“Smash this circus to the ground. Howl fiercely at the moon”
Jen Campbell’s The Girl Aquarium has a very distinct poetic voice. It’s like entering a dream where all the fairy tales, folktales, magical creatures, and children’s stories are participating in the same circus. The term Robert Lowell used when introducing Plath’s Ariel was ‘a controlled hallucination’ and it’s the same term that first came to my mind when reading Campbell’s collection. In addition to the beautiful imagery, there are insights to the inner world of womanhood: perceived by the male gaze tapping on the glass of female aquariums whilst simultaneously containing overlooked multitudes. The corporeal existence of womanhood divorced from all the potential, feeling, and depth. There are limbs severed and scattered all over this collection, and a great focus is placed on movement and performance. In “The woman’s private Looking-glass” the poetic voice urges us to “smash this circus to the ground” and to “howl fiercely at the moon.”
This collection plays with form, it is cohesive and well-edited, and acts as social criticism in the disguise of a dance with words. There’s fluidity and movement not only in the form of the poems but in their content. I will try to focus on one component of all I’ve described. The distinction between how a woman is perceived versus her inner world(s). In “Luminiferous Aether” the poetic voice narrates:
“…there are limbs reaching out / for the Peter Pan collars of speechless girls. / They wait in skin that is not their own. / In the dark they forget the names / of each others’ mothers…in fractured handbags they carry/ knitted souls. They Stretch themselves…..their poor/scarred heads. They know too many things now.”
There is so much to unpack in this single poem. Young girls forced to grow up so soon, to stretch themselves out in skins not of their own and fit a mould of something they have not chosen. To forget that they too need care and protection and are just as lost as the boys. To know so much and be unable to break out of the corporeal prison. No matter what you say or do, you will never be perceived as anything more than something to be admired in your tight claustrophobic aquarium. We are reminded of this gaze throughout. For instance in “The Exorcism of the North Sea” aside from the voices of the past, the ‘ghost birds,’ the grandeur and splendor of the sea and nature, our head is forcibly turned to look at the reality beyond the sublime:
“….we are snow globes…young boys peer…girls in bathing suits. We stretch out our carol sheets and hum like bees.”
In the poem “The Girl Aquarium” the poetic voice shows the dual nature of being both forced to perform, whilst made to feel guilty for actively participating. Craving care and attention, whilst simultaneously being trapped into being perceived differently from who you are and lacking the deeply desired human experiences:
“Labelled doors, interactive exhibits….girls with extra limbs. They scuttle into corners, pretend they’re shy. …hashtag girls….hashtag nothing you’ve ever seen before in your tiny little life….a teenage boy bangs the window, gives them the finger. / The girls rush forward, lips open, kissing the glass…All the better to see you with”
Contrast this poem with “Movement”
“On the bus home, I think of all the constellations / hiding under my skin. / I think of the word vein / and decide I don’t like it. / I think of you and how – maybe / you flit and fit / within a different galaxy. / I write in my notebook in code / and think about gravity. / I think that maybe we’re both lost / in the skins of human planets.”
Presented with constellations and infinite worlds beneath the skin whilst reminded that you will only be seen only for the stretched out, dried, and manufactured covering on the outside. There are no words.
I loved this collection so much. I allowed myself to be amazed and immersed in the experience upon my first reading and so many lines and ideas kept coming back to me the following days. I couldn’t stop thinking about this collection, and I had to go back several times to unpack and interpret. When I tried to decide what I thought of it as a whole I asked myself if there was anything I would have subtracted or added to improve it, and nothing came to mind. The collection is mesmerizing, cohesive, and superbly edited. I highly recommend this collection to those who love poetry, magical realism, and fairy tales, and those looking to try a distinct voice in contemporary poetry.
I received an advanced reader copy for review from Bloodaxe Books. The book is available for pre-order and more information can be found on Campbell’s website. Jen Campbell is a towering figure on Booktube, a great podcast host, a poet, and an award-winning author of nonfiction, children’s books, and humour books.
