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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
  • Ghosts in Quicksilver: 2.12: Partitions

    July 5th, 2020

    tw: internalized/intra-system racism, gaslighting, implied past CSA, child abandonment, childhood trauma, emotional abuse, anti-albino bigotry (referenced/kind of iffy descriptions)

    I’m not really sure where to start with envisioning an ‘exit’ out of the Medium, but Jaylie isn’t giving me any more guidance. She’s occupied with her own business. So I’m left to my own devices, and I close my eyes, my headache already coming back.

    I don’t think I like it here, much. I don’t know. Maybe if it was my own head I was in, I’d be more comforted. But I just want to be—

    Home?

    I don’t have a home. I have a crappy apartment, and I have a sister who’s conspicuously ignoring me, and…

    Unbidden, a face comes to mind, and I’m actually relieved it isn’t Kiera. I know I’ve had weird dreams about her. No, it’s Will—stupid, blonde dumbass that she is. She’s been ignoring me, too, except, well, it’s not like I’ve been reaching out, either. I should fix that. And even that thought makes me laugh, because I’ve ghosted so many people in my life just not thinking about it, or not bothering to reach out, and maybe this time I should actually do something about it.

    She doesn’t have a home, either. Even if I didn’t know what had happened to her family, I’ve seen where her sister lives—on a battered mattress in an abandoned school. I don’t know why that helps so much. It probably shouldn’t.

    I also can’t say why, when I open my eyes, I’m standing in the Civic Hospital waiting room.

    I forget to breathe, for a moment. But after a moment, it makes sense. I keep ending up here, don’t I? This isn’t just a waiting room. It seems to be my brain’s resting state, the place where I go where I don’t know where to go. That only makes sense when I’m dreaming, but the Medium is practically one long dream.

    The doors.

    I suppose that’ll work for an exit, huh?

    I take one cautious step, then another, towards the sliding doors that open into the vestibule. I don’t know what I’m doing—just that I’m following Jaylie’s instructions, best I can.

    Then I stop as the doors slide open on their automatic motion sensors, the dirty glass letting the two kids on the other side into view.

    “Oh,” I exhale.

    She looks up at me, the tiny girl with the dark red, unbrushed hair and the black raincoat, and the year-old baby in her arms.

    “Who’re you?” She isn’t as young as three, this version of me—she’s maybe seven or eight, which means she’s holding Johara a lot more comfortably than I was at the time.

    “Uh. I don’t really know how to—”

    “You’re me. Right.”

    Well, that saves me the trouble. What do I do here? “Is this gonna be some sort of deep conversation about my inner child? Because I appreciate the idea, but I don’t have a particularly high tolerance for those.”

    “You don’t have an inner child,” she scoffs. “I’m not a kid. I’m just short.”

    “…Uh huh. You gonna let me out?”

    “I’m not exactly stopping you.”

    She’s right, actually. It’s not like she’s standing in my way. I can just walk past her, out through the parking lot—

    It’s raining.

    It’s night-time.

    I can’t do it.

    I lean against the inside doors, keeping them open. In real life, they’d be beeping at me by now, but the waiting room is completely empty and the doors are keeping their traps shut. Probably so they don’t ruin the dramatic tension. “…How long have you been here?”

    “How old are you?”

    “Ah, so that’s how we’re playing this.”

    She just glares at me.

    “I don’t do psychic woowoo hippie shit, okay? It’s an absolute miracle that I’ve put up with the Sulfur crap, and that’s for lack of choice.” I sit down with my back keeping the doors open. Right at the threshold. This feels oddly appropriate, actually. “Besides, there’s somebody reading your mind, and then there’s…” I waggle my hand helplessly at my younger self. “This feels like the kind of thing my therapist would have made me do.”

    “He did, actually. We bit him.”

    “Did not.”

    “Well, we threatened to.”

    I can’t help but smile a little at that. And this should be easy. This has all already happened. This is just a ghost—a vibration of the past into the present.

    Except, it isn’t, because I keep thinking—if I can see and hear and feel the past, I should be able to change it. That should be how it works.

    The younger version of me stares at me, then lowers her eyes to the ground. “Sorry,” she whispers. “Sorry.”

    “For what? You don’t have anything to be sorry about.”

    She doesn’t respond, and it slowly processes that I’m saying that to myself. Funny. It’s pretty much a cliche, ‘be nicer to yourself,’ but it’s true.

    “You should go.”

    I know. Actually doing it is going to hurt like a bitch. “Are you going to be—” I stop myself. I’m not sure she can answer that for me. I get to my feet, and remind myself that I have things to do, and people to talk to, and close my eyes and pretend I’m not going to cry over this later. Before I go, though… “Listen, I don’t know if you can answer this for me.” It’s the questioner in me. The curiosity driving me even when I’m not sure I want to know.

    She looks up at me, eyebrow raising into her unbrushed auburn hair.

    I swallow, swallow again. “You know why I can’t remember things. Don’t you?”

    “Yeah.”

    “Do I want to know?”

    She shakes her head quietly. It hurts, realizing that whatever it is I’m hiding from (I’m not hiding from anything) she’s holding it for me. I wonder if I’ll even remember this later, and to be honest—to be honest, I kind of hope I won’t.

    I walk through the second set of double doors, and into the rain.

    —–

    I’m in somebody else’s dream, now. Jaylie’s, I think. I can see her dress in the downpour, although the rain isn’t touching her; the chiffon is completely dry. As I approach her, the rain falls away, the droplets hanging onto me and the pavement disappearing into a thick fog. I’m starting to think this isn’t just fog—it’s Jaylie’s fog.

    She isn’t paying attention to me. Deliberately, I suppose. She’s too busy staring at the girl with us in the fog, sitting on the swing with her pale legs swinging in the fog. She’s white, or at least light-skinned, with white-blonde braids that are thinner and wispier than Jaylie’s, and thin, rigid lips in a face that can’t quite get rid of Jaylie’s echoes.

