DP FICTION #8: “The Grave Can Wait” by Thomas Berubeg

Old James McGrath was widely held to be the orneriest man on the frontier. They say he glared down a rattler so bad the critter’s great-great grandkids were afeared of venturing onto his land. They say that, once, a real big twister, one of them mean old suckers only found in the frontier lands, was sent packing straight back into its girlfriend’s arms by his bilious vitriol. They even say that tricky Coyote tried to swindle him out of his ranch, but ended up walking away missing thirty acres of prime real estate. It came as no surprise, then, that when Death came for McGrath in the shape of a late spring cold, he sent Old Boney packing with pant bottoms full of lead.

For a time, McGrath kept on with his ranching and riding and drinking and shooting and thought little of his close call. “Goddamned solicitors,” was the only thing he said about the incident, muttered between two slugs of whiskey and a cigarette.

Death was kept occupied by the rigors of the frontier. It was a busy time for the man, and he put old James McGrath out of his skull. Truth be told, no cowboy old or young came willingly, and Death had gotten used to dodging bullets and Indian curses. But they all came eventually, and so would McGrath.

A week passed in a hurry, and then another, and Death heard nothing. Surprised and not a little confused, Death went back to Tombstone, Arizona, where he kept his office. He usually tried to avoid it, if he could, preferring the open range and the starry sky, but these were peculiar circumstances.

Both Old Smokey and the Holy Gatekeeper kept regional offices nearby. Death checked in with them, just to make sure the old man hadn’t snuck through unnoticed. Peter, a mousy, bookish man, hemmed and hawed and checked a bunch of dusty ledgers and kept Death waiting, which is the main job of government men everywhere, but eventually admitted that, no, James McGrath hadn’t snuck in through the Pearlies. The offices of Mammon, Lucifer & Asmodeus, Attorneys at Law, were not really any better in Death’s opinion. He never left the place without the vague feeling of having been swindled.

Meanwhile, James McGrath had taken to being dead like a fish takes to water or fire to the scrublands of California. Even before his death he could drink anyone under the table, but now he could do that without breaking a sweat, and any young buck who challenged him to a gunfight had best have already sent his Ma some flowers and bought a plot at the church. In the two weeks after his death, Old James sent more people packing than the Union Pacific. Everyone but young McCauley, one of the old man’s drinking partners, had taken to avoiding him. While that suited McGrath just fine, even McCauley had been rather scarce in recent days.

And so he was surprised when one Sunday morning there came a knock at his door. Old James put down the bottle of watery and weak whiskey he had had the misfortune to have been cheated into buying, and cracked the door open, peaking out with gummy, unfocused eyes. There stood the Reaper himself, black robes draped over his skeletal frame, silver six shooter at his hip (Nobody on the frontier took you seriously unless you had a big old hand cannon strapped to your side, and Death thought the scythe was old fashioned anyhow: a symbol of the Old World he’d shed when he followed the masses seeking fortune in the New.)

“Now,” Old James said. “I know I sent you scurrying away not two weeks ago. What’re you doing here?”

“Well, Mr. McGrath, I’m afraid there must’ve been a mistake. See, you’re supposed to be dead. And, hmmm, while you are starting to look… smell… quite dead, I can see your body up and about and kicking. That leaves me with a bit of a problem.”

“Yeah? What d’you think you’re gonna do about it?”

“I was hoping to appeal to your better nature…” Death started.

The old man interrupted with a bark of laughter. “Haw, I ain’t got one of those.”

“I see that,” Death said pensively, riffling through the ream of papers shoved under one boney elbow. “How about a game? I see here you’re a deft hand at cards.”

A greedy gleam lit up the old man’s eyes. “Aww, hell. I ain’t that good, but I’ll play. What’re the stakes?”

“If I win, you come with me. If you win, I’ll make sure no one bothers you about this ever again.”

“Deal,” said McGrath.

Now you see, when Death’s papers said that the Old Man was a deft hand at cards, they weren’t lying. McGrath’s gimlet stare was known from Yukon to El Dorado, and in his youth he had left a trail of broken men, women, and ghosts in the saloons of the West. In fact, his ranch was financed by the honest winnings of half the frontier.

Not to say that the Great Equalizer was out of his depth: any game was old hat to Death. This method of dealing with the recalcitrant and the reticent was tried and true, and Death rarely, if ever, had to work hard to win. This, of course, led to a degree of indifference towards the game. Now, though, sitting across from Old Man McGrath, Death felt the same shiver as when he had sat across from old Methuselah, who had been adept at Sumerian dice back in his day.

What I mean to say is that Old McGrath and The Reaper himself were not unevenly matched. Billy McCauley, they agreed, would deal. They spit in their hands and shook on the terms. The sound of McGrath’s great phlegmy hock echoed off the mesas and started stampedes seven states over. When Death spit, fourteen stars and the spirits of the ghost riders in the sky blinked out of existence.

They sat at the table, pistols just out of arm’s reach. A solitary beam of sunlight bounced off the polished bone handle of Death’s pistol, then flicked the tip of McGrath’s greased up plugger, before stopping short and realizing exactly who it was in the room with. It respectfully tipped its cap and skedaddled outta there as quickly as it darn well could.

Death waved a skeletal hand, and a small heap of silver dollars, leering skulls embossed into both sides, rained into existence with a light jangle in front of Mcgrath. “These are the hours of your life, McGrath, and we’ll be playing for them.” With a second wave, a much smaller pile of coins appeared in front of Death. “These are the hours you owe me.”

“Bullshit. I don’t owe you nothing.” McGrath spit out. The Great Equalizer merely tilted his head to the side, looking at the decrepit old man curiously. McGrath glared stubbornly, but death remained impassive. Finally, he grumbled “Fine, if it’ll get you outta my house faster.”

