Aaaaaaand… Now I’m A Supervillain

A review of Natlie Walschots’ Hench (HarperCollins, 2020)

By Derek Newman-Stille

Natalie Walschots’ Hench is powerful inspiration for the reader to become a villain. Walshots takes her readers into the mind of a temp hench person, exploring what it is like to work for supervillains, but, perhaps more importantly, what it is like to be the victim of superhero violence. Anna’s temp work for supervillains isn’t glamourous and it often only includes data entry and data analysis, but it is this skill that brings her to the (dangerous) attention of the superhero community. After Anna is disabled by a superhero while he is attempting to get to a supervillian, Anna starts to crunch the numbers and explore the cost of superheroes – the property damage, the loss of life, and the health costs to civilians and hench people. The numbers are astronomical and horrifying and Anna publishes them, bringing her to the attention of Supercollider, the superhero who disabled her and wants to maintain the status quo. Buuuuut, it also brings her to the attention of one of the major supervillains and begins a new stage in her life.

Although Hench is a superhero narrative and full of the fantastical, it calls out real world systems of power and violence, bringing attention to the cost of a punitive justice system. Walschots critiques binaristic approaches to justice and engages in philosophical questions of the nature of good and evil.

Reading Hench, I am reminded that I am dangerously close to becoming a supervillain at any moment!!


To discover more about Hench, visit https://www.harpercollins.ca/9780062978578/hench/

To find out more about Natalie Walschots, visit http://nataliewalschots.com


Reviewed by Derek Newman-Stille, MA, PhD ABD (They/Them)

Belonging Takes Place Beneath the Surface

Belonging Takes Place Beneath the Surface

A review of Karleen Pendleton-Jimenez’ The Street Belongs To Us (Arsenal Pulp Press, 2021)

By Derek Newman-Stille

America is a thin veneer over a much more complex world, and in 1984 when Muscatel Avenue is torn up there are new possibilities and potentials in the mud. In The Street Belongs to Us, Karleen Pendleton Jimenez explores a street in Los Angeles that is torn up to put in sidewalks and that kids decide to make their own, building trenches, playing in the mud, and ultimately finding themselves beneath the ground. The grandmother of the main character, Alex, tells the reader “The land wants to be adored and you kids know best how to do it”, and that is what The Street Belongs to Us does, it exposes a fundamental love for the land and its potential. While digging, Alex and her friend Wolf find the deed to Aztlan, a creation of the Chicano Movement around land stolen from Mexicans by Americans. It is a deed to a place that can’t be owned, a place of stories and tales of belonging. Like Aztlan, Alex holds the stories of her people and her grandmother’s stories even though she has a conflicted identity as a Mexican American. She observes “I feel kind of ashamed of the stories she’s telling. Even though I’m part Mexican, I’m also quite a bit American. It’s like one part of my body was mean to the other”. She feels the pain of American oppression of the Latinx community in her own body.

Though Nana also warns Alex that digging up the dirt also means exposing all of the things that lay buried and Pendleton Jimenez examines the complexities of childhood experience living alongside family secrets, ideas of belonging, and notions of gender and growing up. When the ground is disturbed, Alex and Wolf see new possibilities, examining their relationships with their parents and their relationships to their own bodies. Alex begins to develop breasts and has to explore questions of whether she is a boy or a girl and whether breasts mean that she is forced to become a woman or whether there are other possibilities for her body. The Street Belongs to Us is an exploration of belonging, whether that be to a community or to one’s own body and who gets to decide how we belong. Like the ground in the story, The Street Belongs to Us unsettles, digs up, and shuffles foundations.


To find out more about The Street Belongs to Us, visit https://arsenalpulp.com/Books/T/The-Street-Belongs-to-Us

To discover more about Karleen Pendleton Jimenez, visit https://www.trentu.ca/education/faculty-and-research/full-time-faculty/karleen-pendleton-jiménez


Reviewed by Derek Newman-Stille, MA, PhD ABD (They/Them)

Ennui in Space

A review of James Alan Gardner’s Ascending (Open Road Media)

By Derek Newman-Stille

Ascending is James Alan Gardner’s discourse on boredom wrapped up in science fiction. Gardner’s narrator Oar is from a genetically modified species that at the age of 50 literally just becomes bored with the world and lays down to sleep for eternity…. and Oar has just reached the age of 54. They refer to it as having a “tired mind”. In order to keep going, she needs to stay stimulated and keep her mind active. She already has moments when her mind is tired and she loses minutes and hours as she spaces out. She finds herself losing time and becoming disconnected to the world around her even as she sets out on a galactic adventure full of action-packed excitement and new challenges.