    I stay quiet and try to keep my brain empty. Jaylie just crosses her arms.

    “Jurie.”

    “You can’t leave. You can’t.”

    “I’ve got things to do! You can’t keep me here forever.”

    Jurie gives Jaylie a vicious, blue-eyed glare. I can’t stop focusing on that. How Jurie looks like some Victorian postcard of a white girl, but wrong. Skin as white as snow, hair as pale as corn, eyes as cold as ice, but with Jaylie’s broad nose, Jaylie’s dense braids, even a darkening at her palms where Jaylie’s get lighter. She’s a photo-negative.  “It’s not safe.”

    “That’s my call—”

    “No. It’s. Not.”

    Even though this isn’t my fight, I find myself stuck between the desire to step back in fear and spring forward in anger, at the imperious demand in her voice. It’s not enough to think I don’t like her. No, she’s—

    (where are you even from)

    (half-breed)

    —somebody I wish I didn’t recognize as much as I do.

    “We can be anybody we want out there, Jay-Jay,” Jurie mocks. “And this is who you want to be?”

    “I can only do so much with the body. Besides, I like looking like this.”

    “And calling all sorts of trouble down on our head?”

    I know Jaylie’s a Mercury. But I don’t know exactly what Jurie means, unless—

    Christ. I think I’m going to be sick. Jurie’s not talking about the dresses, or the attitude. She’s talking about Jaylie choosing to be Black, when she could choose not to be.

    I absolutely, absolutely should not be here. But I’m not sure how to leave. Plus, it’s not like I haven’t had this conversation with myself before. Not this clearly, but it’s—well. I don’t have Jo’s hair, I don’t have Jo’s nose, but it’s almost worse that I’m the dark girl with red hair, wearing the oddness on my sleeve. You could dye it, you could cut it, you could do so much more to fit in, right? What does it say about you when you don’t bother?

    “If I let you leave, I know you’re going to keep running your mouth and ruining things for us again.”

    “Oh, right, because staying quiet fixes anything—”

    “And speaking up helps how? You want to blame racism for being a fucking bitch?” Jurie’s knuckles tighten on the chains of the swing. “Finding literally anything else to justify your issues instead of just shutting up and dealing with it.”

    Yeah, I can’t do this. I take a few steps forward—and a six-fingered hand appears on my shoulder.

    “You can’t interfere,” says the long-fingered man—Sunvay, I think it is—with a serious expression.

    “But—”

    “If you want her to leave with you, you have to let it be.”

    “So she’s, what, defeating her demons on her own?”

    The corners of his mouth twitch down, and it’s the most emotion I’ve seen from him yet. “Not quite, no.”

    I suppose I have to take his guidance, here, especially if I want to leave. That doesn’t make it any easier.

    “If you want to leave without her, by the way, you can.” He nods his head over to the place where the fog parts in the distance.

    I sigh at him, trying not to be angry. “You don’t want her to leave, either.”

    “Let’s just say I’m not sold on the idea.” He quiets down, watching the scene play out with a quiet somberness, his fingers still heavy on my shoulder.

    Jurie kicks her legs back and forth on the swing. “I’ll let you leave if you stop blaming everybody and everything else for your own damage.”

    Bitch. Bitch. Bitch.

    “Why?” Jaylie replies, arms crossed over her chest, but I can see the tremble in her elbows. Jurie is—part of her isn’t the right word, I guess? But Jurie is an echo of something, just like whoever it was I was talking to. No, not in the same way. That comparison opens doors I’m not going to be able to close.

    She just shrugs. She reminds me of a china-doll, and I know what everybody I’ve talked to was talking about, now. I kept wondering why nobody told me Jaylie was Black until I saw her – and it’s because Jurie is Black, but not; light-skinned, but Black-featured, sticking out almost the more for it. There’s no real safety in that, no matter what she claims. “Because sometimes it is your fault, Jay-Jay. And isn’t that more comforting? Just fix…” she waves her hand at her double, “this, and it won’t be an issue. But I’m not letting you out there with a chip on your shoulder. It’s too dangerous.”

    I want Jaylie to stand up to her, so desperately. I don’t know what I’d do. And Jaylie’s so bold, so snarky, that I really do think this is a dealbreaker. That I’ll be going back to the real world on my own.

    But her hands rise to her shoulders, clasping herself in a strange show of vulnerability… “Fine,” she snarls, but her heart isn’t in it.

    “You can do better than that. Say sorry, like you mean it.”

    Sorry for what? I should step in. I need to step in. Do something—

    (they’re following us around the store again, just ignore it)

    (you just don’t really belong in the gifted class)

    “Sorry. I’m sorry. I didn’t mean to cause all this trouble.” It’s hollow. Of course it is. Just Jurie’s words, repackaged. But it sounds real, or real enough. “I need to do better.”

    “There we go. Was that so hard?”

    That’s it. I can’t do this. I shrug off Sunvay’s hand, ready to beat the shit out of the little princess, simpering pretentious little—

    I forgot how strong Sunvay is. I’m hauled into the air, one hand over my mouth, other arm around my waist, and he’s right, of course he’s right, but I’m so angry that I want to bite him—

    But Jurie is gone. The swing is creaking in the quiet air. And in the parting edge of the mists, the same place that Sunvay directed me to, there is now a door—a door that is the same deep, dark blue as the midnight sky, made of old wood panels, and covered in vines.

    Jaylie walks towards the door. Sunvay lets go of me—and I follow, because I have to, but at the threshold, I look up at her, trying to figure out what to say.

    I don’t know if she hears it, or she just sees the pity in my eyes. Frankly, I’d be angry too—it’s only luck that means I didn’t have to suffer through her watching as I walked through the hospital doors. But she grabs me by the shoulders and throws me through the emptiness behind the door herself.

