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Elliott Dunstan

  • Home
  • Contact
  • About Me
    • Publications
    • Books
  • Bell, Clock and Candle (Elessa)
    • The Nowhere Bird (Bell, Clock and Candle #1)
  • ALKIMIA FABLES
  • The GULA Crowdfund — What To Expect

    October 21st, 2025

    Hello everybody and welcome back! There’s going to be some more activity on this blog in the next few months as I get back into the swing of things, but first up: let’s get some more information about GULA! In case you missed the prior post, GULA is an epic modernist/post-modernist poem about the fall of an empire and the shadowy undercity that makes it possible. I’m going to be crowdfunding the paperback for this starting on November 12th through BackerKit, with an amazing cohort of fellow authors called the Book Bazaar (check them all out here!)

    You say epic poem. What does that mean?

    ‘Epic poem’, for most people, conjures images of the Aeneid, the Odyssey, etc. or maybe even more modern versions like Omeros. GULA is a bit different. It’s not quite a verse novel, either, if you’re familiar with those (Aleutian Sparrow, The Poet X) but instead, a sprawling, abstract exploration of the concept of ‘Carrion City’. It also isn’t as long as most of those listed! The current draft is at about 25 pages, although it’ll be longer in paperback form — so it’s book-length from a poetic perspective, not a novel perspective.

    What do I get if I pledge?

    Excellent question! First off — my tiers are set in Canadian dollars. So if you’re American, keep in mind that the price for you is about 80-90% of this. (The trade-off, of course, is that all physical rewards will have shipping fees associated.)

    Our first tier is the e-book of GULA — coming in three formats, PDF, EPUB and MOBI. You can pledge to this one for as little as $7 CAD, and you’ll be among the first people to get a copy of the book, especially since sending e-books is so fast.

    The second tier is an e-book trio. GULA is my third exploration of the involved themes; the first two attempts were CARRION CITY and THE SINGULARITY. The e-book trio is $15, so you get a pretty good discount – especially since these are special editions of both only available through this crowdfund! (What do the special editions include, you ask? Shinier formatting, extra entries, and the mighty, mighty author afterword.)

    That brings us to our main event — the shiny, shiny GULA paperback. Printed and perfect-bound at a local Ottawa print shop, GULA is going to be absolutely stunning to look at and I can’t wait to share previews. This tier goes for $20 CAD and comes signed by the author.

    Finally, for $50 CAD, you can get all three e-books, the paperback and one of two art prints — either The Heart of the Matter or How Does Your Garden Grow? both previewed below. (If you’d like to get both, just check out the handy-dandy add-on feature! You can add whichever print isn’t included in your tier that way, as well as any other books you might want to buy.)

    Cool! So when should I pledge?

    The campaign opens up on November 12th and ends on December 3rd — but the faster you pledge the better. There’s a few reasons for this. One, it helps me out a ton! The faster a project starts moving, the easier it is to get more funders, etc.

    Two, my prints are limited. I’m only selling 60 of each, so if you want one, you wanna be sure to hop into the campaign as fast as you can. And three — if you pledge within the first 48 hours, you get a special edition e-book of Revenant’s Hymn for freeeeee! This special edition includes some extra content and a retrospective afterword celebrating the upcoming 4th anniversary of the book.

    Got any more questions? Reach out via my contact page and let me know! Or — follow the campaign page here!

  • Get Ready for GULA – Crowdfunding with the Book Bazaar!

    October 5th, 2025

    Hi all! I’m gearing up for a new crowdfund project — but this one’s special, because I’ll be crowdfunding with a whole bunch of other amazing authors! That’s right, this year I am crowdfunding a book through BackerKit with the Book Bazaar!

    What’s the Book Bazaar?

    The Book Bazaar is 24 crowdfunding campaigns happening all at the same time, all for literary projects. We’re all making books, but there’s a tremendous diversity in what books exactly we’re making — we’ve got fantasy, romance, sci-fi, audiobooks, and of course yours truly is doing poetry/horror. Each campaign is all-or-nothing, but there’s rewards for backing more than one, and other cross-promo specials!

    All of this goes live on November 12th, but before then, you can follow the projects you find interesting, which is a great way to keep track!

    What about GULA?

    GULA is a project I’ve been working on in the background for a little bit — a 20+ page epic poem written partially as a response to T.S. Eliot’s The Wasteland, partially as a continuation of some of the ideas I’ve been playing with in Carrion City and The Singularity. GULA expands and dives into the central metaphor of Carrion City, a shadow-world just beyond the one we’re ‘sold’; the place where the poor and destitute, the marginalized and the abject end up. Spanning a number of styles and 12 sections, GULA is my most ambitious poetic project yet — and you can check it out right here!