Oar was first introduced in Gardner’s Expendable, when Explorer Festina Ramos was dropped off on her planet and changed the world that Oar had known. Now, Oar has sought out Festina again and the two are plunged into a galaxy of conspiracies, advanced paranoid aliens, and secret discoveries.

Although Oar is 50 and that is normally the end of her species time awake and active, Ascending is a coming of age story for Oar as she faces the reality of the universe around her, challenges her pre-existing ideas, and grows up. Growing up is never easy and Oar’s coming of age is one that involves painful awakenings.

Through the lens of Oar, Gardner presents an examination of the social meaning of boredom and writes a discourse about ennui through an exciting sci fi adventure.


To discover more about Ascending, visit https://openroadmedia.com/ebook/ascending/9781497612259

To find out more about James Alan Gardner, visit https://jamesalangardner.wordpress.com


Reviewed by Derek Newman-Stille, MA, PhD ABD (They/Them)

Disability and Identity in a Changeable Universe

A Review of James Alan Gardner’s Hunted (HarperCollins, 2000).

By Derek Newman-Stille

Edward is a man with an intellectual disability who grew up being treated as a child by his sister and as an embarrassment by his father. He was taken under the claws of the queen of the Mandasars, a race of strictly hierarchical lobster-like aliens until their planet went to war. He was then made part of the Explorers, who are better known as Expendables because they are sent into risky situations that no one else is sent into. The Expendables are all made up of people with disabilities and “disfigurements”, people who didn’t fit into their society’s ideas of beauty, and it is because of these disabilities that the Explorers are treated as expendable people. James Alan Gardner’s Hunted begins with Edward being taken to a new planet but when the entire crew of his spaceship except for him dies as they cross into open space, he is placed at the centre of several conspiracies with galactic consequences and implications for what it means to be human. As Edward’s body and mind begin to change, he comes face to face with his own identity and questions what it is to be himself and who he is as his selfhood becomes unfamiliar.

Hunted, much like Gardner’s Expendable is an exploration of disability and what it means to be disabled. Few authors examine disability in future settings, erasing the idea of a future for disabled people. Most science fiction authors treat the future as a period in time when all disabilities are “cured” and erased. This has implications for the disabled community because this negates the important role we play in our current society and even the possibility of us having a role in our future. Much of Sci Fi’s treatment of disability is eugenicist in nature, treating disabled bodies as ‘mistakes’ that are meant to be rectified out of existence. For disabled readers, this has implications about our identities and reinforces ableist practices and ideologies in our current cultural circumstances.

Although there are some challenges to the way that Gardner constructs disability in Hunted, he powerfully presents disability as an essential part of Edward’s identity and illustrates Edward’s fear of becoming something different and losing his disability. Gardner also recognizes the way that disabled people tend to form our own communities and Edward is placed in the context of other disabled Explorers Festina Ramos (who has a reddish mark on part of her face) and Kaisho (who is a wheelchair user and has a symbiotic relationship with sentient glowing moss). Characters have complicated relationships with their disabilities just as disabled people do, but both Edward and Festina embrace their disabilities are part of their identities, not wanting to change them.

Hunted in addition to its disability narrative, and perhaps because of this narrative, is a discourse on identity and what makes a person an individual. Gardner questions ideas of individuality and the idea of a stable personality and personhood and instead illustrates that personhood is intensely malleable and changeable and that people are not nearly as independent as we think. In addition to Edward’s identity crisis about who he would be without his disability, Edward also discovers that he has alien DNA, questioning the barriers of his humanity and whether he can consider himself the same person he has always been. His identity is shaken by changes in his body that make him question himself. Kaisho is similarly presented as a question in individualism and identity as someone who is human, but whose body and mind are symbiotically connected to sentient moss that is considered a more advanced and more intelligent life form. Gardner invites the reader to question where one being ends and the other begins. In addition, Gardner brings attention to questions of identity and individuality by presenting us with the Mandasars, a race of beings that have an insect-like relationship to authority and hierarchy. Their entire society is controlled by their queen through pheromones that immediately overpower most of their sense of will, and, additionally, each of the Mandasar social/biological subsets needs to be in contact with the other two subsets or they will change their personalities – for example, workers kept amongst workers will become so complacent that they become slavish and warriors kept among warriors will become more war-like and violent, and gentles will become sociopathic individuals who privilege science over anything else.

