SATA

• Numamushi: A Fairy Tale - 2023 Lanternfish Press, Philadelphia, PA
• Hyo the Hellmaker (Author, Illustrator) - 2025 Scholastic Press, New York, NY

• Mina Ikemoto Ghosh weblog - https://minaikemotoghosh.wordpress.com/

  Mina Ikemoto Ghosh

  British-Japanese writer and illustrator, occasional translator, based in Surrey, UK.

  An undersocialised and overeducated Heisei post-Lehman crisis-on-legs (according to her grandmother), she writes speculative fiction inspired by Japanese storytelling, draws sad monsters, and takes no prisoners.

  2nd place Manga Jiman 2021/1st place Manga Jiman 2021 Yonkoma category/3rd place Manga Jiman 2019/Pathways Into Children’s Publishing alum 2019 – 2021/BA in Natural Sciences (Cambridge)/MSc in Japanese Studies (Oxford)/Most likely to survive a zombie apocalypse but just exactly how would be anybody’s guess 2013 (fellow misadventurer on midge-infested island).

  She is represented by Lydia Silver at Darley Anderson Children’s Book Agency.

• Amazon -

  Mina Ikemoto Ghosh is a British-Japanese writer who was raised on a diet of Japanese murder-mysteries and British fantasy novels. Her own writing often ends up in the shadowy zone between the two.

  After studying STEM with a BA in Natural Sciences, she entertained family by embarking on misadventures in writing, illustration and freelance translation.

  She has an MSc in Japanese Studies from the University of Oxford, with focuses on classical Japanese literature and contemporary anthropology, and uses these as sources of inspiration for her stories.

  She was shortlisted the two times she entered the UK Manga Jiman in 2019 and 2021.

  Hyo The Hellmaker is her debut novel.

• School Library Journal - https://www.slj.com/story/author-mina-ikemoto-ghosh-ya-debut-hyo-the-hellmaker-5-questions-and-a-rec

  Author Mina Ikemoto Ghosh on YA Debut ‘Hyo the Hellmaker’ | 5 Questions and a Rec
  by SLJ Reviews
  May 06, 2025 | Filed in News & Features
  0
  Author Mina Ikemoto Ghosh and Hyo the Hellmaker coverIn this Q&A series, SLJ poses five questions and a request for a book recommendation to a debut YA author. Mina Ikemoto Ghosh shares about Hyo the Hellmaker in this latest installment.

  1. Congrats on your YA debut! How would you describe your book to readers?
  Thank you very much, it’s nice to have something to celebrate! I’d describe Hyo as a Japanese fantasy murder mystery, where the detective is cursebound to investigate murders and sell vengeance to those left behind. The ingredients on the packet would be: Gods, demons, demonic pears, ghosts, theatre, some Onmyoji flavoring, and crabs.

  2. What drew you to YA to tell this story?
  I tossed it up and down for a while and decided it felt right for the character. Hyo is young and young in her powers, very much learning her powers on the job, and it reflects her perspective on the world. Also, I think YA tends towards more fantasies of agency (as a type of power fantasy? I’m still thinking this one out, so bear with me!), i.e., reader experiences where the character is able to make more decisions, types of decisions, and impactful decisions than the reader’s own situation in reality. Hyo’s story needs her to be mindful of effects of a curse on her decisions, so how much agency she has (or allows herself) is complicated and in the background. YA seemed fitting.

  3. What, if anything, surprised you while writing it?
  Probably how difficult Hyo was to write as a character, because the moral code she’s raised with and her values are very different from other humans in her world, too. I wanted her to fall somewhere in attitude between gods and humans, but, at the same time, she is our chief human POV on events and ideas of life and death, so her voice was a real balancing act to find.

  I also started the zero draft as a rom-com on a bet, but to no one’s surprise this lasted about four chapters, before death and sad gaslit gods took over.

