Interview with Regina Hansen, August 2020

Spec Can: It’s great to chat with you again Regina. Last time we chatted was a couple of years ago and it will be wonderful to catch up. Can you start out by telling us a little bit about yourself?

Regina Hansen: Sure. I’m a writer and scholar of supernatural subjects. I was born on Prince Edward Island, raised partly there, then in Montreal. I moved to Massachusetts – where my mother’s family lives – when I was a teenager. I live in Somerville, Massachusetts with my husband and three kids. I’ve written a bunch of scholarly work, and some non-fiction for kids, and now have a YA novel coming out.

Spec Can: I am fascinated by the supernatural subjects that you research. Can you tell us a little bit more about those?

Regina Hansen: My scholarly research tends to be based in myth and religion, and how these are reflected in horror/fantasy film and television. I’ve written a lot about angels and demons and have a scholarly collection coming out with Jeffrey Weinstock – his idea – called Satan and Cinema. I’ve also worked on Stephen King – with Simon Brown, and on the TV series Supernatural, with Susan George. And somewhat related I’ve enjoyed writing on A Christmas Carol, on Neo Victorianism and Victorian Medievalism, but all with a mythic slant.

Spec Can: That is a fantastic scope of research. Do you find that your scholarly work informs your creative writing? Is there a lot of crossover in the ideas you explore?

Regina Hansen: I started studying and thinking about myth and folklore when I was very small, and so finding ways to work it into my scholarship was a joy. Of course, at the same time, I’ve always done creative work that makes use of myth and folklore. My upcoming novel combines stories I heard as a child from my Prince Edward Island family, as well as different elements of world mythology. Celtic, of course, because it’s set on PEI, but also going back much further — but that’s kind of a secret for those who end up reading the book.

Spec Can: Your book sounds absolutely amazing. Could you tell us a little bit about it?

Regina Hansen: Sure. It’s called The Coming Storm, and features a 15-year-old apprentice fiddle player named Beatrice MacNeil, or Beet — which is actually the nickname of one of my great-great-aunts, and I always thought it was kind of cool. Anyway, Beet’s older cousin, more like a brother, dies under mysterious circumstances, leaving behind his baby son. Beet decides to be the boy’s protector. This decision becomes much more dangerous when a woman — Marina Shaw — shows up trying to claim the boy.

Meanwhile there are all these tales of a shapeshifting sea creature and a woman who shows up at the sight of drownings and shipwrecks, singing a frightening but seductive song. Beet and her friends have to find a way to protect the baby and get to the bottom of the strange and scary events that have been happening in the town. Beet’s training in music will come in handy, but so will her learning to trust other people.

Spec Can: I love a good sea creature story. What inspired the focus on the sea? Have you had a long fascination with the sea?

Regina Hansen: Yes! The sea is the one place I am always happy.

I think it is being born on an island.

So combine that absolute joy whenever I am at the ocean with a love of folklore and music … that’s where the book came from.

Spec Can: One of my areas of interest is nissology (Island Studies), so I adore discussions of islands. In what way do you think your story is shaped by being an “island story”?

Regina Hansen: First of all it makes use of the geography and some history of a specific island, Prince Edward Island. But also, there’s this general character of island people where everyone tends to know each other and each other’s stories, a whole world in microcosm. I’ve spoken to people from other island about this. I have cousins from Martha’s Vineyard and friends from some of the Hawaiian islands, and you often hear the same thing, same experience of seeing someone in the bank and they say “Oh, are you staying and so an so’s cottage this year?”And you just met the person in the bank.

Spec Can: I love that closeness that islands can bring for people. How about you, personally – how do you think being from Prince Edward Island (PEI) has shaped you?

