O, wonder! How many goodly creatures are there here!

O, wonder! How many goodly creatures are there here!

A review of Kate Story’s This Insubstantial Pageant (ChiZine Publications, 2017)

By Derek Newman-Stille

A fan of both Shakespeare and science fiction, Kate Story remaps the Bard’s play The Tempest onto the stars, exploring the otherworldly potential of the tale by placing it on another planet in a distant future. Frequently, Shakespearian adaptations situate the Bard’s tales in the past or in a slightly altered present, but Story imagines the potential for Shakespeare’s works to take to the stars, exploring the adaptability of his plays and their ability to speak to a fundamental human nature.

The Tempest is a tale set on an island and the stars represent a powerful space for imagining isolation and insularity. This Insubstantial Pageant is able to examine a fundamentally alien environment by setting the tale on a distant planet and therefore captures the sense of alienness that Shakespeare’s island narrative was able to do – exploring a space where there are different customs, different bodies, and experiences that challenge human centrality. Kate Story’s planet is one that is primarily filled with plant life and occupied by a group of sentient plants.

This Insubstantial Pageant reimagines the themes of Shakespeare’s play to explore modern issues that are linked to notions of futurity, shifting family and political alliances to corporate ones, exploring a world of corporate power. Instead of magic as the Pandora’s box that Prospero opens, Prosperina opens the doors of genetic experimentation, altering genomes and biologically changing the inhabitants of this distant planet so that they can interact with humanity. Rather than monsters being created through an otherworldly magic, in This Insubstantial Pageant, monsters are created through contamination by human genetic material, revealing that (unlike in Shakespeare’s story) it is not the Other that we should fear… but, rather, the human. We are the ones that contaminate. She expands on the alien quality of Caliban by transforming him into an actual alien Kaleeban… but his aggression, his ‘savageness’ is not through his lack of Western cultural influences as in Shakespeare’s tale, but rather it is because of his human elements, because he has been made to be more like us.

Kate Story disrupts some of the colonial qualities of Shakespeare’s tale by not creating a meeting of civilization and barbarity, but instead noting that humans carry both with them and observing the damage that our colonization can do. It is Prosperina’s genetic altering of the planet she occupies, an act done to reshape a world to fit her needs, that is ultimately her downfall.

To discover more about the work of Kate Story, visit http://www.katestory.com

To discover more about This Insubstantial Pageant, visit ChiZine Publications’ website at https://chizinepub.com/this-insubstantial-pageant/

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Slavic Myths and Human Monsters

A review of David Demchuk’s The Bone Mother (ChiZine, 2017)
By Derek Newman-Stille

David Demchuk’s The Bone Mother brings together snippets of strange lives into a tale that hints at connections between these individual stories and provides shadows of a larger narrative tying them together. Each of Demchuk’s tales ties in with a snapshot shown at the beginning of the story and diverts into the mythical, magical, mysterious, and monstrous. These images of the normal are interrupted by tales that Other them, transforming them into something complex and uncertain. The unexpected is a stream that runs through Demchuk’s narratives, complicating them to illustrate the way that stories always hold complex truths that are always part fiction.

The Bone Mother features fairy tales turned dark and infused with the mechanical, featuring an ever present factory standing as a symbol of industry intersecting with myth to create a landscape of smoke and shadow. Demchuk tells tales that connect the mythic to industry, proving that the mechanical can’t fully succeed in chasing the creatures of the human imagination back into the dark, and may, in fact, give them a space to thrive. The Bone Mother brings together Rusalka, ghosts, golem, mirror monsters, Baba Yaga figures, and other manifestations of Slavic myth and makes these figures into family secrets, hidden differences that dwell in the blood rather than the imagination. He ties these fairy tale figures in with circus freaks and those who defy social and biological norms, bringing out the diversity of the human form. The most dangerous quality of this mythical world is normalcy, which tries to turn everyone into simple, uncomplicated forms, denying diversity. All of these figures who could be called monsters only serve to show a mirror to humanity, illustrating that we are the monsters for trying to enforce conformity. 

To find out more about The Bone Mother, visit ChiZine Publications at http://chizinepub.com/the-bone-mother/
To discover more about David Demchuk, visit http://daviddemchuk.com/ .

Who Are You? 

A review of Jerome Stueart’s The Angels of Our Better Beasts (ChiZine, 2016)
By Derek Newman-Stille

Jerome Stueart’s The Angels of Our Better Beasts is a struggle between the multiple aspects of human identity. It’s cover evokes the Governor General award winning Marian Engle’s Bear, a tale about the encounter between human civilization and the wild, and Stueart’s collection is also one about the clashing of different definitions of what it means to be human, including a relationship between a woman and a bear. These are tales that question what it means to be human.

Stueart’s own struggles for self discovery are laced through these tales, rich with questions about religion, queer identity, the search for home, and the desire to find a place in a world that likes to ignore those it oppresses. These are tales about the quest for that ineffable thing that we call “home”, a place of belonging, comfort, and acceptance that is hard to find, and this search drives these stories out into the depths of space, into realms of fantasy, and into the dark depths at the root of the human heart. These are tales of wandering and wanting, questing tales that have uncertain endings, telling readers that stories shouldn’t have easy endings, but should be things open to interpretation, to speculation, and to wonder. 

These tales explore the slipperiness of identity, the fluidity of the human experience and the changes we human beings undergo regularly in our quest to find ourselves. Stueart tells us that our quest to find ourselves will never be complete because what we ARE is always changing, always slipping away and becoming something else. His tales are stories of complexity and uncertainty, things that define the human experience far more than an easy question of “who are you?”. 

