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by Rachel Rodman

“And the story—the new story: amended and inverted—was written into her skin.”

—1—

“Wolf!” cried the little pig, “Let me come in!”

She stood… this time… not before a cottage in storybook land, but rather before an apartment in 1908 Vienna.

And the pig, herself, was—possibly—not precisely a pig, but a construct, built of paper, with the parameters of her existence encoded upon it in ink. And with a dusting of magic, on top of that—a light layer of misdirection—which made her seem mostly human.

And the Wolf, somewhere behind that door, was, to a certain way of thinking, not a Wolf… but rather a young man, brooding and pitiable, and still somewhat shy of nineteen.

But the pig did not think in caveats.

Only in story.

And the story—the new story: amended and inverted—was written into her skin.

Instructions, in her skin.

(“Let me come in!” she oink-snarled, and rapped at the door with her hooves.)

Urgency and imminence.

In her skin.

(“Let me come in!” she huffed and puffed.)

The Imperative…

…In her skin.

(“Let me come in!”)

…And then the Wolf opened the door, just a little…

Through the slit, their eyes met… one wolfy eye first, then a second, as he let the door swing wider… and the Wolf drew in his own breath, riveted.

For there was something about her…

…an inexplicable luminosity…

So striking…

(And what, he thought—anyway… what, he thought—breathlessly—does a wolf have to fear from a pig?)

So the Wolf let her in.

And she killed him.

Killed him, strangled him, with a length of straw. With a yellow-white fiber, freshly fallen from a farm cart, which she had procured from a road just outside the city. Drew it back, a line of light wire against his throat, until his eyes bulged.

“Warum? Warum?” wheezed the Wolf, when she paused: once, twice, to incrementally relax her grip upon the fiber. “Warum?”

“Because you are the Wolf,” she shriek-oinked. And her ink bubbled and flared, so hot that the paper that composed her practically ignited. “Because you are the Wolf.”

Later, she danced upon the corpse. Danced and danced, hoof by hoof by hoof by hoof. Until what remained at her feet was only a jelly, a stain. And she spat, Oink, Oink, into the smear of it: the gore and shattered bones.

As she oinked, she felt the world and the future, rippling and altering around her: brighter and happier.

Done.

But…

When she exited the apartment, luminously human-like in her hat and overcoat, and with the blood mostly dabbed away, the pig paused.

For there, shuffling warily up the hallway, a question in his eyes, was… and she snatched clumsily amid the ripples, to apprehend that identity… the Wolf’s roommate.

…August Kubizek…

Around August, there were also ripples. But these ripples were quite bitter. August would be incarcerated for the Wolf’s murder; there would be no other suspects. And even after, long after, deep into his sentence, the trauma of this day would persist. What lay behind this door would haunt him: blood in his dreams; blood, too, when he was awake, and all the anguish that attends the violent loss of a friend.

For just a moment, the pig felt a little cold.

“Entschuldigung,” the pig said softly. She shuffled her feet–the whisper of a curtsy. Then, with an awkward little hop, she pressed a small and not-terribly-well-considered touch of her snout against August’s cheek: not quite a kiss—for whatever comfort, anyway, that that could ever be worth—and August drew back, astonished.

“Wer bist du?” August asked, just so softly.

But the pig slipped away, hurrying down the hallway. So August turned back to the door, thoroughly unnerved, and ever so slightly bewitched.

And, when his absentminded knock went unanswered, he reached, dazedly, into his pocket, to withdraw his key.

Out of the building, and through the streets, the pig fled. At the outskirts of Vienna, she threw off her disguise and dropped to all fours, faster and faster and faster. Then, once she had attained an improbable speed, she slipped, with a little grunt, into a space that—to a certain way of thinking—wasn’t there, and into a forest, where no man had ever been, where the sun rose in the west and set in the east, and where the great oaks shrank, shrank, down to saplings, and smaller still, and were swallowed up entirely by dirt, and then ceased to be.

“Chinny-chin-chin!” she sang, for hope and for triumph. And for life, life, life.

