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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
  • Blanca & Roja by Anna-Marie McLemore

    October 2nd, 2019

    It’s Latinx Heritage Month, and there’s a book bingo going on which means – I’m reading the heck out of some Latinx books! I can’t remember how I first heard of Blanca & Roja, but it was sitting in the back of my mind when I went to the library, and so I put it on hold. Nevertheless, it means I went into the book knowing absolutely nothing about it, aside from my guess that it had something to do with the fairytale of Snow White and Rose Red. (For those who don’t know any Spanish, that’s what Blanca and Roja mean – white and red.)

    Blanca and Roja are two sisters born into a family with a curse; every generation has at least two sisters, and one of them will be turned into a swan.

    The first thing I’ll say is that the plot was not my favourite part of this book. It’s good, don’t get me wrong – it’s interesting, and taps into a lot of current feelings about predatory business practices, among others. But in some ways, the plot itself feels like various fairy tales cut and stitched together, and the stitching is just a little too obvious still. It doesn’t help that the chapters are all from different POVs, and the chapters being so short means that it can be hard to follow what’s going on.

    Where Blanca & Roja absolutely SHINES, however, is in both the prose and the… trying to word this is hard, but the combination of symbolism and representation, social issues and marginalization encapsulated in fairy-tale magic. The sequence of events is far less interesting than the punch delivered when you realize that two brown girls have been forced into fighting for the love of a “blue eyed boy” to save themselves, and that it’s not what either of them really wants. I mean, the range. Then there’s Page Ashby, whose appearance in the book resulted in me YELLING in delighted surprise. Page is a genderqueer trans boy. That’s right, both at once. Which I have never seen in a book before.

    I have mixed feelings about the romance. I definitely like how the romance begun as a ‘this is a thing nobody is actually wanting’ thing, but once the actual romance showed up and so much of it started being about misunderstandings, I started to lose interest. I think one of the biggest things slowing this plot down, to be honest, is the interlacing romantic confusions. (Also, I’ll be honest: I started hoping for polyamory about halfway through the book. Why is poly never the answer?) My usual disclaimer applies here, though, in that I’m aro and my perspective on romance is usually different than others.

    Blanca & Roja is a beautiful book; some things didn’t quite do it for me, but where it did hit home, it hit a home run. I’m definitely excited to read more from this author. (Also, if you’re somebody who skips afterwords, PLEASE read the one for this book. It really pulls it all together.)

    Blanca & Roja is available at Macmillan (https://us.macmillan.com/books/9781250162717), Barnes and Noble (https://www.barnesandnoble.com/w/blanca-roja-anna-marie-mclemore/1127457533#/), and Chapters/Coles/Indigo (https://www.chapters.indigo.ca/en-ca/books/blanca-roja/9781250162717-item.html?ikwsec=Books&ikwidx=5). Please consider getting it from here instead of Amazon!

  • Ghosts in Quicksilver: Chapter 2.4: Behind Closed Doors

    October 1st, 2019

    tw: dissociation, grief, implied transphobia, abuse/death briefly discussed, self-destructive flirting

    Funnily enough, this was the first time I’d been in a closet since I was fifteen. It was a storage closet, not the closet—details. I don’t know why it occurred to me. (When was the last time you saw a ghost move on when was the last time you had to accept that the dead are dead—) 

    Will peered through the crack of the closet door out into the hospital hallway, then scoffed quietly at me. “You came out at fifteen?”

    This time, her hearing it didn’t bother me. It wasn’t like I hid it, and besides, if she was only getting the top part— “Yeah. When did you?”

    “Uh, sixteen, seventeen,” she said, somewhat distractedly. “It was kind of complicated.”

    It was something to think about that wasn’t —well, anything else that was happening. Being dragged out of a morgue and then shoved into a closet at the sight of a security guard wasn’t stressing me out as much as it should be. Instead, I just felt kind of… floaty.  I’d never dealt with so many ghosts at once. Thinking about Kiera made my head hurt. Thinking about anything made my head hurt, actually, and given that it was—I checked my phone—two in the morning, that wasn’t that strange.

