End of Year Favourite Things | Horror, Revisionism, Punishment and Thor(s)

As I’ve mentioned in my last post, December took it upon itself to welcome me with a nasty sucker-punch of the flu: a freelancer’s nightmare in a season when all the clients want things done in bulk so that everyone can rest up during the holidays.

But one upside of it all is being able to soak in all the stuff I would have soaked in otherwise, but with an added single-mindedness… partly owing to the fact that I could do little else and so was justified in spending days on end just reading and watching things.

So here are some recent things I’ve consumed and enjoyed during that period… though some of them were either consumed or begun before the illness hit. Either way, feel free to allow them to double-up as gift ideas. Am sure the indie creators on the list would appreciate that especially.

Tanzer_CREATURES_OF_WILL_AND_TEMPER_finalCreatures of Will and Temper by Molly Tanzer (novel)

I was never too keen on the ‘& Zombies’ sub-genre of literature, if we can call it that. It just seems like such a one-trick-pony gimmick that to spread it out over an entire book — much less an entire unofficial series of them — just struck me as a bit redundant and silly.

Having said that, I did enjoy the Pride and Prejudice and Zombies film, in large part because director Burr Steers deftly shot all of it as a Jane Austen pastiche first and foremost, with the zombies having to blend in with the established ‘heritage film’ mise-en-scene, rather than overpowering everything into pulp madness once they do show up.

Rest assured that Tanzer’s novel — a meticulously put together gender-swapped take on Oscar Wilde’s The Picture of Dorian Gray — owes very little to the ‘& Zombies’ trend, save for perhaps this last element. When the supernatural element does rear its ugly head, it does so in world with firm period rules already established, and in a story about sibling angst that stands front-and-centre for the bulk of the running time.

The result is an experience that is both immersive and captivating; a Victorian pastiche and tribute to the legacy of Wilde that very much scratches those familiar itches, while also offering a fun, pulpy comeuppance in the end.

***

The-Man-Who-Laughs-CoverThe Man Who Laughs by David Hine & Mark Stafford (graphic novel)

The last thing I did before getting sick was attend Malta Comic Con 2017, and a fun time that was indeed. Meeting old friends and new under the spell of our geeky obsessions is an experience that’s tough to beat. I also spent an inordinate amount of money on comics and artwork and no, I regret nothing.

Particularly when it concerns undeniable gems such as these — a work that once again draws on a literary classic, though one certainly not as universally lauded as The Picture of Dorian Gray.

As writer David Hine writes in an afterword to this adaptation of Victor Hugo’s L’ Homme qui rit — perhaps more famous for a silent film adaptation starring Conrad Veidt which in turn inspired look of Batman’s arch-nemesis The Joker — the original novel, a late-period Hugo miles away from the populist charm of a Les Miserables, is something of a convoluted, knotted beast whose socio-political digressions he’s had to cut down to ensure the story flows as well as it can.

The-Man-Who-Laughs_MEDIA_19

Mark Stafford, ladies and gentlemen

Stripped down as such, and aided by tremendous illustration work from artist Mark Stafford, the volcanic melodrama at the centre of the story — and it is a melodrama, though perhaps in the best possible sense of the word — is allowed to come to the fore, and I practically tore through the pages as my heart raced, yearning to discover the fate of poor perma-rictus-infested Gwynplaine and his fragile adoptive family.

Stafford’s work really is tremendous, though. His grasp of the grotesque idiom works to highlight both the social horror and sublime tragedy that frames the whole story, and the chalk-like colouring technique adds that something special to the feel of each page.

The assured lines and deliberate exaggerations brought to mind the work of Lynd Ward, and in any case — here’s a story that definitely shares some genetic make-up with God’s Man, dealing as it does with the venal, compromising nature of the world.

***

winnebagoWinnebago Graveyard by Steve Niles and Alison Sampson (comics)

Collecting all the single issues of the titular series, this is another gorgeous artefact I managed to pick up at Malta Comic Con, this time from its affable and keenly intelligent artist, Alison Sampson, who was kind enough to sign my copy over a chat about the comic’s intertextual DNA of ‘Satanic panic’ and folk horror.