—2—

What the first little pig had done would serve. But the same text was also imprinted into the second pig’s skin. So, when his turn came—and it must come, for so ran the inexorable logic of the story—he was compelled to do one cleverer.

This pig pressed into a different section of the forest, deeper and darker. And, when he emerged, it was late autumn, in a different place, and at an earlier time: Braunau am Inn, 1888.

Here, at the village outskirts, he dilated his nostrils, searching, Snort, Snort, Snort, until at last he discovered it: black and pungent, inside the crumbling stump of a tree—a rot that grew on wood.

A rot that contained… power.

To distill that power, the pig availed himself of the equipment in a chemist’s shop—breaking in quietly, after night had fallen, to minimize the likelihood of attracting notice.

What remained, as pure as he could make it, once the final layer of ethanol had evaporated, was a small cluster of potent crystals, glittering pink under the rays of his candle.

An abortifacient.

At dawn, at the market, he purchased more quotidian supplies: meat and vegetables; spices and cooking equipment. Then he retreated to the town outskirts for the better part of a morning, chopping and stirring over a wood-fed fire.

In the afternoon, plausibly arrayed as a cook, he slipped into the Wirtshaus, where the Wolf’s mother occasionally—and today, in particular—would come for lunch.

At her table, bowing, he presented the bowl of soup, appetizingly scented.

Once again: there were ripples everywhere. And, as Klara set the spoon down into her soup, this pig, cleverer than his sister, felt their imminence.

Nearly all of the ripples were exquisite. Cataclysmic. And yet…

…and here the pig flinched…

And yet…

Those about Klara were otherwise.

This time, the pig knew, the blood would be intimate and localized; it would emerge secretly, clot by clot, invisible to everyone.

(Almost everyone.)

Klara had already lost children. Tomorrow, when the cramping started, she would try to push the pieces back into herself, while keening an impossible commandment: “Live!” And she would wallow on the floor like that, weeping and clawing at herself, until her husband’s pity—which was decidedly finite—ran out, and he would drag her to her feet, hissing that she was “disgusting.”

In the months that followed, Klara, already unstable, would withdraw—or, rather: descend—into herself: deeper into brooding, deeper into darkness.

“Entschuldigung,” murmured the pig softly, ostensibly in reference to some superficiality—a slight imperfection in the way the table had been arrayed.

But there was an unmistakable poignancy to it, all the same, and Klara, startled, looked up sharply.

The pig, though, kept his eyes mild and dark: meeting her gaze, even as he did not quite meet it.

So Klara looked away. And she lifted her spoon, extracting a careful portion of the soup, and cooled it just briefly in the air. She was quite hungry, after all; for weeks—between, at least, the bouts of nausea—she had been so hungry. And so, after placing that first spoonful to her lips, she proceeded to eat voraciously.

She noted, of course, though only in passing, the unusual residue of… Something… which the pig’s spices had not entirely been able to mask. But it was, she thought—to the degree that she even thought about it—simply a part of the exceptionalness of this new condition—the odd overtone, which had been imparted to everything, coating her tongue, as it coated her mind: the strange and radiant experience of harboring Life.

The pig, forgotten, slipped away. On his way out, through the side door, he was the object of an unpleasantly inquisitive glance from the Wirtshaus’ proprietor. But the pig walked quickly and with purpose, too fast for anyone to follow, even if they had been determined to—and no one harbored any such determination.

At the edge of the town, the pig dropped his disguise, and ran on and on, four-legged, until he reached the forest of the shrinking trees, where his sister was—or had gone—or would be. And he proceeded beneath the shadow of those leaves, which, in a certain sense, were not there: leaves through which a strange wind whispered; leaves that contracted, smaller and smaller, and were converted, artfully, into juvenile nubs, before their stems proceeded to absorb them.

“Chinny-chin-chin!” he sang to celebrate the alteration of everything—all of the tragedy and darkness that the world would never know.

—3—

What her two siblings had done—either would have been well enough. But the same imperative was also written into the skin of the third little pig. And she was cleverer still.

So, when it was her turn, she descended into the same forest, deeper yet, and emerged a few months earlier than her brother had, on a warm evening in mid-August, 1888.

