Guest Post: E.D.E. Bell Serves Up Five Simple Vegan Foods to Try

In my prohibition-era, urban fantasy novelette, Water of Life, investigator Sean Joye searches the Southern Illinois hill country for Caleb, a missing moonshiner. His trek, beyond a flooded river and through a forest bristling with ice and fae ill intent, leads him to a strange old mountain woman. Miss Lutra would just as soon shoot him as feed him squirrel stew; but feed him she does, and the meal is delicious.

Dinner with Miss Lutra

Letting old ladies feed me hasn’t failed me yet. The stew and bread smelled great. My stomach growled as I sat down at the oak-plank dining table, and I realized I hadn’t eaten all day.

Miss Lutra invited me to say grace over our meal, but apparently found my “For these thy gifts make us truly thankful” a poor effort and jazzed up the prayer with a blessing on the squirrel, the forest, the other animals of the forest, the creek, the farmland, Caleb”””who is lost from us but will be delivered whole and sound, if not now, at the final trumpet,” me, my people, her people, and herself. Although mostly focused on my rumbling stomach, at the final “amen” I remembered not to cross myself, the Church of Rome not so very popular in these parts.

Miss Lutra had filled out the scant meat from a single squirrel with potatoes and turnips, and the meal was quite tasty. Between mouthfuls of hot stew, only marred by the occasional buckshot pellet, I said, “I don’t mean to be abrupt, ma’am, but was Caleb here today or not?”

The old lady cut off a hunk of hot bread with her enormous knife and wiped her bowl with it, sopping up the peppery gravy. “You ain’t from around here, are you, Mr. Sean Joye? Sound like you could even be from over the waters.”

“Do I now? Does that make a matter where Caleb went?” Through the tiny window, I could see dark clouds full of snow gathering low over the woods. “Or does it make a matter of what you’ll tell me?”

Squirrel Stew For Two

While Miss Lutra has a long lifetime of putting together a bit of this and a pinch of that to keep her household fed, I need recipes. She’s not one to share her secrets, of course, but hinted at the following squirrel stew instructions:

• A squirrel or two, cleaned and cut into pieces (or, 1 pound of chicken thighs with skins and bones)
• 1 teaspoon salt, divided
• ¼ teaspoon black pepper, divided
• ¼ teaspoon red pepper, divided
• 1-3 Tablespoon bacon fat, as needed
• A handful of mushrooms (if you got “˜em)
• 2-3 Tablespoons flour (Depends on how much fat the meat renders. You need equal portions fat and flour.)
• ¼ cup moonshine (Irish whiskey works OK.)
• 2-3 Cups chicken broth (divided)
• 2-3 cloves garlic, chopped well
• Several sprigs of rosemary
• Several leaves of sage
• An onion, chopped well
• 2-3 potatoes, peeled and chopped into bite-sized pieces
• 2-3 turnips, peeled and chopped into bite-sized pieces
• A carrot, peeled and chopped into bite-sized pieces

Melt two tablespoons of the bacon fat in a cast-iron stew pot or Dutch oven. Salt and pepper the squirrel (or chicken thighs, if you can’t get one) with about half the seasonings and then brown for five to ten minutes in the bacon fat.

Remove the meat and brown the mushrooms, if you’re using them.

Next, brown the chopped onion.

Now use the bacon fat and rendered grease to make a gravy. (You need equal amounts of fat and flour for the roux””the gravy base. Add more bacon fat, if needed””depends on how much fat was soaked up by the mushrooms. Dissolve the flour in the fat and brown it””about as dark as a pecan or an acorn””over low heat. Keep stirring the roux, scraping up any bits of meat stuck to the pan. This might take a while, depending on how dark you like the roux. Don’t rush it. Then stir in the moonshine and two cups of the broth. It’s gravy!)

Warm the herbs and garlic in the gravy until they smell good, then add the vegetables, half a teaspoon or so of salt and red and black pepper if you like it, and more broth to cover. Stir it a bit. Nestle the browned meat among the vegetables.

Bring the stew to a boil, then lower heat to simmer, covered, for an hour or so.

After about an hour, uncover and fish out the meat to cool a bit (ten minutes or so) on a cutting board.

Add the cooked mushrooms to the stew and continue to simmer, uncovered if it seems a bit too thin.

After the meat cools, cut it away from the bones, chop, and put back in the stew. Adjust the seasonings as needed.

Serve with hot, crusty bread and apple pie for dessert.

