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Elliott Dunstan

  • Home
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  • Bell, Clock and Candle (Elessa)
    • The Nowhere Bird (Bell, Clock and Candle #1)
  • ALKIMIA FABLES
  • Ghosts in Quicksilver: Chapter Eighteen: God’s Children

    December 1st, 2018

    Chapter 18 graphic w text

    TW: hospitals, implied childhood trauma

    I didn’t know much about cars, but along the way I’d that they were kind of like dogs; they reflected their owners to a startling degree. Avery’s cab with its leather seats, black sleek exterior and dated design felt like Avery did – a little bit cryptic, surprisingly put-together, and more than a touch alive. Isaiah’s car, on the other hand, was a beaten-up blue sedan, with scratches on the windows.

    Isaiah unlocked the doors, then opened the passenger side door for me. “She’s not much, but she’s mine.”

    I hesitated, then glanced quickly through the back windows. The back was full of boxes, some of them stacked two on top of each other. “I -” No, I wouldn’t bother. There was no easy way to explain it to anyone. So I slid into the front passenger seat, my stomach lurching. “What are all those boxes?” I asked, trying not to sound as nauseous as I felt.

    “Oh, I’m a library tech. Those are book donations.”

    “Somebody donated all of those?” My mouth fell open, and despite myself, I reached backwards and opened one of the box lids. Yep, books – books upon books, more than I’d ever seen at once. I went to libraries, sure, but usually for the wifi and the couches.

    “Several people, but yes. Some of them have ghosts attached,” he joked.

    I noticed that Jo hadn’t followed me, and swallowed the worry down with the rest of the anxiety. She could do what she wanted – and it meant that I could ask the questions that plagued me without her doing her concerned cluck at me. That sounded ungrateful, but it was true. “Do you, um…” My courage failed me, and instead, I closed my eyes as he started up the engine. I hated cars. I hated cars, so fucking much. It was fine when I was in the back. I didn’t have to look out the windshield that way.

    “Yeah?”

    Well, now he was asking. “Do you like ghosts? I mean, do you – I don’t know. Have ghostly friends? How does it work for you?” I sounded so pathetic. I was just as much of a Salt as he was… except that I hadn’t even known it was a thing.

    I opened one eye. He had a somewhat puzzled expression on his face. “I mean, I have a few. I’m not sure I was expecting that question.”

    “Why?”

    “Well… Johara. She’s your sister. And she’s a ghost.”

    “She doesn’t count,” I huffed. “I mean ghosts you don’t know.”

    “They’re usually pretty nice. They get a little forgetful sometimes, but I think you knew that.”

    “But they don’t… bother you?”

    “Why would they? Maybe a little when I was a kid.”

    I don’t know why that hit me so hard. “Y-you were a kid?” The unspoken too didn’t need saying. As much as I loved to deny it, I was seventeen; that was still a kid to most people.

    “Mhm.” He stopped at an intersection, and I suppressed the urge to throw up. Motion sickness, I told myself. “You don’t like ghosts, huh?”

    I swallowed it down, and shrugged. “I don’t know.”

    Isaiah didn’t say anything else. Then he lifted his hand, and before I knew what was happening, his hand was on my head, ruffling my hair. I blinked, a flush of embarrassment rising to my face, then pulled my hair in front of my face, feeling like an idiot.

    “I’m glad you’re okay.”

    “You don’t even know me,” I complained.

    “No, but I’m glad I get the chance.”

    He was so freakin’ sincere about it. It was cheesy and kind of cringy, and I liked it.

    “Let’s just get to the hospital.”

    “Want some music?”

    I wondered if he was offering because he liked music, or because he’d noticed how much I hated being in the car. But I nodded, and next thing I knew, he’d slid a cassette (a cassette? In the year 2016? How old was he?) into the tape deck. A few moments later, the music began to chug through the air, and I laughed in disbelief.

    “Is this pop-punk? I thought you were an adult.”

    “It’s grunge, you fetus. And my generation invented it.”

    “How old even are you?”

    “Uh…” He thought for a moment. “Can I still say thirty-nine?” he said ruefully.

    “What.” I stared up at him. “You’re forty?”