The cards were dealt: five each, and the game was on. The cards did not favor McGrath on this day. Slowly, steadily, the pile of coins shifted towards Death, and soon both were equal. Barely suppressed rage glinted in McGrath’s eyes. He had never lost before, and he wasn’t about to start.

“All in.” He pushed his pile of coins to the middle of the table. Death responded in kind.

In McGrath’s hands were three aces and a queen, but Death was shooting for a straight flush. He had the queen and the jack and the nine and the ten of spades,but he needed the king or the eight to take the prize. He called for another card, and McCauley passed him an eight of clubs. McGrath grinned, and as McCauley queasily passed him another card, he slipped another ace from under his sleeve . He locked eyes with the shadowy chasms of his opponent, and nodded, once.

“It is time,” Death boomed, and one of the flies that had been buzzing around McGrath’s face shriveled up in a puff of smoke.

The cards were flipped.

“I win.” Old Man McGrath grinned. “Now get your sorry ass out of here, I never want to see you again. And take your damned chill, too.”

“That’s your prize and your right, but one day you’ll call to me and you will be mine,” a mighty peeved Death promised as he backed out of the shack. McGrath slammed the door in his face.

McGrath cracked open his best bottle of whiskey in celebration. “Come on, Billy, it’s not every day you pull a fast one over one of the manifested forces of nature. We’re gonna drink this ‘till there’s none left, and then we’re gonna drink some more.”

“I’d… uh, love to, boss, but I’ve got somewhere to be.” McCauley answered, a bit too quickly. He looked a bit green around the gills.

“When’s that ever stopped you?” McGrath asked.

McCauley looked anywhere but at McGrath. “I’ve just gotta be somewhere. Church.” He added, lying through his teeth.

“Suit yourself then, this here whiskey’s gonna be all mine then.” McCauley scurried out, and McGrath sat back down in his rocking chair by the fireplace. The cold held him tenderly in its embrace, like some soiled dove he had tipped handsomely.

He yanked the cork out between his teeth and spat it across the room. As he brought the bottle to his mouth, though, he saw the glint of something white lodged in the cork.

A tooth. His tooth. McGrath was no stranger to losing teeth, but this was the first time that it had happened without the taste of blood in his mouth, or the sharp pain of a knuckle to his face.

Not easily fazed, McGrath shrugged and brought the bottle to his mouth, taking a deep swig. In shock, he realized that there was nothing. He could feel the liquid pour down his throat, settle in a seething pool in his stomach, but there was no taste, no burn in his throat. “What the hell is this? Water?”

He opened a second bottle of whiskey and took a swig. Again, nothing.

Let it never be said that Old James McGrath was a coward, but, panicked, he ran from bottle to bottle, each time getting nothing. Finally, he skidded to a stop in front of the tarnished silver mirror hanging above his washbasin for the occasional shave.

The face looking back at him was not his own, of that he was sure. His own face was old, wrinkled, thin, and had hairs sprouting from where there shouldn’t have been hair. The face staring at him out from the mirror was bloated, green, and was peeling skin where skin shouldn’t have been peeling.

For the first time in a week, McGrath decided to make his way to town. He walked, ‘cause his horse was too scared to let him near. When he got to the village a little after noon on Sunday, as all kinds of respectable people were leaving church, the sight of him caused fourteen little old ladies to pass out, seven feared outlaws to turn themselves in to the sheriff, and one mortician to die of glee.

The real clincher, though, was that none of his friends wanted to sit with him in the saloon, and when he sat down to drink alone, the drink did nothing at all for him.

For, you see, when James McGrath had been supposed to die, his ornery soul had refused to leave the body he’d had for near on sixty years, even if it had followed the proper order of things. Resolving himself, McGrath made his way to the pastor.

“Father, I’m dead. I need me a grave.”

“Well, son, I’m sure I can help you.” The pastor said. “I’ve got some real nice plots, far up on the hill.” He pointed towards a distant lonely tree.

“That’ll do.” He handed the pastor a silver dollar and slowly shambled towards his grave.

“You can come with me, now, if you want.” James practically jumped out of his skin at the sound of the voice, before recognizing Death.

“I thought we had a deal,” McGrath fingered the gun at his side.

“Why are you here, then?” Death’s boney hand gestured at the cemetery.

“I’m dead. Dead people live in graves. This is my new home, and I’m certainly not going with you when I just got myself a new house.” Old Man McGrath’s tone was sure.

Death shrugged and disappeared with a sound like that of a thousand leathery wings beating once in the middle of a thunderstorm. Satisfied, McGrath sat in his grave, six shooter by his side and bottle of whiskey by the other.

Some say he went off with Death after a year, greeting him as an old friend, and others claim he got eaten by some coyotes, but I can’t believe that. Old Man McGrath, eaten by coyotes? Never.

Me? I’d be willing to bet my soul that he’s still sitting there in that old grave, rotten to the bone, waiting for Death to try to come and take him again.


© 2015 by Thomas Berubeg

 

Author’s Note:  The inspiration for this story was threefold. The character of James Mcgrath was one that I had been wanting to write for a while, lounging with a pistol and a scowl in my brain for months, the walking corpse simply refusing to die but not being malevolent came from a family member’s dream, and, finally, I’ve always found the concept of gambling with death an interesting one. In this case, the game of poker was inspired by the western setting (where poker felt more appropriate than the more traditional chess.)

 

5VZumXbThomas Berubeg is a twenty-three year old French-Canadian man currently living in these great United States. A recent graduate, he studied Archaeology and History, and is currently working on a number of short stories and a novel. This is his first published story.

 

 

 

 

 


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Long List Anthology Kickstarter: The Home Stretch!

written by David Steffen

A City On It's Tentacles (1)It occurs to me 20 days into a 26 day Kickstarter campaign for the Long List anthology that I have not actually mentioned the Kickstarter campaign on my own website.  It has been a crazy 20 days and so much has been happening this particular thing has been postponed while I was working on other factors related to the campaign.  Well, better late than never, and with 6 days left in the campaign there is still some time for those who are interested to back the project to get their rewards and to help push toward the couple of remaining stretch goals.