  4. Tell us more about the characters. Which character do you most identify with and why?
  Ooooooh, this is a tricky one. This time I’ll say Todomegawa Daimyoujin the Bridgeburner aka Tokifuyu. He’s an en-giri (fateful connection cutter) god who’s very flammable. He’s got to be careful about biting off more than he can chew or else his problems might end up weighing him down like an inescapable boulder. Also I, too, would love to have a bond with a fiery headless horse despite failing to be taken seriously by her.

  5. What do you hope readers will take away from this book?
  A good time, of course! Even though ideas of a good time are very relative, haha. There’s no romance, so I hope they’re along for a puzzle and a chance to tour around an absurd world that could only exist in fantasy. Maybe they’ll take away a broader idea of what Japanese fantasy can be, and maybe they’ll be curious about the kishotenketsu non-conflict dependent story structure. I hope that some will find some comfort in the story, and maybe take away a little pat on the back for being alive and human.

  The Rec: Finally, we love YA and recommendations—what’s your favorite YA book you've read recently?
  I read These Stolen Lives by Sharada Keats, and it’s so good! I love its worldbuilding. It’s set in a country which has had multiple waves of colonisation, creating this multilingual and multicultural melting pot with class divisions that largely follow race lines, and the most recent colonisers have demanded everyone who was there before their invasion work and pay back the ‘debt’ of having used the resources of the land beforehand i.e. they’re all indentured for life. The Government’s motto is that ‘Life is Golden,’ and essentially people are paying for the right to survive. It’s grim but beautifully written, and a nice blend of mash of dystopia, heist, some romance, and mystery, and there are these creatures like Clydesdale deer. You’ll have to read to know what I mean!

• Scholastic - https://www.scholastic.co.uk/blog/Mina-Ikemoto-Ghosh-introduces-her-debut-novel-46872

  Mina Ikemoto Ghosh introduces her debut novel
  Posted on 3 April 2024

  We spoke to author and illustrator Mina Ikemoto Ghosh who answered questions about her stunning debut novel, Hyo the Hellmaker.

  hyo-the-hellmaker_a+_v3_.jpg
  Can you introduce Hyo the Hellmaker, your debut novel?

  Sure. Hyo the Hellmaker is a YA fantasy-mystery set in a world inspired by Japanese traditions and religion. Hyo is a girl who can manipulate bad luck, but only when paid to do so by others. She runs a vengeance service selling unlucky days and individualised hells that make her commissioners’ enemies suffer. Hyo the Hellmaker finds Hyo and her brother coming to Onogoro, an island where the gods of her country live amongst the humans, and quickly getting tangled up in a murder mystery that drops her straight into Onogoro’s dark side.

  What were your inspirations for the book?

  I guess a female experience of Japanese culture? En, kegare and the idea of monstrous vengeful women with terrible cursing power (like grudging ghosts and the Ushi no Koku Mairi curse ritual) are all a part of that. I was pretty determined not to draw on the elements of the culture that the English language publishing industry was most familiar with.

  Hyo actually started out as a rom-com. I really liked the idea of a bumbling god of en-musubi (fate-connecting) who couldn’t hold on to any good en of his own. I thought his logical opposite would be someone who made a lot of personal en (fateful connections, loosely relationships), when other people’s ens didn’t work out. Murder is the ultimate en blow-up. Rather than healthily cutting the en, it just transmutes the previous en into a new one of ‘murderer and murdered’ – so Hyo appeared, as someone who found clients at murder scenes.

  The last piece of the puzzle was Onogoro. In the old Japanese calendar, the tenth month was called No Gods Month, except for at the Great Shrine of Izumo, where it was called All Gods Month. This was because the tenth month was when all the gods left their home shrines to go have a massive (very ritually important) feast (spa break) at Izumo. It occurred to me that if the gods were physically real, a bomb dropped on the party would destroy all gods guarding a country and a country’s ability to bargain with luck in one go. It’d be useful to know that in a war…and that’s where the worldbuilding stepped in.

