BLACK CANARY

Gotham City was once a progressive, egalitarian metropolis safeguarded by powerful superheroes.

Then came the Silencing, a violent coup targeting any possible resistance. Now, all Gotham cowers beneath the shadow of the autocratic Court of Owls—all except Dinah Lance, whose fury at the oppressive regime is matched only by her desire to sing, although music is forbidden to women. In a narratively predictable but vindictively welcome twist, Dinah, following in the footsteps of her deceased mother (the original Black Canary), discovers that she’s immune to the effects of the Silencing: Her music and voice can become deadly weapons. And to make matters yet more disconcerting, new boy–cum–Court darling Oliver Queen seems just a bit too interested in Dinah—and her burgeoning powers. After a series of increasingly rebellious acts, Dinah quickly becomes Public Enemy No. 1. When her best friend is captured in her stead, Dinah must assume the Canary mantle. The story proceeds at a cinematic clip while still allowing for quieter moments of character development or vivid scenic description. The intermingling of old and new DC heroes is artful; Dinah is a powerful protagonist, vibrating with a youthful rage and energy familiar to readers itching for revolution of any kind. Monir never shies away from her tale’s unfortunately pertinent sociopolitical implications, putting a refreshing spin on the feminist dystopia. Main characters are presumed White; supporting characters are diverse.

Sure to resonate in today’s volatile climate.