BIO: Kathy L. Brown lives and writes in St. Louis, Missouri, USA. Her hometown and its history inspire her fiction. When she’s not thinking about how haunted everything is, she enjoys hiking, crafts, and cooking for her family. Her novella The Resurrectionist and novelette Water of Life are available as paperback and e-books from Amazon.com. The Resurrectionist is also available from Ingram. Kathy’s short fiction has appeared in the Bards and Sages Anthology Great Tome of Forgotten Relics and Artifacts (The Great Tomes Series, Volume One), with earlier works in Bards and Sages Quarterly, Golden Visions Magazine, and Mused Literary Journal. Hippocrene has published several poems. Follow her on Instagram at kathylbrownwrites, Facebook at kbKathylbrown, and Twitter at KL_Brown. Kathy’s blog, Kathy L. Brown Writes The Storytelling Blog, lives at kathylbrown.com.

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As a writer, sometimes I find myself inspired to write by seeing other writers use a particular device and wondering what I can do with it. Having grown up with Star Trek and the Twilight Zone, and having encountered Babylon 5 in my teenage years, I felt confined by the typically anthropomorphic aliens, particularly the ones that were obvious stand-ins for Russians or Romans or other human cultures. The aliens were usually in supporting roles, and their biology, worldview and motivations were usually within human norms, not counting special abilities. I appreciated these characters and their stories, but I wondered how far writers could push the envelope in adopting an alien perspective. The Star Trek episode “Devil in the Dark” gave agency and purpose to a non-humanoid life form, and works like Lem’s Solaris, showed aliens that can be beyond alien understanding, but I wondered what stories could be told from non-human perspectives and how they could contribute to the genre.

Footfall by Larry Niven and Jerry Pournelle gave me a more expansive sense of what could be accomplished by setting a story within a non-human perspective. The Left Hand of Darkness by Ursula K. LeGuin and “Story of Your Life” by Ted Chiang inspired me to consider reproduction and language that departed from the human norm. They drew me to non-human stories and came to enjoy stories that normalize aliens and de-normalize human experience,

It is important to distinguish between stories that aim primarily to tell an alien story and those that use the alien as a prop in an allegory about human society. While the latter trope is common (“Eye of the Beholder” in Twilight Zone, “Let This Be Your Last Battlefield” in Star Trek, etc.), they can be too neatly prepackaged, so that the audience merely interprets the message, as explained by the human characters, rather than engaging in an alien experience.

Humans, at heart, are pattern detectors; the patterns of our daily lives inevitably become biases and prejudices. We can sometimes erode those prejudices by stepping outside of our usual experience and our usual metaphors for understanding the world (even the phrase “stepping outside” is grounded in human biology). Naturally, an alien world created by a human author will draw from human experience, but the characters’ thoughts and actions should be tangibly grounded in their own environment.

Like Plato leading prisoners out of his eponymous cave, a truly alien story, told within its own worldview, for its own sake, can expand the reader’s experience without framing or explaining the story in terms of a human cultural narrative.

I find that immersing myself in an alien culture without an easy allegory or a human narrative to explain the story can push me as a reader to be cognitively flexible and to understand others without necessarily expecting the experience to translate readily into their own.

So, what would I like to see more of from non-human characters in science fiction, and why? Here are a few ideas (for me, and for any other writers out there looking for a challenge). To show that I’m trying to practice what I preach, I’ll raise a few examples from my recently-completed #NaNoWriMo novel, Elevation, which is told in part from the perspective of an insectoid race.

Sensory systems: Non-humans in sci-fi almost invariably have the same senses as humans. If there is a sensory difference, it usually comes across as a one-off special ability. Other animals on Earth have sensory systems that differ multidimensionally across the senses. There are different color palettes, different ways of perceiving sound, and so on. Once an animal perceives something, it is classified and responded to in the context of its evolutionary history. One needs only consider the diversity of ways in which insects and birds, for instance, use sound and color, to appreciate what we will face when encountering extraterrestrial life. Even trained scientists can fail to appreciate ultraviolet light, infrared radiation, ultrasound, magnetic fields and other sensory cues. It also bears noting that different animals (and different humans) can perceive the same sensory information in different ways.

In my most recent novel project, Elevation, my characters communicate mainly through sound and smell. The use of smell means that ““ particularly in the cities ““ their social world is literally part of the atmosphere, shaping individual character interactions and cultural landscapes.