It’s a lovely-to-the-touch, velvety volume that comes with generous backmatter expounding on the same DNA, but what’s in between isn’t half bad either.

A simple story about a family being shoved into a deeply unpleasant situation — i.e., an amusement park that dovetails into a Satanic human-sacrifice ritual — is elevated away from cliche by Sampson’s art, which flows from one panel to another — often letting rigid panel divisions hang in the process, actually — in a grimy-and-gooey symphony.

***

god butcherThor: The God Of Thunder (Vols. 1 & 2) by Jason Aaron & Esad Ribic (comics)

More comics now, though this one only confirms that I’m as much of a lemming to the machinations of popular culture as anyone else. To wit: when Comixology announced a discount-deal on a bunch of Thor comics in the wake of the brilliant and hilarious Thor: Ragnarok, I bit like the hungriest fish of the Asgardian oceans.

I’m glad I succumbed to this obvious gimmick, though, because it gave me the chance to catch up with this gem of a story arc, which gives us three Thors for the price of one, all of them trying to stop not just their own Ragnarok but the ‘Ragnarok’ of all the gods of the known universe, as the vengeful Gorr vows to unleash genocide on every single divine creature out there.

The two storylines out of the run that I’ve read so far — ‘The God Butcher’ and ‘Godbomb’ — felt like such a perfect distillation of everything that makes superhero comics work. A grandiose, epic story of ludicrously huge stakes, sprinkled with a necessary indulgence in pulp craziness (Thor on a space-shark, anyone?) which is in turn deflated by the strategic deployment of self-deprecating humour (the sarcastic back-and-forth between the Thors is a pure delight).

Ribic’s art seals the deal though. His gods certainly look the part — they may as well have been carved out of marble — helped along by the clean, gleaming shimmer that is Dean White’s colouring work.

While I eagerly look forward to devouring the latter half of the series, this rounds off a great year in Norse-related literature for me, during which I’ve enjoyed Christine Morgan’s across-the-board excellent The Raven’s Table from Word Horde, while I’m currently devouring Neil Gaiman’s Norse Mythology — a book that so far displays the popular myth-maker’s slinky and pleasant way with words, if nothing else.

shark

***

The Punisher (TV)

the punisher

Another Marvel product that needs no signal-boosting for me, but which I found gripping enough through its 13-episode run, for some obvious and less-obvious reasons. Yes, updated as it is to insert a too-easy critique of the American military-industrial complex (though really, only of its “bad apples”), Frank Castle’s adventures offer an easy cathartic kick.

As the title character of another show I love dearly — far, far more dearly than The Punisher or anything else for that matter — would have it, “Doing bad things to bad people makes us feel good“.

But that wasn’t what stayed with me. What stayed with me was Frank’s very nature as a “revenant” — he’s even referred to as such by another character at one point — and how that’s hammered home by the fact that he’s made to operate from an underground lair as his true self, but that when he returns temporarily to the surface, it is as if he were alive again, but only when he wears his new disguise.

A mythic touch in a story that revels in its supposed grittiness, and a welcome one too.

Happy holidays to all!

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Designing the thrill ride | Editor and Publisher Ross E. Lockhart on Eternal Frankenstein

ross-e-lockhart

Ross E. Lockhart

A hard-working and eminently likeable presence in the field of speculative fiction small press, editor and publisher Ross E. Lockhart takes a seat at the Soft Disturbances lounge to chat about Eternal Frankenstein – a 16-story tribute to Mary Shelley’s groundbreaking science fiction and Gothic horror classic – which he edited this year for Word Horde. He also delves into what makes this increasingly essential genre fiction publishing house tick, before letting us in on the Frankenstein story of his dreams…

eternal-frankenstein

 

First off; why Frankenstein, and why now? Mary Shelley’s text has been a touchstone for quite some time, so what made you think that now is the right moment to put together an anthology like Eternal Frankenstein?

