No Longer Worn Down.

No Longer Worn Down
A review of Amal El-Mohtar’s”Seasons of Glass and Iron” in The Starlit Wood (ed. Navah Wolfe and Dominik Parisien, Saga, 2016).

By Derek Newman-Stille

Amal El-Mohtar interweaves two tales of disempowered women, one forced to perpetually walk to save an abusive husband, and one forced to remain perpetually still to avoid being placed under the power of men. Both are trapped -one in movement and one in stillness. In most fairy tales, both are situated as women in distress and need.

“Seasons of Glass and Iron” is a tale exploring the way that men attempt to control women through stories, rhetoric, and actions and the way that women can liberate themselves through collective action, and by creating their own narratives. El-Mohtar brings two disempowered fairy tale heroines together in her “Seasons of Glass and Iron” to illustrate that women are not passive objects to be moved around a man’s chess board, but rather are figures who can shift and change each other, providing support and encouragement to discard the disempowering texts surrounding them. 

Tabitha, doomed to perpetually walk in iron shoes, and Amira, doomed to a life of frozen near-death at the top of a mountain have to learn to loosen each other’s bounds, unlatching iron shoes and discarding glass mountains in order to find themselves and change the stories that have been written around them to bind them. It is a release from the spell of patriarchy – one that is presented, all too often, as unbreakable. 

“Seasons of Glass and Iron” is a tale of change and self-liberation where women come to recognize their own magic. Frequently women in fairy tales do magical things, but are not considered magical in comparison to other characters. El-Mohtar centralizes women’s magic. 

To discover more about Amal El-Mohtar, visit her website at https://amalelmohtar.com/

To find out more about The Starlit Wood, visit http://www.simonandschuster.ca/books/The-Starlit-Wood/Dominik-Parisien/9781481456128

Unsettled in Utopia

Unsettled in Utopia

A review of Nalo Hopkinson’s “Midnight Robber” (Warner, 2000).

By Derek Newman-Stille

Nalo Hopkinson’s “Midnight Robber” is a narrative about home, memory, and communication. The planet Toussaint is settled by Caribbean people from earth who honour their history through events like Carnival and who remember the history of slavery in their tales. The travel to Toussaint is celebrated as a different type of crossing – crossing the stars by choice instead of being forced to cross the ocean by slavery and the tales of the people of Toussaint explore the interconnections between these two types of travel that brought them to where they are now. Nalo Hopkinson explores the dangers of travel and the issues that travel creates regarding ideas of home and belonging. She intwines ideas of exile and colonialism, exploring the way that these ideas can intertwine – being removed from one place without choice and displacing people from another. The people of Toussaint send those they view as criminals through a gateway to another world called New Half-Way Tree where their exiled lives interfere with the indigenous population of the planet and displace them. Most of the exiles arrive onto New Half-Way Tree with an assumption that they are better than the indigenous inhabitants, treating them as people who are in the way at best or wanting to eliminate them. When Tan Tan arrives from Toussaint to New Half-Way Tree, she wants to treat the indigenous inhabitants of the planet with respect since Toussaint culture is focused on the idea that there should be no masters and everyone should be treated with respect. Yet, her attempts to interact with the indigenous population mark her as an outsider to both populations.

Although Hopkinson situates Toussaint as a Utopia in many ways, creating a society that is based on notions of equality, that is open to different types of relationships, and is a place where people are not subjected to back-breaking labour, she creatively questions the utopia she writes. In order to make way for the human inhabitants of Toussaint, the nanite system the planet uses eliminated indigenous fauna that it viewed as threats to the new inhabitants, causing mass extinctions. Although the nanite system allows people to communicate more readily and have access to information, it also interferes with ideas of privacy and everything on Toussaint is surveilled. Further, when the society views someone as subversive or dangerous, they are sent to New Half-Way Tree, where the egalitarian notions of Toussaint only apply to human beings, not the indigenous population, the Douen and the Hinte.

Hopkinson illustrates that the notion of home – especially the notion of home for people in exile – is always complicated.

Midnight Robber is a tale about tales, delving into the fuzzy border between reality and myth and the way that memory and who we are always becomes partially mythologized. TanTan becomes partially mythologized as stories about her circulate amongst the populations of New Half-Way Tree and she is integrated with the tale of the Midnight Robber. She hears tales about her that have been turned into myth and story and she both finds herself in these tales and simultaneously discovers that she is uncertain who she is. As people stop believing that she is real, something about her sense of selfhood is also made etherial and unclear. TanTan, like the community of New Half-Way Tree, is unsettled.

To discover more about Nalo Hopkinson, visit her website at http://nalohopkinson.com.

