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Flipped Worlds

Flipped Worlds

A review of “Flip” (Markosia, Enterprises, 2018) edited by Jack Briglio and featuring work by Derek Kunsken, Wendy Muldon, Eleonora Dalla Rosa, Miguel Jorge, Hugh Rockwood, Alberto Massetti, Marcello Bondi, Francesco Della Santa, and Salvador’s Coppola.

By Derek Newman-Stille

The comic “Flip” offers a series of flashes through different worlds filled with different possibilities, inviting readers to turn the world on its head and look at it differently. Like most Speculative Fiction, even when it is set on a different world, in a different reality, or in the future, it is really about our own world and the things that occupy our imagination, thoughts, and perspectives. “Flip” invites readers to delve into those imaginings, to ask critical questions, and imagine what is not in order to think anew about what is.

The stories in “Flip” bring the reader into worlds where credit card debt is paid back with death, inviting us to think about credit card companies as loan sharks; worlds where people are forced to divorce after only 7 years of marriage, evoking questions about matrimony; worlds where luchadors meld their bodies into those of gorillas to fight, inviting questions of animal violence, human fear, and corporate control; worlds where pensions are saved for the young and people work later in life, inviting questions about age and ageing. There are tales of people meeting between flipped worlds and of choices made and the impact of choices that weren’t made. It is a comic about possibility and change. 

“Flip” is a collection of stories that are meant to unsettle, to disrupt, to FLIP reality and let us see it from another angle. 

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Dreaming of Justice

Dreaming of Justice

A review of Drew Hayden Taylor’s “Dreams of Doom” in Take Us To Your Chief And Other Stories (Douglas & McIntyre, 2016)

By Derek Newman-Stille

Dream catchers have fascinated the cultural imagination and been used by white authors as a plot feature in their stories (such as Stephen King’s Dreamcatcher), so it is powerful that Drew Hayden Taylor, an aboriginal person, reclaims the image of the Dream catcher in his fiction. “Dreams of Doom” is a story about government conspiracy connected to Dreamcatchers. Pamela Wanishin, a writer for a small, Aboriginal newspaper, gets mailed a thumb drive full of secret government documents and finds herself at the heart of a conspiracy by the Canadian government to control and further oppress Indigenous peoples.

This is a common tale of a reporter who finds herself followed by government agents who want to silence her, but Hayden Taylor puts a spin on the tale, combining the traditional story with aspects of the Canadian government’s oppression of Aboriginal people. Hayden Taylor uses metatextual approaches to point out the way that he has played with a common text by putting an Indigenous slant to stories, even referring to some of these stories in his tale, but with names altered to highlight their Indigenous connection like All the Prime Minister’s Men, Ojibway Holiday, The Blue Heron Brief, and The Girl with the Orca Tattoo. He also connects the events of his story to other aspects of Canada’s oppression of Indigenous people, bringing up attempts in the past to pacify First Nations through things like the White Paper, the Oka Crisis, Ipperwash, and Idle No More.

Hayden Taylor disrupts Canada’s image of itself as a “Just Nation” by illustrating the history of injustices the country has perpetrated as well as the country’s ability to hide its injustices and erase them from history or wash over them. As for the connection to Dream catchers, I will leave that for Hayden Taylor to tell you all about in “Dreams of Doom”.

To discover more about Take Us To Your Chief, visit http://www.douglas-mcintyre.com/book/take-us-to-your-chief

To find out more about Drew Hayden Taylor, visit https://www.drewhaydentaylor.com

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Decolonized Space

Decolonized Space

A review of Drew Hayden Taylor’s “Lost in Space” in Take Us To Your Cheif (Douglas & McIntyre, 2016).

By Derek Newman-Stille

In “Lost in Space”, Drew Hayden Taylor explores the first Anishinabe man to travel into space. He is travelling as part of a mining operation set out amongst asteroids. Hayden Taylor uses the imagery of being Lost in Space to explore how an Anishinabe man negotiates his connection to Earth and to the four directions when he is in space, without a reference point. Although he knows exactly where he is in space, he ponders his relationship to his planet and to his people. He explores the sense of disconnection with home.

