The Girl from the Sea, by Jessica Rydill (Midford Books) | review by Stephen Theaker

This review was originally published in December 2019 on an earlier iteration of the British Fantasy Society's website, and then appeared in TQF67 (July 2020).

Aude d’Iforas, swimming naked in the ocean, encounters Yuste and Yuda, twins with psychic powers, destined to be shamans. Their family are Wanderers, supposedly cursed for the crimes of their ancestors. Her own family of Doxan northerners has been banished, far from their home, after a spell she cast went badly wrong. The three teenagers make friends and the twins tell her of a drowned city that lies beneath the waves, called Savorin. Before they know it, a hooded figure with a face of white bone and hollow eyes has risen from the depths and rides a glistening boat towards them, accompanied by a dangerous storm.

Kill or Cure, by Pixie Britton (Matador) | review by Stephen Theaker

This review was originally written for the previous British Fantasy Society website, and then appeared in TQF65 (December 2019).

The first few chapters of this zombie YA novel are quite run-of-the-mill. Alyx, a seventeen-year-old girl, is desperate to help her poorly younger brother. Back in 2042 or so their parents were eaten by zombies – the Infected – which have successfully taken over the world, leaving humans eking out life in small villages, at risk of being overrun. Alyx has sneaked into the woods to look for medicine. It all feels overfamiliar, as if at every step the decision was made to follow the most obvious route. Then, after his infection is discovered and they are forced to run for their lives, and just when Alyx is ready to send her brother up the stairs to metaphorical Bedfordshire one last time, something unexpected happens. The boy doesn’t turn into a zombie, he morphs...

Wight Christmas: Holiday Horror & Seasonal Subversion, ed. Martin Munks (TDotSpec) | review by Douglas J. Ogurek

A solid collection of horror stories to ring in the Christmas season.

A winter slaughter mars a Kentucky swampland. A murder unfolds at Santa’s workshop. Methamphetamines benefit mankind. This anthology, with stories ranging from silly yet entertaining to grim and frightening, offers many manifestations of the figure in red. One is scaly and crude, some are vicious murderers, one is connected to an ancient deity, and some enjoy burning corpses. One even hitches rides on spaceships.

A few stories seem solely spurred on by their surprise ending; everything that builds up to that ending seems weak. Others suffer from an avalanche of details, while a few are as clear as the slush that accumulates on city streets in winter. Some authors appear to be inspired by Lifetime movies, and some try too hard to sound like a writer. Using onomatopoeia to describe the sounds of bells? Dinga-linga-dumb.

Fortunately, there are only a few coal lumps in the anthology. Overall, it makes a great stocking stuffer… provided the recipient likes horror. Most of the stories entertain and several achieve excellence. Editor Martin Munks places the stories in a sensible order, and unlike many horror anthologies, this one has few mistakes. Following are some of my favourites. 

Jude Reid’s “(Everybody’s Waitin’ for) the Man with the Bag” has everything one would want in a horror story: plot twists, people getting their comeuppance, a decorative flair for blood and guts, and much more. 

“All Alone on Christmas” by Chris Campeau stands out as a sanctification of loneliness. A divorced man staying in a chalet and missing his son encounters an ugly, frostbitten, pus-ridden, naked bearded figure (a possible personification of loneliness), but it’s hard to tell whether this somewhat familiar visitor has a malicious intent or would rather just chill. The story comments on the often conflicting values of work and family.

David F. Shultz’s “The Santas” is inventive, funny and, at times, sad. After a botched suicide attempt, a man gets a crass visitor with an unexpected gift. Shultz smatters the story with just enough detail to create an atmosphere. We discover that Santa Claus is just one of many Santas, each of which has a different appearance. The only thing I didn’t like about this story was facing the fact it had to end. 

In “A Christmas Cake” by Kara Race-Moore, the narrator goes all out to bake a traditional Irish christmas cake for her tactless boyfriend, who abruptly breaks up with her and shatters her view of the relationship. He refers to her as “Christmas cake” – an old-fashioned Japanese term for a single woman over 25 – and accuses her of being desperate to get married and have babies. A meeting with a familiar elderly woman leads to a surprise ending that leaves a few loose threads. 

Olin Wish’s “Have a Holly, Jolly Nuclear Winter”, one of the collection’s scariest stories, involves a husband and a wife doing something involving physics, drugs and mirrors. It has a voyeuristic tone, with the bulk of the activity involving them standing at a window. They attempt to avoid drawing attention to themselves as they witness a halcyon European scene transform into a ghastly activity. 

“The Naughtiest” by John Lance is part Christmas cartoon and part cozy mystery. Santa’s elves investigate a murder and kidnapping at the workshop. We learn what’s in Mrs Claus’s kitchen and even get to explore the mines Santa used for coal before he closed them down because of health concerns. The protagonist is Bobkin, an elf with a strong focus on following the rules. It’s a cute story – there’s even a plunger detonator bomb. The story shows how if a child is continually punished and never rewarded, that behaviour may result in long-term problems. 

In Shelly Lyons’s “Ho-Ho-Nooo!”, main character Tony Flores is a meth addict with a gig as a Santa at a Spencer’s Gifts store in the ’90s. Because of something that happened with a ship that crashed, he is determined to save his friend and fellow Santa Mike Cheebers, working at the Sears in the same mall. It’s humorous, it’s light, and it’s nostalgic. Douglas J. Ogurek ****

The Dispossessed by Ursula K. Le Guin (The Folio Society) | review by Stephen Theaker

This review was written in 2020 for the British Fantasy Society's previous website.

