A continuum which begins at the outermost reaches of the breakdown
of the human soul and ends at the brightest and most hopeful of fantasy tales
is spanned in the sixth annual YEAR'S BEST FANTASY AND HORROR, edited by Ellen
Datlow and Terri Windling.
Horror and Fantasy both draw breath from the premise that reality may differ
from the way we usually see it; that beyond or within our world lies another;
that there are rules or consequences which may, if we step forward or back a
bit, come into focus. Each story in this collection refocuses reality in ways
both light and dark, and with the power of each writer's unique vision.
There are two ways to look at this collection. The most rewarding is to take
each story individually and examine it on its own merits to see if it succeeds
as a story. Most contained herein pass that test admirably.
Yet, attempting to address two such vast fields in one volume is perhaps quixotic.
The parameters of horror and fantasy are vast, and vaster still when one approaches
the philosophical verge of "all fiction is fantasy" which Windling
evokes in her forward. Horror is then a subset of fantasy, a queer little backwater
where dark visions fester--the place of no exit, where dilettantes choose to
cast their line and see what evil monsters can be pulled forth and examined
before they are thrown back, before we can lean back in our comfortable chair
with a feeling of relief and greater appreciation for the safety of our own
lives.
But the safety of our own lives is actually thin indeed. In a split second
we can veer across the border into the truly horrific. At that point, I suspect
that the reading of horror would pall for many fans. But perhaps the writing
and reading of horror is a cathartic process; the best of horror seems that
way to me, and that is simply my own opinion. There is another border here,
that which divides cathartism and voyeurism, which is the difference between
bravely exploring the dark places of the psyche and coldly writing something
decidedly unpleasant for the fun of it, or for the profit. For instance, Christopher
Fowler's "On Edge," apparently written after a bad trip to the dentist,
might actually be funny if it were possible to bear to read it.
It could be legitimately asked if the fans of fantasy are also the fans of
horror. Perhaps philosophically, yes. I like the stories in the collection best
which could be said to fall into both camps; they are the best-developed in
terms of story and character or in the sense of utter strangeness. "In
the Season of the Dressing of the Wells," by John Brunner, involves a pagan
sacrifice--dreadful, of course, yet Brunner manages to use the event cathartically
for the community in which it occurs and for the reader. There is an inevitability
and a rightness about it which is not contrived. "Memories of the Flying
Ball Bike Shop," by Gary Gilworth, involves an experience from which there
is no exit except absolution. This absolution occurs in the story--the father's
guilt at being an innocent adjutant to his young son's death is mitigated. This
is guilt as in, if only I had not stopped at the store, this dreadful accident
would not have occurred; it is the random guilt which the universe seems to
inflict on everyone. The genuine fantasy element, and the protagonist's decision
to consciously master and use this magic, make for a satisfying resolution and
a solid story.
Perhaps horror is the bravery of the small child examining nightmares straight
on. Rather than finding out the menacing shadow which comes and goes on the
bedroom ceiling is caused by car headlights, as Annie Dillard did in AN AMERICAN
CHILDHOOD, fans of horror seem to want to believe that there is a monster
in the closet. It is one thing to regard life from the Dillard end of the scale,
to coolly examine the numbers or sit in a graveyard all night as do Buddhist
monks in order to fully confront the fact of one's own death, insofar as it
is possible. It is quite another to personify the unknown with terrible demons
with frightful powers as do many religions. Life is easier in a way, and more
ordered, when companioned by the belief that one's life is of such significance
to some sort of higher being that we might be consigned to some heaven or hell
by a wave of their hand. It is much more difficult for many people to believe
that no such being exists.
The Hindus have many such satisfying demons, gods, and goddesses. Kali is
one such goddess, often depicted as wearing a necklace of skulls. Two stories
take the goddess Kali as their subject: "Calcutta, Lord of Nerves"
by Poppy Z. Brite is a shimmering, exotic setpiece which takes place in a city
of living dead, filled with scent, sound, and a casually visible population
of living dead. The kick here lies in the evocative setting and in the use of
language, for though there is a confrontation with Kali, and perhaps an invitation
to join the living dead, the protagonist flees the transformation. "Puja,"
by D.R. McBride, brings the reader face to face with another manifestation of
Kali just outside Schenectady, NY, and the prosaic setting realizes the meeting
perfectly, as the protagonist is made to face the reality of a goddess he thought
he had left behind.