    In the next few weeks, I’ll be posting more both about GULA’s specific campaign and about some of the other amazing projects you can find at the Bazaar. In the meantime — follow the page, keep your eyes peeled, and have a wonderful Hallowe’en season!

  • Behind the Curtain: Fiction Is F-cking Fiction, Even If You Don’t Like It

    August 26th, 2025

    TW: pedophilia, CSA, discussion of lolicon/shotacon (in broad terms, no specifics), Nazi rhetoric around ‘degenerates’

    Six years after writing one of the hardest articles of my life, it’s finally happened: I’ve been asked point blank if that means I think lolicon is ‘acceptable’. Which I suppose means it’s finally time for me to write the follow-up to ‘I Think I’m Ready To Talk About This Now’ — one where I take a look back at it and see how I feel about the topic now. [If you’re curious about the article, it’s been privated for my safety; I bring it back every now and again, but especially after this latest bit of turmoil, it’s going back into the private folder for the time being.]

    But here’s the thing: right off the bat, I think if you’re reading any of my articles, and coming away with concerns about whether or not I condemn the fictional subject matter in it strongly enough, I think you’ve entirely missed the point. Whether or not I approve or don’t approve of lolicon/shotacon is an entirely moot question, and one that I’m not going to entertain — partially because then I’m validating the entire concept that the porn I consume matters and is up for the approval or disapproval of the masses. What matters — and what should be the driving question of everyone, regarding this topic — is How do we protect children? How do we reduce the sexual victimization of our most vulnerable population? How can we help those who have already been hurt?

    It’s a complicated set of questions, and not ones I’m going to try answer here, although I’ve taken them on at several different times. What I’m going to challenge instead is this constant, repeating notion that one’s feelings are more important or a more helpful guide concerning the topic than research or the testimony of survivors. I’ve seen it countless times; someone will already have the preconceived notion that lolicon, or ageplay, or dark romance, or (insert scapegoat of choice here), is somehow responsible for or contributes to child sexual abuse. When challenged on this or asked for sources, they’ll reference that they’ve “read studies”; when offered contradicting studies, they may or may not read them, but they’ll just say that they Disagree. And because we are supposed to respect all opinions, the idea is supposed to be that we can “agree to disagree”. We can calmly and respectfully share the marketplace of ideas between well-informed, well-researched stances and utter claptrap, because that’s worked so well for vaccine research, trans rights, and literally anything else.

    Most people do not want to hear this. But your internal biases about child abuse, nine times out of ten, are not just wrong, not just worthless, but actively harmful. You are more likely to put a child in danger by listening to your uncritical preconceptions about who is and isn’t dangerous than anything else, and you become a far more dangerous person when you refuse to acknowledge these biases. This comes out in all sorts of different ways; and one of the most unfortunate tricks is that you may be able to see how it works in one sense but still be blind when it comes to your own. Many of you, for example, will condemn the mother who calls her child a liar when they say her husband’s a predator. But if you’re turning around and saying that fiction or artwork are contributing to child abuse — with absolutely no research to back you up — you are acting on the same biases and the same preconceptions, with similar results. The wrong people are punished, and those in need of help are ignored. A child pastor would never do that. A creep with a lolicon porn stash totally would. The latter goes to jail, the former’s never punished. The details of what actually happened couldn’t matter less when we are running on vibes and fumes, my friends.

    This prioritization of comfort over action is something that’s been around for a very, very long time. Suffragettes were demonized for their radical attempts at attention-getting, and Capital Pride this very weekend was “taken over” by a Palestine protest (organized and advertised well ahead of time) that is being criticized in part by people…mad they didn’t get a parade. Nor is the further-left immune to this; safe spaces and trigger warnings are wonderful ideas that are unfortunately easily-hijacked by the more privileged. A white woman’s safe space includes never being challenged on racism just as much as it includes freedom from misogyny; the fact that the Black woman who wants that same safe space wants it to be free of racism is simply considered less important, because the opinions of Black women are given less value. Giving trigger warnings for discussions of pedophilia is deeply, critically important for other survivors, and I strive so hard to do it — but I’m also deeply aware that just as many, if not more, people look at the trigger warnings and walk away not because they’re survivors, but because they just “don’t want to think about that kind of thing”.

