No More Magical Cures

No More Magical Cures

A Review of Jamieson Wolf’s “The Descent” in Nothing Without Us edited by Cait Gordon and Talia C. Johnson (Renaissance Press, 2019)

By Derek Newman-Stille

Jamieson Wolf’s “The Descent” explores a trope of disability that is often apparent in fantasy literature – the Magical Cure. Frequently, this trope is used because abled authors can’t imagine the possibility of someone being disabled and still being able to live a happy life, so the author writes away the disability in one pen stroke. The Magical Cure trope isn’t limited to actual magic. It is also used for the instant scientific inventions or the writer has the character conquer their disability with willpower (both incredibly offensive tropes). Wolf takes on this constant representation of the Magical Cure trope by having his narrator  Jefferson deal with magic and his own magical abilities.

Jefferson learns magic to try to gain the ability to get rid of his disability. Instead, he separates his disability into a separate individual, and personifies it under the name Max Shadow. When Jefferson has to descent down a flight of stairs (Jefferson’s real arch nemesis) to an oracle that is supposed to be able to give him the tools to erase his disability, Jefferson ends up not fighting Max Shadow, but instead fights his own internalized ableism that has resulted in his desire for a Magical Cure.

“The Descent” is a powerful story that involves the intersection of disability and queer identity and Wolf is able to weave his story with a bodily experience that is shaped from his own queer, disabled identity. His story is about ideas of desire and desiring, an idea that frequently arises in queer literature, but rarely in Disabled literature, and Wolf is able to examine the critical question of what it means to desire disability – to not just reject it or seek to erase it, but instead to embrace disability.

To find out more about the Magical Cure Trope, check out my Disability Tropes 101 post on Dis(Abled) Embodiment https://disabledembodiment.wordpress.com/2019/10/22/disability-tropes-101-the-magical-cure/

To find out more about Jamieson Wolf, go to https://jamiesonwolf.com

To discover more about Nothing Without Us, visit https://nothingwithoutusanthology.wordpress.com and to buy your own copy, go to Renaissance Press’ website at https://renaissance-107765.square.site/product/nothing-without-us/117?cp=true&sbp=false

A Fantasy Trans Memoir

A Fantasy Trans Memoir

A review of Kai Cheng Thom’s Fierce Femmes and Notorious Liars: A Dangerous Trans Girl’s Confabulous Memoir (Metonymy Press, 2016).

By Derek Newman-Stille

Kai Cheng Thom decided to include the word “Memoir” in the title of her book Fierce Femmes and Notorious Liars: A Dangerous Trans Girl’s Confabulous Memoir, yet she also cleverly weaves fantasy elements into her text, telling stories about the death of the last of the mermaids, the mythic First Femme, ghosts, and a magical Trans woman who casts spells on her sisters. She weaves fairy tales into her “memoir”, revealing the problems of Cinderella narratives for Trans women, discussing doctors who are so unlike fairy godmothers (always wanting something in return for their transformations), telling tales of goddesses, escapees from towers that trap them, and the magic of the everyday.

Kai Cheng Thom’s Fierce Femmes and Notorious Liars: A Dangerous Trans Girl’s Confabulous Memoir is meant to complicate the idea of memoir itself, and especially the tropes of the “Trans Girl Memoir”, which is so often about a person discovering that they are Trans, leaving her home and ending up suffering on the street, becoming the victim of abuse. Thom’s Trans memoir is one filled with magic, but it is also about fighting back – about never being a victim and about coming together as a community to protect each other. Her tale evokes the magic of connections with other Femmes.

She tells her tale through prose and poetry, through letters and dramatic scripts, and through sharing the histories of other Trans women on the street (often narrated by someone else). Her narrator is someone who hungers for their stories like we do as the reader, but she also filters those stories through her own knowledge, her own craving for a place to belong and a people to belong with. Yet, despite her craving for belonging, we are told that the narrator is an escape artist, and, perhaps she even escapes from the text in a way, leaping from the simple veracity of the mundane world and into a space where fantasy is a more powerful truth than Truth.

This is not a Trans woman’s memoir. This is a story about stories… about our need for stories. Its a story about the fact that there are stories behind the stories that are told. It is a collection of myths from the street, urban myths. It is a collection of truths. Kai Cheng Thom complicates the idea of Truth in Fierce Femmes and Notorious Liars: A Dangerous Trans Girl’s Confabulous Memoir, teaching us that some fictions speak greater truths than works that claim to be collections of truth. She teaches us that in the act of storytelling, we transform ourselves, and in the act of hearing, we create community. She shares her love of storytelling with us as readers, reminding us that the veracity of a story doesn’t matter so long as it shares and tells us truths about ourselves through the act of reading.