The human penchant for war is perhaps the greatest horror which exists, and
is the subject of two stories. Joe Haldeman's "Graves" is a short
story with a stunning, macabre twist. Peter Straub's novella "The Ghost
Village" is one of the most mature of the collection. Straub uses the Vietnam
setting in a powerfully effective way to deal with the issue of child abuse
as well as revenge.
Women, sex, and violent death, both on- and off-stage, are linked in four
tales. "Absence of Beast," by Graham Masterton, satisfies the appetite
for things Gothic as a young boy and his grandfather find an odd kinship when
the boy's mother decides to divorce her husband for another man; it is difficult
for the young and old males to cope with this change.
Ed Bryant embeds the horror of his tale "Human Remains" in the image
of an almost lifelike Barbie doll tightly wrapped in fishing twine. A writer
needs great skill to make the premise--that women might think their brush with
a serial killer the high point of their lives--plausible. There is no overt
violence here; all is subtle and implied. Lucius Shepard's "A Little Night Music" is masterfully told in First
Person Twisted; a critic is overwhelmed when a supernatural jazz band of dead
musicians infuses the airwaves with music that's "a meter reading on the
state of the soul, of the world." Needless to say, that reading is not
good.
Horror of course must, by definition, be disquieting. It is therefore difficult,
when examining these four stories to tease free the threads which make them
doubly so. Yet it is useful to wonder why it is so easy to group four stories
into the camp of "women being brutally punished for their sexuality by
men who get away scot-free." Of course, they don't, not really. The grandfather
in "Absence of Beast" does not intend to stop with two victims; he
is democratic in his insanity. Bryant's story postulates the psychopathic Bundy-like
killer as almost a hero in the lives of women who are bound by a meaninglessness
which their encounters with him have, briefly, broken. Curiously, Bryant's story
is the only one among the four to take seriously the female characters--the
victims--in the story. The viewpoint character sees herself on an equal footing
with the serial killer, and actually chooses to tryst with him again--a decision
set up as life-enhancing by Bryant.
The main character in Gaiman's "Murder Mysteries" is distraught
and confused; one might say that he has been punished--Gaiman's other
ventures seem to have a strong moral framework which is echoed here. Shepard's
critic is too crazed by the music to notice what he's done or at least, and
understandably, to actually acknowledge it before the story ends. Besides, the
music caused the darkness in his soul to be made concrete, to manifest
itself in his life as it has everywhere else; the world, by allowing itself
to hear this music composed by the dead (thereby having its "meter reading"
reflected by the music), has opened a fateful door, has given permission
for the transformation to occur and for nightmarish impulses to find their actual
manifestation, wherein the darkness of the subconscious is freed to act.
These stories escape Ellison's "Thick Red Moment" category, almost--the
violence at the heart of the stories is not dwelt upon; character development
is; for these are all well-written stories, told with a sure hand which
guarantees that we will read them. But in terms of the writer taking up these
tropes, which Ellison claims in his essay are a backlash against feminism, and
the editors including not one such story but several, the inclusion of all of
them in one collection magnifies this aspect, and deserves to be remarked upon.
There is no question that any of these writers condones this energy; quite the
contrary. Shepard makes this point most strongly, and most pointedly--they are
simply social commentators, using a thread which runs darkly through today's
society. It has been enormously difficult, for instance, to criminalize domestic
violence. But surely there are well-written stories in the field which turn
this scenario on its head--Elizabeth Hand, for one, has produced several fine
ones, and there must be more. If the included stories are a good thing, then
why should their violent but well-crafted sisters not be sought and included
with the assiduity brought to bear on the converse? In the one story which comes
close, Lisa Tuttle's "Replacements," men are relegated to being moping
outsiders when women take to symbiotic relationships with creatures which suggest
both vampire bats and babies in an interesting exploration of jealousy.
Windling's taste is so catholic and eclectic that one selection, "The
Wife of the Blue Stone Emperor," by Sara Gallardo, falls solidly into the
realm of poetry. I submit that it is impossible to simply read through it one
time and get any satisfaction whatsoever. One is compelled to enter the utterly
alien mind of this woman, and live her entire life by deciphering the clues
which she drops, because she does not care whether we understand; she is a world
and a morality unto herself. It is as deeply satisfying to take a good look
at this story as it is to unriddle an obscure poem. Is it horror, is it fantasy?
This woman is a party to many deaths, yet there is a heroic quality to her.
