Border Walls and Barriers

Border Walls and Barriers

A review of Rich Larson’s “Porque El Girasol se Llama El Girasol” in Shades Within Us: Tales of Migration and Fractured Borders Edited by Lucas Law and Susan Forest (Laksa Media Group, 2018)

By Derek Newman-Stille

With “Porque El Girasol se Llama El Girasol”, Rich Larson tells a significant tale for a post-Trump world. Larson’s story is about Latinx people in a post-wall America who need to find a method of passing through a militarized border with a massive wall. Those who are caught in American territory are put to work building the wall further, often dying from unsanitary conditions, and those who are caught in the no man’s land around the wall are allowed to be butchered without remorse.

Larson tells his tale through the perspective of Girasol, a little girl who is trying to escape America with her mother. Although a small child, she is aware of the realities of being captured and killed in the process of escaping, illustrating the loss of childhood that many children have to experience when they are subject to political violence by oppressive regimes.

They are escorted through the wall by a man who functions as a coyote (a person who brings people across borders), but this coyote is quite different from others because he needs to take his passengers through a quantum level of reality in order to get them safely through the highly protected wall. He is called the Cheshire Man, evoking the Cheshire Cat from Alice in Wonderland for his ability to disappear and go where others cannot go.

“Porque El Girasol se Llama El Girasol” is a tale of loss, family sacrifice, and political violence, reminding readers of the violence that can occur in a political regime that casts certain people as unwanted and that justifies violence against them.

To discover more about Shades Within Us, visit http://laksamedia.com/shades-within-us-an-anthology-for-a-cause/

To find out more about Rich Larson, visit https://www.patreon.com/richlarson

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The Religion of Blood Medicine.

A review of Rich Larson’s “Maria and the Pilgrim” in Apex Magazine Feb 4, 2014 (available online at http://www.apex-magazine.com/maria-and-the-pilgrim/ )
By Derek Newman-Stille

Rich Larson’s “Maria and the Pilgrim” explores a future in which contagion has spread and a small group of people have applied religious meanings to the spread of disease. Seeing themselves as preserved by Jesucristo against a contagion spread by the devil, this group of survivors have sought a pilgrim.

As part of their religious dances, this religious group gives blood, allowing machines to pull forth sanguine liquid, offering it to pilgrims in the same way as they believe Jesucristo gave it to his followers. The pilgrim, however, uses the blood to test children for plague resurgence and health, determining the healthy development of the community.

This is a community shaped by eugenics, made to conform to a breeding programme due to the threat of Contagion. Health is policed, controlled, and regulated, permitting little variation from a set programme. Any children born without a membrane in this world are supposed to be exposed, left for dead, but this community wants the pilgrim to heal a child, restoring her membrane to help her survive. In exchange, they promise not to slip open the pilgrim’s membrane to give him the Contagion.

This is a future where even aggression is seen as considered genetic and an accusation of genetic aggression is enough to have a village sterilized and culled.

Religion and health combine in a system of control and regulation, shaped by a fear of exposure to disease. Life is regimented and controlled, and the body is a subject of policing. The policing of the body from a religious and medical perspective are intertwined in Larson’s narrative, exploring the multiplicity of bodily control that our social systems can impose. Fear becomes a powerful motivator for bodily regulation and control, allowing a population to submit without revolutionary thought.

You can explore “Maria and the Pilgrim” yourself at http://www.apex-magazine.com/maria-and-the-pilgrim/

Some of Rich Larson’s publications can be found at Amazon.com/author/richlarson.

 

Eldritch Summonings from the World of the Unconventional

A Review of Here Be Monsters: Tongues and Teeth Edited by Duane Burry, Vincent Mackay, and Alexander Newcombe (Here be Monsters Speculative Fiction issue seven, September, 2012)
By Derek Newman-Stille

Cover photo courtesy of the publisher

Here Be Monsters: Tongues and Teeth is the first of the Here Be Monsters anthologies that I have read, and I am extremely impressed with the quality of work in this volume. It is great to see that an epic battle for which stories should be included in the volume, that, according to the editors involved “fighting with tooth, tentacle and claw… eldritch summonings [and] chaos magic” still proves its effectiveness in producing an incredible volume of speculative fiction – the old methods still produce incredible results.

The magical and monstrous suffuses every page of this volume, summoning the reader’s attention and passions. The stories in this volume question reader pre-conceptions, encouraging them on their own adventure into the darkness of their own subconscious to find the root of their social confinement and dig it up.

The volume itself becomes like a body of text or a textual body, laying out each section with a depiction of the body, illustrating that horrors come not from without, but from within.

