A Shattered Touchstone

A review of Sean Virgo’s “My Atlantis” in Cli Fi: Canadian Tales of Climate Change (Exile, 2017).By Derek Newman-Stille

Sean Virgo’s “My Atlantis” is a tale about the return to a changed land. Like Rati Mehrotra’s tale in Cli Fi, this tale features an older person, but unlike Mehrotra’s tale, where the protagonist is stationary in a changing land, this aged character is returning to a place that has become his touchstone over the years, associated with memory, and able to remind him who he is. The problem is that his touchstone has changed, deteriorated by the impact of environmental destruction. Although wildlife is returning to this landscape as human beings move into the cities, that wildlife is struggling to stay healthy and survive in the damaged environment that remains. 

The protagonist works in mental health and frequently works with people who are experiencing memory loss, and that notion of memory is a significant one in this narrative as it shifts through different periods of time while memories arise one after the next inspired by glimpses of familiar scenes altered by time and the human desire to change our environment. 

Age is a significant factor in this tale as the protagonist is able to draw on a lifetime of memories of a place to reflect on its changes and highlight the way that the world has shifted. North American society is relatively short sighted about our impact on the environment, so it is significant that Virgo chooses a long duree approach to the environment, observing it over the course of a lifetime to see the impact of change. 

To discover more about Cli Fi, visit Exile’s website at http://www.exileeditions.com

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Super Psychiatry

Super Psychiatry
A review of Kim Goldberg’s “Bluefields Reharmony Nest” in Tesseracts Nineteen: Superhero Universe Edited by Mark Shainblum and Claude Lalumiere (Edge, 2016).

By Derek Newman-Stille

Kim Goldberg’s “Bluefields Reharmony Nest” asks the question that those who have grown up reading Batman stories with Arkham Asylum in them have wanted to know – what happens to the superheroes who need psychiatric help. Rather than telling another supervillain psychiatric story, Goldberg creates a psychiatric facility for superheroes who are perceived to be in need of psychiatric care. She opens with a counselling session in which superheroes are narrating the experiences that motivated them to seek out psychiatric care (this is a voluntary facility). 

Goldberg’s superheroes are an interplanetary group whose psychiatric needs are tied to their experience of colonialism, ecological destruction, and alienation. Goldberg doesn’t automatically follow traditional representations of psychiatry and place all responsibility for mental health upon the individual, but rather looks at a few systemic violences that have contributed to people’s psychiatric needs. She questions the ability of psychiatry to achieve mental health goals by bringing attention to the diverse methods by which people are able to achieve healing and the way that each individual defines healing
To discover more about Kim Goldberg’s work, visit her site at https://pigsquash.wordpress.com 

To discover more about Tesseracts Nineteen: Superhero Universe, visit http://edgewebsite.com/books/tess19/t19-catalog.html  

Upcoming interview with Lydia Peever on Friday August 23

I had a great opportunity to talk to Lydia Peever after an author reading in Ottawa recently and knew I wanted to hear more about her insights, so I was pleased that she agreed to do an interview here. I was particularly excited that Ms. Peever brought attention to issues that are generally ignored or hidden in our society due to stigma like drug addiction and mental health issues. By bringing attention to things that people ignore, we can make positive changes. Lydia Peever reminds us that horror can shine a light on the areas of stigma that our society casts into the dark.

Cover image from Pray Lied Eve courtesy of Lydia Peever

Cover image from Pray Lied Eve courtesy of Lydia Peever

Check out our interview on Friday, August 23, where we discuss writing-group communities versus cliques, gender and horror writing, writing about addiction, bringing attention to mental health issues, the teaching power of horror, the need to express, the ability of horror to be empowering to women, the need to read and watch horror critically, the relationship between writing and other artistic expressions, the insights that come from talking to fans, the power of horror as a social activist text,

Lydia Peever: “The world is really very weird, if you pay attention.”

Lydia Peever: “If you write about the things happening around you that really shake you to your foundations – the stuff that gives you real nightmares that aren’t fuelled by the last movie you watched – people will tune into that. If you have a history with a social issue be it addiction, debt, domestic crisis, sexual conflict, mental health; write about it. Never be afraid to write about what shakes you up, breaks your heart, or makes you scream.”

Lydia Peever: “At one point I would be best described as an artsy yet anti-social high-school dropout that messed up at college too. My focus has been split between writing and photography since I was at least ten years old, so art always seemed more important than school.”

Lydia Peever: “Drugs are mentioned here and there in my stories as a colour to paint a character with. Usually a dark colour as drug abuse is basically a dark thing. In Crocodile Rot, where the sun shines bright on intravenous drug use, I talk about it like it’s happening on our front porch, because it probably is regardless of where you live.”

Lydia Peever: “I can’t turn a blind eye to the dark alleys around me since I’ve walked down them. People I knew since childhood have walked down them. I’ve lost people down dark alleys.”

Lydia Peever: “Stigma and fear surrounding drug abuse and its affects are far more damaging than communication, education and true understanding. I write just as often about mental health issues, which I know just as well and can at times be related.”

Lydia Peever: “You may not have experience with the specific terror or the ‘other’ found in the story, but it explains itself neatly and from a safe distance. You can inspect so many otherwise inaccessible worlds this way.”

Lydia Peever: “A trip to the dentist can be as fraught with weird as the trip to that carnival trailer after dark. I like living in a world like that, so I pay attention to the weird.”

Lydia Peever:  “Infuse what moves you into a story. Let a story sprout from blood spilled in real life. Let those you know or who have passed transmogrify into beast or angels.”

Check out our interview on Friday August 23, and let Lydia Peever remind you: “Don’t keep that precious dark ink bottled up.”