    So it was fall asleep in a storage closet, or talk about something else.

    “Looks like we’re good for a bit, but we’d better stay here until they stop looking.” Will winced again, and I wondered if it was only luck keeping the guards from checking the closet. I forgot, sometimes, that Will could control people if she wanted to. It was weird to remember, and a little bit scary.

    “You okay?”

    I blinked, looking up at Will. She’d turned her head back to me, and I realized again (how many times did I have to?) that I was way too spaced out. Right. “Uh, yeah. Sorry. Space cadet.” Fake smile. Almost managed it.

    “Dissociating?”

    “What?”

    Something crossed her face, I wasn’t sure what. Then she inched back from the door, sitting against the back wall with the mop and broom handles between us. “Can I ask something kind of personal?” she asked.

    “You get access to my brain. Can’t get more personal than that.”

    “You know I don’t do that on purpose.”

    I realized she was waiting for an actual answer, other than just my snarky reply. “…Sure,” I sighed.

    “When I, um—when we were talking about elementals, the first time.” She pulled her knees to her chest, looking strangely vulnerable. “You got pretty upset when I talked about trauma.”

    Oh. Oh, that’s where this was going. I felt myself getting pissed off again, but I was so tired, and so out of it—I pushed it down, fingernails digging into my palm. “I did. What’s your question?” I asked from behind gritted teeth.

    “Did you start being able to see ghosts when Johara died?”

    …And then it snapped into place. She’d mentioned a dead brother. She thought—“No, I could—I’ve always been able to. I guess I was three or four? That’s my earliest memory of it.” I shrugged. “I dunno. Maybe I’m different.” Maybe I’m not, my brain added, but I tried to ignore that. “You?”

    “Sixteen.”

    “Oh.” Well, that wasn’t a coincidence. “I guess, uh, coming out didn’t go so well.”

    Will stretched out her legs, the affected grace so practiced and yet so obvious that I noted it away. “Kind of that. Kind of my brother being a jackass.”

    “The one who’s dead?”

    “No—well, yes, actually, they’re both dead. But not the one I care about.”

    I blinked. “…Uh, what happened to your family?”

    “That story I’m leaving for another time. Which might well be never. But my powers showed up before they died. It was just part of the whole clusterfuck.”

    I narrowed my eyes. This was starting to sound familiar. “…Was this two, three years ago?” It was probably a wild guess – but two dead brothers, a queer kid in the middle, and the cagey, overly-affected way that Will kept referring to it had me wondering.

    “Aw, fuck.” Will rubbed the bridge of her nose. “Yes. Yes, it was,” she groaned. “Which means you know my deadname from the papers.”

    “If it makes you any more comfortable, I’ve completely forgotten it.” I was telling the truth, too. The Angevin murders had been one of the biggest stories in Ottawa for – well, years. That didn’t mean I’d actually paid attention beyond the headlines.

    “Good. It was an awful name and no child should ever have been saddled with it, trans or not.” She sighed again, bonking her head gently against one of the mop handles. “I keep forgetting it was all over the papers. Joys of being a public figure.”

    “That was you?”

    “I’ve done some remodeling. I suppose I should be thankful I had a ready-made excuse to change my name, but still.” The joke fell a little flat, mostly because I could see the tension in her wrists. She didn’t like talking about it. I couldn’t blame her. “I’m still shocked that Cass didn’t.”

    “C—” I blinked, then it processed. “Wait, Cassandra? As in the Cassandra?”

    “Oh god, don’t. Please. Her ego’s big enough as it is.”

    “She’s your sister?”

    “Twin sister, yes. All pretentious five foot six inches of her, yes.”

    I opened my mouth, then closed it again. Then—“The one who calls herself Ophis?”

    “How many Cassandras do you meet on a regular basis?” Will responded in some annoyance. “And for your information, it’s Greek.”

    I couldn’t help it. I snorted. “Okay, I see why you call her pretentious.”

