Paige Lewis on CANON

Paige Lewis’s debut novel *Canon* arrives as a bold, genre‑defying work that immediately captures attention. The narrative follows two protagonists—Yara, a divinely‑commissioned assassin, and Adrena, a rebellious counterpart—who embark on parallel missions to eliminate the same target. Their journeys intersect with a surprisingly pivotal talking whale, adding a whimsical yet purposeful layer to the mythic framework. By positioning a non‑binary epic at the intersection of myth, poetry, and contemporary storytelling, Lewis taps into a growing market for inclusive, high‑concept fiction that challenges traditional hero archetypes.

The structural ambition of *Canon* is evident in its hybrid form: part epic poem, part novel, and part experimental prose. Lewis draws heavily from women’s and queer epic traditions, citing Gwendolyn Brooks and Bernadette Mayer as key influences. This lineage informs the book’s lyrical voice and its deliberate subversion of classic epic conventions, such as the inclusion of a talking whale and the use of strict poetic forms to convey chaotic narratives. The dual‑POV approach allows readers to experience distinct internal logics—Yara’s obedience‑driven path versus Adrena’s assertive defiance—highlighting how form can reinforce character differentiation.

Beyond stylistic innovation, *Canon* interrogates core themes of heroism, choice, and control. By giving Yara an OCD trait, Lewis foregrounds mental‑health representation while exploring how strict structures can both empower and imprison protagonists. The novel’s emphasis on consequence, even in seemingly triumphant moments, resonates with business leaders who value ethical decision‑making and accountability. As publishing increasingly embraces diverse voices and experimental formats, *Canon* exemplifies how mythic storytelling can be repurposed for modern audiences, offering both commercial appeal and critical depth.