BLUEBLOOD

Wealthy and confident Nia, a jewelry designer for the rich and famous, has everything going for her.

All she needs is the perfect partner. Nia's past relationships have ended for mysterious reasons. Despite the warnings of her brothers, Nia swiftly becomes engaged to new paramour Marcus. Rumors about him abound, and he has his own history he’d rather keep hidden. Perhaps Marcus is a bit strange, with his blue-black beard and controlling ways, but as long as he follows Nia’s one rule, they should be fine: don’t, under any circumstances, enter her private workroom in the basement. Told in Marcus’ and Nia’s alternating third-person perspectives, the story neither quite works as a shorter tale or as a sketch of what could be a fuller novel, falling somewhere unsatisfyingly in between. The characters lack depth and come across as ideas rather than real people. While it touches on interesting ideas about abuse and a woman’s autonomy in marriage, the work doesn’t do so strongly enough to make a lasting impression. However, Blackman’s feminist twists on the lesser-known fairy tale “Bluebeard” are interesting, and a climactic reveal raises intriguing questions about legacy and violence that would be fascinating if explored further. Barrett’s delicate, eerie shadow cutout illustrations are nice additions to the unsettling atmosphere. Characters are racially ambiguous.

An unusual retelling that doesn’t quite cohere.