This summer was the bicentennial of ‘The Year Without a Summer’, wherein massive climate instability was caused by the 1815 eruption of Mt Tambora in the Dutch East Indies (now Indonesia), blanketing the Northern Hemisphere in miserable weather. A young English couple – Percy Shelley and Mary Godwin – decided to escape the apocalyptic rain and constant cold (and majorly dysfunctional families) by staying with a friend in Switzerland, Lord Byron.

Mary Shelley (1797-1851)

Mary Shelley (1797-1851)

Percy and Mary brought along Mary’s cousin Claire, and Byron was attended by his personal physician, John Polidori. One stormy night, as the five sat indoors, reading ghost stories by firelight, Byron proposed a ghost story competition. That night, Mary had a dream that would inspire her to write Frankenstein; or, The Modern Prometheus, which she would publish anonymously in 1818.

The book and its many adaptations fascinate me, and I believe the story is one of the most intricate and poignant myths of the modern era.

Beyond this anniversary, I’ve been a Frankenstein fan since I saw James Whale’s Universal films as a kid. The book and its many adaptations fascinate me, and I believe the story is one of the most intricate and poignant myths of the modern era. I also looked at things from a commercial standpoint, and I realized that (with the exception of Steve Berman’s Daughters of Frankenstein: Lesbian Mad Scientists) it had been a long time since anybody had published an all-original Frankenstein-themed anthology.

As with other Word Horde anthologies I’ve had the pleasure of reading in the not-too-distant past, Eternal Frankenstein is a finely crafted piece of editorial work, with stories clearly selected to intensify certain through-lines and motifs: teenage angst, anti-communist hysteria and the reanimated automaton as a cog in the military machine, to mention just a few. How did you set about identifying these themes? And to deepen a bit further: why do you think the legacy of Shelley’s text accommodates these themes and images in particular?

Editing an anthology is a lot like building Frankenstein’s monster. You start by digging through graveyards, finding pieces, and seeing how those pieces fit together. You take chances. You invite authors whose work you enjoy, and you say “show me what you’ve got”. You tweak and you fine-tune and you experiment and arrange, and eventually a creature takes form, comes to life, and shambles out into the countryside, demanding a mate.

I work with authors who are constantly striving to produce the best possible work, and I’m willing to push those authors to do better.

Frankenstein by Bernie Wrightson

Frankenstein by Bernie Wrightson

Given that Shelley’s novel continues to hold such an influential sway over our culture, was it actually easier to amass short fiction of adequate quality and variety for Eternal Frankenstein, when compared to other anthologies you’ve put together? Or did the process pan out in more or less the same way?

Eternal Frankenstein is my seventh anthology, and while these books are always challenging in their own way, and a lot of work, I’ve developed a system that keeps things on track in a more-or-less smooth way. I work with authors who are constantly striving to produce the best possible work, and I’m willing to push those authors to do better.

Frontispiece for the 1831 edition of Frankenstein by Mary Shelley. Illustrated by Theodore Von Holst (Steel engraving; 993 x 71mm)

Frontispiece for the 1831 edition of Frankenstein by Mary Shelley. Illustrated by Theodore Von Holst (Steel engraving; 993 x 71mm)

Ultimately, I want stories that are going to resonate with readers, stories readers will remember for the rest of their lives. One of the things that inspires me about Mary Shelley’s Frankenstein is that she was trying to write a story that would be as powerful and memorable as anything written by Percy or Byron. And I think she managed, with Frankenstein, to outshine both of them.

There is an analogy I frequently use when talking about anthologies: The Thrill Ride

And on that note, do you have any iron-clad principles you adhere to when putting together Word Horde anthologies?

That it be fun. There is an analogy I frequently use when talking about anthologies: The Thrill Ride. Like the designer of a roller coaster or carnival dark ride, the anthologist is directing a reader’s experience. You carefully arrange things, the climb, the fall, the sudden turn, the loop. You seed in shocks and scares. You direct the reader’s view. But you also have to keep things moving. Always moving. Sure, readers jump in, read stories out of their intended sequence – that’s a reader’s right. But one must never forget that a book is best read from cover to cover, each story in conversation with the ones before, each setting the stage for the next story to come.

