With what we see of Mary’s childhood and isolated upbringing with her grandmother (a woman who seemed to despise Mary simply for existing) I couldn’t help but be endeared to her (and root for her to succeed.) The story of Mary Saville, a distant relative of Victor Frankenstein, who's working with her husband, Henry, to make ends meet. The year is 1853, and it's not easy getting work for a 'too-outspoken' young scientist (Henry) and the skilled young illustrator (Mary) so they just sort of coast along. The start of this book was fascinating for me! Lots of references to all the science which was just literally exploding at the time- through both trained academics and talented amateurs. So much work being done in physics, chemistry, geology, biology, medicine, paleontology - you name it. Pamphlets, books, magazine articles, lectures and debates, science was kind of everywhere...

The 1850s is a time of discovery and London is ablaze with the latest scientific theories and debates, especially when a spectacular new exhibition of dinosaur sculptures opens at the Crystal Palace. Mary, with a sharp mind and a sharper tongue, is keen to make her name in this world of science, alongside her geologist husband Henry, but without wealth and connections, their options are limited.McGill’s narrative features an intricate reworking of Shelley’s themes around science and ethics, reproduction, mortality, motherhood and loss. But McGill builds on these for a moving, intelligent exploration of prejudice, gender and queer identity. I thought this was incredibly compelling, accessible but well-researched, with echoes of Sarah Waters, Sarah Moss and The Essex Serpent - although I’m lukewarm about Moss and not so keen on Perry either but loved this. Fluid, thoughtful, and exceptionally entertaining. Witty, dark and sharp as a scalpel, it's a dazzling exploration of the macabre ambitions of Victorian science and a moving meditation on grief. C.E. McGill brilliantly captures what it's like to be a woman in a man's world. LIZZIE POOK, author of MOONLIGHT AND THE PEARLER'S DAUGHTER Mary is the great-niece of Victor Frankenstein, who she knows disappeared under mysterious circumstances. But when she discovers some old family papers, she learns the reason for his disappearance but also sees a way for herself & Henry to get themselves known.

For readers of Circe or Ariadne, a brilliant literary revisiting of Mary Shelley's classic Frankenstein with a fresh, queer, provocative twist. Fans of Mexican Gothic by Silvia Moreno-Garcia and historical horror with a queer feminist twist will not be disappointed. LIBRARY JOURNAL But on the precipice of success, Mary begins to question the ethics and morality surrounding their creation and the love that she has developed for the creature. I’m going to need every to drop what they’re doing and add this to their TBR right now. This was absolutely everything I was hoping for and more. A gothic feminist retelling of Frankenstein with a sapphic romance? Yes, please! Unfortunately, I was bored to death.

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Mary is the great-niece of Victor Frankenstein. She knows her great uncle disappeared in mysterious circumstances in the Arctic but she doesn't know why or how... The difference between a proper young lady and a beastly little thing was that ladies were never angry; they took their moods and wove them into lace, stuffed them into pillows. They learned to hold their tongue. But I have always been a beastly little thing at heart, it seems."

Compelling and utterly absorbing, Our Hideous Progeny is an artfully crafted debut that echoes the dark essence of Mary Shelley's Frankenstein while maintaining a fascinating originality all of its own. SUSAN STOKES-CHAPMAN, author of PANDORA For fans of queer fiction, imaginative historical fiction, admirers of Mary Shelley’s Frankenstein (of course!), and readers fascinated by dinosaurs and paleontology. BOOKLIST Nevertheless, the book is a superb debut. McGill sure has a sunny career ahead of them. I’m jealous of their talent. Our Hideous Progeny is a masterpiece of literary writing. The style makes me want to compare CE McGill to Charlotte Bronte - the words just flow so easily as if CE McGill could write a story in their sleep. So. This is supposed to be a queer feminist retelling of Mary Shelley's "Frankenstein". We follow Victor Frankenstein's great-niece, Mary, in 1853 London. Mary and her husband are struggling financially and professionally. But Mary believes that she has found something about her great-uncle's disappearance that can help them change the world of science.

A fantastic read: I felt everything about Mary, her simmering anger and her intellectual delight, so very clearly. FREYA MARSKE, author of THE LAST BINDING TRILOGY C.E. McGill’s richly detailed and utterly compelling debut was a deliciously gothic and feminist exploration of ambition, obsession, betrayal and love that I couldn’t get enough of! It’s been such an exciting week, and I’m thrilled I get to announce this at last! Innumerable thanks to my agent, Sue, for all her hard work (and for managing to negotiate this deal while BOTH she and Kirsty were on trains, no less!). When Sue first sent OHP out to editors, I settled myself in for what I’d heard could be a long and trying process, only to be absolutely blown away by the speed and enthusiasm of the responses — Kirsty’s first among them! I’m so grateful to Sue for her Agenty Expertise, and can’t wait to bear witness to Kirsty’s Editory Expertise as we work more on OHP over the next year. It’s always wonderful to meet someone who feels like they truly love and understand your work, and Kirsty Dunseath is just such a someone. OHP couldn’t be in better hands 🙂 Who suddenly has an epiphany one day. Who decides to look into Victor Frankenstein's work and research and when she discovers...