    “Hey, watch it. I came up with that one,” she snickered. “I can dress like a gutter punk all I want, I still got raised by somebody who would’ve sucked Aristotle’s cock if she could manage it.” 

    I did laugh at that—but still. I rubbed my temples, trying to wrap my head around it. It was bad enough that my side gig intended to catch cheaters and threaten kneecaps had turned into catching a supernatural serial killer. Now I was finding out that the totally-not-secret-society included two of the Angevin kids. Sure, I hadn’t paid attention – but I knew Cassandra Angevin was still wanted on suspicion of at least half of the deaths.

    I reminded myself to ask about that later. Definitely later. What did sink in, though, was that all of the Angevins except Will and Cass were dead. That was what was so horrible about the whole thing, and I hadn’t even known.

    Will was just as alone as me.

    “Stop that,” Will grumbled. “I can hear that stupid heart-wrenching noise from here.”

    “I’m sorry about your broth—”

    “Shut up.”

    Right. I tried to refocus. “How old are you, then? I thought you were my age.” Stupid, stupid conversation topic, but it wasn’t about murder, so that was an upside.

    “Oh god, not again. No, I’m twenty. You’re a baby in comparison.”

    “Twenty? That’s not old.”

    “You’re seventeen, shove it.”

    I crossed my arms. “Says the one who’s been flirting with me since we met.”

    Now that got a reaction. Will’s face went pink, and she avoided my eyes. “Sorry,” she mumbled. “I didn’t mean to come off like that.”

    “What, writing your number on my arm?” I was teasing, but underneath it, I really was flattered. I wasn’t used to people expressing interest in me—I’d dated two people in high school, and neither had lasted long. One of them I’d tanked all on my own, but both of them had been experimenting, which meant that when they found out how uninterested I was in sex, they moved on pretty quickly. I had every reason to expect Will would do the same thing, but in the meantime, I could have some fun poking at her.

    “I don’t—” Will was well and truly flustered, which was a first. She flapped her hand at me, leaning her head back against the wall. “I default to flirting. I didn’t think about how old you were.”

    “Oh please. I’m seventeen.”

    “Which is a teenager.”

    “An old one.” Then I relented. “I—see your point though. Sorry.” Embarrassment crept up on me. Of course Will hadn’t actually been flirting with me. It didn’t matter how much I acted like an adult.

    (what’s wrong with you it’s not like you care when people like you anyway)

    Will glanced at me, eyes sparkling a little. Her gaze unfocused for a moment, then she sighed. “Still security guards outside. We’ll be here a few hours still. I can call Avery in a few hours.”

    “A few hours? Great. Just us and the ghosts around the corner.”

    “Scooch over.”

    I did so, and she moved over to sit next to me. I managed to hide the blush, and belatedly threw up the brick wall—but the damage was done.

    Will didn’t say anything immediately, though. She just pressed her shoulder to mine, the contact surprisingly grounding, and I found myself hyperaware of… everything. My boots braced against the linoleum floor. My back against the cold wall. The way my ears itched and the back of my neck prickled. The weight of my denim jacket on my shoulders and the soft, barely-audible clicking of the buttons on the cuff against each other.

    “You’ve been dissociating since we got to the morgue,” she murmured, voice soft.

    “Is that what this is?” I said, my lips feeling numb. Then—“How did you know? Did you… did you listen in?”

    “My powers don’t work that way. No, I—just know what it’s like.”

    “I don’t know what I did wrong.”

    “You didn’t do anything wrong. You’re just usually a lot more… hm.” Will tapped her chin. “You’d, uh, usually rather throw me out of a window than start teasing me about flirting.”

    “Oh god. Am I that predictable?”

    “Nothing wrong with that. I’m guessing the ghosts freaked you out a lot.” She smiled softly, blue eyes fixed on mine, and I couldn’t shake the idea (locked safely behind the brick wall, or as safely as I could manage) that she could kiss me, if she wanted to. If I let her. If I stopped caring enough. If I cared more.

