A Mosaic of Stories

A review of Steve Vernon and Colleen Anderson’s Tesseracts Seventeen: Speculating Canada from Coast to Coast to Coast (Edge 2013)

By Derek Newman-Stille

Cover photo for Tesseracts Seventeen courtesy of Edge

Cover photo for Tesseracts Seventeen courtesy of Edge

It is very exciting to see one of the prestigious Tesseracts books sharing a name with this website. I was quite honoured to see that they had chosen a name that matched the name I created for my website. Tesseracts has been a Canadian SF institution since Judith Merril edited the first collection in 1985, recognising that there was a need for a Canadian collection of SF and that there was something distinct about Canadian spec fic that could only come out by bringing works of Canadian SF together in a collection instead of the random inclusions of Canadian SF in American and British anthologies.

Tesseracts Seventeen: Speculating Canada from Coast to Coast to Coast is an exciting addition to this historic institution and rather than focusing on a single theme or idea, this collection sought to bring together Canadians from around Canada in order to capture some of the distinct flavours of Canadian SF from our diverse regions. Canada is a huge country and this collection was a huge endeavor. While reading this collection, I found myself flipping back to the author descriptions to constantly find out where authors were from to get a sense of that regional flavour, an idea of whether Canadian SF ‘tastes’ differently in different parts of our country. Tesseracts Seventeen provided a chance to travel across this country, but also into the minds of Canadians: their visions of the future, their travels across the universe, and their ventures into the unknown. Steve Vernon and Colleen Anderson were able to capture a tiny bit of Canadian diversity, a few wondrous tiles of the mosaic of thoughts and perspectives that creates the overall picture of Canada.

The tales in this collection bring together ideas about family, memory, privacy, religious fanaticism, dreams, isolation, the history of residential schools, aging, stigma and identity, issues of conformity, poverty and the exploitation of workers, … namely, issues relevant to Canada today and our constant pondering of Northrop Frye’s question “where is here?”, speculating about what Canada is and how to define our identity. Despite most stories being set in the future, on other worlds, in other realities, Speculating Canada from Coast to Coast to Coast speaks very much to Canadian realities, questions of today, and issues relevant to this world.

From a church devoted to Star Trek’s Spock to imaginary friends to ageing ghosts to sacred kitchen recipes to a galactic civilization that forces conformity to living graffeti … this is a book of Canadian magic, a passport to the Canadian beyond.

You can read reviews of individual short stories on this site at:

https://speculatingcanada.ca/2014/05/19/life-drained-by-residential-schools/

https://speculatingcanada.ca/2014/05/15/haunting-disability/

https://speculatingcanada.wordpress.com/2014/12/29/chilly-renewal/

https://speculatingcanada.wordpress.com/2015/01/01/cityscapes/

You can explore Tesseracts Seventeen: Speculating Canada from Coast to Coast to Coast at Edge’s website at http://www.edgewebsite.com/books/tess0/about-tesseracts.html

Creating Community in Isolation

A Review of Julie Czerneda’s Riders of the Storm (Daw, 2008)
By Derek Newman-Stille riderss

Displacement is a factor that is prevalent in the lives of many people who have had to leave home for whatever reason. The finding of “home” is a nebulous, complex, and constantly changeable phenomena. Julie Czerneda explores the search for home in a foreign and confusing space in Riders of the Storm. On a planet with three self-aware and hugely biologically different species (the Om’ray, Oud, and Tikitik), agreements exist to keep the balance between these three peoples from shifting. Czerneda focusses on one group, a small band of travellers from the Om’ray who defy social customs by their biological differences. They threaten the balance that the Om’ray seek to maintain by the fact that they are different, that they represent change in a society that resists change and prefers to conceive of existance only in the form of living people (ignoring notions of the past). This small group of travellers are manifesting new abilities beyond the natural abilities of the Om’ray, which include telepathy, healing, collective dreaming.

The telepathy of the Om’ray has created a notion of fundamental racism. Since they are only able to telepathically sense each other, they cast all other non-Om’ray groups as “not real”. They see themselves as the centre of the world and believe that the world only exists where they are. They have created an isolated society both from other races, but also from other periods of time. They see their society as always having been the same, that history does not exist and isn’t worth exploring because it would suggest that things were capable of changing.