Claude Lalumiere’s short story The Ministry of Sacred Affairs evokes the threat of a society that demonises others, a society where fear prevents any form of inquiry or debate and supporting the supernatural is viewed as a terrorist threat. Goblins and golems become figures that question the status-quo and shake up a society that has become complacent in its fear of others.

Numbered by Duane Burry continues the theme of questioning social fears. When communication technology is discovered that allows for interplanetary conversations and connections with aliens from other worlds, instead of viewing it as a method of discovery, it is perceived as a militaristic threat. Humans, unable to travel to the stars, are able to speak to other civilisations, talk to people from distant worlds who have foreign experiences and knowledge to share, but in a universe of fear, all they share are threats of war and questions about possible dangers. It is not the silent vastness of space that cuts off interplanetary voices, but the vast terror of the sentient mind and the secrecy that terror imposes.

Karl Johanson’s The Airlock Scene illustrates a different danger with encountering new worlds: beauraucracy and the need to perform for an audience at the expense of the adventure of exploring a new environment. Johanson portrays the need of scientific minds to mediocritise the fantastic through their pedantic ego battles. Like Burry’s story, Johanson’s is about political issues interfering with the sense of wonder the pervades exploration.

Universal questions are turned domestic in Amy Bright’s Private Transit where the monstrosity of domestic assault is displayed and one can see that abuse is as alienating as any landscape from space, causing the victim to lose all pieces of themselves to feed the monstrous abuser.

Pickle’s Story by Alexander Newcombe reveals the power of myth and legend as well as the bond that can develop between the human and the animal. Newcombe shows the power that gossip and tales can have in creating a reputation, and the power of a thief who wields lies to create his own mythology.

Tarquin Steiner evokes nostalgia in his story Cobbled by modeling it after a text-based computer game.

Camille Alexa casts us back into space in her Children of the Device where, despite being the fifth generation of inhabitants on a colony ship escaping from a doomed Earth, our traditions continue from New Year’s resolutions to war and greed.

Tyler MacFarlane brings the search for identity and the inescapability of ourselves back to the Earth in his Antennae. MacFarlane illustrates that despite the desire for a distraction, the next new thing, we always are brought back to ourselves.

We are reminded that we can’t escape from ourselves again in Carl Roloff’s If Not the Moon, Then the Exquisite Sun where humanity faces the destruction of the Earth by our own sun, and, in an attempt to save something about the human experience, decides to transmute the remaining human beings into crystals – converting individual human thoughts and experience into art that will reflect the burst of the sun into the universe. But Roloff reminds readers that eternity is an experience that is alien to humanity and transcendence is a form of loss itself.

Where Carl Roloff presents the mind as a form of escape and transcendence, Vincent Mackay’s Brain Freeze warns readers of the dangers of technologies of the mind. The mind becomes something that can be used for terrorism and war, converted into supermindbombs that can only be decoded through a process that seems equal parts psychology and computer programming. The Earth’s surface has been made uninhabitable by a field that requires inhabitants to control their own thoughts to the point at which they become insane. Thought becomes a weapon.

Thought is further explored as a vehicle for terror in Sterrennacht by Cat McDonald as art itself becomes a place where kidnap victims and stolen items can be stored. McDonald explores the idea of a world where people can enter into paintings and the terrifying effects of experiencing impressionist art from the inside. Van Gogh has never been so absorbing as McDonald explores the physical, auditory, and other sensory experiences of being totally enmeshed in the world of art. But art has an effect on those who experience it, and the danger of art is that it can consume you.

Ann Ewan explores the loss of humanity in a different way, through literal consumption by an ogre. In Ogre Baby, human beings are infected with ogreness (through ogre mud placed in the body of dead human beings) as a means for the ogres to reproduce. They depend on human beings as an infusion into their own tribe, as a way of expanding their numbers. The familiarity and difference of the human being and the ogre horrifies both species and, in the ogre, excites a deep hunger that may stem from their need to be partially human, to incorporate humanity into their monstrous form.

The body further fascinates Rich Larson in his Strings. The body becomes a marketable commodity, and re-shaped for sexuality. It is divorced of its thoughts so it can become a vessel for sexual pleasure, conveying the notion that as a society we tend to look at bodies in isolation, separate from their fundamental humanity.

Here Be Monsters: Tongues and Teeth is as much a voyage into the self as it is a voyage into the realm of the Other. Like the monster itself, the pages of this volume are dark mirrors reflecting all of the hidden things we like to forget. It is a volume that is fundamentally about the search for a deifining feature of our humanity, the fear of a loss of our humanity, and the dangers that are presented in the human spirit.

To find out more about this volume of Here Be Monsters and other volumes in the series, visit their website at http://herebemonstersanthology.blogspot.ca/