At the outskirts of Braunau am Inn, she collected a square of brick from the crumbling wreck of an abandoned house.

The brick was jagged and broken—imperfect, to a certain way of thinking. But, for the pig’s purpose—and she oinked admiringly—nothing could be better suited.

So the pig carried it with her, in the folds of her elegant human gown, until she reached the center of the town, where there was a depression—the depression—in the cobblestones, and here she positioned it carefully, so that only the tip protruded, shrouded by the shadows that were cast by the shop just beside.

Against the wall of that shop she leaned, even deeper, inside the cool of those same shadows, waiting.

Then, in a moment, there he was: the Wolf’s father, Alois, proceeding apace, down the cobblestones, lost in thoughts of a mounting urgency.

And, going hurriedly, he caught just the tip of his foot, mid-stride, on the corner of the brick. It was a solid, jarring bump, which jostled—slightly, ever-so-slightly—the entire lower half of his body.

Including—critically—his testicles.

From out of these shadows, the pig trotted lightly, and presented a congenial hoof, carefully muffled by cloth, so that it seemed like a hand. And, steadied by the pig’s kindness, the Wolf’s father merely lurched slightly to the side, and did not really fall.

“Entschuldigung,” murmured the pig.

Alois was startled. And embarrassed. But he acknowledged the pig’s assistance, anyway: a brisk nod, if not quite a friendly one.

Again, there were ripples, shuddering and transformative. And the third pig, cleverest of them all, perceived them with perfect clarity:

Alois would continue toward home. And after that brief interruption, occasioned by the stumble, the narrative of desire would continued to play in his mind… ever so slightly heightened by his encounter with the stranger.

And, when he got there, to Klara, and to bed, he would exorcise his flusterment, releasing the semen that had been jostled by the stumble.

This time, a particular sperm, its position altered, would emerge too soon. It would strive and die, in a superficially successful, but ultimately useless quest to reach the tube—empty and still egg-less—that extended from ovary to womb.

And, after many more beats, another sperm, more fortuitously positioned, would instead encounter an egg—the egg—and initiate, this time, another kind of child:

A son. But a son of a different stamp: neither exceptionally good nor exceptionally bad. And one who, in a historical sense, would be profoundly anonymous and utterly forgettable.

This child would resemble the Wolf, in the way that siblings often do. The same hair. The same skin. The same unsettling eyes. Yet: he would be an Instead Sibling, a person formed from the very same egg; the sort of sibling, that is, who could only preclude his brother, and never coexist with him.

(…beautiful ripples…

…tsunamic ripples…

…altering everything…)

And now, Alois—who could no longer, in any sense, be characterized as the Wolf’s father, but only as Alois—disengaged from the pig, with a grimace of wounded dignity, and proceeded on his way.

And the pig—the third and final and cleverest pig (for, in every version of the story—and this part never changes—there are exactly and only three)—retrieved the brick from the cobblestones, so that it would inconvenience no one else, and then hurried back, just as she had come, shadow by shadow, until she had returned to the abandoned house. There she let the brick fall, and her costume and her front legs, too, and thereafter, four-legged, she went faster and faster and faster, until she entered that wood that wasn’t, where the leaves leaped abruptly from the ground, before spiraling upwards, elegant and slow, and adhering to the branches. And whose autumnal colors, perching there, were diluted, gradually and beautifully, to green.

“Chinny-chin-chin,” she sang.

And, outside the forest, the sun brightened, over Europe and the world, to something better and to something different.

—0—

“Time a upon Once,” whispered the girl. For she had taken, gradually, to speaking like that: high and breathy and backwards and only to herself, in the months since she had entered the camp.

When she had been younger, her storybook magic had been whimsical. With it, she had caused her family’s ducks to hatch inexplicably ungainly young, which grew up—amusingly and wonderfully—to be beautiful swans. And she had laid an enchantment upon a little lamb, so that it had followed her, always, wherever she went.

But, in the camp, everything had become different. Here, she had retained one of her storybooks, somehow—unnoticed and unconfiscated—and that had been its own kind of magic. And the play had continued, in a way, serious and grim, and marshaled against terrible things: labor and cold; hunger and sickness; tragedy and ash.

