The Golem of Frankenstein

A review of Chadwick Ginther’s “The Enforcer” in Rhonda Parrish’s Earth: Giants, Golems, & Gargoyles (Tyche Books, 2019).

By Derek Newman-Stille

Chadwick Ginther’s “The Enforcer” is part of a collection on the element of Earth by Rhonda Parrish, titled Earth: Giants, Golems & Gargoyles, yet his vision of the earth is unique. He associates the earth with the things that go in it – bodies. “The Enforcer” is a necromantic tale, a story of raising the dead and challenging the barrier between the living and the dead. It’s about things that rise from the earth.

Ginther’s take is a Frankensteinian story, with a character named Frank who happens to be an assemblage of different body parts. Of course, he isn’t the original Dr. Frankenstein’s famous creature, but he, like the classic monster, is made up of parts of dead bodies. Where Dr. Frankenstein reanimated his monster through science, Frank is resurrected through magic performed by a cult. He is made up of parts of the bodies of multiple soldiers. Frank is a creature defined by his parts, defined by memories and thoughts of multiple different soldiers that intrude on his consciousness. He isn’t one thing. He is always a multiplicity. Frank’s body is shaped by pain and he is constantly in pain. Ginther imagines possibilities for a fragmented life filled with pain for his monstrous hero.

This is a narrative of autonomy and control, exploring what it is like to have control over a body that is fundamentally resistant and what it means to unify multiple minds and resist external control.

Ginther imagines Frank in a way that several scholars have done – picturing him as a golem made of flesh rather than of earth (because flesh becomes the earth and is placed in the earth). For those who haven’t encountered the mythology of the Golem, it is a figure from Jewish folklore who takes on a human shape, but is made entirely from mud, clay, or earth. Often the golem is created to work for someone or achieve a task for them. In Frank’s world, golems are creatures made of earth that often have a dead body at the centre of them. They are figures that are brought to life by necromancers. So although Frank is made of flesh, he has something in common with these figures of earth. Frank is also an artificial body made up of matter.

Ginther centres his narrative in Winnipeg, imagining a magical undercurrent to the city and secret clubs and bars only available to the undead. In this strange underbelly to Winnipeg there are constant struggles over who has control over life and death and Frank finds himself trapped in the middle of these struggles, needing to find a way to survive.

To find out more about Earth: Giants, Golems & Gargoyles, visit Tyche Books at

To find out more about Chadwick Ginther, go to

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

Magic, Mazes, and Math

A Review of Ari Goelman’s The Path of Names (Arthur A. Levine Books, 2013)

Cover photo courtesy of

Cover photo courtesy of

By Derek Newman-Stille

Despite wanting to go to math camp and magic camp, Dahlia is convinced by her parents to attend Jewish camp. It comes complete with everything she would expect – sports, crafts, outdoor activities, friends, Hebrew lessons, and mean girls… and a few things she doesn’t expect – dreams from another person’s memory, sudden knowledge she didn’t possess before, kabbalistic magic, possession, conspiracies, and dead girls. Jewish camp ends up combining the best and worst of math and magic camp with real supernatural events and important magical numbers from kabbalistic literature.

In Ari Goelman’s The Path of Names, Dahlia’s diseffected boredom turns into desperate battle she learns that she needs to solve mysteries both magican and murdrous in order to save her fellow campers. She just wants to be normal, like other kids her age, but she is an outsider not just because she is clever and has an interest in math and magic, but because the magical has an interest in her and the numbers are not in her favour.

Dahlia has to prevent secrets of Judaism from once again being stolen from the Jewish people and used for personal gain.

To read more about Ari Goelman, you can visit his website at . To read more about The Path of Names and other Arthur A. Levine Books, you can visit their website at .

Subversive Summonings

A Review of Claude Lalumiere’s The Ministry of Sacred Affairs (In Here Be Monsters: Tongues and Teeth: Issue Seven, 2012)
By Derek Newman-Stille

In The Ministry of Sacred Affairs, Lalumiere demonstrates his love of questioning social conventions and enforced messages by giving voice to a socially abject figure: the goblin, a figure hated by the public and viewed as a general threat to public safety.

Lalumiere creates a world where the Ministry of the Sacred has dogmatic control, gradually declaring anything that does not fit within its purview as blasphemous and subversive. The world becomes one of fear and isolation where anyone can be viewed as a danger to others, a traitor, or a potential terrorist. Any humanitarian outlook toward those judged to be subversive – whether rendering them aid or voicing concerns for their safety – can be viewed as an act of terrorism itself.

This is a world where secrecy is the most important lesson – keeping things hidden and never revealing too much of yourself, even to friends, family, and lovers. Lalumiere cautions readers about the dangers of giving in to fear of the Other and accepting the government and religious authority message of submission through fear, a government that uses the name of protection to enforce its control. Everything has been made into a threat.

Lalumiere uses the figure of the golem, an animated clay body without a will of its own, an image of the body subjected to total control to question the control that is imposed by religious and political authorities. Family secrets intersect with religious secrets as Leo’s father refuses to share the secrets of the creation of golems with him. But the golem becomes a figure that Leo shares his adolescent secrets with, all of the things that he couldn’t share with others. The golem becomes a manifestation of secrecy, the hidden, the unspoken. The golem becomes a vessel of secrets, of hidden fears, and the concerns that cannot be revealed to a society charged with terror and hatred. Despite being a figure that is designed by virtue of its creation itself as an unquestioning, silent vessel, the golem comes to illustrate the need for social change, the desire to challenge authority, and an image of resistance to the hegemony of fear. Lalumiere’s golem becomes a symbol for members of society without agency or voice. It is the golem who begins the process of standing up for the rights of the oppressed goblins in this society, taking on agency when it is needed to defend others.

Lalumiere unconventionally uses the figure of an old man, a 70 year old, to challenge convention. This, in itself challenges the too-often-seen portrayal of the elderly as unshaking and unchanging in their way of life and conservative in their viewpoints. Often the elderly are portrayed as people who enjoy the political use of fear to enforce conformity, so Lalumiere’s use of an elderly man to question the status quo impressively changes the reader’s preconceptions.

Lalumiere delightfully invites the reader to question everything and ignore limiting social messages by displaying a society where people who ask questions or challenge norms are cast as threats. Lalumiere uses the demonic figure of the goblin to represent the demonising of others in our society. He illustrates that the notion of “Truth” is subjective.

Explore more about this volume at and find out more about Claude Lalumiere and his current projects at