“For inside my scale green chest, there beats a grotesquely large and sensitive heart.”
I hope this book gets turned into a children’s cartoon series because I would watch it with a lot of passion. Gork: the Teenage Dragon, is Gabe Hudson’s debut middle-grade fantasy novel. The narrative follows a dragon named Gork who, you guessed it, is a teenager. What’s particularly charming about this novel is its snappy humour. Gork narrates his story and in the first chapter he establishes himself as:
“My first name is Gork, my middle name is The, and my last name is Terrible, and like I said, I’m a dragon, plus I’m a poet”
But not before criticizing Beowulf and Tolkien to no end for their bad portrayal of dragons. He says:
“Mr. Tolkien was a real low-hearted sonuvabitch.”
Gork is in high school at WarWings Military Academy where he is a little different than the other dragons. He is afraid of heights, and really does have a large heart. His nickname is: Weak Sauce. His main purpose in this novel is to find himself a queen, for if he fails to do so he will become a slave forever.
Maybe I read Spinster, and All the Single Ladies too closely together this year and only in the last month, but this ‘despair’ that young Gork has throughout this novel really resembled for me the pressures society put on women in the past. You must find a husband or be ridiculed as a ‘spinster’ or enslaved in various other forms. I hope I’m not reading incorrectly into this children’s book, but this is the first time I’ve read a book where the male character is forced, nay, obliged and in ardent despair to find himself a partner. While other books have shown this dynamic from a male perspective, never with such urgency, and I’ve personally never encountered it in children’s literature. Well done Gabe Hudson!
Politics aside, I must return to the humour. This book is so funny. I found it funny as an adult who is quite in love with dragons and I wonder how the children would take this same humour. There’s something in his voice that echoes Lemony Snicket for me, though his publishers insist that it’s ‘Harry Potter meets Hitchhiker’s Guide to the Galaxy.’ Either way, I suggest we, the readers, allow Hudson to have his own voice through Gork. I also enjoyed the ways he doesn’t shy away from swearing a little bit (never vulgar though). Highly recommend! I would also suggest that parents read this book aloud to their children, or librarians to their students at circle reading time. It’s a great bonding book! I look forward to Hudson’s future novels.
This book is scheduled for publication on July 11, from Knopf Publishing Group.
The New Voices of Fantasy is an anthology compiled by Peter. S. Beagle (famously known for his work The Last Unicorn) and Jacob Wiseman. All the stories in this collection have been previously published between 2010 and 2017 in short story magazines like Clarkesworld, Uncanny, Strange Horizons, and Tor.com. In 2010 Beagle edited another anthology The Secret History of Fantasy exploring the merging of genre fantasy and mainstream markets into a new form of literary fantasy. Wiseman asserts that “this anthology constitutes something of a sequel.”
Beagle begins his introduction to this anthology with a block quote paraphrasing an excerpt from Margaret Atwood’s In Other Worlds: SF and the Human Imagination:
“Jules Verne, who always considered himself a scientist, was distinctly put out by the work of the younger writer H.G. Wells. ‘Il a invente!’ the author of From the Earth to the Moon sniffed at the author of The War of the Worlds. ‘He makes things up!’”
The older generation constantly unwilling to accept the young/new. What Verne could not accept was that Wells invented machines beyond what was mechanically possible—unlike what Verne did in 20,000 Leagues Under the Sea with the submarine—Wells expanded by creating a time machine. Beagle relates an anecdote from his experience as a young writer where one of his older teachers, Frank O’Connor, could not accept Beagle’s storytelling in the writing class back in the ‘60s because he was a fan of realism and classics. Beagle writes: “I was outraged at O’Connor’s rigidity.” The resistance from the older generation is not the only thing keeping young fantasy writers back–there is also the hierarchy, favouring ‘literary works’ and ‘realism’ above the innovations brought forward by fantasy. Ursula K. Le Guin tells Beagle:
“all of us [fantasy writers] feel, to one degree or another, that mainstream fiction has been stealing our ideas—and even our classic clichés—for generations, and selling them back to us as ‘Magical Realism.’”
