From the haunted corridors of Kowloon Walled City to the restless spirits woven through Chinese folklore, Sunyi Dean writes horror that unsettles as much as it mesmerizes. In this interview, Dean discusses the cultural history behind The Girl with a Thousand Faces, the challenges of balancing myth with historical inspiration, and why morally complicated characters fascinate her as a writer. She also reflects on grief, forgiveness, experimental narrative structure, and the Gothic and speculative authors who helped shape her distinct voice in contemporary horror fiction.
Q: The Girl with a Thousand Faces blends Gothic horror with Chinese mythology and the real history of Kowloon Walled City. What drew you to that setting, and how did you approach balancing historical inspiration with the supernatural elements of the story?
A: Hong Kong is the place I grew up and learned Cantonese in (though I’ve since lost that language.) I have a complicated relationship with both the city itself, and my family ties there. It is a place of contrasts and contradictions, of extreme modernity and old traditions. I loved portraying it, and tried to keep the ‘important’ aspects of history as true as possible. A lot of trial and error was involved, and many rounds of edits. Whether the balance is right I will leave to the reader to decide!
Ghosts play an important part in China’s cultural history. In much the way that vampire stories were used as a way of talking about social inequality, Chinese ghosts have long been a way to tell stories about disenfranchised people–usually women–who behave outside of social expectations.
Q: Mercy Chan is such a morally complicated protagonist. At different points, readers may sympathize with her, fear her, or question her entirely. What interested you most about writing a character who exists in that gray area?
A: I believe all of us live in the grey, truly. Everyone is a monster to someone, everyone is a saviour to someone else. We contain multitudes of good and bad, and I feel it is important to face that in ourselves.
Q: One of the strongest themes in the novel is forgiveness—or the inability to forgive. Was that theme present from the beginning, or did it emerge more strongly as you were writing?
A: Definitely emerged while writing. I think the ending will be slightly contentious, because there was an option on the page (as it were) to have the story go for a violent conflict to resolve things, and I felt strongly that wasn’t in keeping with how the story was developing, or how Chinese culture views such resolutions. I hope that isn’t too much of a spoiler!
Q: The structure of the novel shifts dramatically partway through, forcing readers to reconsider what they think they know. What made you choose that looping narrative structure?
A: The book effectively has 4 timelines (2 for Mercy, 2 for Siuyin), and we tackle them in 2 sets of 2. The current structure will be very contentious for readers, but it’s the one I arrived at after enormous trial and error.
I wrote one version of the novel where the timeline alternated between Mercy and Siu Yin, but it ended up dragging the pacing to a standstill, because both stories then struggled to progress, and also there wasn’t room for either of them to have backstory. Having all 4 blended became a bit of a nightmare!
From a more artistic side, I liked the feel that one “life” had ended and another began, echoing some of the themes that circle those characters.
Q: Ghosts in this novel feel less like distant supernatural beings and more like an everyday part of life. Were there specific ghost stories, myths, or cultural beliefs that influenced the way you portrayed spirits in the book?
A: I think Chinese culture is very connected to its spirits. There are days for visiting tombs, times when the dead are more ‘present’ and Hell is thought to be closer, daily rituals that involve offerings for spirits, and so on. Superstition and tradition inform even modern aspects of life (for example, trying to sell a house where someone died violently can be tricky). Other than that, I spent a lot of time reading Chinese folktales, talking to my relatives, visiting local temples, and reading historical nonfiction about the period.
Q: There’s an interesting tension in the story between justice and vengeance. Did your own understanding of those concepts evolve while writing the novel?
A: Not during the novel–I think i have my own very strong ideas about these things now–but definitely when I was younger and navigating my way through life.
Q: Mythological creatures often reappear across cultures in different forms, and the mermaid-like spirit in this novel is a great example of that. Are there particular myths or folklore traditions you’re especially drawn to as a writer?
A: I seem to be drawn to shapeshifters and body jumpers! I’m not sure why. I love the idea in SF as well, of people uploading and downloading consciousness to new forms, or existing as digital entities, which is really just another kind of ghost. Anything which can shift or change form is fascinating and interesting to me. So much of our identity is tied to the physical presence we occupy; what happens when that becomes fluid?