    As a survivor not just of grooming and CSA, but of an attempt to convince me that I was a monster myself, I don’t have a choice on whether or not I get to think about it. That’s why I dedicate so much of my time and my energy to being outspoken on what is and isn’t harmful; to what does and doesn’t harm me and my fellow survivors. From very early on, I knew that I could not trust my own emotions; I’m mentally ill, I’m traumatized, and I have been gaslighted by so many people in my life that I have built my own perception of the world from scratch. I’ve built it from research; I’ve built it from discussions with as wide a variety of people as possible; I’ve learned how to reality-check with all sorts of folks and to balance when someone actually has any expertise or right to give me a reality-check on something. A white person cannot give me a reality check on racism. An able-bodied person cannot give me a reality check on accessibility. And someone who does not have any experience with CSA or CSA advocacy beyond the prejudice of their own gut feelings cannot and will not give me any kind of ‘reality check’ on the Inherent Morality of drawn, fictional material.

    The truth is, six years after writing the article in which I first took a hardline stance on “shut the fuck up about lolicon”, I’m even more hardline about it than ever. I do not give a shit about drawn material; I do give a shit about morality crusaders who think that ignoring witness testimonies, aggregate statistics, and extremely obvious correlations (if you really think that only this kind of drawn material is bad, you’re just carving out things based on your own preferences, not making any kind of consistent argument) still somehow puts them in the right. Attaching morality to pornography, to any kind of pornography that did not involve harming someone to create, is an inherently regressive stance and one that dehumanizes large swathes of people. Either get comfortable with that, or take some time to re-evaluate the balance between your gut feelings on something being “icky and gross” and what you actually, truly believe. And if nothing else… don’t be shocked when you deride a group of people as morally reprehensible and imply them to be less than human, and I take offense. We don’t do Nazi rhetoric in this household. Keep up or go home.

  • Little Free Archive: Water-Kin by Mahaila Smith

    April 29th, 2025

    I love the ideas of solarpunk, but I’ll be honest — despite every idea in it appealing to me, I’ve had a hard time getting into the actual body of work. Some of this is a personal aversion to utopias. Solarpunk tends to prioritize positive ways forward over the dystopic futures of cyberpunk; this is excellent, but not how my creative mind tends to work. I distrust utopias so much that I can’t sit still long enough when presented with one to stop going ‘okay so what’s the catch?’.

    That’s why I’m immediately impressed with Water-Kin, a poetry collection-slash-verse narrative that doesn’t advertise itself as solarpunk, but might be my favourite example of the genre yet. Mahaila Smith, one of the co-editors for Sprawl Mag, is both a gifted poet and satirist, and the collection starts off with upfront satire before stepping back, bit by bit, and resolving into a multi-generational tale. I hesitate to use the word ‘uplifting’ in this day and age, but it really is.

    I’m also always deeply pleased by poetry that’s clearly meant to be read aloud and almost dances off to the page to insist on it. Not all of the poetry in here is like that, but many of the standouts are, including my personal favourite ‘Hi! I am your Cortical Update!’

    I’m so shy!!!
    I drink wine as long as the moon crosses the sky.
    I follow directions from a ten-year-old.
    I write words on any blank piece of skin, until I am blue blue.
    I subvert zombies, drugged into rasping stasis.
    I stuff hungry vampires with rejected manuscripts.
    –Excerpt from ‘Hi! I am your Cortical Update!’

    My other favourite is one I think is worth not spoiling, but it made me coo over the page like I’d been presented with a three-week-old kitten. If you like solarpunk/biopunk and verse narrative, and want to support an indie queer poet, definitely check this one out.

    “But Elliott,” you say, “you put this on Little Free Archive!” AND SO I DID. Because — while I was lucky enough to get a beautiful paper copy — you can read this chapbook for free from Metatron Press. You can also read more about Smith’s work on their website here, including their upcoming full-length collection Seed Beetle from Stelliform Press!

    Want to support my work? Check out my SubscribeStar over here! Every subscription helps me keep writing reviews of music, chapbooks, and more.

  • The Gremlin’s Library: A Dream of A Woman by Casey Plett

    April 22nd, 2025

    TW: this book — and review — discuss transphobia, transmisogyny, and sexual assault.

    Star ratings feel extremely limiting to me most of the time, but none more so than when I read a book where I didn’t like it very much, but it still changed something in me for the better. I have no idea how many stars I’d give A Dream Of A Woman — which is a short story collection, but where many of the short stories are intermingled with each other, a chapter for a chapter, to the point where you’re not sure if one’s over or just paused — but I do know I want to talk about it. So this isn’t so much a review in the traditional sense. For that reason, spoilers ahoy! This is not a spoiler-friendly review and will be spoiling some of the included stories. Not that this is a collection with “twist endings” per se. You’ll live.