Regina Hansen: It probably shaped my sense of humour, the turns of phrase I use, the kinds of flowers I like, the fact that I like flowers at all! Seriously, the kinds of baking I do. My grandmother taught me to read and crochet. Spending every summer with my grandparents after we moved away, it helped me to appreciate peace and quiet, and clean air, and knowing when certain plants grow and what the tides are. Not being spoiled. I get a lot of that from both sides of my family, of course, but there are things I can do and that I know about that other people my age don’t know — everything from how to read a recipe using an oil stove to what sound certain birds make.

Spec Can: You mentioned that folk music was an important part of The Coming Storm. Can you tell us a little bit about how music has influenced your book and what inspired you to weave it through the story?

Regina Hansen: First of all, I come from a family of musicians. My father and brother are professional musicians. There are are also many performers on my mother’s side of the family. The kind of music in the book — folk or roots, music, fiddle music — that was something I heard all the time on the Island, on the radio and also live. Also my father has won awards for playing and promoting regional music and has a radio show called Bluegrass Island. There’s vocal music in the book, too. I’m an amateur singer — and have been taking lessons recently — I also used to play the trombone. All of this experience and training went into the book.

Spec Can: That is fantastic! Do you find that there is any Prince Edward Island folklore in the music you have encountered?

Regina Hansen: Yes, there are songs and tunes based on ghost stories and Island legends, like Lennie Gallant’s Tales of the Phantom Ship.

Spec Can: I always love a good ghost story. Could you tell us a little bit about some of the ghost stories you remember?

Regina Hansen: So some of them are very specific to the town where my Dad grew up and around there. There’s one about a woman who waited on a bridge for her son to return from seeing a girl she didn’t like. She died there, and now haunts the bridge — at least that’s what my Dad says. There are stories of people being seen in their homes when they were actually in the process of dying hundreds of miles away — some cultures call that a “fetch” although I never heard that term used. There are stories about the Devil showing up in disguise or of black dogs bringing omens. Some of these I heard from my family. Some were things kids talked about at swimming lessons.

I think you can hear these stories in a lot of places. I just happened to pay attention because like you I love a good ghost story.

Spec Can:You are living in Massachusetts now, have you noticed a difference between the way that ghost stories are told in Massachusetts versus how they are told in Prince Edward Island?

Regina Hansen: Interestingly there are a lot of similarities. There is a long historical connection between Massachusetts and Atlantic Canada.

I owe my existence to it.

Spec Can: Oh, fascinating! Can you tell us more?

Regina Hansen: Well, my parents met when my mother went up to the Island for school. She heard about what was then St Dunstan’s University from neighbours who were from PEI. Somerville, There was a period in the 70s when a third of the population of Somerville was originally from somewhere in the Maritimes. I still know people from Boston to Cape Cod who have family on Prince Edward Island, or in Antigonish or Cape Breton. My family and many others called the US the “Boston States.”

Spec Can: The Coming Storm is a Young Adult book. What got you interested in writing YA?

Regina Hansen: I’ve written all my life, but I focus on children’s and YA supernatural fiction because those were the books I most loved.They were my escape. They made my life better in every way. If I can, I would like to recreate for young readers the joy I experienced reading those books at 11, 12, 13, 14 years old. You know that feeling of hiding a way on a summer evening to read a book, that spiritual lift. I would love my work to do that for a kid.

Spec Can: What would it have meant to you to have a book like yours when you were a teen?

Regina Hansen: Honestly, in some ways I would just like to live up to some of the books I was lucky enough to read when I was a young teen. But I do think I would have liked to have encountered my heroine, Beet, as a teen. She’s strong and sort of vinegar-y. She’s from very limited means and has a lot of responsibility for a young girl, and she just does what she has to do. I personally understand that experience, and I also see in her women like my grandmothers and mother — good hearts in tough packages.

I really appreciate my agent and editor for not pushing me to decentralize the female character. Especially this character.

Spec Can: When is The Coming Storm coming out and how do we find it?

Regina Hansen: The Coming Storm is due summer 2021, so there’s a bit of wait still. It will be published by Atheneum Books for Young Readers, an imprint of Simon and Schuster — and I couldn’t be happier.