Realism is not everything, and fantasy under a different name does not become more ‘literary’ or significant. Beagle and Le Guin ask us to open our eyes and see that it was Fantasy all along.
What Beagle does with this anthology is an elegant passing of the writing pen to a younger generation of fantasy writers, and he presents them to us, the readers, without rigidity as his teachers before him have. He accepts them as they are and is in awe of their risk-taking, creativity, and courage. I cannot imagine how many works Beagle must have read through to select these top 19 stories, but I had a hard time selecting my favourites, as each one of them brings something completely unique to the Fantasy cornucopia. His selection includes a great balance of men and women writers, as well as various backgrounds.
The stories featured in this anthology are as follows:
- “Hungry Daughters of Starving Mothers” by Alyssa Wong
- “Selkie Stories are for Losers” by Sofia Samatar
- “Tornado’s Siren” by Brooke Bolander (opening line: “Rhea is nine years old when she first meets the tornado that will fall in love with her”)
- “Left the Century to Sit Unmoved” by Sarah Pinsker
- “A Kiss with Teeth” by Max Gladstone (featuring Dracula as a suburban dad so worth reading)
- “Jackalope Wives” by Ursula Vernon
- “The Cartographer Wasps and the Anarchist Bees” by E. Lily Yu
- “The Practical Witch’s Guide to Acquiring Real Estate” by A.C. Wise
- “The Tallest Doll in New York City” by Maria Dahvana Headley
- “The Haunting of Apollo A7LB” by Hannu Rajeniemi
- “Here Be Dragons” by Chris Tarry
- “The One they Took Before” by Kelly Sandoval
- “Tiger Baby” by JY Yang
- “The Duck” by Ben Loory
- “Wing” by Amal El-Mohtar
- “The Philosophers” by Adam Ehrlich Sachs
- “My Time Among the Bridge Blowers” by Eugene Fischer
- “The Husband Stitch” by Carmen Maria Machado
- “The Pauper Prince and the Eucalyptus Jinn” by Usman T. Malik
I linked some of my favourite ones, but in support of Beagle and his work I would recommend this anthology as an individual codex because it is cohesive and works well as a collection with the choices Beagle has made.
I recommend this anthology to anyone who loves fantasy and wants to try some of the new emerging voices. I have no doubt that each one of these writers will continue to write and publish larger works in the future, and this anthology is a great introduction to them. I would especially recommend this to readers who are new to fantasy and want to sample shorter works without committing to an entire series and/or trilogy.
Many thanks to Tachyon Publications for sending me an ARC for review. This anthology is currently scheduled to be published on August 18, 2017 (though books are always subject to having dates pushed back). Regardless of publication date, it is currently available for pre-order on Amazon.
Shaun Hume is a young emerging author with a unique voice. He is Australian-born and has self-published three works, Ewan Pendle and the White Wraith, The Girl in the Blue Shoes, and Tightrope Walker. All three works involve elements of speculative fiction, however, Ewan Pendle and the White Wraith is the only work that is written for a younger audience—perhaps 10 to 12 years old. Hume shares his writing experience and process in his literary blog which can be found here. One particular line that got my attention in his blog made me want to read Ewan Pendle and the White Wraith (2013):
“Writing can be an emotive and immersive experience sometimes. And when the scene is set right, there’s no greater thing to do than be lost in the world of one’s creations”
Ewan Pendle is a strange boy. He is an orphan who has been through numerous foster families—so much so the parents might as well be named John and Jane Doe—which funny enough they are. What sets Pendle apart is that he has vivid visions and can see monsters. Because he sees such creatures, he is labelled many things under the umbrella of ‘weird’ and must suffer the consequences by being bullied, and thrown around various families. The confusion of not knowing who he is, and his strangeness, is soon explained as he finds that he is part of an ancient peoples, the Lenitnes, who can see the truth. The monsters that regular people cannot see are actually there and the rest of the world is ignorant to their existence. He is then taken in a school called the Firedrake Lyceum where he learns the ways of the monstrous creatures he sees with other children just like him. Ewan is told in ‘orientation’:
“Firedrake Lyceum is a place where other Lenitnes children such as yourself go to learn to develop that gift, as well as how to put it to best use. The monsters you have been seeing are called Creatures. We as Lenitnes have been charged, for thousands of years, with the task of protecting other humans from these Creatures. And as the situation may arise, to protect the Creatures from some humans as well.”