You can read more detailed information on the Kickstarter page, but I’ll give a brief rundown here.

Purpose

Every year the Hugo Awards celebrate short stories (and other content) related to SF fandom as nominated and voted by supporters of WorldCon.  The works on the ballot receive a great deal of attention as they are distributed in a packet to voters and the voters discuss them.  Every year after the awards are given out, the Hugo administrators publish a longer list of nominated works which receive much less attention though they are also works that were greatly loved by the voting fanbase.  The purpose of the Long List anthology is to publish as many of the works from that longer list as possible.

Goals

The campaign’s base goal was relatively modest–only covering the purchase of nonexclusive reprint rights for the stories in the short story category, with stretch goals to add novelettes and novellas.  The campaign got off to big start with the base goal being reached just 2 days into the campaign, and the stretch goals being reached only a few days later.  Since the stretch goals were reached so early in the campaign I got to work making ever larger and ever more exciting stretch goals.  This added up to three stretch goals to produce an expand an audiobook of those stories for which audio rights could be acquired, produced by Skyboat Media who you may know as the folks who produce the excellent award-winning Lightspeed Magazine podcast.  The first of those goals has been reached, so there will be an audiobook which will contain 8-9 of the short stories.  There are two stretch goals remaining to add novelettes and novellas to the production.  I am very excited to have the opportunity to work with Skyboat Media–they have produced many of my favorite podcast fiction recordings and I am very excited to hear their productions.

Table of Contents

The following is the list of the table of contents of stories that will be part of the anthology.

Note that there will be 3 formats of the anthology:
1.  Ebook:  Will contain all of the stories (180,000 words of short fiction).
2.  Print book:  Will contain all of the short stories and all of the novelettes. May contain novellas depending on printing constraints. (around 140,000 words for short stories and novelettes)
3.  Audiobook:  Will contain at least 8-9 of the short stories (close to 40,000 words, which I think comes out to perhaps 4 hours of produced audio?), and if higher stretch goals are reached may contain novelettes and novellas which will add more content.

The following is the full list of stories:

Short Stories

  • “Covenant” by Elizabeth Bear
  • “This Chance Planet” by Elizabeth Bear
  • “Goodnight Stars” by Annie Bellet
  • “The Breath of War” by Aliette de Bodard
  • “The Truth About Owls” by Amal El-Mohtar
  • “When It Ends, He Catches Her” by Eugie Foster
  • “A Kiss With Teeth” by Max Gladstone
  • “Makeisha in Time” by Rachael K. Jones
  • “Toad Words” by T. Kingfisher
  • “The Vaporization Enthalpy of a Peculiar Pakistani Family” by Usman T. Malik

Novelettes

  • “The Magician and LaPlace’s Demon” by Tom Crosshill
  • “The Litany of Earth” by Ruthanna Emrys
  • “A Guide to the Fruits of Hawai’i” by Alaya Dawn Johnson
  • “The Bonedrake’s Penance” by Yoon Ha Lee
  • “A Year and a Day in Old Theradane” by Scott Lynch
  • “The Husband Stitch” by Carmen Maria Machado
  • “We are the Cloud” by Sam J. Miller
  • “Spring Festival: Happiness, Anger, Love, Sorrow, Joy” by Xia Jia, translated by Ken Liu
  • “The Devil in America” by Kai Ashante Wilson

Novellas

  • “The Regular” by Ken Liu
  • “Grand Jeté (The Great Leap)” by Rachel Swirsky

 

Rewards

There are a variety of backer rewards left for those who might be interested, listed briefly here.

  • Copies of ebook, print book, audiobook or combinations thereof.
  • A sonnet or sestina written by Ruthanna Emrys
  • A question for Rachel Swirsky which she’ll answer in a blog post
  • A “Women Destroy Science Fiction” (Lightspeed Magazine special edition) audiobook autographed by Gabrielle de Cuir
  • Special thank you within the audiobook
  • 11×17 poster prints of the wonderful cover art for the anthology “A City On Its Tentacles” by Galen Dara)
  • Custom digital art by Sam J. Miller in which he will sketch an animal of your choice in the occupation of your choice
  • Studio recording copy of the Long List anthology with director notes and narrator autographs
  • Audio recording of your story by voice actors Stefan Rudnicki, Wilson Fowlie, or Graeme Dunlop
  • Voice mail recording by voice actor Stefan Rudnick (of Skyboat Media)
  • Story critiques by Yoon Ha Lee, Anaea Lay, or me
  • Consultation with Skyboat Media regarding suitability of book for audiobook format
  • Lunch with Skyboat Media at WorldCon 2016 in Kansas City
  • Breakfast and watching recording session at Skyboat Media in Los Angeles
  • Audiobook co-producer credit

BOOK REVIEW: The Shepherd’s Crown by Terry Pratchett

written by David Steffen

The Shepherd’s Crown is the fifth installment in the Tiffany Aching subseries set on Discworld, written by Terry Pratchett, published on September 1, 2015.  Pratchett passed away earlier this year and this is his final published work.  On a personal note, it is a somber thought to think that I have read every Discworld story there ever will be.

Tiffany Aching is a full witch these days, the only witch of her homeland known as the Chalk, a land of sheep and plains, though she has a strong bond with the witches of Lancre who trained her in witchery.  She spends her days taking care of the business of witching, which is mostly a matter of taking care of practical everyday things–bringing food to the homebound elderly, helping people with their ailments, being a sort of broom-flying country doctor.