Word Horde is certainly becoming something of a standard-bearer for the genre small press. How would you say it’s evolved to this point, and what are your future ambitions for it?

I’m really happy with the way that Word Horde has been received. I’m currently publishing five books a year, picking projects carefully, and getting work out there that has something to say and shakes up the complacency so common in by-the-numbers genre fiction. If you’ve enjoyed what I published in 2016, you’re going to love what’s coming in 2017. And Word Horde may be a small press but we’ve got big ideas, so stay tuned.

Still from Frankenstein Conquers The World (1965)

Still from Frankenstein Conquers The World (1965)

Finally… what would your own Frankenstein story look like?

Just off the top of my head, remember Monster Island from the Godzilla films? I’d like to tell the story of Frankenstein Island. All the various cinematic Frankenstein’s monsters – Charles Ogle, Boris Karloff, Glenn Strange, Koji Furuhata, Phil Hartman, Robert De Niro –building a civilization on a remote island. Though I’m not sure whether that society would be a utopia, dystopia, or something in between.

Check out my Eternal Frankenstein read-a-thon in all its entirety for reviews of each of the stories in the collection.

Please consider donating to the Patreon for MIBDUL – Malta’s very first serialized comic!

Eternal Frankenstein read-a-thon | Table of Contents

Over the past couple of months, I’ve been reviewing the new Word Horde anthology Eternal Frankenstein, edited by Ross E. Lockhart. As was the case with my read-a-thon of Swords v Cthulhu, I tackled the anthology story by story, and my reviewing method was be peppered with the cultural associations that each of these stories inspire. These were presented with no excuse, apology or editorial justification. You can find the complete linkstorm to all of the reviews just below. Enjoy! 

eternal-frankenstein

Torso, Head, Heart by Amber Rose-Reed 

Baron von Werewolf Presents: Frankenstein Against the Phantom Planet by Orrin Grey

Thermidor by Siobhan Carroll

They Call Me Monster by Tiffany Scandal

Sugar, Spice and Everything Nice by Damien Angelica Walters

Sewn Into Her Fingers by Autumn Christian

Orchids by the Sea by Rios De La Luz

Frankenstein Triptych by Edward Morris

The Human Alchemy by Michael Griffin

Postpartum by Betty Rocksteady

The New Soviet Man by G.D. Falksen

The Un-Bride; Or No Gods and Marxists by Anya Martin

Living by Scott R. Jones

Wither On the Vine; Or Strickfaden’s Monster by Nathan Carson

The Beautiful Thing We Will Become by Kristi DeMeester

Mary Shelley’s Body by David Tempelton

Please consider donating to our Patreon to help us make Malta’s first serialised comic, MIBDUL. Thanks!

Eternal Frankenstein read-a-thon #14 | David Templeton

Over the past few weeks, I’ve been reviewing the new Word Horde anthology Eternal Frankenstein, edited by Ross E. Lockhart. As was the case with my read-a-thon of Swords v Cthulhu, I tackled the anthology story by story, and my reviewing method was be peppered with the cultural associations that each of these stories inspire. These were presented with no excuse, apology or editorial justification. Now, please enjoy the final review of the series.

eternal-frankenstein

Mary Shelley’s Body by David Templeton

 

And now, at the very end of Lockhart’s anthology, we get a focus on the body — the ultimate body as far as we’re concerned: that of Mary Shelley, the originator of all of the things we’ve been discussing so far, and one of the most fecund imaginations of the Romantic and/or Gothic high point of literature — an unexpected force to be reckoned with considering her young age when she composed her key work, and her compromised — some would say relentlessly tragic — private life.

David Templeton’s novella — it is in fact the longest piece in Eternal Frankenstein — makes for a fitting conclusion to this varied and comprehensive tribute to the legacy of Shelley’s most famous work, by forcing a fictionalised version of the beleaguered author to confront her many demons, seemingly as a final goodbye before parting the world for good.

