Kylie Lee Baker grew up in Boston and has since lived in Atlanta, Salamanca, and Seoul. Her writing is informed by her heritage (Japanese, Chinese, and Irish), as well as her experiences living abroad as both a student and teacher. She has a B.A. in Creative Writing and Spanish from Emory University and is currently pursuing a Master of Library and Information Science degree at Simmons University. In her free time, she watches horror movies, plays the cello, and bakes too many cookies. The Keeper of Night is her debut novel.
The Keeper of Night
Kylie Lee Baker
On Sale Date: October 12, 2021
9781335405661
Hardcover
Inkyard Press
$18.99 USD
Ages 13 And Up
400 pages
Julie Kagawa meets Scythe in this captivating and evocative journey into Death’s domain as one soul collector seeks her place in the underworld of 1890s Japan. Book 1 of a planned duology.
Death is her destiny.
Half British Reaper, half Japanese Shinigami, Ren Scarborough yearns for the acceptance she has never found among the Reapers who raised her. When the Shinigami powers she can no longer hide force her to flee for her life, Ren and her younger brother—the only being on earth to care for her—travel to Japan and the dark underworld of Yomi, where Ren hopes to claim her place among the Shinigami and finally belong.
But the Goddess of Death is no more welcoming than the Reapers who raised her, and Ren finds herself set on an impossible task—find and kill three yokai demons, and maybe, just maybe, she can earn a place in Death’s service. With only her brother and an untrustworthy new ally by her side, Ren will learn how far she’ll go to win the acceptance she craves, and whether the cost of belonging is worth any sacrifice.
Q&A with Kylie Lee Baker
Q: What was the hardest scene to write in The Keeper of Night? What was the easiest?
A: The opening scene was probably the hardest to write because I had to introduce a complex magic system. The Reapers control time, and that kind of power makes the story vulnerable to a lot of plot holes if you don’t word it carefully. It’s such a powerful tool that it raises the question of why there’s ever any conflict at all, or why any battle is ever hard for Reapers. I needed to address that very early on so the whole world wouldn’t fall apart, while still making the story move forward.
The easiest scene to write was an argument between Ren and Neven, when Neven tries to dictate Ren’s identity, and Ren responds: “Why am I the only one with no say in who I am?” That was one of the first scenes I wrote, and it contains a lot of my raw feelings about how biracial people are treated. Very little of the dialogue changed from the first draft of that scene. The challenge, then, was to build up the rest of the book to bring the reader to the point where that question, and that very emotionally charged scene, made sense.
Q: Did you hide any secrets in your book? (names of friends, little jokes, references to things only some people will get)?
A: I wouldn’t really call these hidden secrets, but a lot of details about the British Reapers are a huge nod to the Black Butler anime, which fans of that show might notice. For instance, the Reapers in The Keeper of Night are known for their poor vision, much like the Reapers in Black Butler who all have to wear glasses, which are important details in both stories. Neven’s love of cats came from Sebastian Michaelis, the titular character from Black Butler who is inexplicably obsessed with cats. Another reference (unrelated to Black Butler) is to Alfred Lord Tennyson--Ren often refers vaguely to themes in his poetry, but she’s talking specifically about a poem called “Love and Death” in which love defeats death, which is something she probably should have internalized a bit sooner.
Q: What do you hope people remember about The Keeper of Night?
A: I hope people remember how complex, traumatic, and powerful Ren’s existence as a biracial character is. I hope that this gives people more respect for the uniqueness of biracial identity, and that biracial readers feel solidarity in their struggles.
Q: Did The Keeper of Night have a certain soundtrack you listened to while writing?
A: I listened to an acoustic cover of Sia’s “Elastic Heart” and Billie Eilish’s “You Should See Me in a Crown” a lot when writing, because those songs reminded me both of Ren’s vulnerability and thirst for power. I also distinctly remember sitting in a coffee shop in Seoul listening to RM’s “Tokyo” while writing some of the first scenes in Japan. It has a very cold, lonely, wistful atmosphere that I tried to emulate.
Q: What is your dream cast for The Keeper of Night?
A: This question is hard to answer, partially because I don’t often imagine real people when writing, and partially because the pool of mixed race white/Asian actors who you can discover through a quick Google search is much smaller than for actors of other races, not even taking into account things like age or face shape. The closest I can come for Ren is Pom Klementieff (who plays Mantis) with black hair. I know she’s Korean, not Japanese, but she also grew up estranged from that culture, much like Ren. Timothee Chalamet with blonde hair is probably the closest match for Neven, since I’ve heard a lot of people say he looks like he should have been a wealthy Victorian child, and Terada Takuya for Hiro--he’s very silly at times, and very sharp at other times, much like Hiro.
chapter two
At the far edge of London, somewhere between nightmares and formless dreams, the Reapers slept by daylight.