Aryl Sarc has been forced to become the leader for her small band of Om’ray, leading them on a journey that they believe to be impossible because it represents the possibility of change, something her society resists, and the necessity of shifting the status quo. Aryl doesn’t seek leadership, but she is a figure who represents change by her very body – she has abilities that are far beyond other Om’ray and the uncertainty within her body makes her more willing to accept uncertainties and therefore willing to confront challenges.

In a society that focusses on static notions of culture (the idea that things don’t change) and has an interest in keeping secrets, Aryl tries to make everything open to her people. She is interested in opening questions in a society that largely accepts things unquestioningly. She and her group of exiles finds an abandoned Om’ray village, one that presents the inevitability that things do, in fact, change. It represents a place for a new start and one that embodies history, opened secrets, and the challenge and potentialities of a new future that is different from the now. The uncertainty of this village, Sona, makes it an ideal place for a changeable people.

The group of exiles have to create a new sense of home in a place that is embodied by history, a history that speaks to them (literally through dreams about the past and figuratively through their need to interpret objects that have remained). Those who have been exiled out of a fear of change, now have to live with change and the flexibility, fluidity, and the general flux that is represented by an uncertain future. They seek to create an idea of belonging in a place that is different, that has history, and that keeps reminding them that things can and do change. They are haunted by the reminder that the land they are on predates them.

Aryl becomes more comfortable with ideas of change and with notions that would have been considered threats to her society. She is able to help her society to accept and be comfortable with ideas of chance. Aryl’s comfort with change makes her an ideal person to speak to people of other races – she is willing to speak to the Oud, the Tikitik, and even a human visitor to her planet. She is not restrained to notions of the Om’ray’s singularity and superior significance. She learns to be willing to accept that those who are “not real”, may in fact just be different and that intercultural communication, although uncertain and potentially confusing, is worth approaching. When trying to approach the Oud and Tikitik, she learns from the human visitor to her world, Marcus, that she will need to take into account both cultural differences and also biological differences since what is biologically normal for the Oud would be threatening for the more vulnerable Om’ray.

As outsiders wherever they end up going, Aryl’s group of exiles create community through their willingness to accept change, to create community through difference and to cooperate with others who their society traditionally resists or views as insignificant.

You can explore Riders of the Storm and other books of the Clan Chronicles series through Julie Czerneda’s website at http://www.czerneda.com/sf/clan.html .

Cowgouls

A Review of Ian Rogers’ Deadstock (StoneBunny Press, 2011).
By Derek Newman-Stille

Cover art for Deadstock courtesy of http://www.ian-rogers.com/stories/deadstock.php

Cover art for Deadstock courtesy of http://www.ian-rogers.com/stories/deadstock.php

In the Weird West a ghoul’s gotta do what a ghoul’s gotta do and there ain’t nothin’ to stop them… except for a man with a gun that has no bullets and sucks the life from its user and a woman with 52 knives and a cat that rides in her saddlebags. Ian Rogers’ novella Deadstock is a fast-paced read set in a western outpost town with magic, mayhem, and mystic weapons. Like most Wild West narratives, this Weird West tale pits humanity against a forbidding and hostile environment with characters that are just too stubborn to die no matter what dangers they face.

Like many figures from Wild West narratives, Rogers’ story features an old man who refuses to leave his land and feels a need to protect his home no matter how tainted the land is. In this case, he needs to protect his land against more than just the regular natural dangers and unsavory visitors. This land is filled with the undead, mutilated cattle, strange forces, and is permeated with a general vibe of the creepy.

In the desert, nothing really stays buried and this tale deals with the resurfacing of the past, the dead, the forgotten, and that which is best left hidden. Rogers’ chap book deals with family secrets that come out of living in isolation and the secrets of the land that come from living without much human contact with others.

You can find out more about Ian Rogers on his website at http://www.ian-rogers.com/bio.php and you can check out your own copy of Deadstock at http://shop.stonebunnypress.ca/p/catalogue.html

“By now, many of us could recite the list of tropes that we’ve decided make us us: stories that privilege the community over individual heroics; stories about open space(s), alienation, isolation; about the rare and precious coming together of isolated bodies to comfort each other in the dark and cold before separating once more…”

-Nalo Hopkinson – Final Thoughts (in Tesseracts Nine. Edge, Calgary, 2005)

Quote – Canadian Tropes – Privileging Community Over Individual Heroics