In turn, the story also forces us, the readers, to come face-to-face with Frankenstein’s many themes and emotional implications; some of which weigh on the very real side of disturbing: not just in their Gothic power to enthrall and terrify by dint of grotesque detail and atmosphere, but also because of the tortured psychological place they come from, the biographical backbone of which Templeton makes it a point to unpeel, explore and embroider further to craft his novella.

Mary Shelley (1797-1851)

Mary Shelley (1797-1851)

The setting is as baldly Gothic as they come, though, with Shelley’s disembodied form rising from her Bournemouth grave to settle a score initially mysterious to her. What follows is something of a rambling confessional whose shape, like the Creature Shelley constantly makes reference to in various ways, could have used some trimming and re-arrangement.

While the concept is a worthwhile one — and, again, a perfect note to end the anthology on — that does come with a real emotional pay-off in the end, Templeton’s decision to go over some of the key moments of Shelley’s life, as well as key passages of Frankenstein, will come across as a tad tiresome to those of us familiar with the scenes and passages in question.

What’s even more problematic is that Templeton doesn’t really do all that much to upend expectations, either: the obvious connection between the death of Mary’s mother while giving birth to her is made yet again, while Mary waxes lyrical about her Creature while condemning Victor Frankenstein as a coward at best, a clueless, callous bastard at worst.

But the digressive nature of it all is part of the point — this is a kind of mental Groundhog Day for our poor Mary, and if nothing else, Templeton demonstrates a key understanding of what makes Shelley’s work tick. And neither would it be fair to say that he succumbs entirely to boilerplate interpretations of the text; Victor Frankenstein’s failure is eventually revealed to be Mary’s own, in connection with the death of her first unborn child.

Ultimately, here we have a story about bodies — the bodies we encounter and the body that we inhabit, and all of the complexity that that implies once we’re forced to stop taking them for granted. This complexity falls down on Frankenstein’s Creature like a ton of bricks since he is first brought into the world, and so it serves to offset our own lives at any given moment. And, finding a suitably tortured test subject in Mary Shelley, Templeton uses the opportunity to zone in on these moments at various points in time: from bodies freshly born and vulnerable, to those sickly and decaying… and everything in between.

The body is all we have. And at some point, we were all Frankenstein’s Creature. At some point, we will BE Frankenstein’s Creature yet again. This, above all, is why Shelley’s legacy endures, and why it’s likely to help create more anthologies like Eternal Frankenstein in the years to come.

Read previous: Kristi DeMeester

Stay tuned for an interview with Ross E. Lockhart, the editor of Eternal Frankenstein!

Eternal Frankenstein read-a-thon #13 | Kristi DeMeester

In the coming weeks, I will be reviewing the new Word Horde anthology Eternal Frankenstein, edited by Ross E. Lockhart. As was the case with my read-a-thon of Swords v Cthulhu, I will be tackling the anthology story by story, and my reviewing method will be peppered with the cultural associations that each of these stories inspire. These will be presented with no excuse, apology or editorial justification.

eternal-frankenstein

The Beautiful Thing We Will Become by Kristi DeMeester

There might be something to the niggling assumption that, Mary Shelley having penned Frankenstein when she was merely nineteen years old helps to lend the book with the urgent, neurotic charge that it the necessary flipside to the life-and-death energy that characterises youth.

The ‘outsider’ status of the creature is the biggest element in favour of that interpretation, but I would argue that there’s also something to Victor Frankenstein’s initially obsessive, but ultimately brittle commitment to his project that speaks to the young person’s unease of matching their dreams — and nightmares — to the cold slap of reality.

As we’ve already seen, Lockhart himself appears to be very sensitive to this, what with two back-to-back stories from Eternal Frankenstein capitalising on the legacy of Shelley’s original story by juxtaposing it to a high school context, with inspired results.

The strand is however also picked up by Kristi DeMeester, though her take is less about the social dynamics of the high school than it is about the harried bonds of love that develop among young friends at that delicate stage. More importantly, it’s about how just a small push into stranger territory can alter these young lives, seemingly for good.

teenage-frankenstein

Our Frankenstein’s Creature is one Katrina, and the narrator is a hanger-on best friend who grows curious about Katrina’s — initially slight — hints of bodily modification. But family history steps in to ensure this morphs into a full-on obsession: after her father abandons her mother in pursuit of a younger (and crucially, slimmer) woman, the narrator is thrown into a calorie-counting frenzy by a newly weight-conscious single mother.