The elves across the world boundary in Fairyland are stirring, and starting to verge into our world again.  As before they are terrific, terrible, glamorous, horrible creatures who take delight in torture and pain and who wrap themselves in beautiful glamours that make you want to love them.  They used to cross into our world frequently, but after past incursions (including the book Lords and Ladies as well as the first Tiffany Aching’s entry into Fairyland in the The Wee Free Men if you want to get a sense of the elves before reading this one) they have stayed on their own side of the boundary for quite some time.  Something has changed, and to save the world from an invasion of elves, Tiffany Aching and the other witches must find a way to fight them off and send them back to Fairyland.

The Shepherd’s Crown is the final Discworld book, the final published book written by Terry Pratchett.  This alone makes it a book that will always be memorable.  Even more so because for a good stretch of the book it feels like Pratchett is eulogizing himself–which is a plausible idea since he knew his death was coming long before it came.  This book was hard to read, knowing it would be the last new Discworld I would ever read, and even more so because of that feel that he was aware of that fact as he wrote it.  The experience was very bittersweet, because I have come to feel like I know Pratchett after reading so many of his books and came to understand some extent of his views based on the compassionate way he wrote his characters.  When Pratchett died, I cried.  I hadn’t expected to cry, but I hadn’t realized until I heard that news just how much his books had meant to me, both just as simple entertainment that any good book can provide, but also in his attitudes toward certain subjects helping to shape my worldview.  Especially on the topic of death.  Death himself, as the scythe-toting robed skeleton figure, is a recurring character in the Discworld series, even starring in a number of his own books as the protagonist.  Even in the books where he might not be said to play a major role, Death shows up when characters die, and usually has at least a small bit of dialog with the newly-departed soul before he helps it cross over to the next life.  I’ve found this concept to be incredibly comforting to imagine that when someone dies, there will be someone there who means them no malice, just a person who is doing their job in the wider scheme of things, and that the person needn’t feel lost or alone.  The act of dying can be scary, but the thought of someone being there as a guide is powerful, and I’ve grown to love Discworld’s Death as though he were a friend.

Anyway, all that to say, this book tugged at my hearstrings in a powerful way.  I imagine it will for any Discworld fans.  Big things happens, there are heroes, there are villains, and there are the terrible terrific elves.  I quite like Tiffany as a character, very relatable practical compassionate person.  Even if it weren’t Pratchett’s last book, it would still have been a very memorable one in the Discworld series.  The book felt rather unfinished, the ending felt rather rushed, but judging by the afterword, it was probably not finished to Pratchett’s satisfaction–he would write a book and then go back and adjust things several times before it had to go to the publisher, and this one hadn’t finished that full set of revisions.  It is a complete story, no doubt about it, it’s not incomplete, but the ending just felt a little off-pace with the rest of it.

In the afterword, there is also mention of the other Discworld books that Pratchett had incompletely written that we will never get to read, and it even gives one-sentence sum-ups of those stories. And that brought on the sad again.

 

 

Anime Catch-Up Review: Tokyo Ghoul

written by Laurie Tom

tokyo ghoul

Tokyo Ghoul is a messy bag that almost made me quit watching twice, but the thing is, when it’s good, it’s powerful stuff. It’s unfortunate that the audience has to deal with so many ups and down that it gives the impression that the showrunners really had no idea what they were doing when they adapted Sui Ishida’s manga.

The premise is that there are monsters called ghouls who look like ordinary humans until they attack, during which they can project additional weaponlike appendages from their body and the whites of their eyes turn black. Their presence is known to the world and there is a government agency that monitors their behavior to keep them in check since they prey on humans for food.

College freshmen Ken Kaneki is attacked by a ghoul named Rize when an “accident” at a construction site crushes them both. Though severely wounded, Kaneki is not dead, and the surgeon at the hospital transplants Rize’s internal organs into him to keep him alive. Not long after that he discovers he can no longer eat human food without throwing up, and to his horror, the only thing that smells tasty to him is recently killed human.

Tokyo Ghoul starts dark and ends dark, but it doesn’t consistently stay that way. After his rough introduction to ghoul life, Kaneki settles into his new reality in a surprisingly comfortable fashion, considering that he’s now a human-eating monster.

Part of this is due to the fact that Kaneki is quickly adopted by Anteiku, the advisory body of ghouls that maintains harmony between their fellows in the 20th Ward of Tokyo. In addition to mediating in-fighting over hunting territory, Anteiku also provides for ghouls who are unable to hunt for themselves, generally by finding the bodies of humans who’ve committed suicide. This allows Kaneki to eat without the moral burden of having killed someone.

The other part is that ghouls are quickly portrayed as not that much different from humans. Some will only use their powers to protect their families and others will abuse them for personal gain. Ghouls marry, have children, and depending on the individual, may choose to do their best to participate in human society. What makes them different is that they must eat humans to survive.

The first half of the series focuses on the ghouls around Kaneki and what their day to day lives are like. Some of those episodes are good, like the storyline with the government investigators, when Kaneki realizes that he’s the only one who can see both ghouls and humans as people, but other episodes never rise above being a general action show, and just about any scene with Shu Tsukiyama is nauseating. That character alone almost made me stop watching. I’ll take buckets of gore over watching Tsukiyama getting off on huffing Kaneki’s blood one more time.

Kaneki starts out a timid and passive protagonist, refusing to kill and can barely be convinced to fight, but while it’s easy to see both sides of the human/ghoul conflict through him, he’s actually not that interesting because other people tend to drive the events around him, leaving him a passenger in his own life.

That is, until the mid-series finale, which is probably one of the darkest episodes of any anime that I’ve managed to stomach.

It’s not that it’s overly gory, but it’s emotionally visceral. Natsuki Hanae renders an riveting performance as Kaneki that takes the audience along with all the agony he’s experiencing, and combined with what we can hear but can’t see, the episode is intense enough that it can be uncomfortable to watch. It is probably the best episode in the series and very well done, but at the same time I don’t think I want to watch it again.