To find out more about Midnight Robber, visit http://nalohopkinson.com/writing/fiction/books/midnight_robber

Weaving Tales in Word and Image

A Review of Hope Nicholson’s (ed) “Moonshot: The Indigenous Comics Collection” (AH Comics Inc, 2015)
By Derek Newman-Stille

Cover Photo for Moonshot

Cover Photo for Moonshot

The comic book industry has generally had an exploitative relationship with indigenous peoples. Generally indigenous peoples have been portrayed in comics as villains or sidekicks and their character development limited to cultural stereotypes and one-dimensionality. In superhero comics, generally even the superpowers of indigenous superheroes have been expressions of cultural assumptions – communal relationships with animals and trees and special connections with nature. Indigenous people have often been portrayed as extensions of the landscape. Hope Nicholson’s “Moonshot: The Indigenous Comics Collection” tries to open up a space for indigenous stories that come from indigenous peoples. The collection features the work of 30 authors and artists expressing diverse stories that render indigenous voices into image and written word.

Often when asked to contribute to collections that interact with cultural and artistic expressions, indigenous people are encouraged to talk about the past, which problematically structures indigeneity as something of the past rather than a vibrant, current culture. This collection emphasises the vibrancy of indigenous culture, including tales from the past, but also modern adaptations of these tales, new tales of the present, and science fictional tales of the future. These are tales of superheroes, animal spirits, dark figures from the water depths, space travellers, futuristic inhabitants of other worlds, encounters with otherworldly and sometimes extraterrestrial beings, encounters with possession, tales of robbery and recovery, robopocalypses, and environmental travesties.

David Mack plays with the interaction of indigenous identity and Deaf culture in his superhero character Echo, who explores her understanding of herself as a Deaf indigenous woman. David Robertson and Haiwei Hou play with light and colour as they play with the Cree tale of Ochek the Fisher and opening the world to new light. Dayton Edmonds and Micah Farritor use animal and anthropomorphic animal spirit forms to tell the story of the gathering of bright stones to become the stars and Coyote’s accidental scattering of the stars across the canvas of the sky. Sean and Rachel Qitsualik-Tinsely and mention3 tell the story of the Qallupiluk, a figure from Inuit tales who rises out of the cold water. Arigon Starr and David Cutler tell a cross space future version of “The Young Man Who Turned Into a Snake”. Elizabeth LaPensee and Gregory Chomichuk use only visuals to tell the tale of a hunter encountering the Star People. Michael Sheyahshe and George Freeman tell a tale of two brothers with special gifts who seek to solve the disappearance of their mother on an alien world. Tony Romito and Jeremy D. Mohler tell an arctic tale of an inuit hunter who encounters otherworldly beings from under the arctic ice. Ian Ross, Lovern Kindzierski, Adam Gorham, and Peter Dawes explore the impact of anthropology on indigenous cultures and the robbery of indigenous artefacts by anthropologists. Richard Van Camp, Rosa Mantla, and Nicholas Burns explore the interaction between the traditions of The Night the Spirits Return among the Dene and the Celtic-originating tradition of Halloween. Todd Houseman and Ben Shannon tell a tale of the future where pollution has destroyed much of the North American continent and a war between humans and robotic life forms has meant widespread devastation. Jay and Joel Odjick examine a first hunt and the interaction between the human and animal world. Elizabeth LaPensee, Claude St. Aubin, and Andy Stanleigh explore the impact of mining and the attempt to connect to the Memegwesiwag, a people who love copper and can only be seen by the pure of heart. These tales weave together in a fabric of intwined words and images, and also a twining of multiple worlds and worldviews.

The art styles vary in “Moonshot” between mixed media art, ink on paper, pencil crayon on paper, watercolours, fractal-influenced digital art, traditional comic panels and frame-breaking violations of the ‘gutter’ space between panels. They use word bubbles, text-free comics, or large swaths of text, illustrating the potential for expressing the idea of ‘story’ through multiplicity. This is a collection as diverse as the indigenous peoples who contributed to it. No longer relegated to the role of sidekicks or villains, the indigenous characters in these comics are able to tell their own tales, rich in complexity and multi-dimensionality.

Speculating Canada on Trent Radio Episode 39: An Interview with Jerome Stueart about Tesseracts 18

On this episode of Speculating Canada on Trent Radio, I interview author and editor Jerome Stueart about the most recent book in the long-lived Tesseracts series Tesseracts Eighteen: Wrestling with Gods. Tesseracts Eighteen is focused on the theme of religion in Canadian speculative fiction and Jerome and I discuss the relationship between religion and SF, myth and storytelling and their ability to shape religious and science fictional worlds, invented religions, new explorations of existing religions, and generally the power of stories as pedagogy, as a teaching and learning medium.

We conducted our interview outside in Toronto, so please excuse the background wind and noise distortions.

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.

To find out more about Tesseracts Eighteen, visit Edge’s website at http://www.edgewebsite.com/books/tess18/t18-catalog.html .

