerade is that of convoluted love. Òdódó has a complicated relationship with the king she is being forced to marry, but she also has a complicated relationship with her mother. I think the manner in which people love tends to be the same with how they conduct themselves in every other aspect of their lives. So, as a pessimistic and brutally honest person, Òdódó’s mother cannot help but love Òdódó in a way that seems quite negative and almost more like hatred. It was interesting to explore the concept of a love that, as twisted as it is, is at the same time deep and genuine.
The twins’ role in Masquerade was also interesting to explore. Throughout the novel, in order to get what she wants, Òdódó leans more and more into the strengths that women have and that men do not. She then takes that a step further by also including children in her schemes—which is another group that, like women, tend to have their intelligence and skills be overlooked. It is a mark of Òdódó’s patience and determination that she learns how to utilize the small but unique access that women and children each have to certain facets of life. Over time that gradual collection of power accumulates into a greater one that cannot be challenged, and it is all built on the strengths of underestimated groups.
[GdM] Can you talk a bit about your approach to disability and prosthetics in the story and how it connects to power?
[OOS] In the book, Òdódó is surrounded by powerful men who have, for the most part, obtained their repute through war. Because that is the most overt display of power, at first it seems that if Òdódó is to have any power herself, she must learn to fight like a man. But after Òdódó barely survives a situation that leaves her disabled, she begins to lean into methods of power other than physical fighting. She learns how to filter through gossip for valuable information, how to manipulate others with just her words, and how to use her beauty to win allies. In other words, she uses tactics that are typically dismissed or overlooked by men, but that end up getting her much further than brute strength would have. So ultimately, Òdódó learns that she does not need to learn how to fight like a man; it is much better to fight like a woman.
[GdM] Following on from that, I felt like the loneliness of power, the segregation it brings with it, was core to Masquerade. I’d love to hear more about your intentions in this regard.
[OOS] When Òdódó first arrives at the king’s residence, she is enchanted by the life of luxury that is to be found there. She takes everything in, not just the sights but the people as well, accepting every offer of friendship that comes her way. But what Òdódó learns the hard way is that she has just entered a world in which everyone has their own motives, and to them, Òdódó’s arrival is nothing more than a new opportunity to use her in advancing their individual plans. Throughout the novel, as Òdódó faces betrayal in different ways, she comes to realize that if she is going to make it to the top of the social ladder, she is going to have to play the same games that everyone else does. She learns that she can only put her faith in people, not based on friendship, but based on a partnership that is mutually beneficial. Ultimately, Òdódó comes to have a handful of people in her circle, but none whom she allows herself to trust implicitly again, and that is the sacrifice she makes to hold onto her power.
[GdM] One thing I particularly enjoyed about Masquerade is how the story dares to be slow. A lot happens, but to me, it felt like characters had time to develop rather than jumping from action to action. Was this a deliberate choice?
[OOS] Immersion was a priority for me while writing Masquerade. Especially because this is a time period with which many readers will likely be unfamiliar, it was important to me to paint a vivid picture of the richness this region of the world has had. Careful detail was paid toward building the setting, but also toward building the plot. In order to create a tension that only increases as the book goes on, the groundwork for multiple pieces needed to be firmly established and have room to develop. That way, when it all comes together at the end, it can do so at a fever pitch.
[GdM] With Masquerade so grounded in history, you must have done a lot of research. Can you talk about about the process and the challenges?
[OOS] In order to construct the world of Masquerade, I drew from the three most notable empires of Medieval West Africa: the Mali Empire, the Songhai Empire, and the Kingdom of Ghana. Elements of the Ọ̀yọ́ empire and Yorùbá history in general are also woven into the story. In terms of my approach to this, I would start out with a specific topic, such as the gold trade in 15th century West Africa, then branch out into similar topics from there. I read a number of sources, ranging from history books to written accounts by European explorers who visited the region at that time, and I was also able to speak with Nigerian scholars who could elaborate on aspects of Yorùbá culture.
Undoubtedly, the most frustrating part of my research process was the sheer lack of sources available about pre-colonial Africa. For every one source I was able to find, there were ten more available for a different part of the world during the same time period. And it does not escape me that, of what little information there is available, most of it comes from the pens of Europeans. It is devastating to think about how many details have been destroyed because a group of people have been prevented from preserving their own history.
[GdM] Do you have any (book) recommendations for readers who need to get over the emotional hangover caused by finishing Masquerade?