Post-trauma Kaneki is very difficult to reconnect with, which is the reason I almost dropped the show again, but after a few more episodes, I realized he was finally the protagonist that I had wanted from the beginning. It just took three quarters of the series to get there.

The second half brings the conflict between humans and ghouls to a climax, and the narrative does a good job of portraying both sides as neither good nor evil as it ramps up to the finale. A minor character might be just another enemy to the other side, but the audience goes in knowing that everyone matters to someone else.

The ending, while it doesn’t wrap up all loose ends, is thematically powerful enough that I can almost forgive everything else that slipped along the way, but there’s no getting away from the fact Tokyo Ghoul is stuffed with missed opportunities, unanswered questions, and odd pacing issues.

As far as the gore goes, Tokyo Ghoul censors all the worst bits. Partially eaten bodies are always just out of sight. There is definitely blood, sometimes buckets of it, but the worst bits of on camera violence are the ghoul against ghoul combat scenes, who due to their regenerative powers, can afford to be run through. Even the torture scenes in the mid-series finale don’t actually show what’s happening.

Because of the subject matter and the uneven presentation I find Tokyo Ghoul difficult to recommend. It’s not consistently dark, particularly in the first half, so I’m not sure horror fans would make it to the end without getting bored, and because of the very premise of the story I can’t recommend it to anyone with a sensitive stomach.

When Tokyo Ghoul is at its best it’s really good, but there’s a lot of slush in the middle and mileage may vary depending on the viewer’s acceptance of less horror-oriented fare in what is essentially an action horror series.

Number of Episodes: 24

Pluses: Interesting take on the ghoul monster, government ghoul hunters are pretty effective antagonists despite not having special powers, neither humans nor ghouls are uniformly bad people

Minuses: Main character Kaneki feels like he’s just along for the ride for much of the show, storytelling is really uneven, fate of many characters left unresolved

Tokyo Ghoul is currently streaming at Hulu and Funimation and is available both subtitled and dubbed (dubbed at Funimation only, only partially complete at this time). Funimation has licensed this for eventual retail distribution in the US.

laurietom
Laurie Tom is a fantasy and science fiction writer based in southern California. Since she was a kid she has considered books, video games, and anime in roughly equal portions to be her primary source of entertainment. Laurie is a previous grand prize winner of Writers of the Future and since then her work has been published in Galaxy’s Edge, Strange Horizons, and Crossed Genres.

The Unaddressed Issues in YA Dystopian Fiction

written by Maria Isabelle

The future of mankind is dark, desolate and generally pretty frightening. At least, that is what dystopian fiction like The Giver and The Maze Runner would have us believe. Dystopian fiction pictures a future world where many of our current problems are escalated to extreme proportions.These fictitious works are set sometime in the future after we have continued down our current path of destruction and the end result is a world overrun by violence, greed and sometimes even a creepy monster or two. There is an overarching presence of oppression by some sort of political force in all these works of fiction, and it is when citizens of these dystopias realize the system they live in isn’t the one they want to live in, that the story typically begins.

This is not a new genre of fiction, but it has seen a rise in popularity in recent years, especially in the growing young adult market. While there may be many reasons for this rise in YA dystopian fiction, the fact that many of these stories feature an oppressed hero ready to fight for freedom speaks directly to the oppression many teens feel as they grow up. Unfortunately, this oppressive feeling also highlights what is really lacking in many dystopian works including the minimization of racism, sexism and a number of other issues plaguing modern society.

While issues such as technological dependency, government control, and environmental destruction get A-list exposure, real problems teens (and adults) face on a daily basis are mostly ignored. Right now, there is a big discussion happening on the role both racism and sexism play in YA dystopian fiction. Hit properties like the Divergent series actually go right for societal separation, which one would think is the perfect place for a discussion on racism and equality. Instead, Divergent (and its sequel Insurgent – streaming info for both here) avoids all of that messy real-life drama and instead chooses to base its separation on virtues instead of race, which is unfortunately far more likely the way our evil future-selves would run things.

Along the same thinking, The Hunger Games features a predominantly white world with little room for race issues. Sure, there are some minority characters in the film, but not too many fans likings. During casting of The Hunger Games, it was announced that Willow Smith may play Rue, a young girl that was written as a minority in the books, and the internet went wild.

All over Twitter, blogs, and forums fans of the series were coming out in droves to bash the casting of an African-American girl as Rue. These comments varied from the downright hateful to the more passive-aggressively racist, but the general sentiment was the same. Following the movie’s premier, the comments continued and even though Smith did not play the role of Rue, Amandla Stenberg put forth a sensational portrayal of the character even the harshest of critics couldn’t ignore.

It comes as a surprise to many that in comparison to other dystopian fictions, and actions movies in general, the main protagonists in these films are strong female characters. Jennifer Lawrence and Shailene Woodley have been dominating screens in these films for a couple years now openly challenging gender stereotypes. The underlying tone of female empowerment present in these series is great for the young girls that are typically fans of the genre. But rarely are the serious issues many women face on a daily basis like discrimination and harassment addressed.

While most dystopian fictions feature some element of racism or sexism, they barely scratch the surface of the issues and their repercussions in the real world. By tackling these major issues in young adult fiction, we are encouraging the youth of today to openly discuss the real-world problems they face now and will in the future, possibly opening up the genre to a whole new reading and viewing public. Ignoring these real-world issues are akin to simply saying they do not exist or are not important, and we all know that is not the case.

 

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Maria is a writer interested in comic books, cycling, and horror films. Her hobbies include cooking, doodling, and finding local shops around the city. She currently lives in Chicago with her two pet turtles, Franklin and Roy. 

Anime Review: Gunslinger Stratos

written by Laurie Tom

gunslinger stratosGunslinger Stratos is the rare show I decided to watch despite having low expectations of it. It’s based off an arcade game only released in Japan, and because of being an arcade game, I was not expecting much of a plot. Mostly, I wanted to watch it because it had an interesting concept involving parallel timelines and the potential for really cool anti-gravity gunslinging combat scenes.

