New Strange Horizons

The latest issue of Strange Horizons has been posted, and it includes new fiction by E.L. Chen, poetry by Bruce Boston, an interview with Karen Traviss by Cheryl Morgan, reviews of various sorts (one per day), and a pretentious, academic, abstract column by me called "Do Matchmakers Dream of Estrogen Sheep?".

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"Stone Animals" by Kelly Link

If Kelly Link isn't the best short story writer in the U.S., then she's the equal of whoever is. I first came to this conclusion a couple of years ago when I read her story "Lull" in Conjunctions: 39 , and I am absolutely certain of it now that I have read "Stone Animals" in Conjunctions: 43 . (Of course, I've also read her collection Stranger Things Happen , but, much as I admire it, nothing in that book is as breathtaking as the stories she has written since it appeared, particularly the two Conjunctions stories.) "Stone Animals" both employs and parodies the basic elements of suburban psychological realism, the sort of scaffolding John Cheever and so many other writers hung their words and laundry on: a family buying a house and moving into it, a father commuting to a desultory job in the city, a pregnant wife who is uncertain about her marriage, suspicions and allegations of adultery, existentially anxious children, a controlling b
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Never Let Me Go by Kazuo Ishiguro

If you expect Never Let Me Go to be about cloning, you will be disappointed. If you expect to be able to read it as a logical science fiction novel, one that extrapolates an alternate world that makes sense, you will find much to grumble about. You will not be satisfied. You will be annoyed, even bored. You will have missed the point. Cloning is a MacGuffin that Kazuo Ishiguro uses to create symbolic situations and characters that coalesce in a powerful vision of life. The symbolism doesn't quite reach the level of allegory, because it's difficult to assign definite meanings to each scene and person, but nonetheless it quickly becomes difficult not to think about certain themes: mortality, love, fate, memory, art, nature. Each paragraph either illustrates or expands one of these themes. In the first half of the book, the ideas the novel personifies do not gain a lot of emotion, but by the second half of the book the characters have become familiar, their personalitie
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The Penny Poet of Portsmouth by Katherine Towler

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"Loot" by Nadine Gordimer

I've intended to write about Nadine Gordimer's very short story "Loot" for years, ever since I first read it in The New Yorker , and for some reason I actually thought I had written a post here about it.  I recommended the story to a friend a few days ago and intended to include a link to my post about the story when, after a bit of searching, I realized I'd never written the post.  Now I will fix that mistake. From the first sentence, "Loot" is a story about time and history, about legends and imagination.  "Once upon our time," it tells us, there was a Great Event -- the greatest earthquake every recorded, the greatest of all measured "apocalyptic warnings".  Not only is it a Great Event (indeed, the Greatest of such events), but it is ours: we possess it. The second paragraph details the effects of this greatest event of ours.  Most giant earthquakes at sea produce floods and tsunamis, but not ours -- our special earthquake d
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Reflections on Samuel Delany's Dark Reflections

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The Snowtown Murders

The Snowtown Murders  (aka Snowtown ) inevitably draws comparisons to another brutal and disturbing Australian crime movie, Animal Kingdom , with which it shares some general plot elements and stylistic moves (both films were shot by Adam Arkapaw ). But where  Animal Kingdom  shows one young man's struggle to stay innocent in a family of thieves and murderers, Snowtown  depicts the power of a small-time messiah to employ hatred as an excuse for torture and murder. Both films focus their narrative on a quiet (eventually traumatized) adolescent surrounded by monsters, but Animal Kingdom,  for all its virtues, is primarily a drama of demons and angels fighting for a soul, whereas Snowtown  is less allegorical, less schematic, and more deeply disturbing. (A more meaningful comparison than with Animal Kingdom  would be with  Henry: Portrait of a Serial Killer .) Though in some ways Snowtown  is the story of how Jamie Vlassakis goes from being an apparently gentle and unassuming t
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