Spec Can: Is there anything further you would like to add to our interview?

Regina Hansen: Only that I feel honored to be interviewed about this work.

Spec Can: I want to thank you for a fantastic interview and for taking the time out of your busy schedule to chat with me today. I am extremely excited to read The Coming Storm when it comes out!!

Regina M Hansen is the author of the forthcoming young adult supernatural novel The Coming Storm (Atheneum Summer 2021). She teaches at Boston University and (as Regina Hansen) is the co-editor (with Susan George) of Supernatural, Humanity and the soul: The Highway to Hell and Back, author/editor of Roman Catholicism in Fantastic Film (McFarland 2011) and co-editor (with Matthew Parfitt and Stephen Dilks) of the reader Cultural Conversations: The Presence of the Past (Bedford-St. Martins, 2001). Her recent scholarship has appeared in Science Fiction Film and Television and the anthologies Neo-Victorian Families (eds. Christian Gutleben and Marie-Luise Kohlke, Rodopi 2011) and Fathers in Victorian Fiction (ed. Natalie McKnight, Cambridge Scholars Press, 2011). She is also a contributor to The Ashgate Encyclopedia of Literary and Filmic Monsters (ed. Jeffrey Weinstock, Ashgate 2014), and has reviewed for The Journal of the Fantastic in the Arts.

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

‘Twas The Night Before Krampus

‘Twas The Night Before Krampus
A review of Sam Beiko’s Krampus Is My Boyfriend
By Derek Newman-Stille 

As a folklorist, the figure of Krampus has fascinated me for years. Krampus is the devilish companion of St Nicholas and while the saint passes out gifts to good children, Krampus passes out beatings to the bad ones. He’s got a Pan-like look with goat legs and horns and he often is depicted carrying a switch for beating children and a bag or basket for carrying them away. 

Originally a figure from Austria and the Bavarian regions of Germany, Krampus has gained popularity in North America as the “anti-Santa”, and Sam Beiko’s Krampus from her comic “Krampus Is My Boyfriend” is inspired by that image of the creature. In fact, when the German exchange student at St. Gobnait’s Academy first mentions the demon, she is greeted with the response “he’s the anti-Santa Claus, right?” 

Beiko’s use of the graphic format is a powerful part of the narrative since Krampus is a visually stimulating figure. But, more than just the striking image of the demon himself, Beiko evokes the demon’s character through her comic pages, often featuring chains and vines binding one scene to the next and wrapping them all up in her image of Krampus as a pagan deity that pre-dates Christianity. Her motif of the natural world reinforces the pagan origins of Krampus, making him something connected to the forest even though he operates in an urban environment.

Beiko situates “Krampus Is My Boyfriend” in a tale of teen bullying, connecting the demon to ideas of childhood and youth, but also to ideas of punishment for bad behaviour. The demon is summoned by high school student Olga when she is bullied at her prestigious private high school by wealthier students. She is described as a “bursary kid”, denoting her poverty and is mocked for her weight. 

Beiko plays with the notion of importing a custom from Germanic tradition by having a German exchange student first mention the demon, but also plays with the notion of Krampus expressing something intrinsic to all youth by having Olga call out the Krampus ritual as if she knew it. Beiko explores the notion of traditions extending beyond their place of origin and moving to a new location, which mirrors what has occurred with Krampus as a folk entity. Krampus has begun to be a figure celebrated in American holiday traditions with people gathering at celebrations dressed as the demon, and even importing the tradition of the Krampuslauf (Krampus Run). Beiko explores the way that Krampus in North America occupies a strange space of both tradition and newness, being from another country’s traditions, but, also, new to this region. Beiko reinforces this collision of tradition and newness by having mythical creatures use technology to track Krampus while having this tech connected to trees. 

While drawing on the legend of Krampus, Beiko creates her own mythology – one intimately connected with aspects of science fiction – to create a fascinating new take on the Christmas devil.