    “I’m trans, which apparently means eternal youth.”

    I blinked some more, and flushed again at the sight of his mouth twitching up at the corner. “…But…”

    “We’re not all bratty teenagers, you know.”

    “Hey!”

    “I meant Will and Cass, but I suppose you count.”

    I crossed my arms and sulked, even though I was enjoying myself.

    “We’re here,” he said finally, and I suddenly remembered – I was going to have to tell Nathan something.

    “Uh, Isaiah?”

    “Yeah?”

    “What’s the policy on telling, you know…” I swallowed. “Normies? Normal people? About this stuff?”

    “It’s… recommended against.”

    I rubbed my temples. “Nathan’s in the hospital because Kiera knocked him out. I have to come up with something good if I can’t tell him.”

    “Afraid I can’t help you – I don’t know the man.”

    “He’s my roommate. I barely know him either.” I hopped out of the car, then kicked at the curb in a bad temper. “Alright, up we go.” Cars and hospitals. All sorts of fun today.

    “He’s on the fifth floor, according to Avery.”

    “Right.” Stupid Civic Hospital. I’d considered burning it down before, even though they’d done their best. What a fucking infuriating sentence. ‘We did everything we could.’

    Mind on the present, Jamal. Nathan was fine. The worst he’d have would be a minor concussion. It didn’t stop me from feeling the linoleum floor slip out from under my feet as we walked up to the desk, the past infecting the present with infinite pressure.

    “Nathan Beaufort?”

    “Room 33.”

    Then we were there, and I exhaled a breath I didn’t know I’d been holding when we stepped into the room and Nathan glanced up from his book with a growing smile.

    “Jamal! You came to visit me!”

    “Well, yeah.” I managed a smile. “I still need your rent.”

    Nathan snorted, then rubbed at his head. “I’ll be released tonight, I think? They wanted to keep me for 24-hour observation. Apparently I have a minor concussion.”

    Well, I’d called it. “Do you, um – remember what happened?”

    Nathan’s blue eyes flickered almost imperceptibly towards Isaiah. Then… “Nah. I guess I tripped or something.”

    He was lying. I could tell that as easily as I could tell the sky was blue. But it was a lie that seemed to work in my favour for now, so I decided to roll with it, and start poking holes in it later.

    Then another familiar voice cut through the quiet buzz of machines and IV drip. “I’m sorry.”

    I suppressed my response when I noticed that Nathan hadn’t heard it. Isaiah had, though. Which meant –

    I glanced over at the chair next to Nathan’s bed. Gurjas was sitting there, the chair clipping through his legs and arms in awkward places, and he was watching over Nathan with a protective air that reminded me that he was a father. I wondered where Nathan’s family was. If he’d even told them he was in trouble. I supposed he wasn’t, really; but it still made the room feel that much more desolate.

    “My name’s Isaiah. I’m a friend of Jamal’s and the person who brought you here – I’m glad you’re okay. Want to get some food down at the caf? I’ll push you in a wheelchair if you want.”

    Nathan raised his eyebrow, but between being… well, Nathan, in all his awkward glory, faced with one of the most charming men I’d ever met, he was definitely going to say yes. “Alright.”

    I waited til they were gone, then sat down on the bed that Nathan had just vacated. “You’re here. I didn’t expect that,” I said to Gurjas.

    Gurjas steepled his fingers on his knee. “I had no idea she would come after you. I didn’t – I didn’t intend that.”

    I chewed on my lip. “What I don’t understand is… why me in the first place? How’d you even know?”

    “Elementals have a glow to us. It’s even more obvious once you’re a ghost. Don’t ask me why; I just know that once I crossed over, you were like a beacon.”

    “But Chandra couldn’t hear you.”

    A smile flickered at his mouth, and he stroked his beard. “It really is a shame you’ve only had yourself to rely on. Ghosts can appear to anybody in dreams, if they have a close enough connection, and they know how.”

    “So she dreamed about me.”

    “Yes.”

    “And hired me, and -” I groaned. “I still don’t understand. Why not Isaiah? He’s an adult. He has a car. And money,” I added somewhat glumly.

    “Isaiah has children of his own. I won’t have another family torn apart on my behalf.”