Hunted plays with ideas of identity and examines the barriers of individualism while illustrating that those barriers are not as firm as we like to believe.


To find out more about Hunted, visit https://openroadmedia.com/ebook/hunted/9781497627321

To discover more about James Alan Gardner, go to https://jamesalangardner.wordpress.com


Review by Derek Newman-Stille, MA, PhD ABD (They/them)

Alien Found Family

A review of Julie Czerneda’s Changing Vision (Penguin Random House, 2016)

By Derek Newman-Stille

Julie Czerneda’s Changing Vision is a tale of found families across space. Esen is the past of her species, the final member of her Web. This could leave her isolated and alone in a massive universe, but, instead, she finds a human companion, Paul, who bridges the species divide and proves that friendships can be incredibly powerful.

Czerneda focuses her space opera on the ability of people to create family even out of the completely alien and challenges ideas of family that are limited to biological or legal relations. This is a friendship that not only survives the species divide, but survives war, intrigue, lies, and torture.

Changing Vision is a tale of diplomacy in the face of warring species that deny the sentience of each other, espionage, xenophobia, and space battle, but it’s quintessence is the power of cross-species friendships as ways to create family and a sense of home for an alien shapeshifter who at times feels like she has neither as the last member of her species.


To find out more about Changing Vision, go to https://www.penguinrandomhouse.ca/books/332604/changing-vision-by-julie-e-czerneda/9780756411954

To discover more about Julie Czerneda, go to https://www.czerneda.com


Review by Derek Newman-Stille, MA, PhD ABD (They/Them)

Galactic Anthropology

A review of Julie Czerneda’s “Beholder’s Eye” (Penguin Random House, 2016)

By Derek Newman-Stille

In Beholder’s Eye, Julie Czerneda explores the possibilities of consciousness in varying shapes and forms. From pig-like creatures who communicate by clicking their hooves and by emoting smells to canid-like beings, to large cat-like beings, to a puddle of goo, Czerneda explores the diversity of bodily possibilities and envisions their impact on consciousness and culture. She examines the impact of herd mentalities on sentient life forms, and the pull of herd instinct along with conscious thought, and envisions possibilities for sensory differences and the intellectual possibilities that come from sensory diversity. As always, communication is key to Czerneda’s narratives and she explores cross-species interactions and cross-pollination of ideas within different environments.

Beholder’s Eye focusses on the narrative of Esen-alit-Quar, a member of an extremely rare shape-shifting species in a universe that doesn’t believe that there are shape-shifters. Esen can take on the form of any sentient being and Czerneda uses this ability of her character to bring the audience into multiple different possibilities for consciousness and it’s relationship to the body. Czerneda often has a fascination with ecosystems and the diversity of life, so a creature that shifts into multiple shapes allows for her to take the reader through an examination of what consciousness could mean as well as allowing us to imagine the way that different bodily forms and ecosystems could produce different cultures.

Esen-alit-Quar is not only the perfect figure for examining the relationship between body and culture because of her ability to shape-shift, but also because of her species imperative to preserve the memories of sentient beings and sample their cultures. She is the ultimate anthropologist, able to not just study a culture from the outside, but shift her body to examine it as an insider.

With Beholder’s Eye, Czerneda not only creates a fun galaxy-spanning science fiction story, she creates speculative anthropology, bringing her readers into an exploration of cultures, bodies, and potentialities.