Hayden Taylor shapes these questions partially through a conversation between Mitchell and his grandfather. His grandfather invites critical questions about what space will mean for Mitchell: “But being Native in space… Now that’s a head-scratcher. Think about it. We sprang from Turtle Island. The earth and water are so tied into who we are. There’s an old saying, ‘the voice of the land is in our language'”. Mitchell seeks to find his own language and his own connection to his culture while away from home, having been denied his hand drum, which scientists said would put too much vibrational pressure on the hull, he needs to find new ways of expressing who he is and expressing his connection to family and home.

To discover more about Take Us To Your Chief, visit http://www.douglas-mcintyre.com/book/take-us-to-your-chief

To find out more about Drew Hayden Taylor, visit https://www.drewhaydentaylor.com

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Colonialism

Colonialism

A review of Drew Hayden Taylor’s “A Culturally Inappropriate Armageddon Part II: Old Men and Old Sayings ” in Take Us to Your Chief And Other Stories (Douglas & McIntyre, 20160.

By Derek Newman-Stille

Indigenous people have been accustomed to alien invasions and the decimation of land and culture and Drew Hayden Taylor adapts the history of colonialism to new frontiers of science fiction in his book Take Us To Your Chief and Other Stories. In A Culturally Inappropriate Armageddon Part II: Old Men and Old Sayings, Hayden Taylor focusses on an old man, Willie Whitefish, and his experiences of care homes, but, beyond that, he explores Willie’s history of surviving residential schools and his unique ability to see potential warning signs when he hears about an approaching alien space ship. Willie’s history of dealing with a violent, colonial government has prepared him for what he (and the rest of the world) is likely to experience.

Although ignored by most of the PSWs in the care home he is living in, Willie reflects on his knowledge of history “everything from Columbus straight through the Pilgrims landing at Plymouth Rock, to the Traill of Tears, to the impact of the sale of Alaska on the Inuit and the Aleutians”. Willie is aware of what happens with the arrival of strangers from a distant place and that it traditionally means mass murders of the indigenous people of a region and the cultural genocide of those people in following generations. He points out that people should know better, but, then again, most of the people welcoming these visitors from the stars have been the colonizers, not the displaced and colonized people and therefore that the people excited about visitors from the stars haven’t paid enough attention to history from an indigenous perspective.

To discover more about Take Us To Your Chief, visit http://www.douglas-mcintyre.com/book/take-us-to-your-chief

To find our more about Drew Hayden Taylor, visit https://www.drewhaydentaylor.com

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Chrysalis

Chrysalis 
A review of Lena Ng’s Love Transcendent in We Shall Be Monsters (Renaissance Press, 2018)
By Derek Newman-Stille

Lena Ng’s Love Transcendent is a belle mort tale of transformation. Exploring the Ancient Greek image of the soul represented as a butterfly, Ng explores the idea of death itself as a process of beautiful transformation, as a chrysalis in which the caterpillar of life becomes something majestic and winged after life. 

This beautifully macabre tale explores the role of a young doctor seeking to understand the body, who ultimately becomes fascinated with what exists beyond the physical. As much as he is fascinated by the inner workings of the body, he is fascinated by the aesthetics of embodiment. Life evokes a passion for discovery in him that is all-consuming, a desire to understand things that are unfathomable. 
This is a tale of a doctor’s obsession born of death and his desire to catch glimpses of the uncanny.
Ng’s tale is a meta tale with a young doctor seeking answers beyond science by picking up the text of Frankenstein, detailing Victor’s success in resurrection and using it for his own model. Yet, Ng complicates the text, illustrating the limits of science and that there is some ephemeral otherness that occurs in death and in resurrection.
This is a tale of a surgeon’s battle between professional detachment and love. 

To find out more about We Shall be Monsters, visit Renaissance Press’ site at https://renaissancebookpress.com/product/we-shall-be-monsters/

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The Religion of Mystery Literature

The Religion Of Mystery Literature
By Derek Newman-Stille

Like many people, I have a distinct love of mystery stories. I like the act of figuring out who did the crime. I like following the clues. I like believing that I can solve crimes before the investigators do.

One thing that always frustrates me is the finality of a mystery tale, especially when it is on television. There is generally little ambiguity left, little debate about guilt or innocence. So often mysteries (especially when they are tied to a police procedural show) are about reifying the idea that police always catch their criminal and that they are always right. This moral absolutism has always bothered me, as has the lack of questions about guilt or innocence.