Unfortunately, Gunslinger Stratos largely fails to exploit either of those, which is a pity because it could have been a really cool action show.

Tohru Kazasumi is a typical unassuming “nice guy” anime protagonist in high school with a girl, Kyouka Katagiri, who likes him, but they aren’t dating (yet). They’re just friends.

In the 22nd century they live in, the world is tightly controlled by the government and due to a war some decades ago, Japan no longer exists, but outwardly the place they live in looks fairly advanced and on the surface, even utopian, with lots of greenery among all the beautiful white buildings.

Contrast that to a different timeline, where the people in the 22nd century live among rubble, scraping to survive, and the world has never recovered. In this world, Tohru Kazasumi has never gone to school, and he and Kyouka Katagiri have formed a family consisting of them and other orphaned children who work together to make sure there is enough food and clothing to make it to another day.

The two timelines clash when the mysterious Timekeepers intervene and ask both timelines to play a deadly game against one another in order to stop a phenomenon that is causing people around the world to mysteriously disintegrate into sand. Winning teams receive rewards that vastly improve their technology, making them stronger for the next round.

For some reason, this involves sending both teams back in time to a phantom 21st century where they battle one another using energy weapons provided by the Timekeepers and the combatants fly around in with anti-gravity assists, which have the potentially to be visually amazing (as they are in the Tohru vs. Tohru fight in the opening credits). Unfortunately the show itself never reaches that level of excellence.

The story works best when the characters consider what it’s like facing themselves (is it murder when they killed their counterpart?) and when we, the audience, see how the characters have turned out differently due to their environments.

But there’s not nearly enough of that. Most of the story is focused from the point of view of the timeline that recovered from the war, so it’s harder to get a feel for what it’s like for the team living in Frontier S (the harsher timeline), barring a single episode when main timeline Tohru crosses over. It’s too bad because that’s a missed opportunity to build more sympathy for the other side.

Also, quite frankly Frontier S Tohru is more interesting than main Tohru because he’s more willing to do whatever it takes to get a job done due to the losses he’s experienced. Main Tohru goes through a lot more questioning and angst that has been done before in other shows, but even when he loses teammates it doesn’t feel as strong as it does for Frontier S Tohru, because we know the latter has changed because of it.

Related to losses, there are a surprising number of characters who bite the big one over the course of the show, but most of them fail to matter for the audience. In some cases we might have seen them for all of five minutes before they die, but clearly they are someone due to their unique character designs.

I suspect this is a case of trying to shoehorn in all the playable characters from the arcade game, but someone who has never played the game would probably need a wiki to identify them all.

Even the lack of character development would have been all right if the imaginative fight scenes had been there, but after the early establishing episodes, the story attempts to move into a deeper plot and spends too much time on the true purpose of the Timekeepers and a strange detour with a secondary villain that didn’t need to happen.

There’s a lot of talk about changing the future while a particular future is trying to enforce, if not accelerate its existence, but the dialogue drowns it in a lot of pseudo-tech talk. By the end of it, I was pretty sure that if the Timekeepers had never intervened, they would have gotten the best outcome for their cause, but then we would not have had a reason for the story to happen in the first place.

Gunslinger Stratos has some nice ideas, but in the end I can’t really recommend it.

Number of Episodes: 12

Pluses: interesting concept, surprisingly sweet epilogue sequence, memorable J-pop themes for opening and ending credits

Minuses: shallow character development, nonsensical storyline, doesn’t live up to potential

Gunslinger Stratos is currently streaming at Crunchyroll and is available subtitled.

laurietom
Laurie Tom is a fantasy and science fiction writer based in southern California. Since she was a kid she has considered books, video games, and anime in roughly equal portions to be her primary source of entertainment. Laurie is a previous grand prize winner of Writers of the Future and since then her work has been published in Galaxy’s Edge, Strange Horizons, and Crossed Genres.

DP FICTION #7: “A Room for Lost Things” by Chloe N. Clark

“It’s not always there,” Kelly said.

Rose looked at her niece. “What isn’t always there?”

“The room next to mine. It’s not there all the time.”

Rose regretted her willingness to babysit that night. She had only said yes because her sister had finally decided to move closer to Rose. It would be a good thing to get to know Kelly who she hadn’t seen since Kelly was just a baby. Her sister had lived so far away for so long, moving not long after their parents’ death. This was Rose’s whole family now, after all.

Kelly was quiet, much less buoyant than how Rose expected a nine year old to act, rarely saying much more than a word. The three of them went out to dinner the first night after the move and the kid had just sat at the table staring at her plate of pasta. Perhaps, the move was tougher on her than she was letting on.

Rose assumed the night would be easy; the kind that every babysitter wants where the kid just keeps to herself. So this sudden unfathomable statement seemed extra odd. Was the girl going to start exhibiting stranger behavior? Or could this be leading to some sort of prank?

“You mean the guest room?” Rose asked. Kelly’s bedroom was on the outside of the house so it only had one room bordering it.

“No. Not the guest room. That’s always there.”

“Then, what room?” Rose tried not to sound annoyed. She didn’t like riddles. She’d never liked them. Her mother, a professor of mythology, had always told riddles to her and when Rose inevitably burst into exasperated tears, her mother would try to explain the answers. But the answers always made even less sense than the questions.

“The one on the other side. Sometimes there’s a door to it and sometimes there isn’t.”

Rose stared at Kelly. Kelly didn’t seem like the type to make up fantastical stories. She seemed almost too boring, neatly coloring within the lines of her drawings of tiny houses with curly-smoked chimneys. It was the kind of drawing children made in advertisements featuring perfect families.

“Is the room there now, Kelly?” Rose asked.

Kelly shrugged.

Rose peered up at the ceiling. They were in the living room which was directly underneath Kelly’s room. “Well, let’s go find out, then.”