[OOS] For more historical fiction: The Mayor of Maxwell Street by Avery Cunningham or The Monsters We Defy by Leslye Penelope. For more feminist journeys that incorporate mythology: Kaikeyi by Vaishnavi Patel or Daughter of Fire by Sofia Robleda. For more stories rooted in West African culture: Raybearer by Jordan Ifueko or The Gilded Ones by Namina Forna.
QUOTED: "The first and primary motivation I had for writing Masquerade was to highlight pre-colonial West African history, because I really wanted to see that in a book. I think that if readers take away more knowledge about that time period, or if they take away knowledge about Yoruba culture, that's really great, because I'm always happy to share my culture, I think it's so beautiful. I love that people are learning about it."
Jul
10
2024
Indies Introduce
An Indies Introduce Q&A with O.O. Sangoyomi
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O.O. Sangoyomi is the author of Masquerade, a Summer/Fall 2024 Indies Introduce adult selection and July 2024 Indie Next List pick.
Matt Aragon – Shafi of West Side Books in Denver, Colorado, served on the bookseller panel that selected Sangoyomi’s book for Indies Introduce.
“Masquerade is a magical debut with rich characters, challenging battles, wonderful West African myth and lore, all woven together to make a fresh historical read,” he said of the title.
Sangoyomi sat down with Aragon - Shafi to discuss her debut title.
This is a transcript of their discussion. You can listen to the interview on the ABA podcast, BookED.
Matt Aragon - Shafi: Hi everyone, my name is Matt Aragon - Shafi, and I am the manager of West Side Books. We're an indie book store in Denver, Colorado. And I'm so thankful to have a debut author here.
O.O. Sangoyomi is a Nigerian American author with a penchant for African mythology and history. During a childhood of constantly moving around within the US, she found an anchored home in the fictional world of books. Sangoyomi is a graduate of Princeton University, where she studied English and African American studies. Masquerade is her debut novel.
And we are so thankful to be joined by Oyin today. Thank you for coming, Oyin.
O.O. Sangoyomi: Thanks for having me, Matt. It's nice to speak with you again.
MAS: Yeah, I'm so thankful to have you here. I just finished Masquerade a couple days ago, and I did a little bit of the physical book and the audio book on Libro.fm. And I loved both. The audio book was so awesome with helping me pronounce the names and kind of get the context of the culture. So I really enjoyed that, and I hope the reader of the audiobook gets credit as well as the writer, too.
OOS: Absolutely! My audio book, it was narrated by Ariel Blake, and she was fantastic. I really loved the effort that she put into bringing Òdòdó to life.
MAS: I wanted to say, just reading your book, was really a breath of fresh air. As a bookseller, I've been really getting into historical fiction. And I was like, “Wow, this is intense.” It's beautiful. It's cool. And I'm not gonna do any spoilers, but the ending was WOW. So, I was taken aback. And just to let you readers know out there, you're gonna want to read this one, Masquerade.
So, I'll get started with asking you some questions. The first one is, what would you like your readers to take from your debut?
OOS: Good question. The first and primary motivation I had for writing Masquerade was to highlight pre-colonial West African history, because I really wanted to see that in a book. I think that if readers take away more knowledge about that time period, or if they take away knowledge about Yoruba culture, that's really great, because I'm always happy to share my culture, I think it's so beautiful. I love that people are learning about it.
But ultimately, I think that Masquerade is just entertainment, it's fiction, and it's supposed to be art. It's not supposed to be anthropological. So, although I'm glad that readers might learn something about West African culture from it, I don't want it to be viewed as educational, and at the end of the day, I just hope it's a good story.
MAS: I love that. The story, it's just entertaining, and it brought me to a different world.
Let's see the next question. What does the main character, Òdòdó, represent to you?
OOS: Hmm! What I like about Òdòdó is that she feels real to me. You know all the good and bad things about humans. And that was really important to me, because I feel like I haven't seen very many African female characters in literature — and the ones that I have seen are usually more symbolic. They're supposed to be representative of their people. Or maybe they're supposed to be just a symbol in a revolution.
Òdòdó is an African woman, but that's not her whole identity, that's not where her problems are rooted in. Her problems are first and foremost rooted in her womanhood, and I think that she's someone who a lot of women can relate to, regardless of their backgrounds, because her story is just so universal among women. So, if she represents anything, I feel like it's the struggles that countless women have gone through all across the world, all across different time periods, and she's adding to that voice.
MAS: I really enjoyed her, and to be honest, I think the way she was written was not predictable to me, and I think that's important and fun and interesting. As an avid reader myself, I was like, she is intense, she's so smart — she's smarter than me. The decision she makes and why, I'm just like, “Wow, I'm blown away by that.”