Kai Cheng Thom uses the word “Memoir” in her title to complicate memoirs – to illustrate to us that there are no simple truths and that truths are always shifting, changing, and transforming. She illustrates that life is a fantasy made up of our collective stories interweaving with each other and creating magic.

Thom’s narrator tells us “Someday, I’m going to gather up all of the stories in my head. All the things that happened to me and all the things I wish had happened. I’m going to write them all down one after the other, and I’ll publish a famous best-selling book and let history decide what’s real and what’s not.” This is a tale that invites the reader into the process of truth-making, using the term “memoir” to invite questions about what is true and to whom.

To discover more about Kai Cheng Thom, visit her website at https://kaichengthom.wordpress.com

To discover more about Fierce Femmes and Notorious Liars: A Dangerous Trans Girl’s Confabulous Memoir, visit https://metonymypress.com/product/fierce-femmes-notorious-liars-dangerous-trans-girls-confabulous-memoir/

Mute Power

Mute Power

A review of Savannah Houston-McIntyre and Andrew Hewitt’s Amya Vol 1 (2014)

By Derek Newman-Stille

Amya Vol 1 is a fantasy tale of mystery and suspense, filled with secrets and magic. It is about two kingdoms on the brink of war and the possibility of the return of a divinity who may be able to save everything. This is a tale of a secret, sacred history that is revealed in pieces.

Houston-McIntyre and Hewitt tell a story of a mute noblewoman who has incredible magical potential, the power to create illusions… but there are hints of something more about her personality. Amya touches the lives of those around her, changing them through her contact, but she begins to draw together a group of adventurers who are interested in supporting her. Though Amya is mute, she is not portrayed as defenceless and she is not someone who is seeking a “cure” for her mutism. She is a complex and powerful character.

Amya vol 1 is a tale of political power plays in a world of change, where there is a fight for half-elf rights, where patsies are set up as regicides, where young noblemen escape from family lands, and where myth and reality intersect in forging a new future.

To discover more about Amya and the creators of the comic Savannah Houston-McIntyre and Andrew Hewitt, visit http://www.amyachronicles.com/about/the-amya-team

Who Said Unicorns Were Majestic?

Who Said Unicorns Were Majestic?

A review of Katie Shanahan and Steven Shanahan’s Silly Kingdom: A New Steed Indeed (www.sillykingdom.com , 2105)

People frequently portray unicorns as majestic, gentle, caring creatures… but not the Shanahans. In their comic Silly Kingdom: A New Steed Indeed, The Prince becomes obsessed with the fact that a neighbouring prince, Peatrid, manages to have a pet unicorn where The Prince only has the traditional steed of his kingdom… the llama. Obsessed with beating his rival, The Prince heads out with Markus The Kingdom Jester in search of a rare Nocturnal Black Unicorn.

He quickly discovers that his prey is far less gentle than he had assumed… and far more of a trickster herself. In a set of Wiley Coyote and the Roadrunner-like attempts to catch the unicorn, The Prince and Markus end up realizing that the unicorn they are searching for has a wicked sense of humour and a lot of attitude.

Like their first Silly Kingdom comic, Katie and Steven Shanahan combine the magical with the hilarious, bringing the reader on a ridiculous adventure into a world of mishaps and magic. In this second comic, the Shanahans focus even more on the visual than they had in their first comic, stepping away from the conversion from radio play to graphic medium and instead getting into the storytelling power of images. They allow the images on the page to tell their own stories, relying on the power of expressive faces to reveal their own internal narrative and set the tone for dialogue that is used.

To find out more about Silly Kingdom: A New Steed Indeed and the work of Katie and Steven Shanahan, visit http://sillykingdom.tumblr.com/about

Wiley, Weird, and Wizardly

Wiley, Weird, and Wizardly

A review of Katie Shanahan and Steven Shanahan’s Silly Kingdom: Alengrimrickshaw’s 211th Birthday (www.sillykingdom.com, 2011)

By Derek Newman-Stille

I just got back from the Toronto Comic Arts Festival (TCAF) and one of the first things that caught my attention was a short comic by Katie and Sreven Shanahan called Silly Kingdom.

As adorable as it is hilarious, Silly Kingdom: Alengrimrickshaw’s 211th Birthday is a tale of the magical in the mundane. It is a story of magical mishaps and jealousy by a 211 year old wizard who is jealous of a jester who performs magic tricks as part of his act. Katie and Steven Shanahan’s playfulness suffuses every page of this short comic involving an overly optimistic princess and a prince who enters far too easily into existential crises. This is a cute, fast paced, and exciting comic that brings humour and the fantastic together.

