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Acquainted With the Night

Rain sleets down like multicolored metal needles to splatter against the chill, neon-lit street’s surface. The light gutters across the wet surface of his black plastic rain poncho, picking out abstract tattoos.

Somewhere in the night, he knows there is darkness brewing.

The mask fits loosely on his face under the rain poncho’s shroud. Some people look at him as they go past in the rain, but their eyes skitter away, seeing him faceless in the dark.

At one point the mask was crimson, and golden wind vortexes, bright as daylight, rode his face on either side, framing his power, his strength.

Far away he hears a shout. He pauses to listen, but it does not come again, and he is not sure of the direction. Cars hiss past in a spray of sparkling, heavy, wet mist, and touch the surface of his jacket with beaded jewels.

He tugs at his dark grey face covering, pulling it into place. Rain has seeped in through the eyeholes and walks along his face like the memory of tears.

Is he crying or is it the rain? The question seems overwrought, and he feels himself slipping into one of those dark, cinematic moods, where he sees everything from the outside. It’s starting again, the loop of film that is his life.

#
Scene 1: The Origin

He was an ordinary boy in an extraordinary place, he tells himself. Working in Miracle Labs, he was a go-fer, fetching coffee and sandwiches for the scientists in their bright white lab coats. Everyone was so pleasant, so marvelously cheerful! He whistled on his way to work every morning.

As time passed, though, he became aware of undercurrents. Doctor Octo hated Doctor Sept, and they both vied for the attention of receptionist Wye. Who was worth vying for, he admitted to himself, but he knew that he, pimple-faced and adolescent gangly, wouldn’t have a chance with her. Most of the scientific in-fighting, though, had to do with who published what where. Most of them worked hard at publishing, and conducted their research with scrupulous but eager abandon.

It was easy for someone like himself to pick up some extra cash acting as a guinea pig. It paid well, and his mother.s birthday was coming up. Sept was working on a military project, augmented strength, while Octo was working on a similar project, increased speed.

Tuesdays and Thursdays he sat in Sept’s lab, squeezing grip-meters, while on Mondays and Wednesdays, he used a mouse to click colored shapes on a computer screen. He swore to both of them that no one else was interfering with his physical structure, and they both were horrified but intrigued when their experiments collided, geometrically increasing both strength and speed as though cross-multiplying.

Military types swarmed the labs, smoking jovial cigars while the scientists ran him through test after test with suppressed jubilation, which faded into pretense as every other test subject underwent both treatments to find themselves no stronger or faster than before.

He was their golden boy at first, and even Wye unbent in his direction, admitting she wouldn’t mind a cup of coffee, which led to one thing, then another, then him offering in-home demos of what it was like to bang a genuine superhuman. But more test subjects came and went in failed succession. The doctors became less fond of him as the military soured.

He lost his job at the laboratory, although no one ever really gave him a straight answer as to why.

So he became a superhero, which seemed like a viable option at the time.

#
Part 2: The Career
He got an agent who he.d seen on early morning TV, representative to a group known as the Weather Team. He took the name Captain Hurricane, superspeed and strength qualifying him, he figured.

It was never clear how many superheroes Alan Mix had in his stable. Although his Variety piece when Captain Hurricane joined him said seven, two of those, Ebon Lightning and el Invierno, were sometimes there, sometimes not, due to other gigs with the world of superhero wrestling.

They offered to cut their fellow heroes in on the deal.

“Sweet money and not that hard,” Ebon Lighting urged three of the others, Sunshine Princess, Tsu-nami, and Captain Hurricane. Sunshine Princess did try it, as he recalled, but did not do well in a match against the Hunktress.

Women liked him. What.s not to like about strength and charisma? They liked his gee-whillikers good looks.

He was a little bit in love with Sunshine Princess at one point when he was depressed, but the woman that he would go to his grave loving was another of the Weather Team, Waterlily Elegance, an enormous-haired alien, cerulean-eyed with pumpkin-colored skin from beyond Betelgeuse.

She did not return the affection, though. The mate waiting for her, after she had spent a year in their world, was an enormous purple flower, forever stationary, who floated on a lake of violet emulsion on her home planet.

When she returned home to engage in the mating ritual that would lead to her explosion in a rain of seeds, he spent three nights running in a bar with Sunshine Princess. Each night they staggered home to his apartment and made clumsy love in his unwashed bed. On the third morning he woke up to find her making eggs and coffee in the tiny kitchen.

He drank the coffee in a sullen silence which ate away like acid at her happiness, making it more and more brittle as she moved around cleaning the small space, wiping at the counters with a lemon colored sponge.