OOS: Thank you. I definitely wanted her to have her own motivations, too. I feel like that helps with developing her. Instead of just doing what a hero might be expected to do, or rather, a protagonist. I think “hero” is too strong of a word for Òdòdó. What a protagonist is supposed to do. I wanted her to make her own choices.
MAS: And I could tell that. The time period she's in — she's very intelligent, careful, and doing what she needs to do as a woman in that “time period.”
OOS: Exactly.
MAS: You may have touched upon this question, but how important is the historical aspect of Masquerade?
OOS: The historical aspect of Masquerade is very important to me. I mentioned it was my primary motivation for going into writing Masquerade. In recent years there's been a really big rise in Afrofantasy and Afrofuturism in books. And that's been great, because it's brought more cultures and more people to mainstream media. But it's a bit of a double-edged sword, because it paints Africa as a fantastical place. Africa has so many different cultures with very long histories, and they deserve to be used as more than just the premise for building a secondary world. So I really wanted to root Masquerade in a real time period, and have real history in it to highlight that there doesn't need to be fantasy elements when it comes to African books. We have a lot of stories that we can tell as well.
MAS: The way you answer that is so wonderful. And I agree with you. I am a fan of African Futurism and Afrofuturism as well, and this is really cool to see this debut of a historical fiction novel. And we had spoken before, and when I first got your book, I mistakenly thought it was fantasy, and then I corrected myself, and I'm really glad I did. Because, as a bookseller, I want to convey the importance of your work in general.
OOS: Thank you. From what I've seen, it's been a common mistake. Many people [are] assuming Masquerade is fantasy, and I think that just speaks to all the more reason why I did this. It seems there's a presumption that anything in African culture is automatically fantasy, because that's what we're so used to. So I definitely wanted more strictly historical fiction when related to Africa.
MAS: You're building your tour right now. And there was an author I saw you with, and I think that author was a fantasy author. Is this stuff you're finding as your authorship grows? Do you find yourself paired, either correctly or incorrectly, with similar genre authors?
OOS: I think it's really hard to pair a book like Masquerade, because it's just not as common to see pre-colonial West Africa specifically in books, at least in my experience. So we've definitely branched out in conversation partners in relating, not just to that time period, but also to the themes of Masquerade — feminism, non-Western cultures, and even just pre-colonial times in other parts of the world. In the future, I really would like to speak with more pre-colonial West African books, or even just Africa in general. But for now, it's okay to find relations where we can.
MAS: That's great. Let's see, I think you kind of touched on this already. But maybe you could just glaze. What inspired you to write this tale?
OOS: So, I wrote Masquerade in my sophomore year of college. And that kind of came as a response to the classes that I was experiencing. I really wanted to learn more about African culture, African history, just anything that I could get my hands on, but I didn't find many classes about any of that. So I just took it upon myself to research pre-colonial Africa, and I was especially fascinated by the medieval West African time period, because there was just so much going on, and it was such a rich history. I've always been a writer, and the more that I read about that time period, the more inspired I became to write something in that time period. So that's how Masquerade came about.
MAS: As a writer, how do you navigate myth and religion in your writing? As a bookseller, I'll say why I asked this question. There's been a lot of stuff going on in the literary world where it's like, “Is this myth? Is this the culture's religion? Where should I put this book?” And that's why I kind of asked this question, because I think it is important with your book as it's historical fiction, not fantasy.
OOS: Yeah, that's a great question. And it's especially relevant to Masquerade, because, it features what's commonly called Nigerian mythology. That's a really tricky term, because it is a real faith that's practiced even to this day by different peoples in West Africa and Latin America. So it was definitely something that I was very aware of while I was writing. I didn't want this to just be a fantasy, mythos, lore — this is actually a real practice, and it has specific ways that people go about it.
And since it's historical, it would be the most prevalent faith among the people in this region at this time, so I wanted to incorporate it like it's just a very natural way of life for them, it's everywhere in their world. And especially because the plot was inspired by Greek mythology, I really didn't want to mix those two pantheons, because they're so different. I didn't want to just say, “Here's the Nigerian equivalent of this Greek God,” because it's really different, the faith and the practices. So, I definitely was very mindful about paying both of those different beliefs and religions respect.
MAS: I love the way you answered that. And I think it is important, when I sell your book — I have an attitude when I sell books to customers where I like them to know a little bit what they're getting into. So I think it's important to have these discussions.
OOS: Absolutely. I appreciate that.