To discover more about Beholder’s Eye, visit https://www.penguinrandomhouse.com/books/332164/beholders-eye-by-julie-e-czerneda/

To find out more about Julie Czerneda, visit https://www.czerneda.com


Reviewed by Derek Newman-Stille, MA, PhD ABD (They/Them)

Heroes and Gods

A review of Silvia Moreno-Garcia’s Gods of Jade and Shadow (Del Rey, 2020)

By Derek Newman-Stille

Gods of Jade and Shadow is a discourse on the Hero’s Journey while it also serves to disrupt that cycle. Silvia Moreno-Garcia presents readers with a girl in a fairy tale circumstance, being used and abused by her family. But Cassiopeia doesn’t seek out a prince who will rescue her from household drudgery, instead she craves her own adventures. She keeps a little collection of magazine cut-outs showing aspects of the life she wants to live, but hides them from everyone, almost burying them from herself because she considers them so precious.

When she is left alone with her grandfather’s key, she opens up a world of new possibilities by awakening a Mayan god and binding him to her. She becomes part of a mythic narrative, conscribed to the role of the hero, a plaything of the gods. Here Cassiopeia also resists her role, not willing to just follow the edicts of the god that is tied to her but instead being a shaper of her own destiny and possibly a shaper of the destiny of the gods who are trapped in her orbit.


You can find out more about Gods of Jade and Shadow at https://www.penguinrandomhouse.com/books/577066/gods-of-jade-and-shadow-by-silvia-moreno-garcia/

You can discover more about Silvia Moreno-Garcia at https://www.silviamoreno-garcia.com/blog/


Reviewed by Derek Newman-Stille, MA, PhD ABD (They/Them)

Primordial Futures

A review of Amanda Leduc’s The Centaur’s Wife

By Derek Newman-Stille

Heather and Tasha are both storytellers. Both weave tales for their own needs. When meteors fall and humanity is left starving and disoriented, Heather carries on her father’s tradition of telling fairy tales to create a more magical life while Tasha keeps telling others the bigger fairy tale – that they can all survive. 

In The Centaur’s Wife, Amanda Leduc reveals the power of storytelling, necessary lies, and complicated truths. She reveals the human need to create stories and the transformative power of the tales we tell. Part apocalyptic fiction, part myth, and part collection of new fairy tales, The Centaur’s Wife demonstrates Leduc’s versatility and brilliance as a storyteller. 

The Centaur’s Wife is a tale of the liminal, the between, and not just because centaurs are half human and half horse. Leduc tells a story about outsiders, edgy Others who belong neither completely to one world or another. Leduc reveals the power of not belonging, of existing outside the order imposed by those in power. Her characters question easy categories and simple social structures, revelling in complexities. They disrupt norms and it is through this disruption that they invite in new possibilities.

To discover more about The Centaur’s Wife, visit https://www.penguinrandomhouse.ca/books/551899/the-centaurs-wife-by-amanda-leduc/9780735272859

To find out more about Amanda Leduc, visit https://amandaleduc.com

A review by Derek Newman-Stille, MA, PhD ABD (They/Them)

A New Tool for Story-Writing

A review of The Story Engine by Peter Chiykowski

By Derek Newman-Stille

Earlier this year, I came across a kickstarter that I just had to support. In addition to my work on Speculating Canada, I teach writing classes, so I am always on the lookout for new and exciting ways to teach. I have a particular interest in teaching through games and play. So, when I saw the Kickstarter for The Story Engine by Peter Chiykowski I thought it would be a fun way of engaging my students in another method of storytelling. The Story Engine involves a set of cards that can be used for writing inspiration. They are divided into multiple different types of cards that are meant to be used together: agent cards, engine cards, anchor cards, conflict cards, and aspect cards. Together they make up fundamental parts of a story and allow for the development of writing prompts.

I bought The Story Engine itself as well as the many booster packs that come with it. These include: horror, fantasy, science fiction, eldritch horror, dystopian fiction, post-apocalyptic fiction, mythology, cyberpunk, and steampunk. The booster packs can either be used separately for genre stories or mixed in with the main Story Engine to give different flavours to the original stories.

If you are more of a visual person, each card also comes with an image that can either enhance the language of the card or provide you with some visual inspiration. As someone who collects images for my stories, I thought this was a powerful starter for those who enjoy image-based story development.

I have spent most of the day playing with these various decks in The Story Engine and have found them incredibly fun and a great way to get creative ideas flowing. I think The Story Engine will be a powerful teaching tool, especially around genre fiction and will allow students to engage differently with aspects of the story. The different categories of cards such as agents and engine cards will help students to think about the various aspects of story like characters, motivations, drive, and conflict. The cards also seem like a powerful tool for getting through writer’s block and the playful aspect of it takes off some of the stress associated with being blocked.