    Before anything else, I do want to say that I know very little — deliberately! — about Casey Plett. I know that she’s transfem, and I know that she’s Canadian; beyond that, I’ve made a point of not familiarizing myself with her beyond this collection until I get this written. Any assumptions I make about these stories, then, aren’t reflections on the author — they’re impressions from the writing itself, and how I as a reader interact with it. That feels obvious to type out, but with trans writing in particular, it’s inevitable that when we read work from our own community, we’re getting something different from it than cis readers.

    That’s part of why I was so startled by my initial dislike/distate. The first story, “Hazel and Christopher”, is a sweet enough love story that takes a rather sour twist when Christopher (initially a cis man) comes out to Hazel (trans woman) as being trans herself. The sourness comes in because Hazel… does not take it well. She’s immediately stressing about having to help Christopher through her transition, about how much work it’ll be — and while the more I reflect on the story the more I don’t think this is intended as a necessarily sympathetic narrator, it’s… well, it’s so far from my own experience that I had to put the book down for a while. But like any good story, it got me thinking. Because while I can’t sympathize with breaking up with someone because they came out, because you wanted, specifically, a cis lover; I have been the “first trans partner” or the “first queer partner” for a lot of people, to the point of actively avoiding it. It’s not such a stretch of the imagination to understand where Hazel is coming from — it’s just something I do have to stop and actively wrap my head around as someone who would probably react joyfully regardless. (Hazel and I are also, it should be noted, dramatically different people. She reacts to polyamory with barely-veiled disgust earlier in the story and seems very attached to the idea of normalcy; but more on that later on.)

    The other stories in the collection are a little less polar-oppositional to my life, but still feel a little like looking through carnival glass. David/Vera in the longest story (a novelette called ‘Obsolution’ that occurs in several parts in between other stories) is someone who I almost know. She puts off hormones for years because of gatekeeping and the idea that she isn’t “trans enough” or the “right kind of trans”. But even as she takes steps to assert some femininity, her name and her pronouns aren’t something she feels comfortable claiming until after going on hormones — whereas I grew up, half a generation or a generation behind, in a group where the name and pronouns were the first and most important part of claiming our gender. Other parts hit incredibly close to home — Tiana is so shocked at the speedy transition timeline of a younger trans girl that she’s almost resentful. It touches on something I’ve thought about a lot — how some of what we consider inherent or part of being trans is just shared trauma, trauma that younger trans people or trans people in different situations don’t have. I feel this way — complicated, sometimes resentful, mostly happy, often confused — about trans folks who got to go on puberty blockers. The concept — parents? who let you? transition? — baffles me.

    At the same time, that distance is there between me and the women in this collection. It feels strange to call it ‘generational’; Vera’s story starts during the Obama election campaign. I was in middle school for that — Vera’s in college. But that ten year difference is massive. Even for me, my high school years were a time of immense upheaval for trans visibility, awareness and rights. In Grade 9 you could refer to the one out lesbian in the upper years without knowing her name and everyone would know who it was; by Grade 10 our GSA/Rainbow Alliance was spilling out of the classroom doors; by Grade 11 we were doing Day of Pink and TDOR as unofficial school spirit days; by Grade 12 one of my best friends had started going on hormones. And people ten years younger than me are just as mystified and curious!

    The part of this collection — mostly of ‘Obsolution’ — that is hands down, one hundred percent, the most relatable and most brutally written, at least in terms of how I’m experiencing it — is how it deals with sexual assault and abuse. Already with ‘Hazel and Christopher’, as much as it sits oddly with me, Plett demonstrates that these are stories not about how people should react to or deal with things, but how they do. Between my own experiences and what I’ve helped other friends — particularly trans, particularly transfem — friends with, it’s haunting seeing a story really deal with the specter of the cis woman rapist. Iris, of course, would never consider herself a rapist. Vera certainly doesn’t want to. Even as she tries to bring it up, she forgives, she backtracks, she reestablishes contact — And of course, lots of people struggle to cut off their rapists. I certainly have. But so, so many depictions are of men.

    Overall, this is an excellent collection. The writing, the characterization, everything, is extremely well done, and I’m interested in reading Plett’s other work. I have strange feelings about it as a slightly younger trans person, but none of that, I think, amounts to actual criticism in a negative sense — just that it inspired feelings I wasn’t expecting.

    This is also my first book I’ve completed for the 2025 Trans Rights Readathon! For more information on Casey Plett, check her website out here.

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