To discover more about Krampus Is My Boyfriend, go to http://krampusismyboyfriend.com

Consider supporting Sam Beiko on Patreon at https://www.patreon.com/smbeiko

Find out more about Sam Beiko and her work at https://www.smbeiko.com

These Beans Lost Jack

These Beans Lost Jack

A review of Ace Jordyn’s “The Story of the Three Magic Beans” in Over the Rainbow: Folk and Fairy Tales from the Margins (Exile Editions, 2018)

By Derek Newman-Stille

Do magic beans ever get tired of granting wishes? Do they ever get frustrated with having to fulfill everyone else’s dreams instead of their own? Do they ever crave a normal life without all of that magic where they can just soak up some water, nest in the soil, and get warm in the sun? Ace Jordyn’s “The Story of the Three Magic Beans” answers those questions with a resounding “YES!”. Where Rati Mehrotra’s story took readers into the animal world, Ace Jordyn’s tale brings us into the vegetative world.

Plants and plant products play an important role in fairy tales. They are often catalysts for change and transformation, but they don’t often get the credit they deserve. After all, who would Cinderella be without her pumpkin carriage? Who would Snow White be without the poisoned apple? Who would Jack be without his Beanstalk? Plants are figures of change, which may be why they appear as objects of transformation in fairy tales. They change from seeds, dropping roots into the ground and sending shoots of green up into the air where they feed on sunlight. They change with the seasons, sprouting leaves, bringing them to flower and bloom and sometimes to produce fruit and then letting those leaves change colour, dropping them to decay and becoming bare branches or retreating into the ground in a bulb. The vegetative world winds tendrils through our fairy tales, but often gets ignored. Ace Jordyn centralizes beans – transforming them from passive objects and foods into characters with agency, desires, and figures who go through their own transformations.

The beans of Ace Jordyn’s story not only question ideas about the passivity of plants in fairy tales, they also challenge limited ideas of family by exploring different family structures and ideas for raising young (seedlings). The beans go through their own adventures seeking a place to call home and a sense of belonging while also battling to keep themselves from being eaten, meeting other vegetables, and finding their way through a complicated world.

To find out more about Ace Jordyn, visit http://acejordyn.com

To discover more about Over the Rainbow: Folk and Fairy Tales from the Margins, visit https://overtherainbowfairytale.wordpress.com and visit Exile Editions at https://www.exileeditions.com

A Fable About Overcoming The Odds

A Fable About Overcoming the Odds

A review of Rati Mehrotra’s “The Half Courage Hare” in Over The Rainbow: Folk and Fairy Tales from the Margins (Exile Editions, 2018).

By Derek Newman-Stille

Animals offer a fascinating element to folklore and fairy tales, often grouped into their own category of “animal tales”. These tales often use animals as symbolic representations of human characteristics, hyper-accentuating these characteristics. The animals are anthropomorphised (given human characteristics like speech, human cultural customs, and human behaviours) as part of this rendering of animals into the symbolic realm to speak about human experience. From Aesop’s fables to medieval bestiaries to the plethora of cartoon animal stories, we have been fascinated by our relationship with the animal world and with our belief that animals can reveal something about us and our experiences.

Fables are a form of folk tales that uses animals to convey lessons to people about how to operate in the world. One of the most popular fables is the Tortoise and the Hare, a tale that originated in Aesop’s Fables and conveys the lesson “slow and steady wins the race”. It is a common type of folk tale that explores power structures by illustrating two opponents of differing power (one who is believed to be much more suited to the task at hand, and one who seems underpowered) and by reversing the audience’s expectations about who will succeed and who fail at the task.

Rati Mehrotra’s “The Half Courage Hare” tells a tale many generations of rabbits after the initial contest, exploring a family of rabbits who have lost everything. Mehrotra mixes otherworldly entities into this classic fable who have stakes in the race, providing a potential sanctuary for the all-to-vulnerable animals who are trying to live out their lives close to a farm with a human farmer who likes to hunt.