    “So I’m expendable.”

    “You’re young, and stubborn, and furious. A good combination.”

    “All you wanted was for me to find your body.”

    “Yes.”

    I hesitated, then drove forward anyway. Young and stubborn and furious. I could work with that. “What about the girl?”

    Gurjas closed his eyes. He was solid today – I could see every curl of his beard, every fold of his turban. “She’s safe.”

    “She’s alone, isn’t she?”

    He avoided my eyes.

    “I know you want her protected. There’s a reason you haven’t said anything about her, isn’t there?” I’d theorized about Gurjas being a molester, a killer, a cheater. But now, looking at the grief and fear on his face, I knew it couldn’t be anything so base. “Is she your kid?” I asked.

    “Not by blood. She needed help.”

    This was the most Gurjas had ever spoken, and I could hear the difference. Before, he’d been so stoic that there was very little to read off of him. This time, though, he was shaken. He hadn’t expected Kiera any more than I had.

    “I want to protect her too,” I urged. “But I need to know a little about her first. At least enough to know why Kiera wants her so badly.”

    “I won’t tell you where she is. It’s too dangerous.” Then his voice softened a little. “Her name is Jaylie. She’s eighteen.”

    “And that’s all you’ll tell me?”

    “Yes. Unless you can show me how you’ll protect her – and yourself.” He jabbed an insubstantial finger at me. “I’ve had enough of my kin die. I won’t have another child on my conscience.”

    “Alright. I promise.”

    “Promise what?”

    God, he really was a father. “I promise not to throw myself headfirst into danger at every available opportunity,” I added.

    “Excellent.”

    I paused. Nathan and Isaiah would be back soon. “…Chandra invited me to your funeral.” I shifted on the bedclothes, trying to figure out if I was crossing some invisible line of etiquette. “Would you be alright if I -”

    “Of course. Of course, I’d be honored.”

    I felt a lump rise in my throat. I wished I’d gotten to know him while he was alive. Maybe that was why I was so uncomfortable around ghosts most of the time. The sense of missed opportunity.

    Still, I had a plan in place. I’d go to his funeral. Then after that, I’d figure out where Jaylie was hiding, and how to keep her safe from Kiera. I’d talk to the rest of the community about it. I’d figure it out, like I always did.

    <–Chapter Seventeen                                                                                      Chapter Nineteen –>

     

  • Review: The Starlit Wood, eds. Dominik Parisien and Navah Wolfe

    November 25th, 2018

    It’s been a while since I read a short story collection, let alone a book of fairy tale retellings, but it’s undoubtedly my favourite genre of short story. (Second place is probably the psychological horror; third is philosophical science fiction that exists more to prove a concept than anything else.) The Starlit Wood is a great collection to break my dry spell, full of remixed fairy tales from a diverse set of authors.

    First, the good: the stories of Parisien and Wolfe’s collection are packed full of surprises. Aliette de Bodard’s Pearl and Max Gladstone’s Giants in the Sky are science fiction retellings that take the themes and emotions of the fairytales in question and pull them into entirely new settings. Others, like Even the Crumbs were Delicious by Daryl Gregory, take a dark-comedy spin to the events – who on earth could have come up with edible wallpaper drugs? – and still others like Some Wait by Stephen Graham Jones drag the tales down into pure tragic horror. No two of these stories are the same, and while the essence of the fairytales are still there, they’ve been imbued with all-new relevance.

    Also of wonderful note is the range of representation, both in authors and in subjects. Several of the authors are LGBT+ and/or queer-identified, including Seanan McGuire and Charlie Jane Anders. There are several authors of colour instead – Aliette de Bodard is Vietnamese, Marjorie Liu is Taiwanese, and Stephen Graham Jones is Blackfeet, among others.

    Out of all of them, I’d have to say that The Super Ultra Duchess of Fedora Forest is my favourite. Charlie Jane Anders chose to retell the story of ‘The Mouse, The Bird, and the Sausage’, but despite the story itself being quite miserable, this has got to be the funniest story in the whole collection. Fairy-tale retellings have managed to get a reputation for being quite grim, and while I like a grim (Grimm?) story just as much as the next person, it’s lovely to find yourself laughing out loud at one instead. As Anders herself says in her afterword, somehow it turned out kind of like an Adventure Time pastiche, complete with a sausage who wants to be a club DJ.

