Burke's is a twisted, imaginative empathy that subverts the cis gaze and flips the trans-as-monstrous trope by introducing the prurient perception of others before giving us the interiority of Roland himself...Burke insists on letting the villain speak for himself

Grace Byron, The Baffler

All Us Saints is hardly the first work to critique and analyze the prolific horror trope of the transgender slasher killer, but few have done so with as much courage and creative daring as Burke... Just like the St. Clouds, All Us Saints itself is unsettled and off-kilter but entirely fascinating in its dark vulnerability.

Nic Anstett, Autostraddle

Rather than attempting to temper or equivocate the violence ascribed to us, Burke argues that queer and trans identity is legitimate even in the event of irredeemable harm. It's not Roland's transness that leads to the murders, exactly, but they are exacerbated by the crises impacted by that identity: sexual violence; grooming; being an unprotected self, as almost all children are. In this way, the murders are inseparable from the identity, because the identity leads to violences trickling down. At its most surprising moments, All Us Saints advances an argument for protecting and listening to children, especially queer and trans children.

Zefyr Lisowski, Cleveland Review of Books

With an inheritance of questionable origins, the St. Cloud family home is a setting haunted by big and small violences. Burke calls into question what we cling to as individuals within a family: identity, wealth, purpose, and power…Burke forefronts the power of a narrative, who gets to be the storyteller, and who has agency to speak. When people are stripped of their dignity, not believed, and not heard, they are capable of some pretty monstrous things. Does that make them a monster?

Hannah Burns, Southern Review of Books

All Us Saints is a gorgeous puzzle-box of a book, with the pieces carved from dread, sex, and secrets. Katherine Packert Burke has inventively inverted the psycho-killer, revealing something new and, once again, shocking.

Torrey Peters, author of STAG DANCE and DETRANSITION BABY

Katherine Packert Burke is a genius. With incisive, irreverent prose and an encyclopedic knowledge of philosophy, theater, and film, she banishes commonplace narratives to masterfully capture the betrayals and succor of family, the snare of self-mythology, and the temptation, the danger, of the familiar within ritual and art. Utterly unforgettable, this book is both miracle and, dare I say it, haunting.

Morgan Thomas, author of MANYWHERE