Q: Horror and Gothic fiction are often used to explore societal fears and injustices. What do you hope readers take away from The Girl with a Thousand Faces beyond the haunting atmosphere and supernatural elements?
A: I’m not sure there’s an overarching message as such, if that’s okay! More a meditation on grief, loneliness, and how hard it is to move on, because our desire for pain to have meaning is such a driving factor in decisions we make in life (both good and bad.) I hope that readers who are lonely or hurt will feel seen, perhaps.
Q: Who were some of your earliest literary influences, particularly in horror, Gothic fiction, or fantasy? Were there any writers who made you realize this was the kind of storytelling you wanted to pursue yourself?
A: Jane Eyre and Wuthering Heights were very early childhood reads, and I suppose those are classic Gothic works! My parents bought a lot of classic novels for me when I was a kid, the old Walmart special editions. On the speculative side, I like the normal favorites like Tolkien and George MacDonald and Ursula Le Guin, but I also loved the wild ideas of Roger Zelazny, Gene Wolfe, Nnedi Okorafor, and Philip K Dick. My reading is a bit all over the place and that’s okay! I also take inspiration from thrillers, crime, and general fiction, which do amazing things with structure and voice.
Q: Your work blends horror, folklore, emotional depth, and morally complicated characters in a way that feels distinctively your own. Are there contemporary authors working in genre fiction right now whose work you especially admire or feel readers should check out?
A: These days I’m a big fan of Jeff Vandermeer, Ray Nayler, Hiron Innes, and Claire North, who are constantly doing interesting new books. Their writings are so fun and smart and dark and fascinating! Catriona Ward, Alexis Henderson, Monika Kim, Kylie Baker, Alix Harrow, and Richard Swan also spring to mind. So many really! I must stop or I’ll be listing names all day.
Q: For readers who finish The Girl with a Thousand Faces wanting more atmospheric, mythology-infused horror, what books or authors would you recommend?
A: Japanese Gothic feels like a natural leap, though I’m sure most have heard about that one by now! Black Water Sister by Zen Cho is a fantastic diaspora Asian horror with some similar themes. If you like the Hong Kong mythological bent specifically, The Harbour of Hungry Ghosts by Eliza Chan is out in July and is fabulous!
Q: A lot of modern horror is pushing beyond traditional genre boundaries and incorporating literary fiction, history, folklore, and social commentary. Are there any newer voices in horror or dark fantasy that you’re particularly excited about right now?
A: I liked The Black Hunger by Nicholas Pullen, which features Indian Hungry Ghosts (similar yet different to the Chinese ones) juxtaposed against an Orkney setting, or Midnight Rooms by Donyae Coles for some Black-written feminist horror. I’ve mentioned Vandermeer and Innes already, and Ward as well. Another one to watch is The Flesh I Want by Todd Jordan which I’ve read an early copy of, and it is EXCELLENT – deep in conversation male gaze and social desire wrapped up in a truly grim, rural folk horror tale.
Author Bio
Sunyi Dean (sun-yee deen) is a multi-award-losing author of speculative fiction. She was born in Texas, raised in Hong Kong, and now resides in Yorkshire. Her debut novel, The Book Eaters, was an instant #2 Sunday Times Bestseller. In her spare time, she likes buying whisky, collecting dumbbells, and dying in jiu-jitsu. She also founded the Hugo-nominated Publishing Rodeo Podcast with fellow Tor author, Scott Drakeford.
Her highly-anticipated sophomore novel, The Girl With a Thousand Faces, is a BBC Radio 2 Book Club pick.
Connect with the author
- Author Website
- @sunyidean everywhere!
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Book Summary
When Jack Utley loses his daughter just as his business is about to soar, it seems he’s traded financial gain for Callie’s life. After an encounter with a mysterious woman on the eve of Callie’s funeral, Jack wakes up to find that time has somehow rewound to the morning of Callie’s accident. Jack gets an opportunity that most grieving parents can only dream of – he saves his daughter’s life.
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