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Natashia Deón is a two-time NAACP Image Award nominee for Outstanding Literature, a Hurston/Wright Foundation Legacy Award nominee, and the author of the critically acclaimed novels Grace and The Perishing. A practicing criminal attorney, professor of creative writing at UCLA and Antioch University, Deón has been awarded fellowships, residencies at Yale, Bread Loaf Writers Conference, Prague Summer Program, Dickinson House in Belgium, and has served as a U.S. Delegate to Armenia through the University of Iowa. Her essays have appeared in The New York Times, Harper’s, the Los Angeles Times, and elsewhere. A sandwich generation caregiver for her mother and mother of two children, including a son with special needs, Deón brings a deeply lived sense of justice, history, and tenderness to her work. Her highly anticipated World War II novel, Birds of War, is forthcoming in February 2027.
“Natasha Deón writes with her nerves, generating terrific suspense. And her style is so visual it plays tricks on the imagination – did I just watch that scene? Or did I read it? It’s Ms. Deón’s real and rare ability to make reading a felt, almost physical experience.”-Jennifer Senior, New York Times
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BIRDS OF WAR, a novel - FOLLOW THE JOURNEY
“This isn’t a book. It’s a touchstone. It’s an oracle. It’s a mirror in which you will see your authentic self, reflected on the pages. The Perishing is one part lyrical mystery, one part history lesson you didn’t learn in school, one part time machine. It’s a lush, genre-smashing, philosophical experience of a novel that blew my mind even as it broke my heart.” —Jamie Ford, New York Times bestselling author of Hotel on the Corner of Bitter and Sweet
Available in bookstores everywhere
“This marriage of period lit and science fiction will plug the Lovecraft Country sized hole in your heart.”
-Keyaira Boone, ESSENCE
“God, The Perishing. Where do I even begin? It’s riveting, my God.”
—Crime Reads
“What do these ghosts want—and why is literary fiction suddenly so full of them? (See: Lincoln in the Bardo, by George Saunders; White Tears, by Hari Kunzru; Grace, by Natashia Deón; The Underground Railroad, by Colson Whitehead.) It’s the past that won’t stay past, to paraphrase Faulkner. The ghosts—most of them, at any rate—want to rest, but they need restitution first.”
—The New York Times
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