Neverwhens, Where History and Fantasy Collide: Of Aztecs and Iron Chandeliers – Silvia Moreno-Garcia’s The Return of the Sorceress
The Return of the Sorceress (Subterranean, June 2021). Cover by Fang Xinyu
One of the best things about Moreno-Garcia is that she writes whatever the hell she wants, and it is up to others to categorize it. In an era where authors are often told to “stay in their lane” (be that about what ethnicities or cultures they write about, or what genres the can write in without resorting to pen names), SMG has, in a short span of years, written Gothic horror, vampires, in a pseudo-cyberpunk dystopian near future, edited a feminist anthology of Cthulhoid terror, a dark fairytale of Mayan gods set in 1920s Mexico, romance, and a thriller set in 1979. Much like Quentin Tarantino, Moreno-Garcia takes the themes and tropes of pulp fiction — noir, crime, romance, horror, fantasy, and infuses it with something new; in her case, often via the landscape of 20th century Mexico.
Now, with her novella, The Return of the Sorceress, the prolific author adds sword and sorcery to the mix. It’s a slender volume, the long novelette or novella being sword & sorcery’s preferred and most effective form, and the tale is a fairly straightforward story of revenge vs. redemption. Yalxi rose from insignificance to leadership of the Guild of Sorcerers; a position she only achieved by murdering her master, Teotah, the Guild’s previous Supreme Master. Unfortunately, at the heart of her power, was a diamond “heart,” set in a pectoral collar, rested from Teotah, and not stolen by Yalxi’s lover and confidant, Xellah.