This serves to give a keener edge to her attraction to Katrina, which is really an attraction towards the grisly experiments her kindly but eccentric father performs on his daughter.

DeMeester writes from the point of view of the narrator’s eerie emotional state, and as such the narrative voice isn’t judgmental, but fully immersed in a world that sees self-destruction as a form of salvation and horrific acts of bodily modification by a demented patriarchal figure as something to embrace. Needless to say, the effect is disturbing. But since we’re so close to the narrator all the way through, we achieve a strange sort of empathy with her journey.

DeMeester morphs disgust into madness and back into love, leaving us to observe the journey with nervous awe.

Read previous: Nathan Carson

Eternal Frankenstein read-a-thon #11 | Scott R. Jones

In the coming weeks, I will be reviewing the new Word Horde anthology Eternal Frankenstein, edited by Ross E. Lockhart. As was the case with my read-a-thon of Swords v Cthulhu, I will be tackling the anthology story by story, and my reviewing method will be peppered with the cultural associations that each of these stories inspire. These will be presented with no excuse, apology or editorial justification.

eternal-frankenstein

Living by Scott R. Jones

Since horror and fantasy are, broadly speaking, my favourite of the classic speculative fiction categories — while a wide berth is given to the Weird and any form of intermixing — my experience with literary sci-fi falls a bit on the lean side.

That said, the sci-fi favourites I do have, I cling to very dearly indeed, dipping in for regular re-reads. Mary Shelley’s Frankestein is actually one of them. The other is William Gibson’s pioneering work of cyberpunk fiction, Neuromancer. And despite the fact that both novels were written over a century apart from each other and that, apart from their central commitment to a science fictional set of ideas, situations and concepts, could not be further apart in tone, narrative rhythm and scope, I like to think of both of them as being complementary.

Shelley addresses the limits of bodily modification and reanimation, and problematises the notion of a creature created ex nihilo, but without the embracing context of family and community. The Creature in Shelley’s text grasps at the world outside of itself to give it meaning — it feeds on what we can widely describe as ‘culture’ to legitimise itself, but all the while its aberrant bodily shape snuffs out any chance of real belonging.

It is a tale of bodies and what they mean, and how we process or fail to process their realities: be it the Creature’s own failed — but understandable — attempts at making peace with its uniquely tormented predicament, or Victor Frankenstein’s refusal to take responsibility for his engineered progeny, largely on the basis of its physical appearance and its implications.

Frankenstein by Bernie Wrightson

Frankenstein by Bernie Wrightson

In the end, both characters are disappointed by the fact that their physical reality doesn’t match up with the abstract dreams they have: Victor’s Creature doesn’t conform to the aesthetic decorum he may have wished to achieve with his experiment — which further cements the fact that his work is an affront to God — while the Creature’s admirable self-taught attempts at becoming intellectually and emotionally sensitive are ultimately rendered moot by the limits of its body.

The innovation of Neuromancer, on the other hand, was to circumvent the body altogether in favour of an exploration of the cybernetic singularity which has since become rote not only in fiction, but in daily life too (you’re reading this online, aren’t you?). The open hostility that some of Gibson’s characters espouse for ‘meat’ (i.e., traditional biological bodily structures) are a testament to this, and seem to suggest that Frankenstein got the ball rolling, but that the future imagined in Gibson’s model is in some ways the logical conclusion of Victor Frankenstein’s experiment.

To wit, the trick to circumvent mortality is not through some messy and pathetic attempt at stitching together dead body parts and reanimating them… the trick is to embrace the possibility of downloading and replicating your consciousness in a virtual realm that edges closer and closer to our ‘real’ one.