MAS: Everyone, this is O.O. Sangoyomi and her debut novel, Masquerade, will be available soon. And Oyin, if you have anything you'd like to share, please do.
OOS: That was great. Thank you so much for this. It was really nice talking about the historical aspect more than anything else, since that was such a large part of the book. So thank you.
MAS: Yeah, of course.
Masquerade by O.O. Sangoyomi (Forge Books, 9781250904294, Hardcover Mythology/Historical Fiction, $27.99) On Sale: 7/2/2024
QUOTED: "I haven’t seen a lot of African female characters, and I think the ones that I have seen are usually more symbolic than human."
"I want her to feel real."
Oyin Sangoyomi ’23’s First Novel Is Set in Medieval West Africa
‘Masquerade’ draws from both Nigerian and Greek mythology
Oyin Sangoyomi ’23
Courtesy of Oyin Sangoyomi ’23
Placeholder author icon
By Anna Chung ’24
Published March 6, 2024
2 min read
When Oyin Sangoyomi ’23 began researching pre-colonial West Africa as part of a personal history project in 2020, she didn’t expect to find inspiration for what would soon become her debut novel. But the more she read, the more she fell in love with medieval Nigerian history. It wasn’t long before a story started to take shape in her head.
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The cover of "Masquerade," featuring a drawing of a woman with an elephant.
Masquerade draws inspiration from both Nigerian mythology and the Persephone myth in Greek mythology. The novel is set in a reimagined 15th century West Africa based off the Oyo Empire (one of the most prominent in Yoruba history). It follows the journey of a young woman named Òdòdó, a blacksmith and outcast who rises to power after being kidnapped by the King and forced into marriage.
“I haven’t seen a lot of African female characters, and I think the ones that I have seen are usually more symbolic than human,” Sangoyomi says. With Òdòdó, Sangoyomi wanted to create a character with more dimension and depth. “I want her to feel real.”
Sangoyomi began her research in 2020, the summer after her freshman year at Princeton. Growing up Nigerian American and attending schools in the U.S., she was primarily taught American and British history. Though always interested in the subject, she wanted to learn more about Africa. But she soon found that the majority of the literature focused on post-colonial Africa, as opposed to true African history.
“I took it upon myself to start researching pre-colonial Nigeria,” Sangoyomi says. After a few months of research, she started writing, inspired by the setting and its rich history. “I was in university at the time, so it became like an additional class.”
While at Princeton, Sangoyomi majored in English with a certificate in creative writing. Of the courses she took at Princeton, Sangoyomi recalls one as the most influential for her work: African Women Writers, taught by Wendy Belcher, introduced her to a canon of authors who informed her own writing.
“That was my first time reading literature written by African women from the continent,” Sangoyomi recalled. “They were navigating problems that already felt relevant to this character that I dreamed of. I feel like I took a lot of what they had and applied it to [Òdòdó’s] struggles.”
After finishing a first draft in three months, Sangoyomi went through several rounds of revisions, first alone and then with an agent. A few months later, it was picked up by her current editor, with whom Sangoyomi signed a two-book deal. Masquerade, the first of the two, is set for release in July 2024.
“The book was created in isolation during the pandemic, so the story was just mine for so long. But now people are also experiencing it for the first time,” Sangoyomi says. “It’s very surreal.”
Currently based in Brazil, Sangoyomi is working on the second book in the deal she signed with Macmillan/Forge. Though not a sequel, it is also set in medieval West Africa, and it features a woman “determined to do anything to get what she wants,” Sangoyomi says. But while this may be the current project, it is certainly not the last.
“I hope to be an author for a long time,” Sangoyomi says. “This is just the beginning.”
QUOTED: "deftly interweaving West African culture with mythology in a way that keeps a familiar tale feeling fresh and new."
Sangoyomi, O.O. MASQUERADE Forge (Fiction None) $27.99 7, 2 ISBN: 9781250904294
Ãdòdó, a talented and beautiful blacksmith who has lived her whole life in Timbuktu, is whisked away by ÃrèÌ£má», a warrior king who has chosen her to be his next wife.