    I shook my head, but it was no use. Will was right. Usually I just got pissy or anxious or angry. Today—It’d been a long time since I’d watched a ghost pass on. It’d been a long time since I’d thought about the fact that Johara could leave. That Johara, at the end of the day, was dead.

    Tears started prickling at my eyes, and I covered my face in horror. “Jesus. No, no, no.”

     (you don’t get to think about kissing people you’re alive and johara’s dead and nothing about that is fair)

    “I won’t tell anybody. It’s fine. I’m an asshole, but I’m not—you’re fine.”

    I still tried to stop it, but it was no use. I was going to cry in front of Will and there wasn’t anything I could do about it—what kind of Salt was I, if I cried over using my fucking powers—

    “Is it okay if I touch you?”

    What a strange question. I’d never been asked that before. I nodded, and when her arm wrapped around my shoulders, I lost the battle.  I cried into her shirt, for my sister, for all of the unclaimed ghosts waiting alone in the morgue, for Elena, for Gurjas, for all the lonely dead who I couldn’t help. And I cried for myself, too. I was so tired of being alone.

    Will didn’t say anything. I leaned into her, her warmth keeping me in touch with the world around me, but I had to wonder how long it would take before she left, too.

    <– Previous Chapter                                                                                                Next Chapter –>

  • Inktober/OctPoWriMo/Goretober Day 1: Andvari Made You

    October 1st, 2019

    Hey folks! Every year, I write poems for OctPoWriMo – October Poetry Writing Month – but I don’t always like the prompts. Instead, I mix whatever prompts I like from Inktober, Goretober and the OctPoWriMo sheets. Goretober is one of my particular favourites given my leanings towards horror, so heads up that some of these poems are daaaark.

    Day One, however, I used the Inktober prompt of ‘Ring’.

    ANDVARI MADE YOU

    Spiraled metal, gemstones carved in fire-hearted gold
    a curse, a gift, an offering, means by which undone
    was the hall of kings and heroes, was the hall of gods
    crumbling into dust and ash below the hoary sky.

    Andvari made you, flame-in-fire, melted down your veins
    trapped in an unending circle, mouth-to-tail engraved
    Andvari’s magic winds you, round finger into bone
    Forever you’ll be searching, for what you cannot say.

    Once back in time that time forgot, you were someone else
    maiden, boy, or both or none, details that none can tell
    Long ago, you say you were more than a treasure won
    that was before and this is now – still you don’t know why

    Andvari forged you into treasure – that’s what he says
    he set your eyes with rubies and filled your heart with stone
    when you were stolen, this he swore, all thieves to ruin come;
    the curse, though, on your bearers, is your own formless rage.

  • Review: IMPOSTORS by Scott Westerfeld

    September 24th, 2019

    I read the Uglies trilogy in full when I was in either middle school or early high school, and to this day they’re some of my favourite dystopian novels. Without the same simplicity of concept that plagues Divergent and other dystopian YA, the Uglies trilogy spoke directly to (what I now recognize as) my dysphoria as a trans teen and the feeling of never quite fitting in – of simply speaking a different language than everybody else, and maybe, eventually, I’d catch up.

    So, of course, you can imagine that when I found out that the Uglies universe was in fact still active, I grabbed the book as soon as possible. The book in question is IMPOSTORS, the first in a new trilogy from YA community pillar Scott Westerfeld, set in the same word as UGLIES a good twenty or so years later. The exploits of Tally Youngblood are the stuff of legend, the environmental quandaries that plagued the world’s politics are back in full swing, and Frey and Rafia are the twin daughters of a city’s tyrant. The thing is – nobody knows that Frey exists. From birth, she’s been raised as an ‘extra’; a body double for her sister, a safety measure and a bodyguard.

    The premise alone is promising. IMPOSTORS wastes no time kicking into high gear with an explosive (and characteristically brutal) opening – an assassination attempt against Rafia, foiled by Frey – and soon after, reveals how the established charade hits a snag. Another city’s ruling family is asking for Rafia as a hostage, and instead, their father sends Frey. Rather than just guard her sister when necessary, Frey is suddenly forced into pretending to be her as a full-time job.