  Hyo the Hellmaker also features your stunning Japanese-inspired artwork. How did you approach the illustration process?

  I picked out key moments per chapter, and then tried to make sure I got a good mix of compositions, expressions and characters in. Character introductions, I wanted an illustration to signpost their arrival. I also wanted some quiet moments and pictures that had more space to them, like I was inserting breathing space into the book.

  Process-wise, I’m fairly easy. I go in with a pencil, then pen it out, and shade and edit digitally. I like to draw with pen because once the line’s down, that’s it. I can’t hit undo, so it forces me to carry on drawing, and in the end that’s faster. I look up references for clothes, architecture, and animal species when I need to. I learnt a lot about true crabs and false crabs this time!

  Can you tell us more about the way you structured the novel using kishotenketsu?

  In the four act kishotenketsu story model, conflict isn’t necessary for story, although you can have it. All you really need is a situation that develops in complexity until you hit the ‘Ten’ part, which is the so-called ‘twist’. The ‘twist’ is often something that changes the way you interpret the ‘Ki’ and ‘Sho’ sections leading up to it, but the more important idea is a sense of irreversibility. The cat is not only out of the bag, it has eaten all the bags in the world and cannot be put back.

  The climax of Hyo the Hellmaker, in the Ten section, is therefore not a final showdown with a villain, but the moment when she is finally commissioned and her powers are unsealed. The rest of the story was built to lead up to that moment, gathering together the pieces of who did what and where to bring everything to that point.

  Without villain antagonism to shift things along or drive up tension, I used more incidences of fate or luck to put pieces in place instead. That’s pretty common in kishotenkentsu based media, but it also worked really well for Hyo’s world when fate and luck are actually within the conscious (imperfect) control of some characters.

  I also used a mini-kishotenketsu in each of the four acts as a starting point for pacing events, but it was a guideline more than a rule.

  Who was your favourite character to write?

  Every time Tokifuyu showed up I was cackling. I had a rule that not a single character was allowed to be too cool, and he very much fell victim to that in every draft. He’s also earnest and desperate to do the right thing, but convinced he’s doing everything wrong. I’ve always had a soft spot for the characters who’d beg the world for a user manual for it if only there was one.

  Are there any other authors or illustrators who inspire your work?

  Amano Yoshitaka and Chris Riddell are big for drawing. I come back to Arakawa Hiromu’s Fullmetal Alchemist when I want to think about story heart, and Terry Pratchett’s City Watch books for character and world. Chainsawman makes me think a lot about cinematography and panel composition. I also like an old fashioned mystery classic: Agatha Christie, Yokomizo Seishi, that kind of stuff. I read the Decagon House Murders by Ayatsuji Ikuto recently and wanted to throw the book across the room at the ONE LINE that explained everything. My first mystery love was Conan Doyle’s The Hound of the Baskervilles. You can’t beat a trick that isn’t actually a trick, and it probably cemented my love for the monster in the shadows.

  Do you have any advice for aspiring authors or illustrators?

  Liking writing or drawing just for the act of it isn’t enough, and reading or copying the art you like has its limits. You need to find something that matters to you, and matters deeply. It doesn’t need to be a great cause or a flag to wave. It just needs to matter to you.

  That could be inclusion, equity and climate change. That could be deep sea vent ecosystems. It could be figuring out what makes the perfect chocolate cake, or checking out kabaddi, or thinking about the history of glass in Europe, or a combination of all those things. That constellation of things that matter to you becomes your truth.

  So write and draw, but find things to, first, be interested in and, second, care about. Care makes you warm. Find the things that light you up and teach you to care, so that when you write or draw – it doesn’t even have to be directly about these wonderful, awful, happy, sad, clever, absurd things you find – you know how caring’s fire feels, and you can put it in your stories to warm others too. I can’t say I can do this yet myself. I’m working on it.

