FALLING IN LOVE WITH HOMINIDS by Nalo Hopkinson

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Falling in Love with Hominids
By Nalo Hopkinson
Tachyon Publications – August 2015
ISBN 9781616961992 – 240 Pages – eBook
Source: NetGalley


Contents:
“The Easthound”
“Soul Case”
“Message in a Bottle”
“The Smile on the Face”
“Left Foot, Right”
“Old Habits”
“Emily Breakfast”
“Herbal”
“A Young Candy Daughter”
“A Raggy Dog, a Shaggy Dog”
“Shift”
“Delicious Monster”
“Snow Day”
“Flying Lessons”
“Whose Upward Flight I Love”
“Blushing”
“Ours is the Pretties”
“Men Sell Not Such in Any Town”

“I didn’t used to like people much.” So starts Hopkinson in the forward to her third short fiction collection, Falling in Love with Hominids. The title comes from a line by science fiction author Cordwainer Smith, whose “Instrumentality of Mankind” work Hopkinson cites as an important influence on her own writing.
“I loved his imagination, style, the poetry of his writing, his compassion. Loved his sensibility in writing about a racialized, manufactured underclass and telling some of the stories from their context.”
The stories within this collection originate from across roughly a decade span of Hopkinson’s writing career; with varied styles and themes they are absolutely unified only in their author. So then who is Hopkinson?
Born in Jamaica and raised in Guyana, Trinidad, and Canada, Hopkinson writes speculative fiction and fantasy that typically includes elements of Caribbean culture and tradition. Many readers appreciate this perspective that her heritage provides the field, and she is equally valued for sincere inclusion of characters who may be any combination of people-of-colo(u)r, female, or queer. Such unique perspective alone shouldn’t define her work though. Above all Hopkinson is talented, attracting the respect of writers such as Junot Díaz and earning accolades such as the 1999 Campbell Award for Best New Writer.
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The uniqueness of her perspective also doesn’t mean that her writing is just for people like her. It’s really important to have books by all kinds of people, not just straight, white men. But that doesn’t mean that a book by a straight, white man can’t speak to a queer, black woman. Or in this case, the reverse. Hopkinson’s writing touches all those qualities that her quote on Cordwainer Smith mentions. She writes universal, core themes of what it is to be human, to deal with despair and to fight it. As her forward to the collection relates, this comes from her own evolution as an individual in society.

“One of the progressions I’ve made is from being a depressed teenager who saw how powerless she was to change all the ills around her to being a mostly cheerful fifty-something who realizes there are all kinds of ways of working together towards positive change… So part of the work of these past few decades of my life has been the process of falling love with hominids.”

The opening story of this collection, “The Easthound”, is an exquisite introduction to the range of Hopkinson’s writing. Set in a post-apocalyptic world where adults become ‘sprouted’ into creatures that kill and feed upon the living, the story uses setting and a minimized plot as backdrop to focus on characters and emotion. This balance – tending towards what typically gets called literary – is typical of Hopkinson’s stories. Also common for her work, here she takes a general premise that should be familiar to science fiction fans and puts on her unique twist. Her writing is not usually ‘light’ reading and some of her stories benefit from multiple reads because nuanced characteristics aren’t at first registered. Yet, “The Easthound” demonstrates that Hopkinson can write taut action sequences amid more quiet moments of deep character introspection. The language can vary from the straight-forward to a more artistic poetry, such as lines in this story that form part of a ‘Loup-de-lou‘ game that children play.
Because of her range as a writer, readers may not enjoy or appreciate all the stories in the collection. Some, like “Flying Lessons” or “Blushing” seem designed to challenge the author and reader alike. “Soul Case” puts a lot of complexity into a relatively small bit of space. (Not unlike, perhaps, fitting a  soul and intelligence into the limitations of a human body, the ‘soul case’ of the title). For some its explorations of politics, history, race, and humanity will work brilliantly. Others may wish its soul had more room to breathe, to develop within the novella length. “Shift” adds a Caribbean twist to The Tempest, another example of a story grounded in something familiar to contrast with stories that have elements more unconventional – and verging on bizarro, like in “Emily Breakfast” or “Snow Day”.
Overall this collection conveys a feeling of reading folklore. Readers particularly drawn to that style of fantasy will probably easily enjoy Falling in Love with Hominids, as Hopkinson uses the style effectively even in the context of a science fiction tale. Some of the stories here have been included elsewhere, including “Best of…” anthologies, pointing to Hopkinson’s success and recognition. If you haven’t yet experienced her writing, there is no better place to get a representative view of it as this.

Disclaimer: I received a free advanced electronic reading copy of this from the publisher via NetGalley in exchange for an honest review.