Speculating Canada on Trent Radio Episode 25: A Discussion of Helen Marshall’s Work

In this episode, I focus on the work of author Helen Marshall. Helen wasn’t able to make it in to the studio for an interview, but I enjoy her work so much that I felt it needed a show of its own. Helen Marshall is the author of “Hair Side, Flesh Side”, “The Sex Lives of Monsters”, and “Gifts for the One Who Comes After”. She is a brilliant short fiction author whose work always evokes a sense of wonder in me and leaves me thinking about her stories for hours afterward.

As listeners who have been following my show know well, I often talk about the under-representation of short fiction in reviews, so I bring attention to some of the ideas, thoughts, and speculations from Helen Marshall’s short fiction in this discussion.

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.

A Love Letter to Story-telling

A Review of Helen Marshall’s Gifts for the One Who Comes After (ChiZine Publications, 2014)
By Derek Newman-Stille

Cover Art for Gifts For the One Who Comes After courtesy of ChiZine Publications

Cover Art for Gifts For the One Who Comes After courtesy of ChiZine Publications

Helen Marshall’s “Gifts for the One Who Comes After” is her love letter to storytelling. Marshall examines the way that we are shaped by the tales we tell ourselves and the stories that are told about us. She reminds the reader that we are made up as much of stories as we are of matter, and that they shape the way we think about ourselves and those who are around us.

Marshall’s exploration of stories is not a fairytale lens of joy, but rather an exploration of the potential for tales themselves to capture a quality of the grotesque, the terrifying horror that we can be shaped by words and ideas outside of ourselves. From capturing the horrifying perceptions of children, the dark, strange worlds they carry around in their heads to exploring the shifts that occur between our expectations of a story and their reality, “Gifts for the One Who Comes After” is a text of mythical magic, but not the easy, happy, uncomplicated myths of modernity, but the dark, deep, blood-soaked myths of the past. Her tales are not made to reassure, but to challenge our perceptions, to push the reader into those places where we try to bury our stories.

Marshall focuses on children and the elderly, the people with most associate with either being shaped by tales or shaping us by telling tales to us. She examines the idea that the bonds between us are made of strings of words and occasionally these strings tighten around us like a noose. “Gifts” looks at the innocent games of youth and illustrates the nightmarish content of them from children prophesizing in the woods by bringing themselves close to death, to the dark undertone in the desire for magic, to the horrifying imagination of children, to the desire to stand out and be considered important. It looks at the aged in their desire for immortality by sharing stories, keeping memory alive, resisting forgetting and loss, the connection to tradition, and through the assumptions we create about the elderly.

Stories are the methods used to imagine the future, reflect on the past, and explore the hidden corners of the present. Exploring the dark potential of the future through omens, dreams, and prophesy, the past through memory and collective tales, and the present through gossip and rumour, Marshall highlights the potential for stories to create a morae-like thread through time, weaving possibilities together in a nighmarish tangle of possibility.

To read reviews of some of the short stories from this collection, visit:

https://speculatingcanada.ca/2014/11/26/the-horror-of-childhood-logic/

https://speculatingcanada.ca/2014/11/14/spin-the-bottle-with-death/

https://speculatingcanada.wordpress.com/2014/12/14/witching-perceptions/

To read more about Helen Marshall’s work, visit her website at http://helen-marshall.com/

To find out more about Gifts for the One Who Comes After, visit ChiZine Publications’ website at http://chizinepub.com/books/gifts-for-the-one-who-comes-after

Speculating Canada on Trent Radio Episode 9: A Mythic Night: An Author Reading by Marie Bilodeau and Karen Dudley

This is a live broadcast of the event “A Mythic Night: An Author Reading by Marie Bilodeau and Karen Dudley” which was held at Sadleir House in Peterborough Ontario and hosted by Derek Newman-Stille. The event was co-sponsored by Sadleir House, Ravenstone Press, and Speculating Canada.

The first time human beings looked out into nature and said “we are not alone”, myth was born. It has shaped our understanding of the world, grown, and changed with us as we human beings have grown and changed. We made our myths and our myths have made us. They are the stories we tell ourselves to understand the world around us and our place in it. They are forged out of our dreams, our pondering, and our desire to remind ourselves that the world is more complex than we can capture with mundane reality.

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.

Make sure to allow a few minutes for the file to buffer since it may take a moment before it begins to play.

Marie Bilodeau reading at Sadleir House

Marie Bilodeau reading at Sadleir House

Marie Bilodeau and Derek Newman-Stille at Sadleir House for the author reading A Mythic Night

Marie Bilodeau and Derek Newman-Stille at Sadleir House for the author reading A Mythic Night

Marie Bilodeau mingling with the audience at A Mythic Night

Marie Bilodeau mingling with the audience at A Mythic Night

Thank you to Dwayne Collins for recording this event, to Sadleir House for providing the space, to Marie Bilodeau for doing a reading and story-telling, to Karen Dudley for allowing me to read from Food For The Gods, to Ravenstone Press for donating a copy of Karen’t Kraken Bake, and to the audience who attended the event, lending their support, energy, and enthusiasm to the performance.