REVIEW: “Mountain God” by Gwen Benaway

Review of Gwen Benaway, “Mountain God” in Gwen Benaway, ed., Mother, Maiden, Crone, (Bedside Press, 2019): 7-25 — Purchase here. Reviewed by Sara L. Uckelman. (Read the review of the anthology.)

Content warning: A lot of death.

The mage Aoyas has three strikes against her: She’s a mercenary; she was born in Lerani, the most recently conquered and still not quite subjugated province of the Empire; and she is a Marked woman, someone who has changed her born gender. Her mercenary partner Rais isn’t that much better; he was born in the capital city but his father was an outlander who abandoned him and his mother when he was young. Neither Aoyas nor Rais set out to become mercenaries, but fate put them in each other’s paths and together they became lovers and survived their first — hardest — year of mercenarying.

It took five-and-a-half pages to set up all the history and backdrop for the story, rather a long in something only about 20 pages long; but I’m a sucker for good worldbuilding so the lack of action or activity didn’t bother me too much. I was surprised at how transphobic and misogynistic the setting was — it made me sad that Aoyas didn’t get a better story, a better life. While some people might say she got her happily ever after, I’m not entirely convinced.

REVIEW: Maiden, Mother, Crone edited by Gwen Benaway

Review of Gwen Benaway, ed., Mother, Maiden, Crone, (Bedside Press, 2019) — Purchase here. Reviewed by Sara L. Uckelman.

Recently I took a trip down to York to visit a friend, and she did what the good friends do and took me around the good bookstores. One of these was the Portal Bookshop, full of queer and SFF books. It’s been so long since I’ve been to a brick-and-mortar bookstore that has books in it that I actually want to buy, that I may have ended up buying more than I could carry…including this anthology.

I was not familiar with it before seeing it on the shelf, but it immediately appealed to me. Benaway in her editorial introduction says that she wanted the book to be

a space for other trans women and trans feminine folk to write fantastical short stories where trans folks were the main characters

and the collection bills itself as “the first anthology by trans femme authors to explore the realms of magic, supernatural beings, and alternative universes”. I can only hope that it won’t be the last, because collections like this are so rich and so valuable.

As is usual, we’ll review each of the stories individually, and link the reviews back here when they’re published:

I was surprised at how many of the stories reinforced the gender binary, or included structural misogyny. It made my heart sad for so many of these women, and for women reading this anthology who may be looking for more than just triumph-over-adversity, moving on to fantasy worlds where being trans is hardly worth commenting on. One of the powers of fiction is that it can provide us with models of ways the world can be, because sometimes it is easier to change the actual world into a more ideal world if we have an idea of what the more ideal world could actually look like, and I confess I had expected a bit more idealism and a bit less realism.

REVIEW: “Gald” by anonymous

Review of Anonymous, “Gald”, Luna Station Quarterly 40 (2019): Read online. Reviewed by Sara L. Uckelman.

“Gald” is the story of a group of misfits who have banded together to make their own found family. Minnie, Shasta, and Raynald are “all illegal, no profiles, no scan codes, no fish tickets, nothing”, always traveling at night and avoiding the sokes. But one night they meet Venlis, on the run from one of the sokes herself, and with Venlis comes trouble.

Parts of the story I liked — it had a weird, lyric quality to some of it, and there were hints and bits of interesting background world-building — but the structure of the story didn’t quite work for me. It ended up abruptly, cutting off without any resolution or any explanation of what was going on. It left me feeling unsatisfied.

REVIEW: “Liar, Liar, Tongue on Fire” by Janessa Mulepati

Review of Janessa Mulepati, “Liar, Liar, Tongue on Fire”, Luna Station Quarterly 40 (2019): Read online. Reviewed by Sara L. Uckelman.

Reading this story of perjury and how it must be punished on the night of Impeachment Eve was a poignant and strange experience. Where Pan lives, perjury is punished swiftly and sharply: you cannot lie if you have no tongue.

On the one hand, it sounds barbaric, hearkening back to a less civilised, more violent age.

On the other hand, when one sees — Trump’s America, Johnson’s Brexit — the horrific consequences of lies, it hardly sounds barbaric enough.

REVIEW: “Bone to Bleeding Bone” by Sarah McGill

Review of Sarah McGill, “Bone to Bleeding Bone”, Luna Station Quarterly 40 (2019): Read online. Reviewed by Sara L. Uckelman.

I love fairy tales retold from the point of view of one of the minor characters, which mean I really enjoyed this story. Dreadfully and deliciously ghoulish, told in tight, picturesque paragraphs with clean and vivid language, there was something to like every step of the way.

REVIEW: “The Fox Witch” by J. Motoki

Review of J. Motoki, “The Fox Witch”, Luna Station Quarterly 40 (2019): Read online. Reviewed by Sara L. Uckelman.

Content warning: Death of a parent.

Granny Orin has been dressed in layers and left in the snow to die: Not through malice, but through the love of her son. But though Granny Orin finds her dying beautiful, nothing could have prepared her for what she meets on the bleak mountain top.

I enjoyed this Japanese-culture inspired story, and the questions it raised about how tradition chooses how we live our life, and how our traditions dictate the choices we can make — how it can make it seem like certain choices do not even exist. Lots of think about in this story.

REVIEW: “The Remains of Prophecy” by Rebecca Bennett

Review of Rebecca Bennett, “The Remains of Prophecy Luna Station Quarterly 40 (2019): Read online. Reviewed by Sara L. Uckelman.

Content warning: Infant death, death in childbirth, abortion.

The queen has died in childbirth, the king has promised that the baby, their seventh daughter, will wed the seventh son of a seventh son.

Gracie is just a peasant wife, but her husband Hector was himself a seventh son, and Gracie is pregnant again. But so many of her other children have died, and she cannot face pregnancy again — not even for the possibility that their son might wed a princess.

This was a story infused with magic, and portents, and desperation. Gracie is torn between Hector’s desires and her own quietest secret, and in the end must make an impossible decision.

REVIEW: “Not Fade Away” by Shana Ross

Review of Shana Ross, “Not Fade Away”, Luna Station Quarterly 40 (2019): Read online. Reviewed by Sara L. Uckelman.

Gabby, salty and brusque, is a witch in private practice — she’s building up a clientele of people in need of three wishes, a glimpse of the future, or, in the case of the anonymous young girl who arrived on her doorstep without any appointment, a potion. Not just any potion, but a particular one:

it was such a straightforward potion – you drank it, it gave you what you wanted most. And so everyone got what they deserved.

But as in any proper fairy tale, what is promised is not what is given. Listening to Gabby recount to her friend Natalie what has happened to those she has given this particular potion to in the past took the story from fantasy and back into a chilling reality — how many of the desires that were granted are ones that so many ordinary women desire, day in and day out? What could’ve been a somewhat saccharine modern-day fairy-tale ended up a sad commentary on modern society.