It had to be some kind of odd game. Rose could never tell with children. She hadn’t had much experience with them. Not since she had been one at least. Kelly nodded and they walked up the stairs and then down the hall to Kelly’s door. Rose opened the door slowly. They both looked inside. The room was as it should be. Bed. Stuffed animals everywhere. No door. “No room today, huh?”

Kelly looked at the opposite wall with the window that looked out onto the garden. She shook her head, satisfied that there was nothing. They went back down and had ice cream, playing Monopoly until Kelly’s bedtime. Rose let Kelly win. She wasn’t a fan of Monopoly and so she rarely ever played it, but she knew that it was never fun to lose.

Rose sat reading in the living room. It was past ten and her sister would be back any minute. Then she heard something from upstairs. It sounded like music, the same type of music that her parents had played at Christmas when Rose and her sister were little. Her father had taught music and sometimes told the stories behind the songs. Rose used to imagine the musicians making songs blossom out of pieces of sound like the magic trick where a magician placed a seed in dirt and then it burst into a tree. So the stories of frustration and the time that it took to create music always disappointed her. She longed for music to be sudden in its creation.

Rose walked up the steps and then down the hall to Kelly’s room. She gently opened the door, peeking inside. Kelly was asleep in bed. On her wall was a door. Rose blinked. It was still there. She tiptoed up to it, a mahogany door with a golden knob. It looked a lot like the door in her grandmother’s house, the one that led into the cinnamon-scented kitchen. Her grandmother had been an amazing baker and Rose still remembered the taste of the pinwheel cookies that she made—the perfect blend of salty butter cookie with a ring of super sweet cinnamon and walnuts. She had stood on tiptoe to steal the cookies off the high shelf her grandmother kept them on. The music came from behind the door. Rose reached out, but heard her sister driving up. She turned away at the sound and then turned back quickly. The door was gone. She never thought that she was a suggestible person, but, maybe she was now.

Rose went downstairs and chatted with her sister for a few minutes. “Yes, everything was fine. I’d be happy to help again, anytime.”

A month passed and Rose began to forget about the door. It had been a silly trick of her mind. One night her sister called and asked her to babysit again. She agreed.

She spent the first part of the night helping Kelly with some math homework. Rose liked math. It always meant something and every problem could be solved. As she and Kelly were eating cookies and milk, as a reward for completing all of the questions, she asked, “Kelly, have you ever gone inside that other room?”

Kelly looked up. Her eyes were wide. She nodded. Once, quick.

“Why do you look so worried?”

Kelly looked down. “I don’t think I should have. I don’t think my mom would like it.”

“Well, it’s our secret.”

Kelly looked back up, smiling.

“What was it like in there? Was it nice?”

“Well…It was filled up with all these…Well, they were things I’d lost. A doll from years ago and my mouse that ran away. The room was so big; there was room for so much more. Shelves and shelves.”

“Was there music playing?”

Kelly looked surprised. “Yes. It, well, don’t tell my mom but it was this song that my dad used to play when we went for drives before…Before he left…It was so nice. But…” Kelly stopped to study her glass of milk, cookie crumbs floating up to the surface like dead fish.

“What, Kelly?”

“Well, I think the room, I think, it didn’t want me to leave, it wanted me to stay, to keep me safe and tucked away.”

Later, Rose tucked Kelly into bed. Then she read, only she wasn’t really reading. She was waiting. She listened but didn’t hear anything. She went up the stairs and then down the hall and opened Kelly’s door. Kelly was asleep. There was no other door. Rose sighed and went back downstairs.

Rose spent the next few days hoping that her sister would call and ask her to babysit again. She wanted to see the door again. She needed to know that it really existed or that it didn’t. She didn’t like the not knowing. She never had. When her father was in the hospital, the doctors didn’t know if he would wake up. Her mother was gone already and she overhead the police saying that he was the only surviving witness if he recovered to testify.  So much was contained in that “if”.  Rose kept wishing to know one way or the other–would he wake up or would he also be gone? Then she’d gotten her wish and hated herself for being foolish enough to make it.

One night the phone rang and she answered it on the first ring. She was already set to say yes.

It wasn’t her sister. It was the police. They spoke quietly, matter-of-factly, icily. There had been an accident. The curvy road and the rain and the moonless night.

Rose went to the station, to the morgue, and she looked at two tables. Cold tables. Two sheets pulled back. Two faces and she gave them each a name, saying the words aloud. She said the names without thinking and then couldn’t call them back. To name them made it real. They had been her whole family, she wanted to tell someone. The coroner or the police or anyone who would have understood. Can a family be reduced to one person? Was there a word for that?

Rose went to her sister’s house. She didn’t think about it. She just knew that was where she had to go. When she stepped in, she almost called out from habit. Then her voice caught in her throat and she thought that the words might be choking her.

She heard music. She went up the stairs and then down the hall and opened Kelly’s door. It wasn’t as it should be. There was no one asleep in the bed. The room was dark, drained of something that she couldn’t quite place.

There was the door. Rose walked up to it. She pressed her ear against it and could hear the faint sounds of music and voices and laughter. Rose reached out, closing her hand around the golden door knob. She gently turned it. Rose opened the door and stepped inside to see what she could find.


© 2015 by Chloe N. Clark

 

author_photo_4 (1)Chloe N. Clark is an MFA candidate, baker extraordinaire, and amateur folklorist. Her work has appeared in Abyss & Apex, Supernatural Tales, and more. She is currently at work on a novel about stage magic.

 

 

 

 

 

 


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Diabolical Plots Fiction Lineup (Year Two)

written by David Steffen

Diabolical Plots opened for fiction submissions for the month of July, one story per writer for the submission window.  During that month 425 valid submissions arrived in the slushpile.  59 stories were held for a second look.  13 stories were purchased.  Both rounds of the process were judged entirely by me, and author names were hidden from me until the final decisions had been made, so the stories had to stand for themselves.  Here are the story titles and authors for that year of purchases.  I am very excited to bring these stories to readers.  I hope you enjoy them as much as I did!