    —–

    I fell out of the mist onto a softer-but-bumpier landing than I’d expected. I—

    I was not in Chandra’s kitchen. Shoot.

    “What the FUCK—”

    I found myself tossed onto the—ah, it was a mattress. Not my mattress. Not my—or Chandra’s—ceiling, either.

    Then a familiar face appeared above me, cheeks flaring bright red under her shock of blonde hair. “Where the hell did you come from?”

    “Oh. Hi, Wi—”

    Oh, dear god.

    “Will, am I in your bed?” I mumbled, slowly feeling my face heat up.

    Maybe it was just seeing me so flustered. But Will suddenly seemed a lot more composed. “You sure are,” she grinned, eyes twinkling. “I’d have tidied up if I knew you were coming—”

    I grabbed the closest pillow and whacked her over the head with it. It seemed like a perfectly natural reaction.

    Will cackled, then pushed the pillow out of the way. “No, seriously, though, where the fuck did—”

    “Medium,” I sighed.

    “Speaking of which,” came the third voice in the room, “care to make introductions? Unless you’re busy flirting.”

    I hurriedly sat up, avoiding Will’s glance. I wasn’t flirting. I didn’t do flirting. “Uh, Will, this is—” Then I paused, blinking in surprise.

    “Jaylie. Jaylie Braithwaite.” She looked different in the real world. Not that different, I supposed. Her eyes weren’t silver, they were brown, and her braids weren’t as neat. But more than anything else, she was wearing—well, the kind of thing I’d wear. Boring and serviceable. Grey sweatpants and a black hoodie—no chiffon, no lace, no Victorian grandness.

    “Do you look the way you do to yourself?” she snapped at me. Right. Still a Sulfur.

    Will sighed, sitting up and rubbing her eyes. “Uh. Okay. You were in—” Then it processed, and she glared at me. “Jamal!”

    “Don’t tell me off! I was getting her out!”

    “And you are?”

    “Apparently, the most wanted girl in Ottawa,” she quipped.

    A knock sounded at Will’s door. ““I knew you were home! Will, talk to me, or I swear I will break this door down!” Oh, I recognized that voice. I wasn’t totally sure who it was, but I definitely knew it.

    Will cursed under her breath. “Yeah, uh, you sorta got me at a bad time. Was in the middle of something.”

    “Really? What?”

    “Hiding.”

    Jaylie gave me a look, then in my head, echoed, You have strange friends.

    “That’s not going to work around me, sweetie,” Will sighed. “Let’s see, uh—”

    She went for her window, and I tried not to roll my eyes. Apparently she had a thing about that. She yanked it open – but before she could get any farther than that, Cassandra rose up into view, her unimpressed scowl and crossed arms framed by the old, scarred wood. It was all the freakier for the fact that I didn’t actually know how many floors up we were.

    “You and I need to talk.” Then she caught sight of me and Jaylie, and her face slipped into surprise. “…What?”

    “Okay, fine,” I sighed. “You’re right. I have weird fucking friends.”

    <–Previous Chapter                                                                                                      Next Chapter –>

  • Behind the Curtain: Why Does Romance’s Happy Endings Rule Make Me Panic?

    July 2nd, 2020

    There are a few topics in the writing world that never really fall out of circulation. They’re contentious, sometimes for the most ridiculous reasons, sometimes for very good ones; the long-standing piracy debate is one of these, as well as the Venn Diagram topics of censorship, representation and sexuality.

    One of the repeating topics that I have a particularly interesting relationship with, however, is from the romance side of writing; specifically, the debate over whether or not romances have to have a happy ending. Characterizing this as a debate isn’t quite right. Romance writers and readers – those who populate, purchase and shape the genre – are pretty much united in what they want from it. Romance novels ALWAYS have a happy ending, whether it’s a happily ever after or ‘happy for now’. I’m not here to challenge that, or to reignite the furious defensiveness around the concept, especially since plenty of the people fighting romance readers and writers on it are doing it out of sheer misogyny and/or contrarianism.

    But…not everyone. And here’s the thing: the statement alone that ‘romance always has a happy ending’ is, on its own, uncontroversial. Yet a number of queer folks, me included, have a visceral, difficult-to-pin-down reaction to it. Every time the discussion raises its head, so does a deep horror in my chest – a panic I can’t place. It took me a while to identify it as a PTSD trigger. I want to fight it, say that it’s not necessary to have a happily ever after, because for whatever reason, I feel trapped. It’s a nonsense reaction and completely irrational, because I don’t even write romance! I have no interest in writing romance.

    After sitting back and observing both the romance-writers field and the queer publishing field for a while, however, I came to a few conclusions.

    1. Romance is still struggling with who and what a happy ending can include.

    This one isn’t particularly news. Even within the debates I’ve seen, people theoretically on the same side and within the same genre end up at loggerheads over very different definitions of a ‘happy ending’. In queer romance, is it really a happy ending for a homophobic family to halfway come around, or is it happier to be completely done with them? In interracial romance, how convincing is a happy ending where the racists in a white love interest’s life are still around? Is an open-ended or ambiguous ending still a happy ending if the love interests aren’t explicitly back together? If they’re happy but not dating, is it still romance? Is a queerplatonic partnership a happy ending for romance?

    These are the kinds of questions which plague the romance community internally, and from the outside, the loudest voices tend to be the ones insisting on ideals that already automatically exclude me. When “romance needs a happy ending” is so often treated as synonymous with “romance needs to end with a monogamous, usually heterosexual, Standard Relationship”, it’s hard not to feel twitchy around the concept.

