The Changeling by Victor LaValle is the fourth book I’m reading for the Shirley Jackson Awards 2017 nominees. If I had to put my money down, based on what I’ve read so far and looking at its stats, I would say that this book has the strongest chance to be the winner. That said, I have not finished all five yet (still have one left). Also, The Changeling has just won the 2018 Locus Award for Best Horror novel.
This novel has “two starts” but for good reason. The first is Apollo Kagwa’s parents’ love story and the beginnings of Apollo. Apollo is mixed and from a low-income family. His father mysteriously disappears but continues to appear to Apollo in dreams/nightmares. Apollo grows up and becomes very involved in dealing/collecting/selling rare books and is himself an avid reader. As things progress he too falls in love (the second start) with Emma and together they have a baby boy. At this point the novel takes a term from slightly creepy and mysterious to supernatural stellar writing. I liked the way the Goodreads synopsis puts it without spoilers: “Before Apollo can do anything to help, Emma commits a horrific act—beyond any parent’s comprehension—and vanishes, seemingly into thin air. Thus begins Apollo’s odyssey through a world he only thought he understood to find a wife and child who are nothing like he’d imagined.” That…is putting it mildly. This novel is a roller-coaster ride, and it somehow does it by creeping up on you. You start slowly and you’re being fed one odd thing at a time, until you find yourself so deep you forget how you got here in the first place. I had to consult the synopsis because by the end I wasn’t sure what would be considered a spoiler.
What I particularly loved about LaValle’s writing was the way he brought the dark fairy tale to the city: New York. As a passionate Lore fan and reading these kinds of stories with supernatural elements, I can’t help but notice they are almost always set in an isolated town, in a rural part of a very abandoned state, or in some very small place with few inhabitants. Dropping this dark fairy tale in New York while simultaneously poking at the very contemporary “here and now” elements of parenting, social networks, and media is something that I never considered could come together so well in one cohesive narrative. LaValle challenges the spaces one thought of as ‘safe’ due to their bright lights and overpopulation and turns this concept it on its head. Parallel to these writing techniques, unstable setting, and atmosphere LaValle still places at this novel’s core the essence of what makes us human in exploring our strengths and weaknesses when it comes to family, love, parenting, and how our origins, or ‘where we come from’ or the literal ghosts of our past can influence our present. I really enjoyed this book, and even though it took me a lot longer to read this one than the others it was worth the effort. I recommend this if you like Aaron Mahnke’s Lore and Cabinet of Curiosities, dark fairy tales, gothic atmospheres, and of course…Shirley Jackson.
The Bone Mother is the first novel I’m reading for the project I’m currently working on: reading the nominees for the Shirley Jackson Award. The Bone Mother has already hit a very good spot with me and I enjoyed it immensely. I think in many ways it’s like Miss Peregrine’s Home for Peculiar Children for adults, and has a resemblance to Lore. As I mentioned before I’m from Romania, but I have been educated and raised in Canada. This book is written by Canadian author David Demchuk and it draws its inspiration from photographs made by Romanian photographer Costică Acsinte between 1935-1945, and Eastern European folklore, so in many ways it felt very familiar and close to home. This novel was also long-listed for the Scotiabank Giller Prize, which is very impressive as it is his debut novel.
This ‘novel’ isn’t quite a novel in the traditional sense. It is a series of stories, each prefaced by a black and white photograph from Acsinte’s collection, with a new name in the title. The names are both Romanian and Ukrainian/Russian. The tales focus on three villages on the border of Ukraine and Romania, neighbouring “The Thimble Factory.” Images of thimbles are present throughout the book, and we quickly learn that those who inhabit these villages must work five years at the thimble factory. There are narratives surrounding those working in the thimble factory which are more snippets of daily life, interspersed with fables and folkloric anecdotes featuring the supernatural like Strigoi (Romanian myth, troubled spirits of the dead rising from the grave, sometimes similar to vampire folklore) and Rusalkas (Russian myth, water spirit). At the center of it all is the fear of the Night Police who take people in the dead of night, and the most frightening figure at the center of the forest, not belonging to any village: the Bone Mother—she cooks and eats people who fail the tasks she gives them.
There are some phenomenal features to this work. The first is its juxtaposition of ‘regular’ folk next to these ‘supernatural’ beings as co-existing in the same spaces, while narrating it in a simplified, casual tone. The Bone Mother is never trying to scare you, but presents some narratives side by side of a history that may or may not have been. The way Demchuk also incorporates queer narratives gives the reader the impression that he is trying to look at various angles on the story of marginalized groups contrasting historical superstitions with contemporary oppression. There is also the juxtaposition of post-industrialism influence: the thimble factory, existing as a machine in the garden of folklore. The Bone Mother reminded me very much of a branch of literary theory contrasting naturalism with technology in literature. A work that comes to mind is the academic book by Leo Marx called The Machine in the Garden which explores the ways North America started out with such promise on untouched land with possibility, yet entered it with full industrial, assembly-line force, and how this is reflected in literature when the pastoral ideal clashes with technological advance. The way Demchuk presents these ideas in fiction is subtle but ever-present. Overall The Bone Mother very well written and had an innovative take on Eastern European folklore.
My only “problem” with this novel is that it’s not a novel. I thought the stories would combine as one, or that we would be introduced to some characters and then it would merge in novel-form. It maintained its short anecdote format, separated by images, that it was a little frustrating at times not knowing if it will merge or not. The short story format worked for what it is, however I’m wondering how it will rank against the other four nominees, and if this format would hold it back. What helped me a lot with this was getting the audiobook from Audible and following along in the text because they had different voice actors for each character and it brought them to life as diverse voices, with heavy Eastern European accents. Considering this is also a debut work, I think we can look forward to more from Demchuk and the book has done quite well so far making it on the list of two literary prizes already. This was a strong start!