In his contribution to Lockhart’s anthology, Scott R. Jones happily meshes together both of these key strands in sci-fi, but in a way that they don’t, in fact, cancel each other out. In the snow-capped setting that recalls both — of course — the bookending sections of Shelley’s novel, as well as pop culture artefacts like John Carpenter’s The Thing in its depiction of rugged outliers gazing suspiciously ahead at a mysterious and dangerous mission, Scott injects his version of the Creature with both anger and agency.

Frozen waste: The Thing (1982)

Frozen waste: The Thing (1982)

The story itself is largely composed of a monologue delivered by the same stand-in for the Creature; a military experiment gone awry and who is now on a vindictive mission to find and execute its creator, Aldo Tusk of ‘Eidolon’ — a corporation or military body of some kind which has apparently OK’d Tusk’s mission to stitch together a super-soldier.

As the ‘asset’ beings its narrative, we learn that it’s made up of various body parts made to fight in unison, and the voice of the monologue is laced with a sarcastic bitterness that the Romantically pained Creature from Shelley’s original novel would never have managed. Later on, Jones adds another twist of black humour by suggesting that the Creature’s programming includes orgasmic delight at an enemy kill. This guarantees that the story has the edge and attitude normally associated with cyberpunk, but more importantly, it also means that the Creature here is a fighter, and not a subject of pity as in Shelley’s text.

It's alive? The 'birth' scene from Paul Verhoeven's Robocop (1987)

It’s alive? The ‘birth’ scene from Paul Verhoeven’s Robocop (1987)

And in fact, it’s through cyberpunk ‘means’ that the hint of complete emancipation appears to suggest itself. While the beginnings of the asset’s career as a patchwork soldier are as abject as ever — they even recall Robocop‘s forced resurrection as a hybrid fighting for someone else’s agenda — the gleeful bite as she/it reveals just the programming has been circumvented is a joy to read.

A spirited and inspired mash-up of key strands of the sci-fi genre (at least from my admittedly limited POV) with a highly satisfying revenge kick to round things off.

Read previous: Martin, Falksen

 

 

Eternal Frankenstein read-a-thon #10 | Martin, Falksen

In the coming weeks, I will be reviewing the new Word Horde anthology Eternal Frankenstein, edited by Ross E. Lockhart. As was the case with my read-a-thon of Swords v Cthulhu, I will be tackling the anthology story by story, and my reviewing method will be peppered with the cultural associations that each of these stories inspire. These will be presented with no excuse, apology or editorial justification.

eternal-frankenstein

The Un-Bride; or No Gods and Marxists by Anya Martin

The New Soviet Man by G.D. Falksen

You’ll forgive the slowing down in pace between the last installment of the read-a-thon and this entry; I shifted country for a few weeks and had a bit of a break in between, only to return to the island homestead to the news of America’s surprising election result.

As luck would have it — or whatever variant of luck, chance or coincidence you want to call this, given the circumstances — there is not one, but two stories in Lockhart’s anthology that riff on the history and mores of what is supposedly the polar opposite of the current US president-elect’s ideological barometer: Socialism.

However, this being an American anthology dominated by the work of American writers itching for ways to respond to Mary Shelley’s text in a way that also scratches various pop culture itches, it’s hardly surprising to discover that the stories in question don’t seek to delve into the intricacies of Socialist and Communist ideology for penetrating insights.

For the most part, both Anya Martin and G.D. Falken’s contributions to Eternal Frankenstein play on American perception of the ‘Red Scare’, attacking this perennial barnacle of US popular culture from different angles.

Martin refines her angle of attack even further, placing us in the shoes of none other than Elsa Lanchester — the English-born American actress who brought none other than the Bride of Frankenstein to life in the iconic 1935 James Whale film. It’s also a story that contains the line, “Those crazy communists had saved the brain of the daughter of Karl Marx!”, which tells you all you need to know about where Martin is going with this.

bride-of-frankenstein-bride-screaming

Scream Queen: Elsa Lanchester in Bride of Frankenstein (1935)

An inspired piece of tongue-in-cheek pulp, the story juggles unlikely romance and less-likely forays into body-reanimation as enabled by Soviet double-agents. What distinguishes it in narrative clip and stylistic approach is Elsa’s distinctive voice. She’s a coquettish but intelligent guide that takes the story’s many spirited twists in stride, giving us a female protagonist in a man’s world who can more than handle herself — she does it while maintaining her wit and poise too (though it must be said, she’d hardly a match for her own — rather formidable — mother in that regard.