THE MONSTROUS, Edited by Ellen Datlow

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The Monstrous
Edited by Ellen Datlow
Tachyon Publications – October 2015
ASIN B010MCWEI6 – 384 Pages – eBook
Source: NetGalley


Contents:
“A Natural History of Autumn” by Jeffrey Ford
“Ashputtle” by Peter Straub
“Giants in the Earth” by Dale Bailey
“The Beginning of the Year without Summer” by Caitlín R. Kiernan
“A Wish from a Bone” by Gemma Files
“The Last, Clean, Bright Summer” by Livia Llewellyn
“The Totals” by Adam-Troy Castro
“The Chill Clutch of the Unseen” by Kim Newman
“Down Among the Dead Men” by Jack Dann and Gardner Dozois
“Catching Flies” by Carole Johnstone
“Our Turn Too Will One Day Come” by Brian Hodge
“Grindstone” by Stephen Graham Jones
“Doll Hands” by Adam L.G. Nevill
“How I Met the Ghoul” by Sofia Samatar
“Jenny Come to Play” by Terry Dowling
“Miss Ill-Kept Runt” by Glen Hirshberg
“Chasing Sunset” by A.C. Wise
“The Monster Makers” by Steve Rasnic Tem
“Piano Man” by Christopher Fowler
“Corpsemouth” by John Langan

For anyone familiar with editor Datlow the short review for her recent horror anthology The Monstrous would be that it is everything you’ve come to expect from her superb taste and expert experience. If you’ve liked previous anthologies from her, you’ll love this. If you’re a decided non-fan, I wouldn’t expect this anthology to change your mind, tastes in horror just don’t match.
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For anyone wanting to give modern horror a try who hasn’t read a Datlow anthology, this is a fine place to start, if not her previous curated volumes. Awhile back I reviewed another Datlow anthology, Fearful Symmetries. Several of the authors featured in that collection reappear here offering new works, and a small number of stories are actually duplicated. In the case of Gemma File’s “A Wish from a Bone” I particularly didn’t mind the rerun. Her story, featuring a TV documentary crew entering an ancient Middle Eastern tomb, is just as entertaining the second time though. A few of the authors I had hoped would also pop up in this anthology were absent, such as Helen Marshall, but this at least gave me the chance for some new discoveries.
The selections in The Monstrous run the gamut of the horror genre, from the subtle to the creepy, the graphic, and the weird. The anthology’s theme also fits a broad interpretation of ‘monstrous’. The monsters are human and beastly, earthly and supernatural, literal and figurative. In many cases the monstrous is unexpected, as are the directions and tones the stories may take. “The Last, Clean, Bright Summer” by Livia Llewellyn is perhaps the best example of the latter. The title of this story and its start suggest family-friendly positivity, pleasant days and warmth. But Llewellyn quickly turns behind the façade of tradition and happiness toward the darkness at the heart of a family gathering. This story is Lovecraftian in inspiration, but not so heavily as to ruin my appreciation of its  well-played contrasts.
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Peter Straub, a name that should be recognized by anyone familiar with horror, includes “Ashputtle” here, a creepy and subtle story about a kindergarten teacher who appears increasingly a bit ‘off’. Other authors in the collection should be known from short fiction markets, such as Dale Bailey (“Giants in the Earth”) whose work is often in The Magazine of Fantasy and Science Fiction, or Sofia Samatar (“How I Met the Ghoul”) whose work has appeared throughout the major ezines, such as Lightspeed, Clarkesworld, and Uncanny magazines. Bailey’s story of coal miners encountering something abnormal does a great job handling settling and the inherent uneasiness of dangerous professions. Samatar, a Somali American, offers an uncommon (in the West) version of the ghoul, which in  Middle Eastern myth is something more like a desert-based mermaid, a beautiful spirit luring men to their demise.
There were only a couple of stories that I didn’t particularly enjoy in this collection, and most fall into a range I would call ‘very good’. A couple really grabbed me though. “Down Among the Dead Men” is a collaboration between a name unknown to me (Jack Dann) and a well-known science fiction editor (Gardner Dozois). Featuring a vampire in a concentration camp this is the kind of story that obviously has huge symbolic and emotional weight. The combination would be very easy to botch up, but Dann and Dozois pull it off amazingly, creating riveting drama that combines the monstrous and the human. Some may think that the Holocaust has enough horror in it without needing a supernatural addition. Yet, this element of a fantastic monster alongside human atrocity allows development and clarity of profound themes.
The collection ends with “Corpsemouth” by John Langan, a stellar example of an ‘epic’ short story. Including emotional complexity with strong characters and plot this story merges the modern with the ancient. In part its style reminds me of classic gothic horror tales of Britain, but with modern language and present-day context. This marks one of multiple stories in this collection that feature horrors that reveal themselves in relation to family. Perhaps this frequency is because of their power, monstrous realities we are innocently born into and cannot easily escape. Ones we have a responsibility of blood to face and overcome. “Corpsemouth” is a top take on this theme, bringing The Monstrous to a satisfying conclusion that makes me greedily await Datlow’s next project.

Disclaimer: I received a free advanced electronic reading copy of this from the publisher via NetGalley in exchange for an honest review.