  What are you reading right now?

  I’m in the mood for a healing book right now, so I’ve got My Beautiful Garden by Nagira Yuu in the Japanese, about an en-cutting shrine at the top of a small apartment block and the people who go there. One of the characters tried to cut themselves clean of ‘societal expectations’ and another ‘running away from (his) problems’. I’ve also got Darker by Four by June CL Tan, and looking forward to diving in!

• The Asian Cut - https://theasiancut.com/interview/mina-ikemoto-ghosh-numamushi-author-interview/

  The Monstrous and Beautiful: Mina Ikemoto Ghosh on ‘Numamushi’
  Lauren Hayataka by Lauren Hayataka December 18, 2024 in Interview
  0
  Author Mina Ikemoto Ghosh and her latest book Numamushi
  Photo courtesy of Lanternfish Press

  Mina Ikemoto Ghosh describes her novella, Numamushi, as a “fantasy of love,” but the story is far more than that. A striking blend of Japanese folklore and the harsh realities of post-World War II Japan, Numamushi delves into themes of identity, belonging, and the transformative power of words. In conversation with The Asian Cut, Ghosh shared about her inspirations, multicultural background, and the personal resonance behind her work.

  As a British-Japanese writer and illustrator, Ghosh’s storytelling is embedded in her multicultural roots. Born to a Japanese mother and a mixed-heritage father, Ghosh grew up balancing two worlds. “At home, I had Japanese language books,” she recalls, “but outside, I was in the UK. I don’t look white, so no one ever asked me to conform. But I’ve seen others—people who looked white but grew up with Japanese culture—struggle with erasure.” Cultural identity and the tension between visibility and invisibility permeate her work, providing a foundation for the themes she explores.

  Her creative journey began in childhood, shaped by a love of storytelling that blended imagery and words. For Ghosh, drawing and writing were two sides of the same coin, helping her navigate a world that didn’t always reflect her experiences. “I think the universality of folklore makes it such an effective tool for exploring identity,” she explains. “Folktales speak to our shared fears, hopes, and the desire to understand the world.” Her fascination with folklore began at a young age, nurtured by stories her family shared during trips to her grandmother’s home in rural Japan.

  This dynamic manifests vividly in Numamushi, where the titular protagonist, a boy scarred by napalm, is raised by a river god, straddling the line between human and spirit. The story explores identity in a time of collective soul-searching, as Ghosh explains: “I’m mixed race, and writing directly about it feels too exposing. Folklore lets me approach it indirectly. It’s tied to place and people, and in post-war Japan—a period of identity renegotiation—it felt fitting to explore those themes through folklore.”

  Numamushi is steeped in the details of a nation finding its footing, drawing heavily from Ghosh’s memories of her grandmother’s home. “There’s a river near her house,” she shares, “and every time I visit, there’s another empty house nearby. That sense of depopulation and decay influenced the story.” The landscape becomes a character pulsing with the tension between decay and renewal as Japan struggles to reshape its identity. “The house in Numamushi is based on my grandmother’s,” she adds. “But it’s more rundown in the book, almost gothic in its feel—like it carries the weight of its history.”

  RelatedStories
  Director Celine Song on the set of "Materialists" with actors Chris Evans and Dakota Johnson.
  “What kind of people are we?”: A Conversation with ‘Materialists’ Director Celine Song
  June 20, 2025
  Director Roshan Sethi, Karan Soni as Naveen Gavaskar behind the scenes of A Nice Indian Boy
  Roshan Sethi and Karan Soni on ‘A Nice Indian Boy’: “I wanted it to feel true more than anything else”
  June 4, 2025
  Tethered to this landscape is the river god, a protector and a mirror for a society caught in transition. In Ghosh’s hands, the river god symbolises the era’s contradictions, deeply rooted in past traditions while witnessing the transformation of the present. The haunting, almost otherworldly atmosphere of Numamushi allows Ghosh to explore generational trauma and reconciliation.