    Some of the stories, however, didn’t do it for me. Familiaris by Genevieve Valentine has beautiful prose, but the throughline of the story itself gets lost, and while I love the premise and writing of Badgirl, the Deadman, and the Wheel of Fortune by Catherynne M. Valente, I reached the end and felt like there should be more to the story. Most short stories leave the rest to the imagination, true, but both of these two felt incomplete, and could have done with just that touch more.

    Also, while I’m loath to bring it up – it’s a matter of demographic and who’s willing to write it – I can’t help but notice that when queer representation comes up in fairy tale retellings, queer male representation is almost nowhere to be seen. Queer representation on its own is still sparse enough that the fact that there’s anything in this anthology is fantastic (at least one trans author, and Marjorie Liu’s The Briar and the Rose is a beautiful love story about Sleeping Beauty and her female knight) – but it is starting to get noticeable that queer men are still missing. It’s something I’d love to see more of, and if there’s anthologies I don’t know about that let the princes be into each other, or lets Sleeping Beauty be a sweet young man, let me know!

  • First Chapter Thoughts: ‘The Stranger’ by Albert Camus

    November 12th, 2018

    While these days I have a strong preference for diverse & modern fantasy and sci-fi books, at the end of the day, I’m still the worst kind of lit nerd. So today I decided to pick up my copy of Albert Camus’s ‘The Stranger’, one of those classic novels that’s picked up a reputation for being boring.

    From the first chapter, I can see why it has that reputation – however, I’m quite enjoying it. Unlike genre novels, it doesn’t start with any sort of bombastic entry. Instead, the book begins with a slow, dissociative first-person retelling of the death of Monsieur Meursault’s aged mother, the vigil at her side and her funeral. Monsieur Meursault doesn’t give himself over to any great expression of grief during the two days he spends mourning his mother, but he’s clearly mourning anyway; he fixates on describing others, on the small details and the step-by-step machinery.

    It’s an odd novel so far, for sure. And I can definitely understand why a high school class might not enjoy reading it. Nothing particularly is happening. But that’s part of the joy of literary fiction – particularly French literary fiction, although I wish my French was good enough to read this untranslated. It’s not about what happens – it’s about who it’s happening to.

    I’m curious to read the rest of this and see what’s made it a classic, although I’m aware that distinction can be arbitrary at best. This is the kind of gloomy, inward-looking contemplation that I can appreciate!

  • Review: “press ctrl – alt – delete” by Vanessa Maki

    November 10th, 2018

    What does it mean to start over? What does it mean to reset the system, to reboot the software of your own mind? Vanessa Maki’s powerful poetry chapbook press ctrl – alt – del engages with this question with incredible grace and bluntness in equal measure. The chapbook carries the metaphor of a filing system throughout, with some files deleted and hanging around the ‘recycle bin’, and poems having names like ‘LOVE.exe’ and metaphors about admin control.

    control is the slight luxury / when you happen to be admin / i configure /i install / i have
    control / control of body /

    -“ADMIN”, pg 4 of ‘press ctrl – alt – del’, Vanessa Maki

    I thoroughly enjoyed the poems in this chapbook, both under their own power and how they link with each other. It’s one thing to write a collection of poetry and another to make that collection cohesive. The same motifs repeat, never all at once; bitter fruit, broken glass, storm warnings and system shutdowns cycle around the poems, uniting to form an uneasy see-saw between the organic and the artificial. It circles back to oppression – to being traumatized, mentally ill, black, queer, a woman – and the constant balance of untangling what is ‘natural’, what is ‘real’, what is learned.

    Of particular note are the final three lines of the chapbook.

    i have no idea what it’d be like
    to be a fully functioning system
    that never needs constant repairs.

    -B.S.O.D., pg 23, Vanessa Maki

    While my marginalizations are largely different, this is a sentiment that lands, and lands hard. Being marginalized and traumatized in an oppressive system feels, most of the time, like a constant experiment in jury-rigging complex fixes with tape and glue. We survive day-to-day, waiting for the next big hit.