I’ve been trying to find ways to bring LORE into conversation, and on this blog several times without deviating from my main topic, unsure how, and then the book came out! For anyone who doesn’t know the exact content of this “LORE” I will go into detail in the Book Review section. But first, I want to introduce you to all the formats LORE comes in. I’ve officially consumed LORE in every format.
For the month of October I binge-listened to the entire LORE Podcast (still ongoing) and caught up to the latest one. My new job allows for the listening of podcasts and audio books, so Aaron Mahnke has been my “coworker” for the last two months. Needless to say, I loved it. Every episode features a different macabre topic in which Mahnke weaves together several narratives that have been historically recorded and fit the topic. He does an excellent job, and the literary allusions, and pop-culture references are on point. One of the many reasons I adore this project is that it’s highly inter-textual.
The podcast won best history podcast last year. The podcast is accompanied by music throughout and occasional commercials. New episodes are released every two weeks on Mondays. If you’re like me and late to the party just be happy. It’s a GOOD party, and you get to binge, which is awesome! The musical accompaniment is by Chad Lawson, who will soon release an album featuring the songs from LORE called A Grave Mistake.
2. The TV Show
Just as I was deep mid-podcast, on October 15, Amazon Prime Video released Season 1 of LORE which features six of the most chilling episodes. It was so much scarier seeing these tales performed with live people and seeing the settings (most are set in times different from our own). The costumes and settings really gave another dimension to these little histories. The direction of this season was excellent. The music, mixed with live demonstrations of some of these horrific things, made me far more afraid than I thought I would be (especially since I knew from the podcast how they end). Although I found some criticisms online where people dislike that Mahnke’s voice narrates throughout the show, I found his voice to be comforting when things got scary. He was the familiar constant, and I needed that.
3. The Audiobook
This was actually my favourite format of the four, which I’ll explain at length below. It maintains the ‘cleanliness’ of the book, but it also has Mahnke’s voice and some musical effects which I loved from the Podcast. I got this from Audible. Although I completely understand why in the podcasts people often take requests for placing ads throughout, it can be a little annoying while listening, but with the audio-book, it was commercial-free and the transitions between topics were so smooth. This audio-book is a reading of the book below.
4. LORE: Monstrous Creatures | Book Review
This book is made of the transcripts from the LORE Podcast mentioned above and edited in such a way that results in a very smooth transition from one tale to the next. The book itself is a mere fraction of what is to be a longer series, published by Del Rey. The second book Wicked Mortals is set for release in May of 2018 and the third book has been announced, but the cover has not been revealed.
The book cover and the accompanying illustrations are made by M.S. Corley whose contribution to this work gives LORE yet another layer of talent and atmosphere. His illustrations are so morbid and simultaneously whimsical. I think the two choices for colors: the red and black, relate to the section in the book “Doing Tricks, Shifting Shapes” where Mahnke writes:
“Black and red, for a very long time, were considered bad colors, so if you wanted to describe something as evil, of course it was black or red or both.” (Mahnke, 76)
The content of LORE is made up of vignettes and separate accounts of mysterious sightings, happenings, or experiments done by humans. The range is anywhere from the supernatural to the scientific. All of them are rooted in real recordings and stories, even if at times humans just ‘claimed’ to have seen or done something. Mahnke reminds us with this work, that not too long ago oral testimony is all we really had, and that a lot of people were highly superstitious.
The way he captures these stories is in the same spirit of the Grimm Brothers. He collected and compiled tales of the macabre, but roots each firmly in historical context. I found it very useful to understand why and how certain practices were done in a particular time period. Mahnke references historical figures, other works of literature, and the sources from which one can find the details of each of these records. What I found most exciting is that he brings together stories from all over the world. We are globally united in our fear of the unknown, death, and the unexplained and Mahnke forces readers (and listeners) to look at that aspect of our human nature. He writes:
“We fear death because it means the loss of control, the loss of purpose and freedom. Death, in the eyes of many people, robs us of our identity and replaces it with finality.”
At the 200-year-anniversary of the Brothers Grimm, Harvard professor Maria Tatar—expert on folklore and fairy tales— mentioned that the reason fairy tales are so deeply ingrained in our society and why we love them so much is because they’ve been told and retold so many times that all the boring bits have been left out. What we get now is the final product of a story that has been edited through generations. I think Mahnke’s work captures the same effect through the refining of folklore, and the editing process that these tales have experienced simply by being tested in the format of a Podcast prior to being committed to text. Of course the stories and their content prior to Mahnke’s work on them were refined through oral storytelling. Mahnke sometimes even extends the use of ‘lore’ or ‘folklore’ and appropriates it to other unifying communal activities like sports and how we all share a common language like the “Curse of the Bambino” in baseball folklore for example. Mahnke constantly reminds us of the power of stories:
“no realm holds more explanation for the unexplainable than folklore” (65)
“Given enough time, story–like water–will leave its mark and transform a place.” (127)
I don’t know if I’ve convinced you to give LORE a try if you haven’t, or to experience it in at least one of its formats, but clearly I love it! No one asked me to write a review, this is just me writing about my love for this whole production, because in trying to explain what I love about it, I understand myself better, and what I enjoy about this kind of storytelling. An additional Lore-related video I strongly enjoyed was Aaron Mahnke’s speech here, on how he started out, and what brought LORE to the phenomenon it is today. If you have enjoyed LORE and want to try Mahnke’s other works, here are some of this other works:
Also, this is the official link to all things LORE.