Play, inverted. Play, distorted. And, everything: Backwards.

In it, with her sisters, she had plotted different strains of mayhem, all of which, in retrospect, had been horrifically naive.

With them, she had conjured elves, who entered the guards’ barracks, secretly, in the night, to dismantle their shoes, rather than to make them new ones.

But it made no difference, of course. For new shoes could be ordered, if you are a guard. Or—worse—appropriated.

At her sisters’ urging, too, she had conjured gingerbread-like men, who did not run away, but, rather, attacked the guards, as soldiers do; who would cry, not: You can’t catch me!, but rather:

“You can’t defeat me!”

But the guards merely shot them, and her men fell apart, in dough, crumbs spewing like blood, tearing like paper. (Shot them, like foxes would, if foxes had carried pistols.)

Or burned them up, in the ovens: dough and paper.

Ovens, for men…

And when her first sister died, and her second, too, was killed… when both of her sisters—her Sisters—were dead, she began to think, in real earnest, now…in deep and terrible earnest, about…

Backwards. And to speak, increasingly, her sisters’ names… Backwards.

Inverted like that, the syllables were harsh. And they seemed to her increasingly, the longer she repeated them, like an incantation of dark magic. A very dark magic, reminiscent of the way in which one might summon spirits. Or create golems, living, out of dead.

Backwards.

Because—she realized it, with a shiver, which played inside of her grief: Backwards could also mean Unmaking.

And, more than that: That was what real magic was.

In her dreams, increasingly, she saw a forest—a great, dark forest—composed of subsiding branches and shrinking trunks.

And, during the day, when her dreams were more lucid, she would think, in a new way, on that Name, from the radio, before the camp, and now, Heil, Heil, on everyone’s lips: the distant Führer.

So she made Jack first, ripping out a page from his story, and folding him out of paper. “Kill the Ogre!” she told him, and wrote it, hands trembling, into the fibers that would compose his skin: “Kill the Ogre! Kill the Ogre!” again and again.

“Kill the Troll!” she commanded the Billy Goats Gruff, shaping their pages—1, 2, 3—with greater care than before. “Kill the troll! Kill the troll!” she wrote, in still more emphatic ink.

But they all failed, all of them, despite her directions… they, and all the others, too; they all returned to her: bewildered and lost and tremulous and disappointed, with bloodless hands, or gore-less hooves.

“The forest is too dark,” they said, with their paper-flesh lips.

“The forest is too strange.”

And: “I could not find the way.”

So she unfolded them gently, night after night, almost silent in the darkness: just a crinkle of paper, in the imperfect privacy of her cot… down and down again, dismantling their shapes, and flattening them back into pages.

…unmaking, unmaking…

…but not Unmaking…

Until the storybook had been almost entirely dismantled, nearly all of the pages torn out, and what remained were… pigs. Pigs, who occupied a curious, in-between category…one that she had imagined, at first, might be less amenable to her magic: creatures who had hooves, but chewed no cud.

And yet, and yet—and she caught her breath, just then, as she considered the matter in another sense—this… this difference, this lack of category, made them, perhaps, inverted beings; animals without a place, who could go, perhaps, where others could not go…

Backwards.

“Kill the Wolf! Kill the Wolf! Kill the Wolf!” she wrote into their skins, using an ink made of ash and mud. And of blood, her own blood, too, which she could not spare, not really, in order to darken the words: so that they would remain there, for long enough, and there would be no mistaking. She could not see the forest, not exactly. Only dream it. So she curled, shivering on her cot, and then—then, as she slept—she saw them, but only dimly, receding and receding, in a smear of trees…

…and back again, after some timeless interval; her eyelids fluttering, as she sensed their return: her golem storybook creatures, oinking softly to her, at the side of her cot–one set of hooves, covered in blood, though the others were clean. And announcing, triumphantly: Chinny-chin-chin.