“Sit down, for the love of God,” he finally snarled, and she sat, pouring herself coffee and sweetening it with lavish spoonfuls.

“Is everything okay, babydoll?” she cooed, and he could tell she was latching on, sinking in the hooks that would drag him into married life and an eternity of lemon sponges.

“I’m not your babydoll,” he told her startled face. “Not your gumdrop, not your honeybunch, not anything. You were convenient, that’s all, Eleanor.”

She went white as she stood, swaying, and then stiffened herself and marched out to collect her things. She wrapped the yellow cape around herself, sodden still from the previous night’s rain and clinging in damp folds to her skin. He caught a glimpse of her eyes, which were enormous and bruised dark.

That night he patrolled Central Park, and beat three muggers so savagely that they could not walk.

#
Part 3: The Announcement
Three months later when she came to see him about the pregnancy, he already had felt it in his heart. He pushed money in her hand and then pushed her away, physically, a hard shove that sent her sprawling. He turned his back and walked away.

He’d gotten a photogram that morning from Waterlily Elegance. She stood by the shore of the violet lake, one slender hand cupped around her swelling body, ripe with the offspring that would kill her. He wondered what it would look like . would the seeds explode outward, scattering her flesh, leaving scraps of squash color to dry and brittle on the ground? He asked around, asked Silver Spring, the other alien on the Weather Team, but Spring ignored him in a way that screamed impoliteness. Realizing he was violating some taboo, he dropped the subject with reluctant haste.

#
Part 4: The Arrival
He met his daughter first when she was four, hair like cotton-candy floss, colored with pale light. She had inherited powers from both of them, although he could sense she would never be as strong, as fast, as him. From her mother, she had taken the trick of fostering light beneath her skin, letting it go in pulsations of brightness. He called her his Firefly.

He took her every Saturday: to the zoo, to the harbor, to the botanical gardens, to the sculpture garden, to the play ground, to the grocery store, to the laundromat.

They had a year of such meetings before she vanished.

Someone took her out the window, the thirteenth story window that she looked out of each night, her small luminous moon face pressed up against the clear surface. They melted through the glass as though it was water and abducted her in silence.

He nearly died when the police showed him the film, which they said was selling well in underground circles. Although she wore a mask, he recognized the flashes of light that trembled on her naked skin. The men with her wore masks too. They said it was a snuff film, and would not show him more than the moment he needed to identify her. The corpse was never found.

He never found the men either, though he has spent a decade looking. Princess Sunshine committed suicide, and most of the Weather Team is gone. He had to leave it after three years and the fourth scandal of a criminal killed in the course of apprehension. In another decade one of Waterlily Elegance’s children might come back to this planet and perhaps join a new superhero group. He knew that twenty two had survived her death. Their names blended together for him: Casual Horizon, Immaculate Bliss, Serenity of Spite…

Sometimes he wrote to her mate and received in return graceful thought-grams, blended nuances of mental energy and sensation that conveyed regret and well wishes and never spoke of her.

#
And now, the loop complete for another hour, he steps forward again into the darkness. The mask he wears is a duplicate of one from the film . he has no wish to explore why he chose it.

But every night it’s the same, his mask looming down over the fallen form of the mugger, the purse snatcher, the rapist, the suspected harasser, the suspicious stranger out late at night as he kicks and slaps at them, superhuman strength making bruises bloom like light flashes on their skin. Tonight, jewels of light will glitter on their unturned, blank face, and he will feel the blood hot within himself, boiling hot and mammal, unlike the rain.s cool and vegetative touch.

(This story originally appeared in the online publication, FERAL FICTION, in 2004.)

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The Inevitable Award Post

I have been noticing a lot of these over the last couple of months, and I was going to skip it, but then I was totting up the publications from last year, and I’m proud of the fact that I had 19 stories published.

They are all either short story or flash (Swallowing Ghosts, Futures, Lost in Drowsy Dreams, The Forbidden Stitch) and are eligible for various short story awards. There’s some favorites from last one (marked with *), but the one I’m hoping will get some notice is “Long Enough and Just So Long” which appeared in Lightspeed in February, 2011.