Ãdòdó's life has not been an easy one. She and her mother are blacksmiths by trade; as unmarried women in 15th-century West Africa, working at a forge is one of the few ways they can make a living. But the local people think blacksmiths are witches, and the conditions of their subjugation have grown progressively worse for them and the rest of their guild. Plus, her hometown of Timbuktu was recently taken over by the mysterious warrior king of Yorùbáland. When Ãdòdó is abruptly kidnapped and brought across the Sahara desert to the Yorùbá capital of á¹¢àngótèÌ£, she's both shocked and thrilled to discover that her kidnapper is none other than ÃrèÌ£má», the fabled warrior king of Yorùbáland. ÃrèÌ£má» explains that he wants nothing more than for Ãdòdó to be his next wife, and Ãdòdó, who finds ÃrèÌ£má» to be as charming and handsome as he is intimidating and cruel, is soon caught up in her new royal lifestyle. But the longer Ãdòdó spends within the court, the more she's exposed to complex political machinations and uncertain loyalties, and she quickly realizes that not everyone is as they seem, including her new husband. This debut novel is a page-turning blend of historical fiction with a retelling of the story of Hades and Persephone, deftly interweaving West African culture with mythology in a way that keeps a familiar tale feeling fresh and new.
An intricately woven tale inspired by West African history.
Copyright: COPYRIGHT 2024 Kirkus Media LLC
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"Sangoyomi, O.O.: MASQUERADE." Kirkus Reviews, 1 July 2024, p. NA. Gale General OneFile, link.gale.com/apps/doc/A799332692/ITOF?u=schlager&sid=bookmark-ITOF&xid=0bda5b93. Accessed 24 Sept. 2024.
QUOTED: "Richly detailed worldbuilding and inspiration from the Persephone myth all lend to a layered, immersive storyline."
Sangoyomi, 0.0. Masquerade. Forge. Jul. 2024. 352p. ISBN 9781250904294. $27.99. FANTASY
DEBUT Sangoyomi's novel showcases a reimagined pre-colonial West Africa in the 15th century, depicting the power of kings, courts, and family, plus one young woman's quest to find her own path. The warrior king of Yorubaland has conquered Timbuktu, forcing changes that affect all. The women of the city's blacksmith guild are already seen as witches by most, and the new regime means even worse conditions for them. Ododo is a young metalsmith who is unsure of what she wants for her future, but when she is abducted and taken to the capital city of Sangote, Ododo finds herself in the home of the warrior king, the Alaafin--and he wants her to be his wife. Ododo might now obtain riches beyond her dreams, but she is just as trapped in Sangote as she was in Timbuktu. The political rivalries outside and inside Sangote threaten Ododo's status with the Alaafin, and she will have to navigate the schemes and plans of those who don't want her to marry him--or to survive. VERDICT Richly detailed worldbuilding and inspiration from the Persephone myth all lend to a layered, immersive storyline in Sangoyomi's debut.--Kristi Chadwick
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"Masquerade." Library Journal, vol. 149, no. 4, Apr. 2024, p. 81. Gale General OneFile, link.gale.com/apps/doc/A788954021/ITOF?u=schlager&sid=bookmark-ITOF&xid=32438f66. Accessed 24 Sept. 2024.
QUOTED: "Highly recommended for fans of palace intrigue ... or scheming characters in a historical-fiction setting."
Masquerade. By O. O. Sangoyomi. July 2024. 352p. Forge, $27.99 (9781250904294); e-book (9781250904300).
Sangoyomi's debut novel, a loose retelling of the myth of Persephone, takes place in fifteenth-century West Africa. It paints a vibrant picture of the people, the colors, and I the sights of the era for the reader. And nothing is better imagined than the character Ododo, a female blacksmith by trade. Her city, Timbuktu, is dependent on the work of the witch blacksmiths, even as it despises them. But I a chance encounter with the Alaafin, the warrior king of Yorubaland, sweeps Ododo into political machinations, betrayal, and possibly even love. Ododo quickly realizes that even her smallest actions can have grave consequences. How can a simple blacksmith navigate such treachery? Will Ododo be able to overcome the danger? Yorubaland is a fascinating and violent place. Ododo and the Alaafin are simultaneously made for each other and at each other's throats. Ododo also has to contend with her future mother-in-law and the generals that support the patriarchal society. Her growth into a leader is the highlight of the novel. Highly recommended for fans of palace intrigue, like N. K. Jemisin's The Hundred Thousand Kingdoms (2010), or scheming characters in a historical-fiction setting, like Jamila Ahmed's Every Rising Sun (2023). --Ashley Rayner
Copyright: COPYRIGHT 2024 American Library Association
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MLA 9th Edition APA 7th Edition Chicago 17th Edition Harvard
Rayner, Ashley. "Masquerade." Booklist, vol. 120, no. 18, 18 May 2024, p. 30. Gale General OneFile, link.gale.com/apps/doc/A804017458/ITOF?u=schlager&sid=bookmark-ITOF&xid=846f3566. Accessed 24 Sept. 2024.