    But ultimately, that’s for the romance community to sort out. If I’m not a romance writer or reader, I have no investment in the genre, right? And it’s probably a little concerning that I’m even writing this, except –

    2. Queer writers are placed in the romance box, whether we want it or not.

    As a queer writer who writes queer characters, and who does not write romances, I run into this on a horrifyingly frequent basis. If a piece of media is identified as LGBTQ+, queer or gay, it is immediately assumed to be romantic. Even if, say, it’s a horror novel, or urban fantasy. The most striking example of this for me, personally – with a massive side of fetishization – was when I initially pitched Ghosts in Quicksilver to a friend of mine at the time, about three or four years ago. When I said it wasn’t really romance-focused/shipping-focused, she said she probably wouldn’t read it, because “there weren’t any cute boys to ship together”. What? Nor is this an isolated incident – I’ve had a lot of people fixate on the supposed romance in GIQ, and while I’ll tease about it, if that’s what people are taking from my work, there’s issues at hand I can’t solve.

    Recently, The Half Of It on Netflix came under fire for ‘queerbaiting’, and it’s proof of more of the same; an explicitly queer movie wasn’t “queer enough” because it didn’t have a happy, romantic ending. Queer movies and books are judged by the standards of romances, even when they are making a point that they are not romances. 

    The effect of this is that discussions in the romance genre community involve queer people, whether they intend to or not – because the standards set in place by the romance community end up being applied to queer writers universally. It’s not like only straight (allocishet) people do this, either – we do it to each other just as much if not more. So when queer writers react badly to the idea that ‘romance has to have a happy ending’, it’s just as frequently an attempt to reclaim our own work, even if it’s taken as an attack on romance; and responses that ‘well it’s just not romance then, that’s not so bad’ don’t quite grasp that we aren’t given the choice to opt out of the genre.

    3. Rape Culture, Allonormativity and Amatonormative Coercion

    While most of us probably have at least a vague idea of what ‘rape culture’ means, the other two words here are a little less well understood. There’s a frequent tendency even in otherwise progressive circles to mock “weird Tumblr terms”, but especially here, they’re indispensible.

    What is allonormativity and amatonormativity? Allonormativity – broken down into ‘allo’ and ‘normative’ – refers to the supposed universality of a human experience, specifically that humans Want Sex. This functions separately from heteronormativity (all humans are straight), and cisnormativity (all humans identify with the gender they were assigned with at birth, a.k.a are not trans) but interacts with them in a lot of different ways. Sounds complicated? Let me word it differently – allonormativity is the force that makes movies like The 40-Year-Old Virgin comedies and not just slice-of-life movies about some dude living his life. Allosexuality isn’t specifically about ‘wanting sex’ – more articulately, it’s about experiencing sexual attraction to specific people in a Socially Approved Way – but in mainstream culture, that and ‘wanting sex’ are pretty much conflated. (Now you see why ace discourse is so complicated! We distinguish things that most people think of as exactly the same.)

    Amatonormativity is a similar idea but one that strikes even more precisely at the heart of romance as a genre. Amatonormativity presupposes that feeling romantic love is what makes us human. If you don’t feel romantic love, you must therefore be ‘broken’ or ‘immature’ – romance is some sort of Completing Factor or Missing Piece. Once you identify this, you start seeing it everywhere. Disney movies, romcoms, dating shows, embarrassing calls from your mother about why you aren’t married yet… Both allonormativity and amatonormativity shape the romance genre, but more importantly, impact our lives in ways that are hard to put into words. It’s still hard to talk about coercive hetero- and cisnormativity, and ace and aro discussions are newer than even those.

    The expectation to have sex and fall in love isn’t just omnipresent – for aromantic and asexual people in particular, it’s frequently traumatic. Paired with rape culture and consent issues in wider culture, it suddenly becomes less of a surprise that “you’re going to write/read a happy ending with a monogamous relationship OR ELSE” can be such a triggering statement. I know  I’ve been in various non-consensual relationships that I was coerced or pressured into, through both external and internal forces amounting to “pretend to be normal or you’re going to die alone”. And if it weren’t for the second point I mentioned, where queer writers are already pigeonholed into the romance genre, it wouldn’t feel so much like that kind of pressure.

    Plenty of aro/ace-spectrum people are readers and writers of romance! That’s what makes this conversation so difficult. Just like the rest of the queer community, the aro/ace community is incredibly diverse. Everybody is affected by allo- and amatonormativity to a different degree. But I find that there is not a tremendous amount of patience for those who are less successful at blending in with the status quo.

    The romance genre is allowed to uphold its own rules and standards, and this article isn’t intended to combat that in any way! However, I think it’s important when these discussions come up to recognize that while Romance:tm: as a genre is a singular concept, romance is still a pervasive cultural concept with baggage of its own. Not everybody reacting badly to a perceived prescription is attacking a genre; sometimes, we’re defending ourselves from the perceptions of a wider world.

    I panic when this rule comes up, because whether I want it to, it ends up applying to me. I opt out immediately once I’m permitted to – so stop filing queer books under romance automatically, and understand that forced relationships are a genuine thing many of us have had to live through, and while this topic is never quite going to go away, I think we’ll be able to see eye to eye quite comfortably.

  • Ghosts in Quicksilver 2.11: The Road to Hell…

    June 15th, 2020

    tw: dissociation/unreality, mild body horror, stalking, psychiatric abuse, anti-plural sentiment (referenced), general sanism (referenced)

    Quotes are from Madeline, Holes (Louis Sachar) and Howl’s Moving Castle.

    you are not meant for this

     

    you are not meant to be here

     

    sister sister I can be a sister—in an old house in Paris that was covered in vines, there is no lake where it is quite a misfortune to be the eldest of three—

     

    IN THE TIME BEFORE EVERYTHING I USED TO BE SOMETHING AND NOW I AM A BODY IN THE SHAPE OF A THOUGHT OF A DREAM OF A MEMORY

     

    –can you hear me-

     

    I am a mirror and this much I can do am I close did I get it right

     

    –JAYLIE-

     

    When Willow Moray first showed up at my house and told me—indirectly—that I was crazy, that I was still suffering the effects of a trauma long since past, I’d gotten angry. Not because she was wrong. Mostly because I’d heard it before. Oppositional Defiant Disorder. Later, suggestions of attachment disorder. Still later, depression. Maybe anxiety. Most of those words never made out of the psychiatrist’s office.