Here are links to the online stuff:

Long Enough and Just So Long – Lightspeed, SF

Love, Resurrected – Beneath Ceaseless Skies, fantasy
Pippa’s Smiles, Swallowing Ghosts – Daily Science Fiction, fantasy
Bots d’Amor – Abyss & Apex, SF
Karaluvian Fale – Giganotasaurus, fantasy
Whose Face This Is I Do Not Know – Clarkesworld, horror? sf? fantasy?
The Immortality Game – Fantasy Magazine, fantasy
TimeSnip – Basement Stories, sf
Lost in Drowsy Dreams and The Forbidden Stitch -10 Flash , fantasy
Futures – The Dream People, sf? fantasy?
Zeppelin Follies – last issue Crossed Genres, sf

I am happy to send the stories not available online to anyone reading for Hugos, Nebulas, Tiptree etc. They are:
Close Your Eyes – Apex Magazine, horror
A Frame of Mother-of-Pearl – Intergalactic Medicine Show, fantasy
A Querulous Flute of Bone – Tales From the Fathomless Abyss, sf
Flicka – Subversions, sf
The Coffeemaker’s Passion – Bull Spec, fantasy
Aquila – Shadows and Light II, sf

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Guest Post from Anne Leonard: Writing "Strong Female Characters" in a Patriarchal Secondary World Fantasy

Cover of Dorothy Dunnett's book CheckmateIn Dorothy Dunnett’s sixth book, Checkmate, we get this passage:

She had been led into behaving like a female. And she was being dismissed as a female. But she had charge of his good name, although he might not know it; and she had work to do, although, like a fool she had lost sight of it.

Here we see the character of Philippa Somerville in all her complexity: determined, strong, imperfect, aware of her role in her culture and refusing to be limited by it. Philippa is a prime example of the “strong female character” existing in a patriarchal world, and although the novel is historical rather than fantasy, it and its companions have a lot to teach about writing strong women without giving up the conventions of a patriarchal social structure.

Yes, this is another post about writing “strong female characters.” I am coming to this issue from the position of someone who likes traditional epic fantasy with pseudo-medieval (or at least pre-industrial) cultures. This is my comfort read, and it is what I like to write. This is partly because that was what I grew up on, partly because I’m enough of a romantic to still have a soft spot for heroes, and partly because I like to interrogate that social structure. For me, interesting female characters are the ones who have to face social oppression ““ the same social oppression I do ““ and who fight against it within the limitations of their own beliefs about their roles. Feminist fantasy with matriarchal or egalitarian societies isn’t as interesting to me as a writer because it avoids the very problems I want to get my teeth into ““ what is a woman to do when oppressed? What if she doesn’t know she’s oppressed?

Agency

One of the problems faced by fantasy writers who consider themselves feminist but like to write about secondary worlds based on historically patriarchal cultures is the disconnect between the oppressive culture and the strength of the female characters. This disconnect is why people tend to fall into the assumption that a strong female character has to be a Brienne of Tarth, acting like a man.

That assumption leads to the argument that a strong female character is not historically accurate. Under this logic, because there aren’t lots of historical episodes of women going around acting like epic heroes, there’s no need for a strong female character in epic fantasy. Aside from the silliness of saying fantasy has to be historically accurate, the problem with this argument is that there are lots of different kinds of strong women in history. What makes a woman a strong character is not her physical prowess (though it could be); it’s her agency. The character’s agency is where the clash between oppression and strength is negotiated.

Consider The Handmaid’s Tale; most of Offred’s narrative is describing how she is being subjugated in Gilead and remembering what it was like before. She’s not fighting back or leading a revolution. No one would say she’s not a strong female character, though, because she has voice, feelings, thoughts, memories, and choices. Her agency is internal, in how she responds to the situation in which she is caught. (And if you haven’t read The Handmaid’s Tale, why not? Go read it!) Even if the character accepts the stereotypically gendered roles of her culture, she has to make decisions, and these decisions have to have consequences. This is almost a basic rule of writing, regardless of the character. Something needs to be at stake to move her story forward.

Examples

Some of the best examples of dealing with the disconnect between a patriarchal power structure and a strong female character are historical novels about real women with real power. The Lymond Chronicles (6 books, beginning with The Game of Kings) by Dorothy Dunnett are far and away my favorites.

Set in Scotland, England, France, Turkey, Russia, and some other places during the period between Henry VIII’s death and Elizabeth I’s accession to the crown, Dunnett’s books are amazing for their historical detail, storytelling, intelligence, and characters. In the fourth book, Pawn in Frankincense, Dunnett writes one of the most devastating scenes that I have ever read, leaving George R.R. Martin looking cuddly by comparison. (The books can be read individually, but the reading experience will be much richer taking them in sequence.)

The women’s stories include the growth of Philippa Somerville, a gentleman farmer’s daughter, from child to adult; the consequences of a love affair 30 years past; estrangement between a mother and her son; the unhappiness of a young merchant woman who despise herself and the people around her; and a woman who endures abuse because of her devotion to the cause of an independent Ireland. One woman is a courtesan who has considerable power over powerful men. Several women are queens or courtiers. These books show how women with power wield it (the mother of Mary Queen of Scots is described as having “the thick oils of statesmanship” oozing through her veins), and they also present women who don’t necessarily have political or legal power but have power of personality and rich, complicated lives.