    IMPOSTORS is just as good (if not better) writing-wise as UGLIES, and its release for a new generation of teenagers means it tackles different issues. I was happily surprised to see Frey and Rafia’s mental issues not just addressed but dwelled on as part of the plot; what kind of damage does this kind of trauma do, to everybody involved? Additionally, while UGLIES’s revolution plot had more than a touch of the idealism that most YA novels do, IMPOSTORS handles the whole concept with more complexity without sacrificing its target audience. One of my favourite parts, albeit one of the hardest ones to read, involves the use of a weapon of mass destruction.

    I suppose my main criticism of IMPOSTORS is much the same as for most of the YA I read that isn’t specifically marketed as queer or diverse. There are a few characters implied to be queer in the background, but not as many as one would expect, and the idea of transness still doesn’t come up in the setting despite having the perfect set-up for it. (NB: I have not read EXTRAS, so I can’t speak for that novel, but do let me know if it fixes this.) Finally, Col is a much less sympathetic character than intended. I can see his reasons for things, and I’m not opposed to the budding romance between him and Frey, but he sometimes dips too far into being manipulative. Ultimately, it’s hard to fully understand why Frey likes him so much; it’s obvious that she does, but I don’t share her view.

    Impostors is available on Scholastic (https://www.scholastic.com/teachers/books/impostors-by-scott-westerfeld/), Barnes and Noble (https://www.barnesandnoble.com/w/impostors-scott-westerfeld/1127731141), and Chapters/Coles/Indigo. (https://www.chapters.indigo.ca/en-ca/books/impostors/9781338151510-item.html). Please consider buying it from one of these places and not Amazon!

  • New Music: August

    September 17th, 2019

    Whew! The longer I do this column, the better I get at finding new music, and the more I realize just how much music comes out every month. This month, we have music from Birds of Bellwoods, Ariel Pink,, Leaves’ Eyes and more – a mix of genres if I’ve ever heard one. And those are the ones that didn’t make it onto the list! I also made a point of sauntering over to the punk and metal charts, since that’s usually more my style, so there’s some more of those genres on here this month as well.

    1. Love Too Much – Keane

    Keane was one of my childhood favourite bands, especially as I went through a difficult move from England to Canada. However, upon the release of their third album Perfect Symmetry I drifted away from their music, finding it wasn’t the same anymore. ‘Love Too Much’ is the first single from their upcoming album Cause and Effect, and it’s not quite a return to form, but something much more interesting – a fusion of the heavy beats and rhythm from Perfect Symmetry and onwards with the thematic depth and hopeful tones of their first albums.

    2. Cross You Out – Charli XCX and Sky Ferreira

    Is there anything better than two enormously talented women teaming up for a hit song? That song being a heartfelt, empowering goodbye to a toxic relationship. Charli XCX and Sky Ferreira both embody a dark-pop style that’s been getting more and more popular, and that style is used to fantastic effect on Cross You Out, a moody song that is best described as radio-friendly industrial. Charli XCX is a new artist for me, but with this single, I can’t wait for her new album.

    3. Tear Up – Area 11

    Area 11 is another new name for me – a British four-piece that apparently genre-hops as much as they like. This song is a pop-punk anthem in the style of McFly, Fall Out Boy or Death Cab for Cutie, albeit with a more electronic bent to it. The main singer’s voice is distinctive – at first listen I wasn’t fond of it, but it’s grown on me, and I don’t think the song would be as good without it. It’s a song about the end of the world, catchy and foreboding, with a unconvincing promise that it’ll ‘all work out’.

    4. Separate Houses – Press Club

    Despite the overarching feeling that there aren’t enough girls in the punk/hardcore scenes, there’s actually plenty – it’s just that they often get overshadowed or ignored in favour of the more “traditional” male acts. But Press Club’s Natalie Foster is impossible to ignore in ‘Separate Houses’ – she’s a hot mess, falling apart and trying to hide, crying out ‘am I letting you down a little more than you’d like? I keep saying I’m fine, I hate it’ and ending the song with a repeated, desperate, “I keep on pretending that I am getting better”. It’s an immensely relatable song, especially for people on the uphill climb of recovery, and I haven’t been able to stop listening.