    “Do you think you’re depressed, Jamal?” the psychiatrist asked me.

    I fixed him with what I hoped was a Proper Adult withering glare. He chuckled wryly at that. “I mean, do you think you were depressed before the accident?”

    I shrugged. Maybe. Yes. No. I didn’t—don’t—have a proper point of reference. Don’t ask me for precision without a measure. Don’t ask me for open answers.

    “Do you find yourself fixating on things?”

    “Sometimes, I guess.”

    “What about the mandalas? Are those helping?”

    More shrugs, but he coaxed the answer from me anyway—that they helped, but they were a puzzle first, that I had to figure out how to colour them without any of my twelve colours touching on the edges and making the right numbers, and he seemed concerned until he realized (realizes) that I was doing it for fun. Not out of obsession, or obligation.

     

    It’s weird, what you remember, when.

     

    This is your memory and I am not in it and I am not me—

     

    I don’t know how to shut it down, and everything everybody’s ever told me is that I just need to be here. That my presence—in and of itself—accomplishes something. Jaylie’s thoughts and mine are distinguishable, now, although her words claw through my head like primordial screams. She’s sitting there, still perfectly put together on the outside. It reminds me of Kiera. Unstable inside, raging fury and confusion and fear hammering on the walls of my subconscious instead of my senses, and the mask perfect on the outside. I get that. I used to practice in the mirror, but mine never fit right.

    I have no actual resistance to offer. I’m just… here. Where I was trying to be.

    Her borrowed face twists into the kind of scowl that Johara would never wear. Bitter, in a way that Jo so rarely is.

    “Well? Aren’t you going to say something?” Challenging me to call her on her cruelty.

    I don’t have the energy. “If you’re trying to get a rise out of me,” I sigh, “it’s not going to work.” It would, any other time, I guess. I’m just… I’m out of shits to give, frankly. I’m tired. I’m so tired.

    DON’T TALK TO ME LIKE THAT—

    I have to wonder if this is what Will’s life is like. I think I owe her an apology. Before anything else streams into my head, though, the other figures reappear from the void. Not the monstrous one, thank god for small mercies, but the one with his extra fingers is there, glaring me down like I’m a virus or a rat. The one with the fox head is the one who sits down next to me and Jaylie, putting a hand on her shoulder.

    “You’re doing it again,” she murmurs to her. “Shut it down.”

    Just like that, the flood of thoughts eases up, and I take a deep, shuddering breath. Did I say I was exhausted? That’s an understatement. My fingers are tingling from the effort of pulling myself back together. My chest is asking me why I bothered.

    The figures are interesting. I’m not sure who they are, especially since Gurjas didn’t mention them, but they’re not human. At least, they’re not human in here. The little I understand about the Medium makes it clear to me that what somebody is in here and who somebody is Outside can be drastically different things. There’s certainly a touch of dream about them; the spider-fingered one is long and crooked in all the wrong places, like a Black Slenderman with streaks of white chalk on his face, and there’s another who seems barely there at all, made of dust and shards. That’s the one with no face, just a collection of razors and blades spinning in the air in the space where a head would be. 

    The fox-headed woman, though, is the one I’m dealing with right now. “You came back,” she sighs. “Why are you here? Removing you was hard enough last time.”

    “Oh, that’s gratitude.”

    “Gratitude?” Jaylie snaps. “Why on earth should—”

    “Jaylie,” the fox-headed woman sighs, hand squeezing her shoulder—dark-skinned in contrast to the orange fur on her face, I realize. Everybody else in here is Black, with the possible exception of the one who’s stayed mostly out of my vision, a pale blur on the edge of the void. It’s interesting, that I find that more noteworthy than I would if they were white—or maybe it’s just depressing. “You’re not supposed to be here, Jamal. Nobody’s supposed to be able to get in.”

    “I guess I’m special.”

    “Oh, wonderful. That’s comforting. Full of answers,” Jaylie sighs.

    “Before anything,” I groan, lips half numb as the cold of the ground seeps into me, “take off my sister’s face.”

    The fox-headed woman blinks, then glares at Jaylie. I can’t help but snicker internally at the consternation in her expression, especially when she rolls her eyes back at the fox.

    “I was just messing with her. Fine.” She narrows her stolen eyes at me, then they turn into flashes of silver in her face, curls twisting around themselves and darkening into black box-braids, skin changing shade and tone into a rich umber. The clothes take a little longer, but before long, she’s back in another elaborate Victorian dress, this one with a corseted bodice and dramatic flared sleeves. “Better?” she purrs.

    “That works.” I flop back on the ground. “I’m, uh. Rescuing you? I don’t know. Whatever.” Man, she’s exhausting. Although maybe that’s not fair. I’m not the easiest person to get along with.

    “…Uh huh,” she says unconvincingly. “So you’ve killed the banshee?”

    “Who, Kiera?” I don’t know if it’s my face or my annoyingly-audible thoughts that give it away, but she scowls at me. “—Look, if she’s a banshee, nobody’s fuckin’ told me.”

    “She’s not literally a banshee,” Jaylie grumbles. “It’s just. Close enough. Omen of death, you know.”

    I don’t, but learning on the fly is kind of my thing, so I nod. “I haven’t killed her, no. But I…” I hesitate, trying to think of how to break the news that Gurjas was dead, and then as per usual, remember a couple seconds too late that she can hear m—

    YOU’RE LYING LYING LYING LYING LYING—

    More headaches. And frankly, I’m out of patience. “Would you please, please, please,” my voice raises, “shut up?”

    Miraculously? She does. Although the look she’s giving me could probably shatter a diamond.