March 2016
“One’s Company” by Davian Aw

April 2016 
“The Blood Tree War” by Daniel Ausema

May 2016
“Further Arguments in Support of Yudah Cohen’s Proposal to Bluma Zilberman” by Rebecca Fraimow

June 2016
“The Weight of Kanzashi” by Joshua Gage

July 2016
“Future Fragments, Six Seconds Long” by Alex Shvartsman

August 2016
“Sustaining Memory” by Coral Moore

September 2016
“Do Not Question the University” by PC Keeler

October 2016
“October’s Wedding of the Month” by Emma McDonald

November 2016
“The Banshee Behind Beamon’s Bakery” by Khaalidah Muhammad-Ali

December 2016
“The Schismatic Element Aboard Continental Drift” by Lee Budar-Danoff

January 2017
“Curl Up and Dye” by Tina Gower

February 2017
“The Avatar In Us All” by J.D. Carelli

March 2017
“Bloody Therapy” by Suzan Palumbo

 

BOOK REVIEW: Chasing the Phoenix by Michael Swanwick

written by David Steffen

Chasing the Phoenix is a science fiction novel by Michael Swanwick, published by Tor Books earlier this month.

The book stars Swanwick’s recurring characters, the con men Darger and Surplus.  As the story begins, Surplus is journeying through a future China with the Darger’s corpse carried on the back of a yak, seeking the services of the legendary healer the Infallible Physician to raise Darger from the dead.  Once that’s happened (it happens early enough in the book that I don’t think that counts as a spoiler).   Considering greed a virtue, the con men are always looking for ways to profit from their circumstances.  Surplus, who is an anthropomorphic dog, has used his appearance to his advantage by pretending to be an immortal, and with Surplus rising from the dead they have soon gained the attention of powerful people involved in a brewing civil war.  Even among one side of the war, there are always those jockeying for power and willing to kill to get their way, and soon the two con men are working all sides just to stay alive.

Since Darger and Surplus are recurring characters, of both novels and short stories, a valid question would be: Can this book be read out of order with the rest?  Yes, you can.  This was my first Darger and Surplus story, though I was familiar with the characters from short nonfiction segments that had featured on the StarShipSofa podcast on the subject of the art of confidence tricks.  My only prior knowledge was that they were con men, and that’s obvious very early in this novel.  I had no trouble picking it up.  I expect that there are probably some references and in-jokes about previous books, but nothing that interfered with my understanding.

I imagine that some people enjoy going on adventures with these con men characters–presumably they are recurring characters because books about them sell.  Honestly, I just found them irritating.  Not because of their professions, necessarily–their ethics are certainly different than mine, but I have related to such characters before.  I just found them… I don’t know what word I’m looking for… smarmy, perhaps?  I didn’t really care what happened to them, and if the book had ended with them both dying I wouldn’t have really minded.  I don’t know if this book is representative of them or not, but I probably won’t try to read any more Darger or Surplus stories unless I hear this one wasn’t representative.

I did read through the whole book.  I was curious how it would turn out.  There were some interesting challenges that the pair faced, varying from war strategies, to battling against future technology, to interpersonal challenges that they were coerced to help resolve.  The challenges and the stakes rise throughout the book as they con men play people off of each other and the war goes on.  A few times in the book the characters they seem to be in an impossible situation and those were the parts I was most interested in, to see how these two could turn things around… but more often than I thought was reasonable things would just take a turn of circumstance and save them at the last moment.  In the end there turned out to be some explanation for this, but I felt like it was a cheat and took the enjoyment out of the part that I really wanted to see–these two actually facing a real challenge.  Apart from those apparently unsolvable challenges, they breeze through the rest of the book, never stymied by anything.  Although the stakes go up and up, they just cut through the challenges like butter.

So, this book is clearly not for me.  I didn’t like the protagonists and I thought the book was too easy for them.  I imagine that fans of Darger and Surplus stories might like it, though I don’t know if this story is representative.  Swanwick is a good writer, and I’ll happily pick up other works by him that star different characters.

 

BOOK REVIEW (Conclusion): The Three Body Problem by Cixin Liu (Translated by Ken Liu)

written by David Steffen

Less than a month ago, just before the Hugo Award voting deadline, I gave a preliminary review of the first 100 pages or so of the Hugo-nominated novel The Three Body Problem.  I gave the partial review then to get it published before the Hugo deadline, but since then I’ve finished reading.  This review will be pretty brief because I don’t want to spoil everything, and the truth about what exactly explains the weirdness that’s happened so far in the book takes a while to unroll.

As mentioned in the partial review, I thought the beginning was much too slow, going into a lot of background detail on a character who was important to the story but didn’t end up being the main point of view character.

I continued to especially enjoy the in-book game titled The Three Body Problem in it’s weird representation of a world with chaotic seasons, and generally found those sections more compelling than the other parts of the book.  The book in general is more distantly told than I prefer, often with the POV character bringing up a topic that he said he’d been planning with no prior note about it.  I’m not sure how much of that is a language or cultural difference in the expectations of storytelling but I was interested enough to keep reading.

I guess I hadn’t paid enough attention and hadn’t realized that this was book one of three until it ended.  Some things are resolved by the end of the book, but I wouldn’t call it a real complete story arc on its own–its very much a Part One, not a standalone story.  Without getting into spoilery specifics, I thought the tension kind of ramped down near the end, so I’m not really sure how that’s going to carry over into the next book.

I enjoyed reading the book, finding out what was behind the weird occurrences, and finding out more about the in-book game.  But with the generally slow and uneven pacing the ramp-down in tension near the end I’m not sure I’m into it enough to want to keep reading books two and three.