New Treasures: Beasts and Beauty: Dangerous Tales by Soman Chainani

New Treasures: Beasts and Beauty: Dangerous Tales by Soman Chainani

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Beasts and Beauty: Dangerous Tales (Harper, September 2021). Cover by Julia Iredale

I admit it, my reading tastes are susceptible to the changing seasons (and publishing dollars). When Halloween is over my interest in scary fiction abates a little… though I still like my late fall fiction to have a little bite.

Soman Chainani’s Beasts and Beauty: Dangerous Tales looks like a perfect choice. Chainani is the author of the bestselling School for Good and Evil series; his latest is a collection of a dozen re-told fairy tales, stories that include a dark-skinned Snow White, a South Asian Hansel and Gretel, and similar takes on Bluebeard, Little Red Riding Hood, and Rumpelstiltskin. Medium calls them “Terrifying, chilling, unexpected, and glorious. A must-read for any fairy tale devotee,” and Kirkus says they evoke “the wonder, terror, and magic of the fantasy realms.” Here’s a snippet from the Kirkus review.

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Fantasia 2021, Part LXII: Prisoners of the Ghostland

Fantasia 2021, Part LXII: Prisoners of the Ghostland

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Prisoners of the Ghostland was one of the most anticipated films at Fantasia 2021. It unites madcap director Sion Sono (last seen at Fantasia with the feature version of Tokyo Vampire Hotel) with a certain mister Nicolas Cage. You might reasonably expect a full-throttle over-the-top ride. And that doesn’t quite happen.

Written by Aaron Hendry and Reza Sixo Safai, the movie takes place in a part of the world scarred by a spill of nuclear waste. A village called Samurai Town is ruled by a rapacious Governor (Bill Moseley) who, as the film begins, hauls a criminal named Hero (Cage) out of prison to look for his granddaughter Bernice (Sofia Boutella), who herself has fled the city for the dangers of the uncontrolled territory called the Ghostlands. Hero’s given a deadline and a booby-trapped suit that’ll blow up parts of his anatomy he’d rather keep if he fails to return on time, or if he thinks impure thoughts around the Governor’s granddaughter.

He drives off into the Ghostlands on his quest, and you might expect a long odyssey to follow. Instead he finds Bernice quickly, but also gets taken prisoner by a group who dwell in the Ghostlands. Revelations and subplots follow; there are glimpses of a parallel track of story back in Samurai Town, following the governor’s bodyguard Yasujiro (Tak Sakaguchi, Musashi in last year’s Crazy Samurai Musashi); there are flashbacks to establish Hero’s backstory; and you can see clearly how it’s all going to lead to a showdown back in Samurai Town.

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Always Then and Never Now: The 13 Clocks by James Thurber

Always Then and Never Now: The 13 Clocks by James Thurber

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ONCE upon a time, in a gloomy castle on a lonely hill, where there were thirteen clocks that wouldn’t go, there lived a cold, aggressive Duke, and his niece, the Princess Saralinda. She was warm in every wind and weather, but he was always cold. His hands were as cold as his smile and almost as cold as his heart. He wore gloves when he was asleep, and he wore gloves when he was awake, which made it difficult for him to pick up pins or coins or the kernels of nuts, or to tear the wings from nightingales. He was six feet four, and forty-six, and even colder than he thought he was. One eye wore a velvet patch; the other glittered through a monocle, which made half his body seem closer to you than the other half. He had lost one eye when he was twelve, for he was fond of peering into nests and lairs in search of birds and animals to maul. One afternoon, a mother shrike had mauled him first. His nights were spent in evil dreams, and his days were given to wicked schemes.

Wickedly scheming, he would limp and cackle through the cold corridors of the castle, planning new impossible feats for the suitors of Saralinda to perform. He did not wish to give her hand in marriage, since her hand was the only warm hand in the castle. Even the hands of his watch and the hands of all the thirteen clocks were frozen. They had all frozen at the same time, on a snowy night, seven years before, and after that it was always ten minutes to five in the castle. Travelers and mariners would look up at the gloomy castle on the lonely hill and say, “Time lies frozen there. It’s always Then. It’s never Now.”

So begins James Thurber’s wonderful fairytale The 13 Clocks. Best known as a cartoonist, humorist, and one of the stalwarts of the New Yorker during the Harold Ross and William Shawn years, he also wrote several fairytales for children. I haven’t read the others — Many Moon and The White Deer — but I have come back to this one several times. An effervescent read, it never fails to delight.

As described in that magnificently menacing opening, the evil Duke spends his days setting his niece’s suitors impossible tasks such as cutting a slice of the moon or turning the ocean to wine. Sometimes, for no better reason than failing to describe his different-length legs properly (they differed in length because he spent his youth “place-kicking puppies and punting kittens”) or not praising his wine, staring at his niece too long, or having a name that started with X, he would just kill them.