  A dragonfly hovers above a hand and mug in a selected illustration from Numamushi
  Photo courtesy of Mina Ikemoto Ghosh
  Mizukiyo, a war-weary stranger who befriends Numamushi, embodies the moral reckoning faced by many returnees in post-war Japan. “I read accounts of prison chaplains working with war criminals,” Ghosh explains. “These were the same people who had provided religious justification for the war. That contradiction—offering salvation to the same people they’d sent to war—fascinated me and shaped Mizukiyo’s character.” Mizukiyo and the river god weave a rich tapestry of guilt, redemption, and the search for belonging.

  The novella’s treatment of words, identity, and otherness resonates deeply in the relationships it portrays. For Numamushi, raised by the river god, words become his bridge to the human world. “Words are water,” Mizukiyo tells him. “They’re precious and easily wasted.” For Ghosh, this metaphor encapsulates the power and fragility of language. “Words carry history and meaning,” she reflects. “They have the power to connect or harm. Writing is a way to explore that power.”

  Underscoring Ghosh’s writing are stark, black-and-white illustrations scattered throughout the novel. “One of my favourite illustrations is Mizukiyo eating a frog,” she says. “It’s unsettling, but it captures the story’s strangeness. The illustrations set the mood and give the narrative breathing room.” This dedication to visual storytelling has earned Ghosh recognition, including multiple honors in the Manga Jiman competition, for her ability to merge traditional and contemporary techniques. “I use ink and paper for my lines,” she says. “It’s a sensory break from the digital world—the sound of the pen on paper, the feel of the ink. It connects me to the story.”

  This tactile connection enhances the novella’s sincerity. “Writing from a child’s perspective allowed me to avoid cynicism,” Ghosh explains. “It’s a story about love in its purest form—unconditional and redemptive.” Numamushi’s innocence and loyalty make him an endearing character, as in the scene where he playfully offers to bite someone’s ankles to defend Mizukiyo. His perspective imbues the story with a sense of wonder, even as it confronts bitter realities.

  Ghosh’s personal reflections also extend to the relationships in Numamushi. “The river god is an ideal parent,” she says. “He accepts Numamushi’s dual nature without hesitation. It’s a mixed-race kid’s fantasy—a parent who says, ‘You’re perfect as you are.’” This resonates with Ghosh’s own experience of her parents fostering a space where she could embrace her dual heritage. “My mother especially encouraged me to see my mixed heritage as a strength,” she shared, “and my father’s own experience gave me the confidence to navigate those intersections.” This contrasts with Mizukiyo, whose human upbringing was marked by suppression and shame. “It’s about finding a place where you can just be,” Ghosh adds. “The river god is loving and accepting, but he’s also grappling with his own failures as a parent figure. It’s his redemption arc, too.”

  A boy prepares to eat a frog in a selected illustration from Numamushi
  Photo courtesy of Mina Ikemoto Ghosh
  The novella also explores the monstrous, a recurring theme in Ghosh’s work. “I’ve always loved the Beast in Beauty and the Beast more than his human form,” she confesses. “There’s a romanticism in the monstrous—a way to explore what it means to be human.” This perspective permeates Numamushi, which blurs the lines between human and spirit, normal and monstrous. Ghosh’s unique ability to infuse her narratives with raw emotion reflects her admiration for stories that wear their hearts on their sleeves. “I’ve always gravitated toward tales like The Lord of the Rings,” she says, “stories that don’t shy away from grand emotions, where love, loss, and hope are central. That kind of sincerity inspired me.”

  By creating a world that defies traditional boundaries, Ghosh invites readers to step into a gentler, more compassionate reality. “I wanted readers to accept this world on its own terms,” she explains. “It’s a story about love, forgiveness, and pain—raw, unfiltered pain. And with pain comes healing.” This irresistible mix of vulnerability and resilience defines Numamushi as a stand-out novella that is impossible to ignore.