    Vestigial to the chapbook itself but nevertheless part of the download file and the project, the image poems that come along with the chapbook expand on the theme. Each of them are short, fitting into a pop-up alert box that draws on older versions of Windows. While all of these are excellent, “DOWNLOAD ME” i think is some of the purest expression of the theme. Others expand further on the unhealthy relationship that weaves its way through Maki’s poetry, and all of them are further illustrated with pixelated icons. A skull and crossbones, a piece of pizza, a recycling logo.

    One thing that I would have liked to have seen with this chapbook is interactivity – the format, with the dialogue boxes and talk of a system, teases at it but doesn’t fully follow through. It would be fascinating to see the disparate pieces of the chapbook put together in something like Twine or another digital-humanities interface.

    Vanessa Maki’s press ctrl-alt-del is available at Payhip for $5 USD. She can also be found on Twitter at @theblackbuffy.

  • Review: FleshTrap by Magen Cubed

    November 9th, 2018

    I did my first chapter impressions of this book a little while ago, and now that I’ve finished, can I just say: Wow. 

    I’m going to break tradition and do a full, spoiler-heavy review of the book; if you’re looking for incentive to buy it, check out the one linked above. This one is me sorting through how this book made me feel, and how it builds to a fantastic ending.

    Major spoilers for FleshTrap follow, as well as discussion of gore, murder, pedophilia, trauma and abuse. Read the book first! It’s worth it!

    FleshTrap is not shy about being a horror novel. From the tendencies of its protagonist (Casey’s notebook full of missing-persons posters, oof) to the loving descriptions of its victims as they’re seduced and devoured by the flesh trap itself, Cubed’s novel places itself firmly among classics like Misery, SAW, House of Leaves, and others.

    ‘However, the driving force of the novel is not the supernatural, with abuse and human horrors as flavourtext or backdrop; instead, Casey’s trauma and difficulty processing it is the plot. The fleshtrap, with all of its gory wonder and body-horror fascination, is just the most aesthetic part of the allegory. The tension comes from the push-and-pull Casey experiences between his stepsister Mariska, compatriot in his trauma, and his boyfriend Joel, the bystander who wants to help and doesn’t know how. How do you heal? How do you move on? What does it mean to be ‘dwelling on’, versus ‘exploring’ trauma?

    I think the most important thing to me in this novel is how trauma isn’t afforded any leeway as an excuse or as a reason. The fleshtrap is made up of Casey’s dark impulses, behaviours learned and borrowed, a protective instinct mirrored from his own father’s horrific actions. It isn’t pretty, or sweet, or in need of protection – it’s the type of trauma that hurts everything it touches. Just as importantly, however, the division between the fleshtrap and Casey himself is kept intact within the narrative, even while Casey finds himself conflating the two. Casey is not the problem – he is not the murderer, or the one hurting people. His pain has taken on, quite literally, a life of its own. FleshTrap also has no time for the idea of the Perfect Trauma Victim. Casey lies, breaks promises, acts in ways that are endlessly frustrating – the messy symptoms of his PTSD are given just as much, if not more, screentime than the tidy ones.

    This isn’t a narrative that will sit well with every trauma victim – and nor should it. It’s also a story that will make some readers very uncomfortable, which is a good thing. It’s a direct challenge to so many tropes and established ‘facts’ of horror, trauma and recovery that it’s liberating to read. Some books are making you uncomfortable as a way of asking you to look in the mirror and reflect on your discomfort – this is one of them. (Also, I’ll acknowledge it: flesh-eating is just fun to read about sometimes.)

    It isn’t a perfect book (how many are?). The writing limps in some places particularly near the climax, and there is one personal point of contention for me. The book is very heavy on mentioning that David Way was abusive to Mariska, and how much it traumatized Casey; however, Mariska’s personal trauma is given significantly less screentime, and there’s a notable hole in the story where it feels like David did something to Casey that’s been left unsaid. It detracts a little from the impact of the book, but I can appreciate what a little bit of distance does to make the book that little bit less triggering.

    FleshTrap by Magen Cubed is available on Amazon both as an ebook and a paperback.

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