Ewan befriends Mathilde and Enid and together they solve the ‘case’ of the White Wraith—threatening the royal family.
As mentioned above, this book is self-published, thus there will be instances of evident lack of editorial work. However, I found that it was very easy to read and the plot and characterization make up for that several times over. On Goodreads and Amazon, this work is labeled as “an antidote for Post-Potter Depression.” I myself missed out on the Potter fandom growing up, though I did thoroughly enjoy the series as an adult. I can see this label being both useful and problematic for an emerging author like Hume. In a way it’s a flattering comparison, and simultaneously it raises expectations where the reader approaches the work with a skeptical eye. I would urge readers who try Hume’s work to refrain from such expectations. As a person who has read both later in life I found the two works to be different in pleasant ways, and I think there is room for both works to exist. That said, the work contains magical creatures, and fantastical elements one may find in any other works post and pre-Potter like The Magicians, The Inheritance Cycle, or Wizard’s Hall. I was personally reminded of the children’s film ParaNorman. I would recommend this book to children around ages 10-12. Hume’s closing remarks give readers something to look forward to. He writes:
“If any of you fine and well-dressed people out there are keen to hear more of Ewan, Enid, Mathilde, and all the rest, then you may be pleased to know that the second volume of this monstrous tale (of which you have been witness to just the first part of ) is planned, and so are others”
This month has been very hectic. The first two weeks I was writing final essays, wrapping up my Masters degree. I did get some good reading in this month. I was pleasantly surprised by the poetry collections I got a hold of this month because they really nourished the soul. Overall it was a good reading month. Here’s what I read starting from the most recent:
The Poetry of Impermanence, Mindfulness, and Joy – Edited by John Brehm
This collection is an amalgamation of poems from various authors who are a source of wisdom in both the East and the West. The collection brings together a spiritual community that remains connected in that they wrote of essential human truths universally experienced. The collection includes poets like Frost, Whitman, Shakespeare, Kerouac from the West as well as poets from the East like Han Shan, Wei Ying-Wu, and Li Po. I wrote a full review here.
The Slow Regard of Silent Things – Patrick Rothfuss
Earlier in the month I finished the first book and while I am saving the second volume for later on in the year, I thought I would give the novella a chance: The Slow Regard of Silent Things. I read a few reviews and people seem to be very angry at this novella for its lack of plot and character depth. I too expected a history of Auri. I hoped we would find out what happened to her, how she ended up in the Underthing, maybe some secrets she knows from overhearing conversations. I had to connect some dots from the first book. First I remembered that Elodin told Kvothe that he had known Auri for many years around the University and that she herself had been a student studying Alchemy. Also Elodin with Auri are both mentally unstable characters so it’s subtly hinted that Auri may have also been affected by the Naming of things. Reading this novella is almost like a play or a very concentrated experience of what it’s like to be Auri. We don’t get a history, we don’t get much plot, or even much character development, but you get ‘a day in the life’ of Auri in case you wondered as a reader what she does all day.
In the novella she moves around the Underthing and has a lighted object or bio-luminescent creature that she has named Foxen. She observes objects and rooms. I think this concentrated experience is in a way appropriate for Auri because it still keeps her a mysterious figure but it captures the isolation and loneliness of the most hermetic character in the series. Her experience of life is certainly going to be different and perhaps less exciting than Kvothe’s—who experiences more things than anyone else in the entire first book.