  Building on the themes and storytelling techniques that define Numamushi, Ghosh is already looking ahead to her next ventures. Among them are a sequel to her YA Japanese murder mystery, Hyo the Hellmaker, and a space-based novel inspired by Heian-era court poetry. “It’s all about the power of words,” she notes. “In Heian culture, poetry was like meme culture—layered with context and meaning. I’m excited to explore that.”

  Her reflections on her artistic process and cultural influences underscore how personal storytelling can also be universal. “Numamushi is a fantasy of love,” she reiterates, “but it’s also about finding belonging and coming to terms with oneself. I hope readers come away feeling like they’ve been hugged—by a snake, maybe—but hugged nonetheless.” In her hands, even the monstrous can become a source of comfort.

* Numamushi: A Fairytale

Mina Ikemoto Ghosh. Lanternfish, $16 trade paper (112p) ISBN 978-1-941360-77-4

With this mesmerizing novella, first-time author Ghosh eloquently explores themes of trauma, self-sacrifice, and redemption. When a "great white snake" finds a baby floating in a river "on robes made buoyant with flaming grease," it adopts the boy, naming him Numamushi after the marsh and teaching him to hunt frogs and shed his burned skin. They live in happy isolation until a reclusive former army prison chaplain, Mizukiyo, moves into an abandoned house on the river's edge. Mizukiyo befriends Numamushi and teaches him calligraphy. But when Mizukiyo's friend and lover arrives, Numamushi learns of Mizukiyo's dark past and the reasons for his intense self-loathing: after his mother, a murderer, died in childbirth, Mizukiyo was raised in a temple and then drafted to serve in Burma, where he regularly poisoned prisoners of war "to kill their minds, and keep them dumb and calm fight up to the noose." Ghosh's handling of both war and the human-animal dialectic is visceral as the story--accompanied by the author's fabulously gruesome pen and ink illustration--works toward its horrific, venom-splatteted climax. Ghosh's real genius is her elegant rendering of complex emotions; with spare but carefully placed strokes, she expresses love, loss, and loneliness. Fans of Kenji Miyazawa's classic Night on the Galactic Railroad will adore this rare gem. (Oct.)

Copyright: COPYRIGHT 2023 PWxyz, LLC
http://www.publishersweekly.com/
Source Citation
Source Citation
MLA 9th Edition APA 7th Edition Chicago 17th Edition Harvard
"Numamushi: A Fairytale." Publishers Weekly, vol. 270, no. 32, 7 Aug. 2023, pp. 41+. Gale General OneFile, link.gale.com/apps/doc/A762480753/ITOF?u=schlager&sid=bookmark-ITOF&xid=4405102a. Accessed 27 July 2025.

Ghosh, Mina Ikemoto HYO THE HELLMAKER Scholastic (Teen None) $18.99 4, 15 ISBN: 9781546152644

In an alternate historical Japan, two siblings are sent from their home on a mission to uncover an island's secrets.

Hakai Hyo, Thirty-Third Hellmaker in her family line, is cursed with bearing "unluck" and passing it on to others, while Mansaku, her older brother, hosts the spirit of a nagigama, or weapon, within him. When Hyo makes a deal with the demon who killed everyone in their village, Hyo and Mansaku must travel to Onogoro, a Special Cultural Zone and the only island where Ukoku's gods still live. Upon their arrival, they're drawn into a slow-burn murder mystery as well as Hyo's first special commission as a hellmaker. Caught between the demands of humans, different levels of gods, and their own need to find the truth, Hyo and Mansaku become increasingly aware that Hyo must listen to her hellmakers' en, or the "fateful connection pulling threads taut." Ghosh's debut novel features lush, vivid descriptions, while her black-and-white illustrations, which evoke traditional Japanese wood engravings and ink and watercolor paintings, bring the characters to life with striking power. The story takes its time, carefully establishing the worldbuilding and large cast of characters before plunging into the gripping second half. The weaving together of Japanese history and mythology gives this story a fresh feel.