This reads at first like old-school adventure sf, beginning with a sequence on a spaceship launchpad that could have come straight from a Dumarest novel. Sadly, that is no indication of where the book is heading. It is set several hundred years in the future. The Cetians (as humans have labelled the people of the two worlds, and as they have begun to call themselves) know of Earth but we are aliens to them. We have an ambassador on Urras, but no contact at all with the isolated colony founded on its moon, Anarres, two hundred years ago.

Agents of Shield, Season 5 | review by Stephen Theaker

This review originally appeared in TQF64 (March 2019). Daisy Johnson did not go on to appear in Avengers 4, unfortunately.

Agents of Shield has always been a decent, dependable show, rather than a knockout. Like Flash, Arrow and Legends of Tomorrow, we tend to catch up with it during the summer. But it has improved steadily, and looking back through online wikis about the characters, it’s striking how much they’ve been through, how many adventures they’ve had, and how much I enjoyed them. The division of seasons four and five into mini-seasons has re-energised the show. In season four the team met Ghost Rider, dealt with life model decoys and got stuck inside a virtual bubble universe, while in this season they are stranded in a desperate future timeline, and then try to prevent it happening in the present. (The latter storyline takes place contemporaneously with Thanos and his goon squad duking it out with the Avengers.) Regularly changing the premise of the show keeps the show feeling fresh. The main cast – playing Coulson, May, Daisy, Mac, Yoyo, Fitz and Simmons – are by this point very comfortable in their roles, and this season, originally thought to be its last, pays off our investment in those relationships. There are also references back to the previous four seasons throughout, tying the whole saga up in a bow. If this had been the end, it would have been a good one. But it’s been renewed, and though it’ll be a long, long wait till season six in the summer of 2019, it’ll be great to see Coulson back on the big screen in Captain Marvel, and I have my fingers crossed for Daisy Johnson in Avengers 4. Though it’s still not the fully-fledged Marvel Universe programme everyone was hoping for when it was first announced, it does its best. And though it’s still not a show I need to watch at the earliest possible opportunity, that’s only because the competition is so strong these days. The special effects are spectacular, the jokes are funny, the villains are hissable, and the stakes are high. Plus there’s Deke, who seems at first like a stand-in for Starlord and ends up being the breakout star of the season. I like Deke. Stephen Theaker ***

BFS Journal #18, edited by Allen Stroud (The British Fantasy Society) | review by Stephen Theaker

This review originally appeared in TQF64 (March 2019).

The eighteenth issue of the BFS Journal continues its laudable attempt to turn into an academic journal, a process that began when the current editor took over. Unfortunately this issue doesn’t seem to have been copy edited or proofread, which undercuts the lofty aims.

Redundant apostrophes (“the doom of their kingdom’s”), commas in odd places (“author Michael Moorcock, calls”), words missing, full stops used randomly in the references. Some author names and titles appear in all caps, others in title case. A quote ends with “emphasis in original” even though there’s no emphasis. Random formats for sub-headings. The titles of books referenced aren’t consistently italicised, and there are so many unpaired parethentical commas one could write an entire novel with the leftovers. One author likes to “peak behind the curtain of reality”, another is “wiling” away his time, etc. It’s a mess, basically.

The academic articles use the sensible and efficient author–date system, but its usefulness is hampered here by the years appearing at the end of the references, rather than straight after the authors’ names, as is usual, and multiple books by a single author are not always arranged by publication date. Looking up references is also slowed down by them sometimes being divided by type, meaning the reader must check one list for the author’s name, then the next. The references would also benefit from the use of a hanging ident, as is standard elsewhere, so that the authors’ names would stand out. Other references don’t lead anywhere at all (like Scholes, 1975, and Grove, 1879, in the article on Olaf Stapledon).

The articles are a mixed bag. David Sutton’s article about the history of the British Fantasy Society was extremely interesting the first time I read it, in the BFS booklet Silver Rhapsody, but serialising an old article over three issues of the Journal seems odd, especially when it’s already available on the society’s website. Hopefully the series will continue past 1984, where the original article ended. Two articles by Allen Ashley about the summer SF exhibitions are good, though like me he doesn’t seem to have been too impressed.

The more academic essays can make interesting points, but it is a bit like reading someone else’s university essays, and as evidenced by the letter from a long-time member that appears in the journal, they do not always show the deepest understanding of the fantasy genre. Or the world, in some cases – it seems a stretch to say that the world wars of the twentieth century have “snowballed” into the present day, as Shushu Li suggests. The same article’s bibliography suggests that Pelican Books, founded in 1937, published a book in 1905, which is quite a feat.

Another article’s title is “‘You Know Nothing Jon Snow’: Locating the Feminine Voice of Maturity, Motherhood and Marriage in 21st Century Fantasy Fiction”, and yet it talks exclusively about A Game of Thrones, published in 1996. (A publication date of 2011 is given. The journal would benefit throughout from the use of square brackets to indicate the original publication date of a book’s publication.) The same article manages to spell M. Lipshitz’s surname correctly and incorrectly in the same sentence. And it doesn’t mention Jon Snow or Ygritte once: the quote is from A Storm of Swords, not discussed in the article. Similarly, a fairly interesting article is called “Music in the Science Fiction Novels by Olaf Stapledon”, despite being entirely about one book, Sirius.

If the BFS Journal wants to be an academic publication, it has to be more rigorous than this, for the sake of its contributors as much as the society members who pay for it. If it’s peer-reviewed, the peers need to do their job properly. It needs to be copy edited and proofread. As a fan publication, the BFS Journal is admirably ambitious (and the return of issue numbers to the cover is very welcome), but as an academic publication it needs much more work. Stephen Theaker **