    “I,” my voice feels like sludge coming out of my mouth, “have been through a lot lately. Including a faerie trying to kill me. So you are going to start from the beginning. Including,” I add, “how you have two powers. Because that wasn’t in the beginner’s guide.”

    The long-fingered man snickers in the background, and I’ve already decided I don’t like him. Asshole. But Jaylie’s actually taking me seriously, rubbing a sleeve over her face. The thoughts leaking out of her like a sieve are just an unsteady background hum, now, and I thank some… vaguely sky-ish direction that I’m not a Sulfur. I thought dead people were bad. I can’t imagine living with this 24/7.

    Jaylie wags her hand helplessly at the fox. “You do it,” she mumbles. “I don’t want to.”

    “Say the magic word.”

    “Reynare I swear to fu—”

    “We talked about this.”

    Jaylie glares at Reynare, then rolls her eyes with a long-suffering look. “Fine. Fine. Please. Now leave me alone.”

    She snaps her fingers. The others disappear like mist into the void, and it’s just me, Jaylie and the fox-headed woman. I’m still not sure who or what she’s supposed to be—another faerie? A Mercury saving cash on a fursuit? But a moment later, shapes start resolving out of the darkness. A loveseat with elaborate royal-purple cushions; a high-backed chair carved of dark wood and decorated with mother-of-pearl inlays; it’s the kind of furniture I’d expect to see in a 1920s movie, not that I have much of a reference point for that beyond the Chicago musical and the trailer I saw for the Great Gatsby.

    I sit down on the loveseat, trying not to look like I’m perching even though I am. And once I do, I realize the void is brightening with sunlight, panes of glass folding themselves over top of us and refracting the new light into a soft glow.

    “It’s a sunroom,” I whisper, trying not to be amazed. It’s like a more controlled version of what Kiera does to the world when she’s around.

    “It’s my mindspace, so don’t break anything.” grumbles Jaylie. I must have looked awfully confused, because she adds, “I’m kidding. It’s psychic. You can’t break it.”

    “What happened to leave me alone?” Reynare teases despite herself, and the glare Jaylie shoots her is so icy I can feel it from here. “Okay, okay, have it your way. But try to behave, at least.”

    “Not like I have a choice,” she sighs.

    “Let me make some proper introductions. I am Reynare, the caretaker of this particular system. Jaylie you apparently know, or have heard of, at least. Sunvay is our protector, and—oh dear, that’s not a look of understanding. Jaylie, dear, a hand?”

    “I thought you were the adult.”

    “I’m lost,” I say quietly. Although I think I’m catching up, slowly. The term system isn’t totally new to me. I’ve never actually met one, but even if I dress like somebody from the nineties, I do have a Tumblr account. …Okay, it’s mostly gifsets of Gillian Anderson mixed in with Emily Haines and Death Cab for Cutie lyrics, but I pay attention to things.

    Jaylie leans forward with a roll of her eyes, and while I can’t blame her for having a bit of a chip on her shoulder, it’s getting a little old. “Catch up, little miss detective. I’m crazy, we’re inside my head—or a copy of it—and these are the voices that talk to me and tell me to kill people.”

    Reynare grumbles in irritation. “Only Sunvay does that. And they always deserve it.”

    —Oh, yeah, this much I recognize. Maybe not in word, but in spirit. “Sorry, but the crazy ax murderer voice isn’t gonna work on me. Especially not after Kiera.”

    Jaylie just sticks her tongue out. Of course. She’s seen the memory that brought me here—which I’d be more pissed about, but it means we have at least one thing in common.

    “Fine,” she sighs, and for a moment, I can see past the facade into how fucking exhausted she is. “They’re my… alters, headmates, multiple personalities, whatever.”

    “Oh, so you’re all—”

    “If you say the same person,” she mutters, in a voice so bone-dead-tired it sounds like it’s going to fall asleep just coming out of her mouth, “I swear to god I will chuck you back to the banshee myself.”

    “Noted. Same… body? When you’re not, uh, wherever we are?”

    “Corner of the Medium. But also kind of in my head. Magic is weird.” She scrubs at her eyes before I can notice them watering, and I try to shove the noticing out of my head so she doesn’t feel bad. “Been here a while hiding from the banshee.”

    “Why?”

    “Why what?”

    “I assume you’re asking why she’s after us,” Reynare supplies kindly, and I nod. “I’m afraid we’re not sure. This is terribly inconvenient, but a dissociative disorder like ours necessarily comes with a large helping of amnesia.”

    “You’re fucking kidding me,” I can’t help responding. But that… god, that makes a lot of sense. Jaylie was surprised to hear that Gurjas was dead, but she was there when it happened. Wasn’t she?

    “Not me,” she mumbles. “Somebody else.”

    I’m annoyed for a moment before it processes what she means. Her body. A different mind. “The amnesia is—depending on who, er, who’s driving? Sorry, my only real frames of reference here are Inside Out and Psycho. And I’m trying to focus on the first one.”

    That gets an actual laugh from Jaylie, albeit a small one, and I can’t help but smile, feeling somewhat accomplished. It’s weird. She’s annoying and sharp at the edges and the cause of so much of this trouble, but it’s kind of nice to meet somebody who isn’t keeping it together better than I am.

    “You’re awful at this,” she snickers, and I turn bright red in horror as I realize I cannot mask my thoughts in the Medium, at all. “Now stop mugging at me and tell me what next.”

    “I don’t suppose you’re going to share?” Reynare asks idly, and Jaylie just blows her a snarky kiss. “I suppose not.”

    “Oh, you’re not—?”

    “I have Sulfur powers when I’m fronting. In here, it’s just Jaylie who has the powers. Annoyingly enough, the little wretch.”

    “Okay, so the only person who remembers what happened with Gurjas is whoever was fronting. Who was that?”

    Reynare and Jaylie pull an identical grimace. “Rassar.”