This is my theory: she messed up something in Alchemy and out of that she got Foxen and became unstable, but Foxen keeps her alive somehow—which is why Elodin could have known her for years and she still looks young. Foxen is tied to her existence and daily habits/routine. That’s what I got out of this novella. I look forward to moving on to the second book The Wise Man’s Fear.
The novella is also accompanied by the beautiful illustrations of Nate Taylor.
The Hour Wasp by Jay Sheets
I received an ARC for early review from April Gloaming Publishing. The Hour Wasp is a poetry collection written by Jay Sheets and illustrated by Robyn Leigh Lear. This is a debut collection for Sheets and I read this on a lovely Sunday afternoon in the Month of April. If you’d like to know more about this collection you can read my full review. The book will be published on May 28.
This is What a Librarian Looks Like by Kyle Cassidy
I received a copy of this book as an ARC from Hachette, Black Dog & Leventhal for early review. The book will be officially published on May 16. This book is a combination of library history, author interviews on what the library means to them, and over 200 photographs of individual librarians across America with a little excerpt on them. Interviews include Neil Gaiman, Amanda Palmer, Nancy Pearl, Cory Doctorow, and George R. R. Martin, among others. The purpose of this book is to promote and celebrate libraries and the role of librarians in our society, particularly now when the funds of libraries are threatened by Trump’s proposed “skinny budget.”
Invisible Planets Translated by Ken Liu
This is a short story anthology of contemporary Chinese Science Fiction in translation. I wrote an individual Review for this collection. Invisible Planets is a 2016 TOR publication. The thirteen short stories had been previously featured in short story publications like Clarkesworld, Uncanny, and Tor.com. The short stories are written by Chen Qiufan, Xia Jia, Ma Boyong, Hao Jingfang, Tang Fei, Cheng Jingbo, and Liu Cixin. All the stories are translated by Ken Liu. Each author’s stories are preceded by a brief biographical note on the author.
Shards of Honor by Lois McMaster Bujold
I then half-read, half-listened to (on Audible) Lois McMaster Bujold’s second book in the Vorkosigan Saga Shards of Honor because she suggested starting with Shards of Honor and follow it with Barrayar. I will say in advance that this is definitely what is called a hard sci-fi book. There is a lot of military speech and military tactics. The main character whose point of view we follow is Cordelia Naismith’s, she is the captain of a Betan Astronomical ship. I love the way Bujold characterised Cordelia because she is strong and has a backbone. The work begins with the Betan base camp being attacked and Cordelia remaining behind with only one other person from her camp and Captain Aral Vorkosigan of Barrayar. A romance ensues between Cordelia and Vorkosigan but it’s very subtle in terms of ‘cheesiness,’ because as I mentioned this is a strong character and a hard sci-fi book. This may sound weird but Cordelia and
Vorkosigan reminded me of Commander Rourke and Helga Sinclair from Disney’s Atlantis: The Lost Empire. The relationship is complicated, there is a mutiny, and a lot going on that I can’t explain without spoiling it. I am willing to give the rest of series a try but not in a row. It’s an easy and pleasant listen/read and very exciting so it doesn’t require too much effort but it’s not a series I can binge.
Peter Darling by Austin Chant
This book is a retelling of Peter and Wendy only it reads more like a sequel or continuation. In this retelling Peter is trans and was born as Wendy. He returns to Neverland ten years after leaving and choosing to grow up as Wendy. I have written a full review on this book. There is a romance aspect between Peter and Hook, however most of this novel deals with issues of identity, losing and finding oneself, and fighting to reclaim one’s spaces.