G.D. Falksen — also known as the guy whose picture you find when you Google ‘Steampunk’ — takes a flintier approach. The frankly assembled third-person story has our Frankenstein figure trying his damnedest to manufacture the titular New Soviet Man away from the watchful eyes of Stalin and while ensconced in the bowels of a freezing Kazakh steppe.

Our entry point into this world is Captain Sergeyev; an uncompromising apparatchik if there ever was one, and one whose well-being we’re emotionally primed not to care about too much, dour little customer that he is. Which is good, because while Falksen metes out what could be considered something  of a predictable denouement for him,  it’s falls on the rather pleasurable side when it does arrive.

Karel Roden in Frankenstein's Army (2013)

Karel Roden in Frankenstein’s Army (2013)

A central moment in the story — in which the Doctor suggests that going from Fascist to Communist fanatic is more or less as easy a flicking a switch, for him — reminded me of a similar quote in the otherwise gleefully pulpy Frankenstein’s Army (2013); which takes the more traditional route of having Frankenstein as Mengele (rather than a renegade Communist weird scientist).

If nothing else, both Martin and Falksen prove that war and its fallout is ripe pickings for Frankenstein stories, with many corpses vulnerable for desecration by the equally numerous ideological nut-jobs ready to tinker with them… while the still-living attempt their Creature’s shamble back into normal life with varying degrees of success.

James Whale himself certainly knew it.

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Eternal Frankenstein read-a-thon #1 | Amber-Rose Reed

In the coming weeks, I will be reviewing the new Word Horde anthology Eternal Frankenstein, edited by Ross E. Lockhart. As was the case with my read-a-thon of Swords v Cthulhu, I will be tackling the anthology story by story, and my reviewing method will be peppered with the cultural associations that each of these stories inspire. These will be presented with no excuse, apology or editorial justification.

eternal-frankenstein

Torso, Heart, Head by Amber Rose-Reed

I was gonna make all cool and not in fact start at the very beginning, but perhaps it’s a testament to the editorial prowess of Ross E. Lockhart that the opener to Eternal Frankenstein lured my bolshie self into going conventional, at least just this once.

Mostly, this is down to the fact that Reed’s story — more of a tone poem than anything else — latches onto some of the core themes of Mary Shelley’s original text in a way that’s succinct, seductive and with an aftertaste of irony that lingers and urges you to dive back in for that re-read.

Which, incidentally, you should be able to do with relative comfort and ease. Slightly dizzying the story may be in terms of any ‘narrative’ structure that you may expect, but it’s certainly brief enough to invite second helpings.

The anatomical segmentation suggested in the title announces Reed’s clever idea early on. To wit: just like Frankenstein’s creature is a ‘cut-up’ creation made up of various disparate parts, so does this very text appear to the reader as a fragmented series of images and incomplete episodes.

Opening with a pugilistic micro-chapter (whose title is not in fact suggested by the story’s title-proper) we are then taken to the ‘Torso’ — an upsetting episode witnessed by a carpenter or ironmonger — before proceeding to the ‘Heart’ and the ‘Head’. Each of these are stories that hint at Mary Shelley’s Frankenstein; that have the whiff of that seminal text but that don’t try to pin it down and suck any remaining juice out of it by force.

An infant death, a thwarted love story and a father’s imploring letter to a young man pursuing his studies abroad. It’s only the final one that gives away an explicit connection to Frankenstein, including as it does a reference to a seemingly determined anatomy student…

And as in the ‘galleys’ that separate pages in a comic book, the reader is invited to fill in the rest. This is an inspiring take on the pastiche. Or rather, it shows that Reed openly resists one of the biggest temptations imaginable when submitting to anthologies like this: to amp up the cosmetic thrills of classic literary works and forcibly reshape them into something you’ve always wanted them to be.

Thankfully, what Reed does is more open, more worthy and, well… more eternal.

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