    5. Miracle Pill – Goo Goo Dolls

    That’s right, there’s more Goo Goo Dolls music! Miracle Pill (and the new album as a whole) is a significant break from their signature sound, putting guitars aside for a smoother, synth-and-piano pop sound. It’s not a widely-beloved change, but I for one am quite enjoying it. Miracle Pill is immensely catchy with amazing lyrical writing, about – appropriately enough – the past weighing you down. (The song ‘Indestructible’ is also amazing, but I didn’t want to include two of their songs.)

    6. No Muss No Fuss – Ralph

    Ralph is a rising star in the Canadian pop world, a quirky fashion icon who writes smooth disco songs about love and jealousy and manages to combine the aesthetics of David Bowie and Regina Spektor. ‘No Muss No Fuss’ is a excellently produced song about the most banal, frustrating of things – the ex that won’t leave you alone, or get the hint. Ralph’s gorgeous vocals and songwriting mean that even those who have (miraculously) never experienced this will be bopping along.

    7. KURT KOBAIN – Velvet N*groni

    Velvet N*groni’s first album NEON BROWN is experimental R&B with a dark side, smooth synths sliding together with syncopated beats. KURT KOBAIN is my favourite off of it so far (and not just because of the title) – the music video is in ghostly monochrome, with muted, distorted vocals. The lyrics for this song have actually not made an appearance anywhere online yet – which means the content of the song mostly suggests itself through the video and atmosphere.

    8. Unsainted – Slipknot

    (TW for eye contact, flashing and religious imagery in the video)

    Time for a proper metal song on here! First off, if you’re not a fan of metal and guttural vocals, you won’t like this song. If you don’t usually like Slipknot, however… give it a try. ‘Unsainted’ uses more melodic contrast than usual for Slipknot, and the chorus melody is echoed by an operatic chorus in the background, giving the song a lot of power behind the intense guitar riffs and growling that mark the verses. The lyrics are incredible, too – I’m reminded of how many people listen to ‘Snuff’ and are shocked to find out that Slipknot’s lyrics are actually really good. Some of the standouts for ‘Unsainted’ are ‘I’ll never kill myself to save my soul’ and ‘You killed the saint in me, how dare you martyr me’ – strong statements against the Church.

    9. Teeth – 5 Seconds of Summer

    BIG TW for the video for flashing, claustrophobia, and medical stuff. It’s an extremely good video and I HIGHLY recommend it.

    5 Seconds of Summer’s ‘Teeth’ is from the soundtrack of 13 Reasons Why, but don’t hold that against it. It has a killer riff, and a chorus that’ll get stuck in your head for the next week. More than that, though, it’s another installment of ‘industrial pop’ with a hell of a message – it’s about a toxic relationship and an abusive girlfriend who just won’t let go. It’s not often we get songs about bad girlfriends that don’t treat it as her just being naggy or a cheater but instead monstrous and abusive; the video makes this even clearer with some incredible cinematography. I have to admit, I’m fascinated to see where this goth/industrial trend in pop is going.

    10. Lorem Ipsum (Arctic Anthem) – Anamanaguchi 

    TW: Lots and lots of flashing for the video.

    As much as I’ve been nerding out about lyrics in this column, Anamanaguchi proves with this song that you don’t need lyrics that make sense to make an amazing song. ‘Lorem Ipsum’s only lyrics are, as you might have guessed, the ‘lorem ipsum’ text – for those who don’t know, the text traditionally used as filler text to test formatting when printing books or other material. “Lorem ipsum dolor sit amet” is the opening part, and the section used in the song. I particularly enjoy the amount of research obvious in the music video, down to using actual manuscript illustrations and zooming in on the actual original of the ‘lorem ipsum’ – a Cicero text that actually says ‘dolorem ipsum’. (Lorem is not a word in Latin.)

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