I wanted to share some samples of writing prompts that I have created using The Story Engine to illustrate the adaptability and fun of the deck:

– An underworld God wants to save a loved one by using a hardwired cult, but they will likely lose their life.

– A corporate addict wants to gain the power of a gilded drop of blood, but they will lose part of their humanity.

– An arcane teacher wants to stop being haunted by a rave, but they will lose their closest friend.

– An oracle wants to save the world from a protective mecha but it will mean forever living a lie.

For these prompts, I mixed in the booster packs with the original deck and then just drew them at random. It felt like a fun way to develop some strange and unique stories.

If you are interested in checking out The Story Engine you can access it at https://storyenginedeck.myshopify.com/

To find out more about Peter Chiykowski visit https://lookitspeter.com


If you are interested in checking out The Story Engine you can access it at https://storyenginedeck.myshopify.com/

If you are interested in checking out The Story Engine you can access it at https://storyenginedeck.myshopify.com/


A review by Derek Newman-Stille, MA, PhD ABD (They/Them)

Living Through Fairy Tales

A review of Nathan Frechette’s “Cinderfella” in Whispers Between Fairies (Renaissance, 2020)

Nathan Frechette’s “Cinderfella” is a biotext, a story of Frechette’s own body and transition told through fairy tales. Frechette explores the way that fairy tales have shaped his life, from providing a world away from a harsh outside world when he was young to providing a text of transformation while he was going through his transition.

Frechette illustrates the need for more Trans fairy tales, especially since his tale explores the pain of transformation and the worse pain if he wasn’t able to transform. He reveals “Fairy tales and fantasy were such a safe world for me; tales of transformation in particular gave me hope that someday I could grow into myself, that someday I might find my true body, my selkie skin, that a blue fairy would descend from the skies and make me a real boy”. He explores the idea of a selkie skin, an image he also explored in his story “Skin” in Over the Rainbow (Exile, 2018). A selkie is a creature from Irish and Scottish lore who is a human who wears the skin of a seal. If this skin is stolen, the Selkie becomes under the power of the person who steals that skin and becomes their obedient and powerless partner. This notion of shedding and returning skin is a powerful one for Frechette, allowing for the examination of the way gender, body, and identity are intertwined with social expectation and social control. Frechette uses the image of the selkie to explore his own transition, interweaving this with the image of Pinocchio’s magical transformation by the blue fairy.

However, Frechette also examines the pain and work of transformation. He observes that “Just like a fairy tale, though, everything came at a price. There were trials, and I had to prove my worth, mostly to myself. Just like the little mermaid, I had to sacrifice my voice and endure pain as my transformation got underway. Just like Pinocchio, I had to struggle through the lies I told myself to find my truth and be worthy of change. Just like Cinderella’s prince, I had to see through the appearances and misconceptions of the world to find and embrace my love”. Transformations and transitions both take time and come with barriers and new ways of looking at the world.

“Cinderfella” is a tale of self discovery and the magic of seeing fundamental truths about oneself. Frechette says “There once was a little boy whom no one could see. All who looked upon him could only see the girl he appeared to be. The illusion was so complete that even the boy could not perceive his true nature, only a sense of discord and discomfort with his false skin, and an uncontrollable, unfathomable, and ever-growing rage”. Frechette powerfully describes the pain of dysphoria and the internal conflict inside of himself before he transitioned.

In “Cinderfella”, Nathan Frechette writes his own body through fairy tale, using ideas of transformation from multiple fairy tales to weave them through his own narrative and in some ways his own body. The act of rewriting is a powerful one for Trans authors, a way of articulating one’s own identity where society had originally written a different identity upon our bodies. In “Cinderfella”, Frechette rewrites not only the fairy tale traditions he draws upon, but the texts that have been written over his body in the past and through this weaving of tales, he articulates himself.


To discover more about Nathan Frechette, visit his website at https://nathancarofrechette.ca

To find out more about Whispers Between Fairies, visit https://renaissance-107765.square.site/product/whispers-between-fairies/197?cp=true&sa=false&sbp=false&q=false&category_id=2

Reviewed By Derek Newman-Stille, MA, PhD ABD (They/Them)