“The Half Courage Hare” is a tale of the vulnerability of rabbits and the potential of the vulnerable to resist oppression and find new ways of rallying through community.

To find out more about Rati Mehrotra, visit https://ratiwrites.com

To discover more about Over The Rainbow: Folk and Fairy Tales From The Margins, visit https://overtherainbowfairytale.wordpress.com and visit Exile’s website at https://www.exileeditions.com

Not Malfunctioning

Not Malfunctioning

A review of Fiona Patton’s “I Am Not Broken” in Over the Rainbow: Folk and Fairy Tales from the Margins (Exile, 2018)

By Derek Newman-Stille

In our ableist society, disability is treated as a flaw, as a malfunction. In “I Am Not Broken”, Fiona Patton explores the problematic assumptions about disability by abstracting the image of malfunctioning onto a robot who has been deemed to be malfunctional and is preparing for disassembly. By making this parallel, Patton explores the way that our society assumes that disabled people are “broken” and not capable of fulfilling a social role. Patton critiques ideas of bodily conformity by pointing out production lines and challenges ideas of standardized testing by pointing out that it can’t encompass the complexity of individual value. Her tale is a challenge to power structures that try to force a singular normative system and fail to recognize the power of complexity.

Although using a robot for her tale, Patton’s tale is wholly folkloric. She evokes the feel and experience of folklore by using repeated phrases and a cyclical story structure. As much as this is a story about a robot’s transformations and learning about themself, it is also a tale of animals and the teachings that they impart on a wayward traveller.

Patton breaks the bounds of simple definitions of folklore or fairy tales by brining her story into the galactic realm and teasing her story out with science fictional elements.

Patton opens up the potential for empowerment through diversity and of power through communal activities and working together toward resolutions that work for a wider number of people. “I Am Not Broken” is a story of resistance and reflection that invites the reader to expand their understanding.

To discover more about Fiona Patton, visit http://www.isfdb.org/cgi-bin/ea.cgi?796

To find out more about Over the Rainbow: Folk and Fairy Tales from the Margins, visit https://overtherainbowfairytale.wordpress.com and Exile Editions at https://www.exileeditions.com

Skin Deep

Skin Deep

A review of Nathan Caro Frechette’s “Skin” in Over the Rainbow: Folk and Fairy Tales from the Margins (2018, Exile)

By Derek Newman-Stille

Selkies are creatures from Scottish folklore (but also noted in the Orkneys and Shetlands) who are capable of transforming from seal to human by shedding their skin. In many selkie tales, female selkies are stolen from their watery home when a man steals their seal skin and then keeps the skin hidden away, forcing his new selkie bride to do his bidding. These are generally coercive tales where women (or their children) have to escape from the control of the skin thief by finding out where the skin is hidden and stealing it back to disappear into the ocean.

Nathan Caro Frechette reshapes the selkie mythos in his story “Skin”, which plays with the idea of skin and identity, turning the tale into a Trans story of self discovery and resistance. Frechette keeps the coercive element of the tale, but instead abstracts it onto the protagonist’s mother, bringing attention to the way that parents of Trans kids frequently try to control their children’s identities and prevent them from expressing their gender identity.

Using the figure of the Selkie, Frechette examines the way that Trans people are often cut off from the history and culture of other Trans people, exploring the idea that the abundance of cis-gendered (non-Trans) culture and the lack of representation of Trans culture has an impact on Trans youth, particularly as they search for a connection to others in their community.

Frechette, himself a Trans man, examines features of Trans identity through Ron that cis-gendered writers would not have the experiential knowledge of. Frechette examines what it is like to explore the world as a Trans person and examine the oppressions (whether intentional or unintentional) a Trans person experiences through things like misgendering, dead-naming, and erasure. Frechette is able to bring his real world experience of chest binding and feelings about bodily identity into the character. But this is not just a tale of gender dysphoria – Frechette examines the gender euphoria that comes when someone genders us by using our pronouns and names and accepts us for who we are.