It does not seem fantastic (though a magical ceremony is hinted to underlie
events at one point); it does not seem horrific. It seems more like Greek Tragedy,
or Shakespeare. Naturally it would have seemed pretty awful to get on the wrong
side of Richard III. But we do not call such tales horror or fantasy. Because
of their scope we call them tragedy. Here, it is only the mode of telling which
makes the story seem fantastic. The dreamlike Magic Realists who, it could be
argued, merely mirror more succinctly the way we actually see things, at some
level, could be argued to be fantastic. But that is an uneasy alliance at best,
and springs apart if poked at too determinedly.
Several stories have no supernatural elements at all. But their authors deftly
focus on the strangeness of human nature and the world. Martin, a middle-aged
man living in a home for the mentally impaired, painfully realizes what death
is in "The Sluice," by Stephen Gallagher. Ed Gorman also takes a look
at the wrenching side of life in "The Ugly File," wherein a photographer
has taken on a well-paid mission to help a wealthy woman cope with pain.
Some of the stories place revelations before the reader like gifts. "Tinker,"
another story with no supernatural elements, does so beautifully, showing one
man's response to oppression when the men on a Depression-era farm resent and
fear the women's relationship with a traveling tinker who is able to repair
more than pots. "The Second Bakery Attack" by Haruki Marukami is a
quirky, unconventional love story wherein a newlywed couple holds up an all-night
McDonalds in Tokyo and demands only thirty Big Macs. "Origami Mountain"
by Nancy Farmer is wry and funny; a Japanese businessman embodying all the negative
stereotypes of that class mysteriously vanishes in Origami Park, where a bit
of land too small to be on the map unfolds into a new country. "Queequeg,"
by Craig Curtis, out-and-out fantasy, also explores the downside of corporate
life in a story first published in THE CHICAGO REVIEW.
These are stories which hold their own in the mainstream venue, and no one
there looks at them askance and demands that they return to their home in the
fantasy world. Why? Because their authors are good writers, which mean that
they illuminate life in a fresh and welcome fashion via style and skill. Why
did Windling include them? That is a greater question. To broaden the horizons
of her readers? To show them something that they might possibly have missed?
Personally, I appreciate having read her selections, and having them in one
volume. But is the field of fantasy so paltry, its boundaries so narrow, that
she needs to fling her net this widely? That may, in fact, be a part of the
truth.
There are several fine stories which bear the unmistakable stamp of fantasy.
In Charles De Lint's "The Bone Woman," the unrealized possibilities
of those broken by life exist, for a time. "On Death and the Deuce,"
by Rick Bowes, a story which impressed me on first reading in THE MAGAZINE OF
FANTASY AND SCIENCE FICTION, is about personal realization as well, this time
that of an alcoholic struggling to recover who must meet his doppleganger in
order to do so. Tom, in Robert Silverberg's "It Comes and It Goes,"
is also chemically dependent, but on freeing himself from drugs finds he has
swapped one dependency for another, ultimately more compelling dependency.
The pagan underpinnings of British sensibilities are used beautifully by M.
John Harrison in "Anima." Harrison takes the reader on a breathless
and well-rewarded chase for the mystery at the heart of exasperating, fascinating
Choe Ashton. Ashton is a larger-than-life seemingly jaded soul who jumps off
a building for kicks and habitually drives like a demon: "He abandoned
the motorway and urged the RS into the curving back roads of the White Peak,
redlining the rev counter between gear changes, braking only when the bend filled
the windscreen with black and white chevrons, pirouetting out along some undrawn
line between will and physics." We are in the car, too exhilarated to be
frightened, as we ought to be, and that mesmerizing excitement is heart of the
attraction Ashton holds for the narrator. The narrator's eventual realization
of what lies at the core of Ashton's desperation makes for an illumination which
is strong, transformational, and which lingers. This is a very fine story.
There is much here for the fan of traditional fantasy. Emma Bull's "Silver
or Gold," which opens the anthology, is a heroic quest in which Moon Very
Thin, young assistant to the village witch, goes to the underworld and meets
death in order to save the prince of the kingdom and gain womanhood. "The
Homunculus: A Novel in One Chapter," by Reginald McKnight, is a
funny commentary on what happens, allegorically speaking, to writers who get
too wrapped up in their own importance.