Communication: How many times do first contacts start with a simple message delivered through a straightforward audio message (such as “Take me to your leader”) without much thought into how the aliens perceive and use human language and how those words relate to their own concepts of the world. A Far Side comic strip parodies this by showing aliens with hand-shaped heads who – as it turns out – do not take kindly to a human attempt at a handshake. “Story of Your Life” explored non-linear communication (expressed well visually) in the movie Arrival), and it raises the question of how else alien communication could differ from our assumptions. How would an intelligent species use smell or touch to communicate?

In Elevation, the characters use their sense of smell to identify individuals socially. As a result, they do not, strictly speaking, have auditory or visual “names’ for each other, which poses a problem for humans trying to keep them straight. This has been a challenge for me when writing dialog and narration, but it compels me to think about the characters’ identities in new ways.

Agency and autonomy: It is important to me that the non-humans are more than talking points for the human characters’ debates. The characters should act in accordance with their own drives, in the contexts of their own worldview. This can be challenging as a writer because human readers will have moral expectations even of non-human characters. However, it is unreasonable to think that characters will act the way humans expect them to or strive toward human morality (which is hardly a monolithic construct anyway) unless led to do so by interaction with humans.

For example, the protagonist in Elevation has had children in the past, but ““ like some Earth insects ““ left the eggs behind after laying them and expresses no parental feeling toward them. Tending to young is driven by pheromones and is seen as a civic duty to the colony rather than a social bond. This is not framed as a statement on human parenting, but as an expression of the character’s drives in cultural context.

Reproduction: One of the primary drives (or the primary drive, depending on who you talk to) is reproduction. Whether or not we as individuals reproduce, our drives and our behavior are a product of the behaviors that led our ancestors to successfully reproduce (or else we would not be here). These behaviors, as they often are in humans, could be shrouded in social norms and mechanisms of social control, but these would be different from human norms.

For instance, in Elevation, the non-human characters reproduce parthenogenetically (through virgin birth) unless the eggs are fertilized by the King, the city’s sole male. Care for the fertilized eggs is done at hatcheries and nurseries near the Royal Palace, so care of larvae by individuals outside the city is seen either as putting on airs or as a desire to create a rival colony with a new king. These forces create social injustice and conflict, but in a way that differs from human conflicts.

In short, I like to explore non-human societies not to understand the human condition better, per se, but as a way of exploring the wider, underlying conditions that are a foundation not only for humanity but for intelligent life in a more general sense. It could be argued that science fiction and fantasy are meant for humans and, as such, that even the non-human characters will be seen through a human lens. I think there is truth to that, but I believe that the more clearly that an author can establish the worldview of all characters, the less vulnerable we are to literary solipsism, where are characters are simply preaching our own worldview back to us.

As we get into the habit ““ as readers and writers ““ of fleshing out alien characters in their own terms, perhaps we will be more vigilant in expecting the same from our human characters. Our concepts of normality, having been stretched by science fiction, might find themselves more capable of accepting the ways that we humans are alien to one another. It will encourage us, particularly in these tumultuous times, to move beyond simple allegories to examine the deeper underpinnings of our differences. I can’t say myself whether my work rises to that lofty ambition, but it is a goal well worth aiming for.

Works Cited
Chiang, T. (1998). “Story of your life.” Stories of your life and others,
117-78.
Larson, G. (2003).The Complete Far Side: 1980-1994. Andrews McMeel Pub.
Le Guin, U. K. (2012).The Left Hand of Darkness. Hachette UK.
Lem, S. (1970) Solaris. Walker & Co (US).
Niven, L., & Pournelle, J. (1985).Footfall. Del Rey.
Roddenberry, G. (1966). Star Trek. Desilu/Paramount
“Devil in the Dark” (1967) by Gene Coon and Gene Roddenberry.
“Let This Be Your Last Battlefield” (1969) by Oliver Crawford and Gene
Roddenberry.
Serling, S. Twilight Zone. (1956) CBS Productions.
“Eye of the Beholder” (1960) by Rod Serling.
Straczynski (1994). Babylon 5. Warner Brothers.

Author Bio: S. R. Algernon studied creative writing at the University of North Carolina at Chapel Hill. He has been published in Nature and Daily Science Fiction, and is the author of two short story anthologies, Walls and Wonders and Souls and Hallows. Both can be found at: https://sralgernon.wordpress.com/anthologies/. He currently resides in Michigan.