Hailey Piper, Unfortunate Elements of My Anatomy. The Seventh Terrace, 2021. Pp. 253. ISBN 978-1-9900-8201-6. $14.99 pb/$4.99 e.
Reviewed by Gwen C. Katz
Am I the only one who’s gotten really into horror during the pandemic? Maybe going through our own gnarly experience has made me empathize with fictional gnarly experiences more; maybe watching someone get chainsawed apart just puts my life into perspective. Whatever the reason, I’m absolutely inhaling horror right now. But more than any other genre, horror absolutely must have resonant themes for me to enjoy it. A fantasy story that’s kinda parochial and regressive? I can deal. (I, too, read Lord of the Rings.) But if it’s a horror story? I’m out.Enter Hailey Piper and her new collection Unfortunate Elements of My Anatomy. Smart, feminist, and chock-full of queer themes (especially trans themes), it’s just the thing if the past year has pushed you into “screw it” territory.
The Angel of the Crows is the sort of high concept story which should be ridiculous and yet totally works: Sherlock Holmes meets “war in Heaven,” or rather, its aftermath. Nineteenth century Afghanistan remains Afghanistan, but now with fallen angels and hellhounds. (The BBC Sherlock, another recent albeit problematic retelling of Sir Arthur Conan Doyle’s eponymous detective stories, similarly played with a background conflict in Afghanistan that was specifically twenty-first century.) Addison’s novel isn’t a straightforward retelling of Sherlock or Doyle, but nonetheless riffs cleverly on familiar plot beats to tell a story at a slant. Sherlock is an angel called Crow and Watson is called Doyle; neither of them are the characters that we already know so well, except for how they are.
Set in 2255 C.E., The House of Styx provides an intriguing view of what a human colony on—or rather, above—Venus might look like a couple of centuries into the future. The novel, slated to be the first in the Venus Ascendant series, is set 250 years before Künsken’s The Quantum Magician. The House of Styx revolves around the D’Aquillon family. George-Étienne D’Aquillon, his sons Jean-Eudes and Pascal, and his grandson Alexis live on the Causapscal des Profondeurs, a habitat fashioned, as are many of the living places in Venus’s clouds, within one of the Venusian cloud-dwelling plants called trawlers.
Little Blue Marble is both a free, online magazine of news, opinion, fiction and poetry related to climate change and other environmental issues, and an annual print anthology of climate fiction. Published and self-funded by Canadian editor Katrina Archer, the web version is glossy and professionally designed, and apart from a small glitch in the responsive template that causes story illustration to suddenly pop up and hide text when scrolling down the page, it is pleasant and easy to navigate. Fiction is published sporadically throughout the year, and it’s not clear to me whether the end-of-year anthology will contain all or just a selection of the fiction, so this review will address just the fiction and poetry published between January and April of 2021. There is a nice mix in here, some (as might be expected in a venue that prioritizes activism, not literature) a little heavy-handed, but most enjoyable and some very high quality indeed.
Rhonda Parrish, the patron saint of short spec fic, is back with Clockwork, Curses, and Coal, the second in her Punked-Up Fairy Tales anthology series. Parrish is a prolific editor, and her new anthologies are eagerly anticipated by readers and writers alike. The first installment in this series, Grimm, Grit, and Gasoline, even netted a star from Publishers Weekly—a rare distinction for a small-press anthology.
If you are at all familiar with automobile racing, you will likely have heard of the Le Mans disaster, considered the worst catastrophe in the history of the sport. On the 11th of June 1955 during the 24 Hours of Le Mans race, driver Pierre Levegh rear-ended the car of fellow competitor, Lance Macklin. Levegh’s Mercedes-Benz flew into the air, over the bern, and smashed into pieces upon hitting the ground. The flaming debris flew into the packed grandstands, killing 84 people and injuring 120 more. The accident resulted in ground-breaking safety measures in the sport, and in Mercedes-Benz withdrawing from racing for the next 34 years. Newsreel footage exists showing both the crash itself and its aftermath, but much of it was too graphic to be released. Considering the available footage includes images of gendarmes extinguishing flames on Levegh’s smouldering corpse, one can only imagine how horrific the lost films might be.
Montréal resident Su J. Sokol’s novel Zee follows the life of a girl named Zee from birth to young adulthood as she struggles to deal with her talent for ESP. Sokol’s book delves into the feelings and the experiences of the title protagonist, as well as the four adults who care about her. Zee is not the author’s first published work; in addition to several short stories, Sokol has also penned two other novels, Cycling to Asylum, which has been optioned for development into a feature-length film, and Run J Run, published in 2019 by Renaissance Press. Zee’s publisher, Mouton noir Acadie, is an imprint of New Brunswick-based Bouton d’or Acadie Publishing. Bouton d’or Acadie declares “inclusion, accessibility and diversity” to be core values. Zee aligns well with these those ideals, featuring racial diversity among its key characters, and depicting queer relationships in a positive and matter-of-fact light.
Apex, one of the champion racehorses of the SFF promag world, has been out to pasture for a couple of years, and many of us have been eagerly awaiting its return to see if it’s still a winner or if it’s lost that spark. (Yes, I have discovered metaphors. No, I will not apologize.) Well, I was in the press box, and I’m happy to report: Apex has still got it.
Rebecca Roanhorse’s novel Black Sun is an epic fantasy drawing on the pre-Columbian cultures of the Americas for its world-building, social structures, mythos, and terminology. Like other fantasies that draw on history at a slant, it makes the familiar strange and the strange familiar. It is a true masterpiece of suspense and storytelling, and is simply the best new novel I’ve read in ages. Roanhorse structures the story in shifting times, and across several characters, leading up to the Winter Solstice and a celestial convergence leading to a solar eclipse that creates the titular Black Sun. The story moves forwards, backwards, and forwards again to illuminate what various characters know and when they know it, and providing new readings for different characters. If this novel were a film we would think of it as an homage to Tarantino; in the context of this story, in which scenes are placed against quoted texts, it is more like if Frank Herbert’s Dune series had dialed the anti-imperialist message all the way up.
For those who are tired of books and movies about hapless princesses who sit on their hands and wait for a prince to rescue them, K. Eason’s space opera How Rory Thorne Destroyed the Multiverse provides a welcome breath of fresh air. Released in 2019, the novel serves as book one of the Thorne Chronicles. Book two, titled How the Multiverse Got Its Revenge, appeared in 2020.
When I was thirteen, one of my favourite video games was Shadows of Darkness, the fourth entry in the Quest for Glory series. It was my introduction to Slavic folklore. Creatures like the rusalka, the leshy, the domovoi, and Baba Yaga featured prominently, and were a revelation to a Canadian girl who barely knew what Cyrillic looked like. An entire new mythology to explore, and one I was delighted to revisit in Eurasian Monsters.