    “And that’s… bad?”

    “Rassar is the one with the blades for a face,” Jaylie groans. “And then Jurie switched in, who is probably worse. So, that’s a non-starter.”

    “Ah. Just my luck. Okay, back to the two powers thing. Is that because you’re a system?”

    And that’s where Jaylie’s smile, full lips curved, completely vanishes. Her silver eyes darken, and it’s like she’s shrinking away from me. She doesn’t want to talk about it.

    Reynare glances at Jaylie, then back to me, crossing her arms across her suit jacket. “It’s… complicated. Somewhat the other way around. It’s probably easier to discuss once we’re out of the Medium—”

    “No!” The terror in Jaylie’s voice is piercing, and I feel another surge of fury at Kiera. God, Kiera terrifies me enough. What the hell did she do to Jaylie?

    They both look over at me, and I realize I have to explain why I even came in here. I’d had this idea that the ghosts could check in on her, that I could talk to her somehow, make sure she didn’t get trapped. But now that I’m here…

    Without meaning to, I make eye contact with her, silver eyes in her heart-shaped face, long eyelashes thickened with mascara, and she sees all of it. I don’t mind. Because in return, without hearing anything from her, without anything except my own eyes, I can see that she hates it here. The sequence of events puts itself together, anyway. It wasn’t Jaylie who ended up pulling them into the Medium—it was whoever it was that witnessed Gurjas’s death. Rassar, or Jurie, one of the two—god, how do they pick their names? And I’ve got a sneaking suspicion that they’re the one calling the shots on whether or not she can leave on her own, too.

    “It’s Jurie,” she says finally, the response to the question I hadn’t asked yet. I’m getting used to that. “Do you know how to leave the Medium? On your own?”

    “No,” I admit. “I hadn’t gotten that far.”

    Reynare shakes her head. “Typical. It runs on fairytale logic. Did your mother ever read you fairytales?”

    Ouch. “No, that was—not a thing, no.” At least Reynare isn’t reading anything, so that one’s just an accident.

    “Well, think of it like The Wizard of Oz. Tap your heels and think of home, for example. It runs on your own internal personal mythos, whatever that may be—”

    Jaylie snapped her fingers, and Reynare was halfway through swearing at her when she disappeared. “That wasn’t helping, was it?” she said wryly.

    “Not at all. Isn’t that a little rude?”

    “Oh, probably. Familiarity breeds contempt, and I’m not used to having to deal with them all the time in close quarters. Besides, she can go on, can’t she?”

    I stifled a snort, suddenly reminded of Cassandra. “Well, I still need to know this. Although I think my brain might blow up.”

    “You’ll be fine. I promise.” Jaylie gets to her feet, skirts swishing around her ankles. “If it helps, I don’t understand it very well, either,” she admits, although it clearly rankles her pride a little. “Everybody’s exit looks different. Usually it’s a Salt thing, so for me it’s—well. Usually I don’t have to worry so much about getting in or out.”

    I wonder if she’s going to answer the question floating on the tip of my tongue, then I decide to ask it out loud as she conspicuously ignores it. “How come you can—”

    “Shut it.”

    “Yes ma’am.”

    She seems entertained by that, then clears her throat, waving her hand at the sunroof and shoving it aside with a flick of her hand. She’s basically a god in here, I realize, and I wonder what that must be like. I know that none of it’s real, not really, but still. “The point is, the Medium is… it’s made up of dreams, beliefs, all of the stuff from people’s heads. Like dust-bunnies.”

    “That… is not the metaphor Isaiah used. But I’m following.”

    She heads out into the void, and I follow, realizing that glass walls are rising up on either side of us, transforming a void into a corridor, mirrors climbing up on either side of us as the glass backs itself with silver. Does she design this in her spare time or is it doing this on its own? Food for thought.

    “So to get out,” she continues, the ragged chiffon edges of her skirt fluttering behind her and reflecting in the infinite tunnel of reflections on either side of us, “you need to have your own personal idea of escape or release. Tap your heels three times, or, uh, walk through a wardrobe, go down a rabbit-hole, whatever’s actually important to you.” She grins. “Some people take the release part literally, apparently.”

    “Ew.”

    “Says you.”

    “Is your, uh, exit—”

    “I should be so lucky.” Her lips turn downwards, but the scowl is temporary. “Anyway, figure that out and you’ll be fine.”

    An exit. Bloody hell. Now I have to figure out how I personally think about escape. I didn’t sign up for a philosophy session, and I got in here by upsetting myself as much as I could. Now I have to do the opposite. The fact that it’s fucked up people who get these powers just gets more and more ironic by the second.

    “Oh. Jamal.”

    I pause as she turns towards me—and she pushes me against the wall, one hand against my shoulder, the other grabbing my cheeks and chin, nails digging slightly into the skin in warning.

    “You seem very nice,” she murmurs, “and I can see enough of your brain in here that I know you’re not lying to me. But let me be clear. I don’t know you. I don’t trust you. And right now, you are in the part of my mind where no one is welcome. I suggest you remember this if you decide to make me angry,” she says quietly, silver eyes flashing with—not menace, exactly. Warning. Fear. It’s a put-on, clearly—somebody this shattered can’t possibly be serious about–

    “Shattered, huh?” She leans in, only an inch taller than me but it feels like much, much more. “I’m serious, Jamal. Don’t cross me. Just remember. I’ve been in your mind. I’ve seen your version of the banshee, rose-colored glasses and all.” Then she lets go, patting my cheek. “Just think of it this way. Now you know I’m psychologically disturbed enough to be worth protecting.”

    Well, that’s a line. I don’t know how I feel about that. But… sure, why not. I chew on the inside of my lip as she continues on her way through the mirrored labyrinth, and I follow close enough not to lose her. In one of the mirrors, I catch a glimpse of green eyes and long teeth—and I look away. Jaylie knowing what the Kiera in my subconscious looks like is bad enough. I don’t want my conscious mind thinking about her, too.