The Whydah: A Pirate Ship Feared, Wrecked & Found by Martin W. Sandler
This is a book about the Pirate ship: Whydah. I received this book from Early Reviewers in exchange for an honest review: Full Review. In short, the first half of the book Sandler begins by following our main Captain pirate: Samuel Bellamy and the ship he hijacks: The Whydah. He explains the Articles of Agreement (among pirates), fun facts about the origins of The Jolly Roger, details of torture methods on board, punishments, as well as the good parts of pirate atmosphere on the ship, and facing the wrath of the sea as well as critical weather conditions. The second half of the book focuses on the wreck of The Whydah and the importance of each artifact which was retrieved in 1984. The details of each artifact, its history, and importance are absolutely fascinating and throughout Sandler debunks many pirate myths.
The Name of the Wind by Patrick Rothfuss
This book is written by Patrick Rothfuss and was published in March 2007 by DAW Books, Inc. That year he won the Quill Award.
The Name of the Wind is about Kvothe—a young, red-haired man who tells his life story to Chronicler (a scribe whose life he saves and who is ultimately writing the ‘true history’ of Kvothe) and Bast—a young man who is absolutely enchanted by his master Kvothe and is eagerly listening to his life story. There are few interruptions but overall, The Name of the Wind is a bildungsroman. We follow Kvothe from his childhood where he is raised by a guild of actors, follow him through several years on the Tarbean streets where he lives in absolute poverty, and eventually through his University education where he studies Sympathy (among other subjects). Finance and poverty drive Kvothe’s plot as he must always make another strategic move to earn a day’s living, or another semester’s tuition. By the end of this book you’ll feel like you understand their economic system and all about ‘jots’ and ‘talents.’ The characters he meets at University and in town are diverse and very interesting, though no character is as flushed out and dimensional as Kvothe himself. His main talent on top of his studies is being a skilled lute musician. What is particularly strange to me, is the “magic” system. It’s very difficult to explain because it exists, it’s ‘different,’ and somehow it’s not very present. At the university, students study Arcanist’s arts which include Sympathy, Sygaldry, Alchemy, and Naming and then there’s a sort of Fae-world kind of magic. Some professors study things that make them fall into madness like “learning the name of the wind.” The description of classes sound a lot like courses in our world (including tuition), and a little bit like alchemy. The use and presence of ‘magic’ is really subtle and sometimes I wonder if it’s even there. There are mysterious figures like Auri, the Chandrion, and the professor who is held up in what resembles the University’s ‘asylum.’ Things like ‘forbidden stories’ and the effects of ‘sympathy’ used outside of the University give off a ‘magic’ element, but when as the story is told I sometimes forget that this is a different realm at all. There is also a romance woven in, but it is not overpowering. This book is 722 pages, so being brief in describing what it’s about is complicated without giving too much away.
What I love most about this work is how it is told. The storytelling and world building makes me feel like I’m listening to one of Scheherazade’s stories. What really accomplishes that for me is the many ‘stories within stories.’ There is a man at a tavern telling stories, there are songs being sung resembling medieval songs and filled with mythology and …well…stories. There are tutors, actors, guilds, dealers, clans, a hierarchy of class systems, and languages. All these components added while discussing the growth of Kvothe as a character give the reader a full experience of this world. It’s all in the details, like on page 300 where Kvothe and Wilem discus Siaru idioms:
“it means ‘don’t let it make you crazy’ but it translated literally as: ‘don’t put a spoon in your eye over it.’”
My favourite of all though has to be THE ARCHIVES. Descriptions of books in this novel are phenomenal. The presence of codices, and archives are everywhere. The descriptions of books, the presence of them, the contents, the things they help characters achieve just make this book so perfect. I highly recommend this to anyone who enjoys fantasy, books, schools, and bildungsromans. Here are a few of my favourite lines:
“You’d be surprised at the sorts of things hidden away in children’s songs” (39)
“I hope they spent those last few hours well. I hope they didn’t waste them on mindless tasks: kindling the evening fire and cutting vegetables for dinner. I hope they sang together, as they so often did. I hope they retired to our wagon and spent time in each other’s arms. I hope they lay near each other afterward and spoke softly of small things. I hope they were together, busy with loving each other, until the end came.” (124)
“The door of forgetting. Some wounds are too deep to heal, or too deep to heal quickly. In addition, many memories are simply painful, and there is no healing to be done. The saying ‘time heals all wounds’ is false. Time heals most wounds. The rest are hidden behind this door…there are times when reality is nothing but pain, and to escape that pain the mind must leave reality behind.” (135)
“[Skarpi] – I only know one story. But oftentimes small pieces seem to be stories themselves…it’s growing all around us…sometimes the story is growing in squalid backstreet bars” (202).
