For any of you who missed the On Air interview with Sandra Kasturi and Ian Rogers on Trent Radio, here is a digital version of it for you to download.
A review of Anna Frost’s The Fox’s Mask (Musa Publishing, 2012)
By Derek Newman-Stille
It is refreshing to see a fantasy book that is set in Imperial Japan. So often, fantasy series are based on a Western Medieval archetype, inferring that this is the only forum for sword and sorcery. Anna Frost, although not Japanese herself, explores the imagery and richness of Japanese culture as a framework for her novel The Fox’s Mask. Populating her novel with Kitsune (fox spirits), healing spirits from springs, demons possessing humans, and dragons, it is clear why she chose an ancient Japanese setting for her fantasy series because it is so rich with mythical material for her to incorporate into this narrative. The framework of Shintoism works so well for explorations of the fantastic, having a general comfort with the notion that the natural world is populated not just with recognised animals, but also with a range of spiritual beings and manifestations.
Frost’s novel explores the relationship between duty and love (whether that be of a job or of a person), the social obligations that try to push people to accept familial responsibility over their own needs. Akakiba is a kitsune, able to transform from human form to fox form. He is a samurai, interested in protecting humanity from demons who would do them harm. He loves his job, and tolerates the humanity that he serves to protect… yet, his world is shaken when he is forced to take on a human apprentice, Yuki. Despite sharing years with his apprentice, he keeps secrets from him about his past, his family, and his kitsune nature. Despite his family wanting him to hold his first duty to them, he sees his primary duty as the protection of humanity, honouring his relationship to Yuki, and living the samurai lifestyle.
Yet, his choices have consequences. By not choosing to settle down and have a family of his own, he risks his clan, a people that are facing extinction as their numbers dwindle. Not only the foxes, but all spirits and otherworldly beings are beginning to dwindle, gradually disappearing from the world. The world is changing and Akakiba is faced with the notion that he may be contributing to that change by not taking a mate.
The Fox’s Mask is further enthralling because of its willingness to feature LGBT or queer characters. Characters are accepted in a large number of different relationships and love is not limited to heterosexual relationships. Because the foxes are able to change shape between human and fox and change sex between male and female, they are comfortable with ambiguities of gender and sex. They aren’t stuck in the human notion that one’s born gender defines them, or that one must chose to only enter into a sexual relationship with the opposite sex… the only challenge is that they try to encourage their members to enter into relationships with the opposite sex to ensure that there are children born and that the dwindling population continues. Anna Frost’s engagement with queer subject material is complex, not allowing easy relationships, but instead inviting the reader to engage in the complexity of issues that arise from a past society that is different from our own (both because of the past setting and the fact that they are foxes).
To find out more about The Fox’s Mask, visit Musa’s website at http://musapublishing.com/index.php?main_page=product_info&products_id=400
“The universe is, after all, large, and there is much more silence than noise, much more void than matter. Perhaps we are the aberration”
– Terence M. Green – The Woman Who Is The Midnight Wind (In Tesseracts)
Just a short reminder that you should tune in to Trent Radio at 5:00 to listen to an interview with Sandra Kasturi and Ian Rogers. You can access Trent Radio at 92.7 FM within broadcast range or online at trentradio.ca by clicking “LISTEN: OGG & MP3 Streams”.
A review of Sandra Kasturi’s Come Late to the Love of Birds (Tightrope Books, 2012)
By Derek Newman-Stille
In her poetry collection Come Late to the Love of Birds, Sandra Kasturi creates a spectral reality, an assemblage of words that makes the familiar strange and the strange familiar. She reveals the extraordinary in the natural, taking scenes of everyday life and introducing an otherworldly quality, a nuance of language and image that breaks down the notions of what is real.
The figure of the bird provides a framework for this strange-making process, an animal that is both fundamentally natural and present, but also simultaneously distant, ethereal, coded with otherworldly flights of fancy. She fixes the reader with the animal gaze, a gaze that is both common and completely Other, and that gaze finds humanity wanting. She helps to estrange us from our hegemonic ideas of humanity – our belief that we are superior to nature – and makes the reader question their taken-for-granted beliefs about the appropriateness of their impact on the environment.
Come Late To The Love of Birds is an interplay of the mythic and the evolutionary, revealing that neither in science nor in mythology can one find a complete picture, but it is through the interplay of the critically realist and the transcendently fantastic that we are able to see the complexity of the world around us.
She titled a section of the collection “Hieroglyphs of Wind”, and in that phrase, she reveals the key to her poetic craft – the infusion of her breath with an occult quality of words, beyond simple meaning or singular expression. Her words are imbued with complexity, multiplicity, and a deep interplay of meanings. Her poetic art is simultaneously completely natural and wholly transcendent.
To discover more about Sandra Kasturi and her work, visit her website at http://sandrakasturi.com/ .
Yesterday, I was in the studio at Trent Radio having a discussion with Sandra Kasturi and Ian Rogers, which will be aired on Tuesday June 25th at 5:00. You can check out our discussion at 92.7 FM in the broadcast range or if you are outside the broadcast range, you can visit Trent Radio online at http://www.trentradio.ca, where it will be live streamed if you click on “LISTEN: OGG & MP3 Streams”.
Hear us discuss dark, weird fiction, the power of smaller Canadian presses, SF cover art, fears, mythology, ChiZine Publications, the blurring of genre boundaries, SF poetry, and the ability of fiction to “weird” reality enough that we look at it from a new perspective. Oh, and for those of you in Peterborough, we also talk a bit about how Peterborough is the ideal place for getting ideas for creepy horror novels.
Sandra Kasturi is the co-owner of ChiZine Publications, editor of “Imaginarium 2012: The Best Canadian Speculative Writing”, and author of two books of poetry: “The Animal Bridegroom” and “Come Late to the Love of Birds”, both published by Tightrope Books. To find out more about her and read some of her poetry, visit http://sandrakasturi.com/ .
Ian Rogers is the local Peterborough author of a collection of dark fiction called “Every House Is Haunted” from ChiZine Publications and “SuperNOIRtural Tales”, a collection of supernatural detective stories,from Burning Effigy Press. To find out more about Ian Rogers visit http://www.ian-rogers.com/.
Thanks are well deserved for the assistance of Trent Radio, Alissa Paxton for her tech skills, John Muir and Kathleen Adamson for finding us a place in the broadcast schedule, and, of course to Sandra Kasturi and Ian Rogers for coming in to the studio for this discussion. Thank you also to Brett Savory and Kathryn Verhulst-Rogers for contributing to an amazing conversation.
“Let pages turn as they may and locks come undone;
Let one world unravel, as another’s begun.”
Sandra Kasturi – The Soft Key (Come Late to the Love of Birds – Tightrope Books, 2012).