Magic Realism puts in several other appearances. "The Annunciation,"
by Cristina Peri Rossi, begins enigmatically, but by the end we are all too
aware of what is really happening as a young boy meets and worships the Virgin
Mary at the sea's edge. "Swimming Lesson," by Charlotte Watson Sherman,
is an American folktale which draws on African roots. "Bats," by Diane
de Avalle-Arce, is Mexican, the story of a shoe-shine boy who gains the vision
and resolve to change his life after an encounter which shatters his old worldview.
The collection is rounded out by the inclusion of three stories in a mythic
mode. "Candles on the Pond," by Sue Ellen Sloca, brings legend and
reality together as the main character, a girl in a remote village which is
occasionally visited by anthropologists, matures. Brian Aldiss' "Ratbird"
is, as Mr. White Face, a character in the story, appropriately points out, a
kind of Mobius strip. And Gene Wolfe's "The Sailor Who Sailed After the
Sun" is a fable about an endearing monkey who trades places with a sailor
on a whaling ship and goes on to greater things.
Harlan Ellison's "The Man Who Rowed Christopher Columbus Ashore"
is a quite wonderful story, in the true sense of the word. The "unlimited
person living in a limited world" is asked by the boy Orhon why he wears
such a heavy coat on a warm day. He replies, "Because I need a safe place
to keep the limited world." And he opens his coat to reveal this:
Despite the high caliber of stories as stories, there are drawbacks
to the book taken as a whole. The collection is strong because it does not draw
only from genre sources, but from literary magazines such as CHICAGO REVIEW
and GLIMMER TRAIN; there is even one very affecting story, "Elfhouses"
by Midori Snydor, from MOTHERING. The editors have seemingly read mountains
of stories to winnow out these fifty-four pieces. The Summations--Fantasy by
Terri Windling, Horror by Ellen Datlow, and Horror and Fantasy in the Media
by Ed Bryant--give a detailed overview of the field as a whole.
Windling in her introduction claims a vast amount of territory for fantasy,
as well she should. And if there is a fault with the fantasy selections, it
may be that they are oddly retro, given the omnivorous sifting which has gone
into the selection coupled with the promise of Windling's impressively wide
readings. A large percentage of these stories remind me of childhood fantasy
readings in THROUGH FAIRY HALLS, one of the Bookhouse tomes, or Andrew Lang's
colored fairy tale series--all well and good, but based on my reading, admittedly
but a fraction of Windling's, such tales do not form the bulk of the fantasy
field at the present time. However, several of the overt fairy tales have one
interesting postmodern quirk: often, the characters are aware of the
constraints of the form in which they live. For instance, the princess in "The
Story of the Eldest Princess" by A.S. Byatt refuses to progress through
the stages laid out for her by the constraints of the tale's form, and so comes
to greater truth.
Still, though the large number of myths and fairy tales are all well-written
and just as uplifting as Windling in her forward advised us to find them, interspersed
between the horror they often serve as palate-clearers, a space where I knew
that nothing wrenching would happen, where I could relax and be entertained.
They are light and bright. But too often I do not fear for the characters in
these stories as I ought, to be engaged; the track is too well-worn; in fact,
due to their very nature, they are not real characters; although they are trying
hard to become more real, more individual, they still cling to their archetypal
roots. A few less examples might have better sufficed, to make room for more
of the fantasy which has struck a deep chord with many readers, or could--stories
of the caliber and depth of "Anima," "Memories of the Flying
Ball Bike Shop," "On Death and the Deuce," and "In the Season
of the Dressing of the Wells."
In fantasy and in horror the world we know is stretched out of shape, sometimes
radically, sometimes more subtly. When at its best, the genre steps into our
world with such power that we fear or happily anticipate the possibility that
these thresholds may truly exist. If such visions linger for only moments afterward,
coloring a conversation or event, then our take on reality has widened a bit
and the author has done his or her job well.
Despite minor quibbles, THE YEAR'S BEST FANTASY AND HORROR is filled with
such moments.
"Murder Mysteries," by Sandman creator Neil Gaiman, is even more subtle,
but in this quiet, darkly brilliant story, a strange absolution takes place
as we learn how death entered the world and what happened when it did.
Pinned to the fabric, each with the face of the planet, were a million
and more timepieces, each one the Earth at a different moment, and all of them
purring erratically like dozing sphinxes. And Orhon stood there, in the heat,
for quite a long while, and listened to the ticking of the limited world."
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Last Update 11/10/98