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V Isn’t Always for Vendetta

V Isn’t Always for Vendetta

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Please to remember the 5th of November,
the gunpowder treason and plot,
I know of no reason why the gunpowder treason
should ever be forgot.

It’s November 5th, and in Great Britain, it’s time to roll out the sparklers, hot dogs, and burning effigies. For those unfamiliar, November 5th traditionally celebrates the capture of the villainous (and Catholic) Guy Fawkes and his crew mere minutes before they blew up the House of Lords with King James in situ, over 400 years ago. As a foreign import to these fair isles, Bonfire Night has always held a strange fascination. What was this peculiar celebration, which took precedence over Halloween, where small children gathered with their glowing wands and unhealthy snacks in the shadow of a large, flaming ‘Guy’?

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Fantasia 2021, Part LXI: Kratt

Fantasia 2021, Part LXI: Kratt

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“Cuckoo!” is a 7-minute short film from the Netherlands directed by Jörgen Scholtens, who co-wrote with Jörgen Van Weeren. It’s a surreal piece about a tiny man (Frank Lammers) who lives in a cuckoo clock with his even tinier cat. He’s responsible for popping out on the hour, but one day things go wrong and lead to a cascade failure. It’s an absurd piece about routine, and it has a good production design involving old technologies. It’s a bittersweet story that works.

With it was bundled Kratt, an Estonian feature written and directed by Rasmus Merivoo. In 2017 I loved November, a film about the superstitions of a small Estonian village in the 18th century; one of those superstitions was the Kratt, a monstrous servant you could get the Devil to bring to life to do your will. The Kratt needs to always be doing work, or it’ll turn violently against its masters. To be clear, this film is nothing like November, which was a downbeat arthouse fantasy; this Kratt is an oddball comedy-satire, mixing straight-faced gags with moments of outright gore. Still, I was interested in seeing another spin on the Kratt story, not least because of the different tone this movie promised.

Kratt takes place in the present day, when a couple of young kids, Mia and Kevin (Nora and Harri Merivoo, the director’s real-life children) are left with their grandmother (Mari Lill) in a small village somewhere in Estonia. The kids are unimpressed with farm life, and when they find out about the legend of the Kratt they think they have a solution. Things, of course, go wrong. Their quest to build the Kratt and the consequences of their actions unfold against the background of village life and its controversies, which include protestors trying to prevent deforestation and a middle-aged politician (Ivo Uukkivi) caught up in corruption and playing both sides.

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Goth Chick News: Netflix’s Night Teeth is a Surprisingly Fun Vampire Thrill Ride

Goth Chick News: Netflix’s Night Teeth is a Surprisingly Fun Vampire Thrill Ride

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As “the season” came to a close for another year, so did my 31-day binge of all manner of scary movies. I had been saving Night Teeth on Netflix for Sunday afternoon before the official trick-or-treat hours kicked off. I wasn’t expecting much so I was prepared to bail on it and watch something more traditional. Instead, what I got was a very pleasant surprise.

The premise shown in the trailer is what first got my attention. I love a good vampire tale, especially when it has a unique spin (like Midnight Mass). Night Teeth tells the story of Bennie, an aspiring young musician from East L.A. (played by Jorge Lendeborg Jr. – Spiderman: Far from Home) who takes his brother’s limo shift to earn some extra cash. He winds up hosting two swanky young ladies on what looks to be an all-night party hop. What he doesn’t know is that the two are vampire assassins sent by their boss to wipe out his rival, blood-sucking gang leaders in a bid to take over Los Angeles.

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Fantasia 2021, Part LX: Satoshi Kon: The Illusionist

Fantasia 2021, Part LX: Satoshi Kon: The Illusionist

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Satoshi Kon was one of the great geniuses of anime. Born in 1963, in his twenties he worked briefly in manga, then became an assistant to Katsuhiro Otomo, scripting a segment in the anthology film Memories. The first movie of his own was Perfect Blue, in 1997, a suspense story about an actress pursued by a stalker. It blurs the line between real and unreal, which would become a hallmark of Kon’s later work — as with his next film, 2002’s Millennium Actress, in which documentarians investigate the life story of a retired actress. Tokyo Godfathers, from 2003, is a more straightforward look at three street people in Tokyo who find an abandoned baby; Kon followed it with Paranoia Agent, a 13-episode anime about a mysterious series of street assaults. His final completed film was Paprika, in 2006, another film examining the fragmented nature of identity and dreams, this time based on a science-fiction novel about a dream terrorist. Kon was at work on another movie, to be called Dreaming Machine, when he was diagnosed in 2010 with pancreatic cancer, dying later that year at age 46.