A bold and immersive work combining prose and art to form a compelling adventure. (map, glossary, author's note)(Fantasy mystery. 14-18)

Copyright: COPYRIGHT 2025 Kirkus Media LLC
http://www.kirkusreviews.com/
Source Citation
Source Citation
MLA 9th Edition APA 7th Edition Chicago 17th Edition Harvard
"Ghosh, Mina Ikemoto: HYO THE HELLMAKER." Kirkus Reviews, 15 Feb. 2025. Gale General OneFile, link.gale.com/apps/doc/A827101070/ITOF?u=schlager&sid=bookmark-ITOF&xid=e9bfec8c. Accessed 27 July 2025.

By Mina Ikemoto Ghosh

Hyo Hakai and her brother, Mansaku, are newcomers to Onogoro, an isolated island where gods live among humans. As a hellmaker--someone commissioned to create personalized hells for customers's foes--Hyo is drawn into the mysteries of Onogoro, especially when she and Mansaku discover that their friend and host, Makuni Junichiro (Jun), is missing.

Loosely based on Japanese mythology, Hyo the Hellmaker (Scholastic, $27.99, 9781546152668) is a lore-filled fantasy romp through a world alive with gods and mysticism. Accompanied by dynamic illustrations by the author, Mina Ikemoto Ghosh, the story drops readers into a vibrant universe. From gods working day jobs, to pears that turn humans into demons to en--the "fateful connections" that exist between everything--the world of Hyo the Hellmaker is a delight to discover.

Readers are introduced to a large cast of characters, each of whom has their own abilities and secrets. Todomegawa Daimyoujin, a short-tempered god and curse-mediator who rides a headless, flaming horse, was working with Jun around the time of his disappearance. Ukibashi Awano is a secretive heiress whose escape from a kidnapping remains a mystery to the public. Hyo and Mansaku both have abilities and personalities that make them stand out: Hyo is clever and headstrong, confident in her hellmaking abilities even when faced with obstacles. And Mansaku, host to a weapon-spirit, is unexpectedly deadly under his cheerful and calm demeanor.

Part myth, part horror and part mystery, Hyo the Hellmaker is a fresh take on divine fantasy that's replete with the unexpected. Full of striking illustrations, this novel is perfect for readers seeking to dive into a new, alluring world.

-Tami Orendain

Copyright: COPYRIGHT 2025 BookPage
http://bookpage.com/
Source Citation
Source Citation
MLA 9th Edition APA 7th Edition Chicago 17th Edition Harvard
Orendain, Tami. "Hyo the Hellmaker." BookPage, June 2025, p. 27. Gale General OneFile, link.gale.com/apps/doc/A840852588/ITOF?u=schlager&sid=bookmark-ITOF&xid=ad62e8b6. Accessed 27 July 2025.

"Numamushi: A Fairytale." Publishers Weekly, vol. 270, no. 32, 7 Aug. 2023, pp. 41+. Gale General OneFile, link.gale.com/apps/doc/A762480753/ITOF?u=schlager&sid=bookmark-ITOF&xid=4405102a. Accessed 27 July 2025. "Ghosh, Mina Ikemoto: HYO THE HELLMAKER." Kirkus Reviews, 15 Feb. 2025. Gale General OneFile, link.gale.com/apps/doc/A827101070/ITOF?u=schlager&sid=bookmark-ITOF&xid=e9bfec8c. Accessed 27 July 2025. Orendain, Tami. "Hyo the Hellmaker." BookPage, June 2025, p. 27. Gale General OneFile, link.gale.com/apps/doc/A840852588/ITOF?u=schlager&sid=bookmark-ITOF&xid=ad62e8b6. Accessed 27 July 2025.

Word Count