This past month, I (Selena Middleton, Stelliform Publisher and EIC) read Stephen Graham Jones’s The Only Good Indians alongside my friend and invaluable Stelliform helper and fellow English PhD, Kristen Shaw. Since our conversations often fall into fairly nerdy literary analysis, we thought we would share our thoughts about The Only Good Indians in the form of the conversation that we might have had if the pandemic had not prevented an in-person meeting. What follows is our conversation-review of SGJ’s novel, which was published by Saga Press in July 2020.
Kathleen Jennings’ Flyaway is an Australian gothic novella that scales up the haunted house trope to encompass a landscape. In this review, I’ll focus on some of the book’s ecological themes which are largely presented to the reader in the form of fairy tales.
Both our forthcoming 2020 titles, Depart, Depart! by Sim Kern and Night Roll by Michael J. Deluca have received Publishers Weekly reviews. Read the reviews here.
Editors Zelda Knight and Ekpeki Oghenechovwe Donald are bringing speculative fiction by writers from Africa and the African diaspora to a wider audience. For readers who are interested in the broad spectrum of speculative fiction, this anthology offers science fiction, fantasy, science fantasy, horror, and myth — sometimes within the same story.
Both of our fall titles are now available to download for review purposes from NetGalley. Signing up for NetGalley is free. Users receive a DRM-protected ebook and the opportunity to post their reviews on the NetGalley site. Reviewers can also post their reviews to Goodreads, Amazon, or their own blogs or other social media. We appreciate every review!
For Pride Month 2020, we’re featuring a story by E. I. Richardson, a queer Black and Malay writer. “A Good Mother” is a powerful, subtly unnerving horror story about family relations, abuse, and the day to day tasks of living with and working through trauma.
This creepy bit of sylvan horror is the kind of thing we’d like to see in our slush pile: a story about the inhabitants of an anarchist commune in Freedom, Iowa, who summon Uliksi, a blood-red three-antlered deer god, in order to deal with their hierarchy problems. Uliksi “turns predator into prey” when he “hunts those who wield power over others”.
Though Uliksi is originally summoned to deal with a violent sociopath who has seized control of the commune, the summoners soon realize that the act of summoning an “endless spirit” to dispatch Freedom’s unwanted leader results in the deer god’s gaze falling, inevitably, upon them.
Seanan McGuire’s “Hello, Hello” is a science fiction short story which bridges the gaps between several human and inter-species categories to illustrate that while future technologies will facilitate communication in ways that we cannot now imagine, technology alone is not enough.
N.K. Jemisin’s “The Ones Who Stay and Fight” is the opening story in the author’s short story collection, How Long ‘Til Black Future Month. The story introduces the collection, as does the book’s title, as a work of fundamentally utopian sff.
“The Ones Who Stay and Fight” was written in conversation with “The Ones Who Walk Away from Omelas”, Ursula K. Le Guin’s own challenge to utopia, published in 1973. “Omelas” has been discussed extensively (a recent article on “Omelas” and its utilitarian implications for our own times can be found here) and this review will side-step a comprehensive comparison of “Omelas” and “The Ones Who Stay and Fight”. Instead, the focus here is on Jemisin’s story, its conception of systemic violence, its implicit sense of justice and hope, and how Jemisin’s vision applies to the fight against climate change.
Osahon Ize-Iyamu’s “More Sea Than Tar” in Reckoning 3 is about a Nigerian family struggling against the currents of modern life in a flooded and slowly disintegrating town. The main character, Uti, must navigate opposing family dynamics in order to find his own way of living.