by M. L. Rio
“Much like Donna Tartt’s The Secret History, M. L. Rio’s sparkling debut is a richly layered story of love, friendship, and obsession...will keep you riveted through its final, electrifying moments.” —Cynthia D’Aprix Sweeney, New York Times bestselling author of The Nest "Nerdily (and winningly) in love with Shakespeare...Readable, smart.” —New York Times Book Review On the day Oliver Marks is released from jail, the man who put him there is waiting at the door. Detective Colborne wants to know the truth, and after ten years, Oliver is finally ready to tell it. A decade ago: Oliver is one of seven young Shakespearean actors at Dellecher Classical Conservatory, a place of keen ambition and fierce competition. In this secluded world of firelight and leather-bound books, Oliver and his friends play the same roles onstage and off: hero, villain, tyrant, temptress, ingénue, extras. But in their fourth and final year, good-natured rivalries turn ugly, and on opening night real violence invades the students’ world of make-believe. In the morning, the fourth-years find themselves facing their very own tragedy, and their greatest acting challenge yet: convincing the police, each other, and themselves that they are innocent. If We Were Villains was named one of Bustle's Best Thriller Novels of the Year, and Mystery Scene says, "A well-written and gripping ode to the stage...A fascinating, unorthodox take on rivalry, friendship, and truth."
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Echoes summary
The compelling narrative of M. L. Rio's *If We Were Villains* echoes with a distinct and potent resonance for readers who found themselves captivated by the dark academic allure and morally ambiguous landscapes of Donna Tartt's *The Secret History*. Both novels delve into the intoxicating, often destructive, power of intellectual immersion and artistic obsession, particularly when channeled through the crucible of elite academic environments. In *If We Were Villains*, the Dellecher Classical Conservatory functions as a microcosm, much like the Hampden College setting in *The Secret History*, where a select group of students become so entwined with their studies – in this case, Shakespeare – that the lines between performance and reality blur to a dangerous degree. This shared thematic core explores how deeply ingrained aesthetic ideals and the pursuit of artistic perfection can warp perception and lead to devastating consequences. The intense, almost cult-like atmosphere within these institutions fosters a sense of shared destiny and identity among the protagonists, inviting a profound exploration of loyalty, betrayal, and the psychological toll of secrets.
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The structural parallels are also striking and contribute significantly to the perceived ECHO between these two monumental works. Both narratives are framed retrospectively, with a protagonist looking back on a tragic past event, tasked with unfurling a story that has been suppressed for years. Oliver Marks in *If We Were Villains*, much like the narrator in *The Secret History*, is burdened by the weight of past actions and seeks expiation through confession. This narrative device allows for a meticulous dissection of the events leading up to the central tragedy, building suspense and imbuing the retelling with a sense of foreboding inevitability. The reader is drawn into the intricate web of relationships, the subtle shifts in power dynamics, and the intellectual gymnastics that characterize these highly intelligent, yet deeply flawed, characters. The VIBE that unites them is one that acknowledges the seductive danger of knowledge and artistic pursuits when they become the sole organizing principle of life, eclipsing conventional morality.
Furthermore, the exploration of rivalry, friendship, and obsession forms a crucial bridge between *If We Were Villains* and *The Secret History*. In both novels, intense bonds of friendship are tested and ultimately fractured by ambition, jealousy, and the intoxicating allure of shared experience. The characters in Dellecher, like their counterparts at Hampden, form a tight-knit, almost exclusive, circle. Their shared passion for their chosen art form, be it the study of ancient Greek literature or the performance of Shakespeare, creates a unique language and understanding between them. However, this very intimacy also breeds an insularity that can be fertile ground for darker impulses. The games they play, the roles they inhabit both on and off the stage, become extensions of their burgeoning personalities and their anxieties about the future. This intricate tapestry of interpersonal dynamics, where love and hate often coexist and morph into one another, is precisely what draws readers to both M. L. Rio and Donna Tartt, highlighting a shared appreciation for narratives that navigate the often-treacherous terrain of intellectual and emotional entanglement. The ECHO of their shared brilliance lies in their ability to craft exquisitely written stories where the pursuit of beauty can lead to profound darkness, and where the echoes of Shakespearean tragedy feel unnervingly, and compellingly, real.