“Skin” is a powerful story that tells a Trans tale of transformation and examines the power of folklore and fairy tales for expressing identities that have been traditionally underrepresented. Frechette writes his story to speak to a Trans audience, which is powerful since many people write Trans stories with a cis-gendered audience in mind and he proves that tales don’t need to be written for a cis-gendered audience to speak to a wider public because this tale is a tale that can speak to anyone who has examined their identity.

To discover more about Nathan Caro Frechette, check out his page at https://nathancarofrechette.ca

To discover more about Over the Rainbow: Folk and Fairy Tales from the Margins, go to https://overtherainbowfairytale.wordpress.com or check out Exile publishing at https://www.exileeditions.com

Not Grimm… But Grim

A review of White as Milk, Red As Blood: The Forgotten Fairy Tales of Franz Xaver von Schonwerth – a translation of the ‘lost’ fairy tales collected by Franz Xaver von Schonwerth, translated by Canadian scholar Shelley Tanaka and illustrated by Canadian illustrator Willow Dawson.

Through The Twisted Woods

Not Grimm… But Grim

A review of Willow Dawson and Shelley Tanaka’s White as Milk, Red as Blood: The Forgotten Fairy Tales of Franz Xaver von Schonwerth (Alfred A Knopf Canada, 2018).

By Derek Newman-Stille

When I first read the fairy tales recorded by Bavarian folklore collector  Franz Xaver von Schonwerth, the tales seemed whimsically short and light even though many of the tales featured the grim characteristics of fairy tales like abuse, murder, violence, hunger, and torture. This underscores the power of translation and the influence that it has on the way we read folk narratives. Simple things like word choice, tone, or presentation on the page can shift our readings of fairy tales.

When I encountered Willow Dawson and Shelley Tanaka’s White as Milk, Red as Blood: The Forgotten Fairy Tales of Franz Xaver von Schonwerth, my reading of von Schonwerth’s tales changed drastically, and I attribute…

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Speculating Canada on Trent Radio Episode 67: A Discussion of Sandra Kasturi’s The Animal Bridegroom

In this episode of Speculating Canada on Trent Radio, I explore the folkloric poetry of Sandra Kasturi’s collection The Animal Bridegroom. I explore Kasturi’s poetic re-imagining of several fairy tales and the power of the spoken word.

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.

Putting Monsters on the Map

A review of Kate Story’s “Equus” in Clockwork Canada: Steampunk Fiction, edited by Dominik Parisien (Exile Editions, 2016)By Derek Newman-Stille


Fairy tale collides with steampunk in Kate Story’s “Equus”, where the past and ideas of futurity collide to create an uncertain present. Story narrates the experiences of Sir Sanford Fleming, an inventor known for proposing standard time zones and for his work on surveying and mapping. He is a historical figure who already brings to the narrative a sense of time and landscape, embodying these symbolic media through his own inventions. For Story, he became the perfect character to adapt to her tale, which is fundamentally one about the way that time plays out on a landscape and the way that maps and standardized time zones seek to standardise and explain a world that resists understanding. 

Story explores the power of the relationship between maps and margins and the idea that the more we try to chart and explore things – the more we attempt to rationalize them – the more the irrational reminds us of its existence. While Sanford Fleming is employing a new machine to survey Canada and establish barriers and territories, he is repeatedly haunted by his own past, the life he led before he came to Canada, and spirits of the world that defy the simple cartography applied to our world. History and ideas of progress come into conflict as characters begin to realise that the spreading of railways and communication technology are binding the land, forever changing it by adding elements of the human to natural landscapes. Fleming is forced to face the question of whether there is a price for progress and whether all change can be defined as progress. 

To discover more about the work of Kate Story, visit her website at http://www.katestory.com
To find out more about Clockwork Canada, visit Exile’s website at http://www.exileeditions.com/singleorders2016/clockwork.html
And Dominik Parisien’s website at https://dominikparisien.wordpress.com/clockwork-canada-anthology

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