One of the ways that mysteries tie up moral ambiguities is through the confession. What is odd is that actual murderers, thieves and other criminals rarely admit to their crimes unless they have worked out a deal with the prosecution for a reduced sentence because they admit to the crime.

Yet, the vast majority of mystery narratives (especially on television) have the killer confess to their crimes and admit guilt. Frequently, mystery narratives on television don’t even bother to wrap up the story, ending right at the point of confession. This highlights the importance of the confession narrative to mystery narratives by considering this the penultimate moment and the ending of the story.

So why are confessions so important to mystery narratives?

I made a connection when watching the television series Father Brown, a tale about a priest who solves crimes in his spare time. As I was watching, I noticed that Father Brown always sought to get a confession from the criminal, linking the confession of crimes to the confessions of the confessional. It occurred to me that this speaks beyond Father Brown and that there was a tint of Judeo-Christian moralizing in many mystery narratives.

Like religions, mystery narratives frequently portray a simple moral system: good/bad. Like religion, mystery narratives provide us with an image of punishment for crime/sin. Like religion, mystery narratives tend to focus on the confession as a key moment in the guilty person’s life.

I started to wonder – have we been primed to like aspects of mystery narratives because of centuries of Judeo-Christian influence on idea of crime? Do we write our mystery narratives along these lines because of the weight of Judeo-Christian ideologies in our society?

Since Judeo-Christian texts are treated as so important in our society, we often replicate aspects of those religious texts as ways of understanding the world even if we don’t prescribe to those religious beliefs. The tremendous impact of Judeo-Christian texts on other texts in our society mean that they often filter through into texts that are not related to religion.

So what is it that we like about mystery tales? What speaks to us about them? Is it the fact that they provide a tidy, easy moralism? Is it the fact that they present us with a world where crime is stopped? Is it the fact that criminals are punished? Or is it the power of the confession that gives us a sense that people can admit guilt and be rehabilitated or redeemed?

Although there are more complex mystery narratives out there and I have read them, there is something about simple mystery stories that appeals to me like Father Brown, Murder She Wrote, and Sherlock Holmes.

* As a disclaimer, I am writing about this narrative connection to Judeo-Christian beliefs as someone who is not part of those belief systems,

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Stealing Resources From Indigenous People

Stealing Resources From Indigenous People

A review of The Champions: Northern Lights (Marvel Comics, 2018)

By Derek Newman-Stille

Although an American comic created by Marvel Comics, The Champions: Northern Lights is set in Nunavut and features some distinctly Canadian elements.

Firstly, the superhero team Champions comes into contact with Alpha Flight, another Marvel Comics creation – a superhero team set in Canada and created by Canadian John Byrne. It is extremely exciting seeing Alpha Flight continuing to appear in Marvel Comics since they haven’t had a series of their own in many years. The current Alpha Flight appears to be under the control of American Captain Marvel and features figures like Puck, Snowbird, Talisman, and Sasquatch.

Beyond just the Alpha flight connection, the comic features ideas of The North, setting the story in the winter and connecting the story to critical questions about global warming and the Arctic thaw, engaging questions about Canada’s relationship to the North and the idea of Canadian paternalism of Northern landscapes. The comic raises questions about the relationship between English and Inuktitut language, and explores the invasion of Inuit lands by a white man who believes he is doing the right thing and who steals resources from the landscape. As often happens, indigenous protestors mobilize to protect the landscape from continual colonial oppression and exploitation and from illegal resource extraction and attempts to assert white authority over indigenous land.

Champions raises critical issues for current Canadian issues around the attempts by the Canadian government to build a pipeline through unceded indigenous land. Currently, Wet’suwet’en protestors are seeking to protect their land from the Kinder Morgan natural gas pipeline that is being built through their territory and once again, a white, male, colonialist power is seeking to invade indigenous land for a nonrenewable resource.

In the Champions: Northern Lights comic, the colonialist, white person invading indigenous land calls himself The Master, highlighting ideas of power hegemonies and the exploitation of indigenous people. Moreover, the nonrenewable resource that he seeks to exploit in this case is the literal “Soul of the North”, a goddess named Sila. Indigenous protestors in the comic call out The Master, telling him: “face your crimes, corruptor!”.

Champions: Northern Lights brings up key critical questions about power structures, indigenous rights, exploitation of resources, and conflict over the landscape

To find out more about The Champions, go to https://www.marvel.com/comics/series/22552/champions_2016_-_2019