The only way to enter our home was through the catacombs of the Highgate Cemetery, through a door that no longer existed. It had been built there long ago, when the Britons first came to our land and Ankou carved a hole in their world so that Death could enter. But humans had sealed it shut with layers of wood, then stone, then brick and mortar, all in the hopes of keeping Death out.
By the nineteenth century, humans had mostly forgotten about the Door and what it meant. Then, when the London churchyards began to overflow with bones, the humans had searched for a place just outside of London to bury their dead. By chance or fate, they’d built their new cemetery right on top of the Door. It turned out that Death drew all of us close, even if we weren’t aware of it.
No streetlights lit the path through Highgate at night, but I didn’t need them to find my way home. Before I’d even passed through the main gate, Death pulled me closer. All Reapers were drawn to him, our bones magnetized to the place of our forefather. As soon as I entered the cemetery, a humming began just under my skin, like a train’s engine beginning to whir. My blood flushed faster through my veins as I brushed aside the branches of winter-barren lime trees and low-hanging elms.
My boots crunched shattering steps into the frosted pathways as I ran.
I stumbled through jagged rows of ice-cracked tombstones on uneven ground and through a village of mausoleums, finally reaching the gothic arched doorway of the catacomb entrance. The pull had grown unbearable, dragging me along in a dizzy trance as I descended the stairs into the cool quietness of damp bricks and darkness. The labyrinth would have been unnavigable if not for the fervent pull.
At last, my hands came out to touch the wall where the Door used to be, but now there were only damp bricks and an inscription on the arch overhead that read When Ankou comes, he will not go away empty in rigid script. I dug one hand into my pocket and clutched my clock, pressed my other hand to the bricks, then closed my eyes and turned time all the way back to the beginning.
Time flowed through the silver-and-gold gears, up into my bloodstream and through my fingertips, dispersing into the brick wall. Centuries crumbled away, the mortar growing wet and bricks falling loose. One by one, they leaped out of their positions in the wall and aligned themselves in dry stacks on the ground, waiting once again for construction. Objects were easy to manipulate with time, for I could draw from their own intrinsic energy rather than siphoning off my own. Rather than paying in years of my own life, I could borrow years before the bricks crumbled and quickly repa
the debt when I put them back.
I stepped through the doorway and the pull released me all at once. I breathed in a deep gasp of the wet night air, then turned around and sealed the door behind me. The bricks jumped back to their positions in the wall, caked together by layers of mortar that dried instantly, the time debt repaid.
The catacombs beyond the threshold spanned infinitely forward, appropriated as resting places for Reapers rather than corpses. Mounted lanterns cast a faint light onto the dirt floors and gray bricks. It was almost Last Toll, so only the last Reapers returning from the night shift still milled around, their silver capes catching the dim light of the tunnels, but most had retreated to their private quarters for the morning.
I turned right and hurried down the block. The low ceilings gave way to high-arched doorways and finally opened up to a hall of echoing marble floors and rows of dark wood desks. Luckily, there was no line for Collections this close to Last Toll.
I hurried to the first Collector and all but slammed my vials into the tray, jolting him awake in his seat. He was a younger Reaper and seemed perplexed at having been awoken so unceremoniously. When his gaze landed on me, he frowned and sat up straight.
“Ren Scarborough,” I said, pushing the tray closer to him.
“I know who you are,” he said, picking up my first vial and uncapping it with deliberate slowness. Of course, everyone knew who I was.
He took a wholly unnecessary sniff of the vial before holding it up to the light to examine the color, checking its authenticity. The Collectors recorded every night’s soul intake before sending the vials off to Processing, where they finally released the souls into Beyond. He picked up a pen from his glass jar of roughly thirty identical pens, tapped it against the desk a few times, then withdrew a leather-bound ledger from a drawer. He dropped it in front of him, opened the creaky cover, and began flipping through the pages, one by one, until he reached a fresh one.
I resisted the urge to slam my face against the desk in impatience.
I really didn’t have time to waste, but Collections was a necessary step. I didn’t consider myself benevolent in times of crisis, but even I was above leaving souls to expire in glass tubes instead of releasing them to their final resting place, wherever that was. And besides, a blank space next to my name in the Collections ledger meant a Collector would pay a visit to my private quarters to reprimand me. The last thing I needed was someone realizing that I’d left before Ivy could even report me.
But when the Collector uncorked my fourth vial and held it up to the lamp, swirling it in the light for ten excruciating seconds, I began to wonder if I’d made the right decision.
The bells of Last Toll reverberated through the bricks all around us, humming through the marble floors. In this hazy hour between night and day, the church grims came out in search of Reaper bones to gnaw on. Night collections had to be turned in by then, while day collections had to be processed by the First Toll at dusk.
The Collector sighed as he picked up my fifth vial. “I’m afraid I’ll have to mark your collections as late.”
My jaw clenched. “Why.”
“It’s past Last Toll, of course,” he said.
My fingers twitched. The lamp on the Collector’s desk flickered with my impatience, but I took a steadying breath.
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