    <–Interlude Two: Wechselbalg
    <–Previous Chapter                                                                                                         Next Chapter —>

  • The Gremlin’s Library: Tristan Strong Punches a Hole in the Sky by Kwame Mbalia

    March 31st, 2020

    TW: This review and book deal with slavery and intergenerational trauma, as pertaining to the Black American experience.

    So I wasn’t totally sold on the Riordanverse books, I’ll admit. The idea seemed nice – but I wasn’t sure how they were going to go. Dragon Pearl was incredible, and that helped ease my concern.

    But Tristan Strong? Tristan Strong is INCREDIBLE. I was never that into Percy Jackson, hence my hesitation (once you’ve formally studied Classics, errors stick out like sore thumbs…) but Kwame Mbalia’s book is everything I could ever want from a mythic portal fantasy.

    The book opens on our eponymous hero, the would-be boxer Tristan, en route to his grandparents’ farm for some “time to reflect”. He recently lost his best friend in a horrible accident, and processing through therapy has helped, but he’s still hurting. He has a notebook of his friend’s stories, but it’s too hard for him to read them yet. But then – then the charm on the book begins to glow.

    Well, maybe it’s nothing. But then he wakes up in the middle of the night to some strange, small creature stealing the book. He gives chase, makes the mistake of breaking a bottle tree, and bam! He’s thrown through the portal along with the invader, drowning in a sea with bone-ships after him.

    Tristan Strong, in a lot of ways, hits the appropriate notes for a coming-of-age portal fantasy. He’s grieving, his friend makes an appearance right at the end, he has powers he doesn’t know about or understand yet – but what makes the book so incredible is that it’s this story from a Black boy’s perspective. His cultural heroes aren’t Dionysus and Apollo; they’re John Henry and Brer Rabbit. His monsters aren’t wolves or dragons; they’re living shackle-snakes with mouths made of manacles, or the twisted, rotten remains of slaver-ships. The tension between the African homeland gods and the “folklore” heroes echoes tensions between American Black diaspora and African countries.

    None of this is stuff that I can directly speak on, and plenty of incredible Black reviewers have reviewed this book. But I can say that despite only having a passing knowledge of many of the heroes (I know about the Brers and a little about John Henry; more than some people but still not much!) I was immediately sucked in. If you’re concerned about familiarity, don’t be.

    The book’s narration is also a wonderful blend of middle-grade humour (everything about Gum Baby is a freakin’ delight), Tristan being sassy, and moments of very real insight. Tristan is learning how to navigate a new world and trying to process his grief on top of it; he’s an incredibly real character, and one I would love to see more of in further books one day.

    Tristan Strong Punches A Hole In The Sky is available most places, but especially directly from the Read Riordan site! 

    (If you enjoyed this review, please consider leaving a tip at my Ko-Fi! I review books in my spare time on a volunteer basis.)

  • The Gremlin’s Library: Magic for Liars by Sarah Gailey

    March 24th, 2020

    This book and review deal with cancer, abortion, iffy consent re: surgical procedures and manipulation/abuse. This is also a review with spoilers for the WHOLE book, including the whodunit twist – so please read ahead with caution.

    Oof, oof, oof. This book was. Hard. I rated it five stars because holy christ I felt EVERYTHING, and the writing is phenomenal! I am just so in love with so much about it –

    But, away from the harsh numerics of starred reviews, I still don’t know how I feel. It’s an incredible story. I’m invested. I’m on board in so many ways.

    I was also deeply triggered.

    Let me be clear. This is in absolutely no way on Sarah Gailey, or Magic for Liars as a book, or any one person really! This is about trigger warnings, and trauma, and how books exploring trauma sometimes take you a little… too deep. I wish I had known sooner in the book, or from a foreword or something, what drove the plot; that cancer was going to be such an important part of the book. I can see why this decision wasn’t made, in large part because it’s not an established tradition in tradpub yet, but I wish the publisher had considered this ahead of time.

    A recap: Magic for Liars follows a private detective, one of a pair of twin sisters, as she’s invited to a magical school to solve a murder. Ivy Gamble has spent most of her life pretending she’s not bitter that she got the magic and that her sister didn’t; her sister went to an upscale magical boarding school, and Ivy remained ordinary. Ivy coming to the school is her first real time spent in the magical school, and with her sister in years upon years.

    The high school aspects of this were interesting, but not the focus, which I was glad for. Ivy and Tabitha’s relationship, though – that’s the center of the book, and it does a beautiful job. Beautiful, but terrifying.

    SPOILERS BEGIN HERE

    .

    .

    .

    .

    As it turns out, the dead teacher was Tabitha’s lover; even the more so, she was dying of cancer, the same disease that killed Ivy and Tabitha’s murder. It takes a while for all the pieces to come together, but the end result is this: Tabitha was trying to cure her lover, arrogant to a fault, and stayed awake doing a magical surgery for three days.

    And then, she fell asleep. And the damage was done.

    This is a perfect plot element, but it’s almost retraumatizing, in that I feel every single bit of pain here. Tabitha, arrogant and intelligent and desperate, tearing somebody apart because she fell asleep for a split second. And Ivy. Poor Ivy, manipulated by her sister into believing that they could have a relationship, when ultimately Tabitha was the culprit the whole time.

    Like I said, I’m still trying to figure out how I feel about this book. The five-star rating is genuine; but this book hurt. Not because of what it got wrong; because of how, how much it got right.

    I do highly recommend it to anybody who isn’t triggered by these topics, and I will 100% be reading more of Sarah Gailey’s work! But publishers, please take heed. Trigger warnings are everybody’s friend.

    Magic for Liars is available through Macmillan!

    (If you like my reviews, consider leaving me a tip through Ko-Fi! I do these all for free as a labour of love.)

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