When it comes to analyzing Peter and Wendy, Peter is often interpreted as Wendy; the two characters being one and the same. Peter is seen as a symbolic or metaphorical way of dealing with issues regarding adulthood and growing up. Wendy herself is forced to by her father, and she approaches this dilemma by escaping mentally to a separate space where she can work out her issues. In the original play the actor playing Wendy’s father would also play Hook as a continuation of the ongoing confrontation. Although there can be much read through a Freudian lens, a practical explanation is that the two characters never meet and so it would be an efficient use of the actor, rather than hiring another one. However, I much prefer the former. Jen Campbell discusses this in more detail on her YouTube channel (certainly worth watching).
I am a huge Peter Pan fan, and as a result have watched almost every possible adaptation, and am working my way through reading retellings. Austin Chant’s Peter Darling is by far one of my favourite retellings. In his novel Chant shows how Peter and Wendy are one and the same. Peter Pan returns to Neverland as a grown man after he had chosen to grow up ten years prior, back in London, as Wendy. Chant captures the voices of the Lost Boys particularly well, (the dialogue is absolutely perfect) and most importantly he captures the spirit of Neverland. I have read some retellings that lost the essence of those characters while trying to achieve a different goal through plot, but Chant kept them all in tact as if Barrie is just continuing on. I loved how well-preserved they are through dialogue and interactions.
Chant writes the character as Peter as a trans individual who had been born Wendy. This new added dimension told through the metaphor that exists in Peter Pan is one of the best ways to create a means by which anyone can begin to listen, and understand the trans narrative. Chant adds a layer of depth to these characters that deals with identity, losing and finding oneself, and struggle for power and asserting oneself in places that were theirs to begin with (in Peter’s case: Neverland). Here are some examples of dialogue that stuck with me:
[Ernest:] I knew…I was different somehow…I had to get away from my family. They kept saying there was something wrong with me. In Neverland, nobody cares about that. You can be free.”
“I know what you mean,” Peter said without thinking (page 30)
“It hit him again that his skin didn’t belong to him, that he was a puppeteer moving a stranger’s body. That was playing a character, while the real, lonely, frightened Peter was buried inside him…. I’m here to fight. I’m a boy.” (page 47)
This Peter Pan however, is very pro-fighting and pro-war. He arrives in Neverland driven to take his place back as leader almost immediately, and wants to fight the pirates even though there has been a ten year peace treaty on the island. He sees pirates as one dimensional and is constantly in the mood for a fight. My interpretation is that this is a result of years spent among regular people and growing up back in London. Before Pan was a playful fighter whereas now he just wants to fight with an anger-driven passion.
There is a romantic/sexual dynamic between Hook and Pan which others find distracting, based on some reviews I browsed, however, I thought it worked really well with this retelling. I didn’t know I’d love that but I did. I always thought there was a strange sort of tension or sexual energy between Hook and Wendy (even more apparent in film adaptations like Hogan’s), and if Wendy is Peter, then it makes perfect sense.
The author, Austin Chant, identifies himself as “a bitter millennial, decent chef, and a queer, trans writer of romance and speculative fiction.” He co-hosts the Hopeless Romantic, a podcast dedicated to LGBTQIA love stories, and the art of writing romance. I look forward to his next books, and I recommend this one to anyone who enjoys retellings, Peter Pan, or just wants to look at Pan from a different angle.