It’s tragic for anyone to die that young, and the tragedy’s compounded by the greatness of Kon’s cinematic achievements in his relatively brief life. Every one of his films can be described as a masterpiece, and his influence spread far beyond anime even to mainstream Hollywood filmmakers. This year a new documentary about Kon played the Fantasia Film Festival (whose prize for top animated feature of the year is named for Kon). Satoshi Kon: The Illusionist is an 82-minute examination of Kon’s work from Pascal-Alex Vincent, and it’s a solid introduction to his achievements.

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Not Streaming: Wonderfalls

Not Streaming: Wonderfalls

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Wonderfalls
Wonderfalls

This is the second article in an occasional series called either Now Streaming or Not Streaming, depending on the availability of the television shows or films I’ll be discussing.  In addition to discussing the works, I’ll also note the availability of the works.  The series also ties into an issue of the Hugo Award winning fanzine Journey Planet I’ve recently published which has appreciations of more than thirty television series that were cancelled within two seasons.

Sometimes a show’s cancellation is, at least in part, the result of the coincidental similarity with another show. On September 18, 2006, Studio 60 on the Sunset Strip, an hour long drama built around the production of a weekly comedy sketch show, debuted on NBC.  Three weeks later, on October 11, NBC debuted 30 Rock, an half-hour long comedy built around the production of a weekly comedy sketch show.  While 30 Rock ran for seven seasons and 138 episodes, Studio 60 only lasted a single series and 22 episodes.

A couple years earlier, a similar situation happened when Joan of Arcadia debuted on CBS on September 26, 2003. It ran for two seasons and told the story of a woman who was given tasks to perform by God. Six months later, on March 12, 2004, Fox aired the first episode of Wonderfalls, a story about a woman who hears voices giving her tasks to perform. After airing the first four episodes out of order, Fox cancelled the show. Fortunately, one of the executive producers, Tim Minear, had experience with Fox (he had worked on Firefly), and they had plotted the series to complete a story arc within the 13 episodes initially ordered. The full run aired on Canada’s Vision TV six months after it was cancelled in the United States, where viewers had to wait until the DVD set was released in early 2005 with all the ‘sodes in the correct order.

So, what is Wonderfalls and why is it so Wonderful? …

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In 500 Words or Less: THE YEAR’S BEST AFRICAN SPECULATIVE FICTION, VOLUME ONE, ed. by Oghenechovwe Donald Ekpeki

In 500 Words or Less: THE YEAR’S BEST AFRICAN SPECULATIVE FICTION, VOLUME ONE, ed. by Oghenechovwe Donald Ekpeki

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The Year’s Best African Speculative Fiction
edited by Oghenechovwe Donald Ekpeki
Cover design by Maria Spada
Jembefola Press (358 pages, $6.99 eBook, Sept 28, 2021)

So… it’s about freaking time we have one of these, right?

Having already demonstrated impressive editing chops with Dominion (co-edited with Zelda Knight), Oghenechovwe Donald Ekpeki has created an even greater anthology with this Year’s Best, distilling twenty-nine stories into one of the most cohesive anthologies I’ve ever read. Common threads make this feel like so much more than just a “here’s who we think are the top authors” sort of Year’s Best. We’re being shown part of what African SF is saying right now, and honestly, we should feel lucky to be given this insight.

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Fantasia 2021, Part LIX: Midnight

Fantasia 2021, Part LIX: Midnight

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Midnight (미드나이트, Mi-deu-nai-teu) is a suspense thriller from Korea that revolves around Kyung-mi (Ki-joo Jin), a young deaf woman who, one night on her way to meet her mother (Hae-yeon Kil), comes across a grievously wounded woman named So-jung (Kim Hye-Yoon). So-jung’s been attacked by a maniacal serial killer, Do-sik (Wi Ha-Joon, Squid Game), who now sees Kyung-mi and selects her as his next victim. Meanwhile, So-jung’s frantic brother (Park Hoon) is desperately trying to find his sister. Whether he’ll be able to help the women is unclear; Do-sik’s crafty, daring, and manipulative. But Kyung-mi’s resourceful herself.

Writter-director Oh-Seung Kwon presents a Hitchcockian story in which an unsuspecting and basically innocent person finds themself isolated from society by a scheming, ruthless murderer. There are scenes with security officers that demonstrate how adept Do-sik is at using the system and turning it against itself; there’s no help for Kyung-mi from that quarter. Involving the police, or indeed any outside source, just gives Do-sik more tools to use.

The film unfolds over the course of a single night, not quite in real time, and the lack of any major temporal jumping-forward emphasises the remorselessness of events. If things are sometimes convenient for the plot, as can be the case in Hitchcockian thrillers, then having everything take place in one stretch of time helps: Do-sik doesn’t need to come up with permanent con games, he just needs to keep people busy and set things up so he can do what he wants. The background of night in a big city works as well; the cityscapes are mostly empty, streets unpopulated. I don’t know how much of a part budget concerns played in the lack of extras, but it’s effective in building the sense of isolation. There’s nobody to help, nobody to see violence play out. Only quiet houses and deserted streets.

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