Silly Kingdom: Alengrimrickshaw’s 211th Birthday was originally a radio play that was adapted into graphic form, providing a fascinating view on the process of converting a tale from one format to another. One would think this would create a text-heavy comic, but the Shanahans have been able to adapt the story effectively to graphic novel pacing. The story is as much told by the hyper-expressive facial features and exuberance of movement by the characters as it is by the dialogue.

To discover more about Silly Kingdom: Alengrimrickshaw’s 211th Birthday and about the ongoing work of Katie and Steven Shanahan, go to http://sillykingdom.tumblr.com/about

Planets Contaminated

A review of Crystal Yates’ “Earthsong” (Overmorrow Media)
By Derek Newman-Stille

“Earthsong” is an incredibly beautiful and chilling fantasy graphic narrative. Crystal Yates plays with light and images of fabric to create a comic that, while dealing with serious issues, also feels like a warm blanket wrapped around the reader. 

Crystal Yates’ “Earthsong” is an interplanetary fantasy where the planets themselves take on life and consciousness. Some of these planetary spirits interact with their creations, their children, but most have been content to sleep. Many of them have slept right through a crisis that has been happening throughout space and on their own surfaces. A contamination has leaked onto the surface of planets that attaches itself to various of the planet’s sentient children and, if unchecked, will destroy the lifeforce of the planet itself.

The planets got together to deal with what was occurring and decided that the best way to solve the issue of contamination is to remove contaminated people from their planet and place them on a new planet and the planet who named herself Earthsong has become a host for all of this misplaced travellers. These planet children end up on Earthsong without their memories, dropped into a complex battle they know nothing about.

Yates explores ideas of quarantine, contamination, the loss of selfhood, and the desire to learn about oneself in “Earthsong”, creating a narrative about planetary contamination that isn’t about pollution but reminds us of the fragility of our place on our planet nonetheless.

To find out more about Earthsong and read some of the online comic, visit http://www.earthsongsaga.com

Speculating Fantasy

Speculating FantasyBy Derek Newman-Stille
Fantasy fiction is frequently viewed as an escapist form of fiction, one whose sole purpose is to provide a retreat from reality. Even people who advocate for the importance of fantasy tend to treat it as being important solely for its ability to provide an escape from reality. However, fantasy, like any genre fiction, is produced and created through the social lens of the author who writes it. Authors draw on the events, anxieties, uncertainties, ideas, developments, and issues of the world that they belong to when writing fantasy, converting these contemporary thoughts into symbolic form and writing them onto the canvas of a different world. 
Fantasy is unselfcritically defined in opposition to realism, not seeking to pretend to be based on the real world and therefore it has leeway for addressing issues that are “too real” for realist fiction by converting them into symbolic media, transforming them from issues into ideas. By defining itself as “untruth” – as fantasy – the genre does not lay claim to any single truth or single interpretation, but, instead presents a series of dream-like images. Dreams have symbolic power and blend images together in a way that requires the mind to be actively involved in translating them. 
Fantasy provides a lens for us to examine our own world in abstraction, slightly removed from reality. It is as much a journey as it is a genre, pulling the reader between the pages with an intensity that makes him/her come back to the everyday with a form of culture shock, suddenly viewing the “normal” anew and asking questions about the taken-for-granted qualities of the “real” world. 
In saying that fantasy has the power of reflection (though a distorted mirror) embedded into itself, I am not suggesting that fantasy is without problems. The genre has been based on extreme ethnocentrism, colonial ideologies, racism, sexism, heterosexism, and ableism. But, fantasy still contains that seed of change, that embedded potential that allows for engagement with mythic themes, fairy tale ideas, and the power of imaginative new possibilities. Fantasy could invite questions about the normative gaze, that socially embedded structure that reifies the world into Us and Them, Self and Other by providing a more distant Other, an Otherworldly set of encounters that invite questions about the Self, about what we consider the easy-to-define norms. 
Fantasy operates through the power of estrangement, inviting readers to accept unfamiliar universal rules (planes where magic exists alongside technology, where orcs and elves and goblins are possible, and where it is possible to confront the monsters that lurk in the shadows) and through this process of exploring the unfamiliar, fantasy has the ability to question the familiar, to invite questions about why we accept certain ‘rules’ as universal and instead open the world up to the question “what could be true?” and “what is possible?” 
We return from the adventure of fantasy with quest items that are really questions, speculations that invite us to wonder at the world we return to like our epic heroes/heroines, who once they return, discover that they have been permanently changed by their experience.