Stueart weaves stories ABOUT stories and about art into his narratives because these are the best methods of asking deeper questions. He explores the power of the artistic to push the imagination and open up new questions. Populated with vampires, werewolves, gryphons, gods, and cryptozoological inquiry, these tales are ultimately about the nature of humanity and the way that we all contain little drips of monstrous ichor within us… and maybe those monstrous drops are kinder than our human nature.

To find out more about Jerome Stueart’s work, visit https://jeromestueart.com

To find out more about The Angels of Our Better Beasts and other ChiZine publications, visit http://chizinepub.com

Godly Love Story

A review of Jerome Stueart’s “Brazos” in The Angels of Our Better Beasts (ChiZine, 2016).
By Derek Newman-Stille

Mythology is filled with love stories between a human being and a god. These stories are generally told from the perspective of the beloved of the god… and generally they don’t turn out well for the human being with mortals transformed into trees, driven mad, or abandoned. Jerome Stueart’s “Brazos” takes a different perspective, providing a meeting of fathers – the father of a god, and a farmer, who is the father of a young woman getting ready to go to college. This is a modern myth playing with ancient traditions, and those traditions are encoded in the way that the fathers speak to each other about the relationship between their children.

Stueart sets his story in a modern American setting, adding a new setting to an old myth and playing with the power of myth to speak to multiple audiences. His farmer is an American self-made man, not trusting anything he didn’t build himself, and this gives him an instant distrust of the easy success of a god. He recognizes the history of gods mistreating their mortal lovers and wants better for his daughter, asking why humans have to make all of the sacrifices for gods and questioning whether this will allow for a deeper relationship if the god gives nothing and the mortal gives everything.

Stueart brings attention to power dynamics in relationships, inviting a questioning of relationships and assumed sacrifices. He uses myth to bring attention to the way that traditions are mythical and need to change under new circumstances, needing to be as transformative as the gods of these myths and their mortal lovers.

To find out more about Jerome Stueart’s work, visit https://jeromestueart.com
To find out more about The Angels of Our Better Beasts and other ChiZine publications, visit http://chizinepub.com

Drawing Attention to Oppression

A review of Jerome Stueart’s “You Will Draw This Life Out to Its End” in The Angels of Our Better Beasts (ChiZine, 2016)
By Derek Newman-Stille

As much as Jerome Stueart’s “You Will Draw This Life Out to Its End” is a love story between an artist and a man involved in the mining union of a distant moon, it is a commentary on the power of art to bring attention to issues of oppression. Renault relies on his celebrity status as an artist to bring issues of oppression of miners to the attention of the solar system, pointing out that they rely on people skilled in mining for their water and air, but don’t guarantee the safety of miners. 

Through painting the lives of everyday people, Renault gains an understanding of the struggles that miners are expected to go through and the lack of support they have to survive in hostile conditions. He refuses to leave their mining colony because he realizes that his celebrity status means that certain protections are provided to the colony that wouldn’t be if he weren’t there. Renault engages in a form of Artivism – art-based activism – to advocate for safer conditions for the miners by first illustrating their everyday lived experience and letting the solar system see the conditions they live under, illustrating their humanity, and by making the miners art themselves, transforming their lives into powerful stories about human ingenuity and survival. 

Stueart brings attention to the role of art in sharing under-represented stories, making marginalized people’s lives noticeable in a world that likes to pretend that oppressions don’t exist, and the transformative power of art.

To find out more about Jerome Stueart’s work, visit https://jeromestueart.com

To find out more about The Angels of Our Better Beasts and other ChiZine publications, visit http://chizinepub.com

Speculating Canada on Trent Radio Episode 61: An Interview with Kelly Robson

In this episode of Speculating Canad on Trent Radio, I have the opportunity to interview Kelly Robson. We discuss the social power of speculative fiction to promote change, the excitement of writing James Bond fiction, writing communities, the disappearance of aboriginal women in Canada, social activist fiction, feminism, and queer fiction.

You can listen to this episode of Speculating Canada on Trent Radio at the link below.

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This audio file was originally broadcast on Trent Radio, and I would like to thank Trent Radio for their continued support. I would also like to thank Dwayne Collins for his consistent tech support and help with the intricacies of creating audio files.

Make sure to allow a few minutes for the file to buffer since it may take a moment before it begins to play.

To discover more about the work of Kelly Robson, visit her website at http://kellyrobson.com/

 

Speculating Canada on Trent Radio Episode 49: An Interview with Vincent Marcone

In this Episode of Speculating Canada on Trent Radio, I conduct an interview with author/artist Vincent Marcone. Vincent Marcone’s graphic novel “The Lady Paranorma” (ChiZine Publications, 2015). I had a chance to see some of Marcone’s artwork at Fan Expo Canada and wanted to talk to him both about his writing and his artistic work and the integration of art and writing in “The Lady Paranorma”. Marcone and I discuss perspective, art, the power of folklore narratives, the relationship between text and image, the power of darker narratives in folklore, the nature of queer fiction and LGBTQ stories, and challenging cultural assumptions about graphic novels.

You can listen to this episode of Speculating Canada on Trent Radio at the link below.

Explore Trent Radio at www.trentradio.ca

Explore Trent Radio at http://www.trentradio.ca

This audio file was originally broadcast on Trent Radio, and I would like to thank Trent Radio for their continued support. I would also like to thank Dwayne Collins for his consistent tech support and help with the intricacies of creating audio files.

Make sure to allow a few minutes for the file to buffer since it may take a moment before it begins to play.

You can explore Vincent Marcone’s work at http://www.mypetskeleton.com/ and discover more about his graphic novel “The Lady Paranorma” at http://chizinepub.com/books/lady-paranorma