Significantly, the women are not all likeable. (Nor are the male characters, for that matter.) Mary Tudor comes off as rather pathetic, Margaret Douglas is scheming and power-mad, the Dame de Doubtance is a creepy astrologer without a shred of empathy. The younger Philippa is at times frustrating to read because she is absolutist who makes some bad decisions with significant consequences. The strong female character doesn’t have to be the heroine. She doesn’t have to be perfect. But she does have agency, and her choices matter.

These women also aren’t the sixteenth century equivalent of suffragettes or bra-burners. They don’t question the sexual double standard, they don’t don armor and go to battle, they don’t talk about being oppressed or fight overtly against it. (And yes, in one sense it’s kind of absurd to talk about a queen being oppressed ““ but on the other hand, it’s quite clear that no one is very comfortable with power lying in a woman.) While some of them engage in activities that don’t fit our idea of what women did in the sixteenth century, that’s only a part of them. They are living full and complex lives within the patriarchal society, rather than rebelling. A strong female character can, like Philippa, be aware of being “led into behaving like a female” and put that behind her without questioning her internalized conception of being a female. A strong female character is something feminist readers want, but the character doesn’t have to be a feminist to fit the bill.

Dunnett is not the only writer of historical fiction with strong and interesting female characters. Here are a few recent other books which should satisfy anyone looking for “historical accuracy” in trying to decide what role women should play in epic fantasy:

Cover of "Hild" by Nicola GriiffithHild, by Nicola Griffith. This is based upon the life of the woman who became St. Hilda of Whitby. Set in 7th century Britain, the book is thick with historical and physical detail. It presents the life of women who are family of the Anglo-Saxon kings, including slaves and women of lower rank. Hild is a mystic who both does women’s domestic tasks and leads men in battle. She is bisexual; she is listened to by men but is forced into a marriage; she has complicated relationships with the people around her.

shadowonthecrowncoverShadow on the Crown and The Price of Blood, by Patricia Bracewell. These two books are about Emma of Normandy, who in 1002 was married as a teenager to AEthelred the Unready and became a queen of England. In many ways Emma does not have power compared to the men around her, but she fights for what she can get and she uses it. She is a survivor — she was a Queen of England for over 30 years, to two different kings.

Theodora ““ Empress, Actress, Whore and The Purple Shroud, by Stella Duffy. These two books chronicle the life of Theodora from her childhood as a sex slave to her death as the Empress of Byzantium in 548. The title The Purple Shroud refers to a speech made by Theodora which is said to have inspired Justinian to put down a revolt rather than to flee Constantinople. Theodora is an interesting character because of how she rises through the social ranks and because of her forceful personality.

wolfhallcoverWolf Hall and Bring Up the Bodies, by Hilary Mantel. Although these books are largely the story of Thomas Cromwell, advisor to Henry VIII, they include as characters Catherine of Aragon, Anne Boleyn, Jane Seymour, and Cromwell’s wife and sister. They depict the ways women interact with powerful men. The relationship between Cromwell and his wife Liz is nicely drawn, and Liz, like Dunnett’s Philippa Somerville, is a good example of a woman on the fringes of political power who has her own agency.

Sharon Kay Penman has written too many historical novels about English royal families for me to list here, but her first, The Sunne in Splendour, is notable for its portrayal of Anne Neville, wife of Richard III, which is almost 180 degrees from Shakespeare’s portrayal of the same. Edward IV’s wife Elizabeth Woodville is also a strong ““ and unlikeable – character. Penman’s novel When Christ and His Saints Slept is about Matilda of England (Empress Maude) and her war to gain the English crown in the early to mid 12th century.

In sum, the writer of epic fantasy can keep full-blown patriarchal power structures and ideologies as part of the world-building. But history is rife with stories about women in such worlds who also have power, agency, and complex lives. Putting such characters into the epic fantasy world is only going to enrich and deepen it.

Bio: Anne Leonard has been writing fantasy and other fiction since she was fourteen and finally, after a career with as many detours as Odysseus, published her first novel, Moth and Spark, in 2014. She has a lot of letters after her name that are useful when trying to impress someone. She lives in Northern California. Her website is www.anneleonardbooks.com. She can be found on Twitter at @anneleonardauth and on Facebook at https://www.facebook.com/anneleonardbooks.

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