So she held them close, flesh against paper-flesh, whispers passing between them: “Time a upon Once,” until at last they slept, curled together, on the narrow gray bedding. And, as they slept, as they all slept—as everything slept—she smoothed them against her, like blankets, flattening the crinkles and folds, and she sensed, too, the inks lift, and the inks’ pigments unmix, and return, in part, to her: blood of her blood.

Because that is what Unmaking means.

To wake up, to wake up…

…warm and elsewhere, in a bed that was not hers…and yet it was.

No golems. No paper.

But a sound of voices—of laughter—in another room. And a glimpse of a calendar, across the room: familiar, and yet also not familiar, and the view from the window of the falling snow.

A winter—another sort of winter—in 1944.

And her sisters… Sisters, in their nightgowns… peeking their faces through the door frame, before skittering playfully across the room.

“Wake up! Wake up!” they cried. For hadn’t she, they accused, been a “Sleepyhead” that morning? And a “Lug-a-bed?”…And hadn’t she slept long enough?

They called her name, too, her real name—teasing and warm. And she called theirs, voice cracking.

Called their names…

Forwards.

And there was another moment, just one more moment, after that, as she pushed back the covers, legs exposed to the morning air, and her feet upon the rug… and a final flutter, as the magic settled, and the gulf closed, and the imperatives of the new reality set in… and for a moment, just a moment, though the memory itself had faded, the faintest intimation of its consequence remained, flickering in her head and heart: an immense and incomprehensible happiness.

 

* * *

About the Author

Rachel Rodman (www.rachelrodman.com) writes fairy tales, food poetry, and popular science. Her work has appeared at Fireside Fiction, Daily Science Fiction, Expanded Horizons, and elsewhere.

by K. A. Rochnik

“I wait for him to circle past, reaching out to rub his velvet black head. I try to catch the silky tip of a wing as he glides by.”

The sun sets behind the row of giant pines as I watch my manta ray son circle slowly near the bottom of the pool. I hunch at the edge, arms wrapped around my belly, like I’m bleeding from a hidden wound. I track my son’s smooth glide, intent on soaking up every inch of his dark bat-shaped body.

Last year when he was still wholly human, he darted about, dodging sharp corners by a hair, artfully prat-falling. I would put my nose in the crown of his tousled head, and savor his smell. Now I can’t tell his scent from a bucket of chum. I can only sit half-in, half-out of the pool for so long my skin never unpuckers, stinging from saltwater sores. I wait for him to circle past, reaching out to rub his velvet black head. I try to catch the silky tip of a wing as he glides by.

My husband came out earlier, to talk. He’s worried about our daughter, who’s gotten so skittish and wary, wanting to hole up in her room, burrow beneath her bed. I told him it’s the fox in her. A month ago she woke up with paws and a fluffy red tail. He thinks I’m neglecting her. Maybe I am, but she’s still mostly human and our son is not.

My husband has hired a special truck with a lift and a water tank to take our son to the ocean. This time tomorrow he’ll be gone.

The light just went off in our bedroom.

I have one more night to beg the Earth, in all its infinite wisdom, to change my son back.

* * *

So far the animal mutations affect children on the cusp of puberty. Overnight their extremities change to that of a threatened species. In California, it’s mostly bear, mountain lion, wolf, elk, and large marine animals, like sea elephants. A family from our elementary school was on an African safari. Their four children woke with the respective tails of a hyena, lion, elephant, the last with the antlers of an impala. They never came home.

Some of us tried plastic surgery, but the animal parts grew back.

We got used to the changes. There was even talk of restarting school. Some of the parents began to feel a kind of pride, like the mother of a boy with a bristly curly tail and tusks jutting from his jaw, going on about how smart wild pigs were.

Then the children transformed completely.

Governments passed sweeping wildlife reforms all over the world. The children needed clean habitats, unthreatened by humans. No more slaughter for trophies to hang on walls or poaching for superstitious cures. No more hunting at all. We are not animals who eat our young.

I suppose you think it all worked out for the best. The Earth setting itself right, putting balance back into the ecosystem.

To you and your beloved Earth I say this. May you stew in pollution. May you wheeze on carbon emissions and choke on the mountain of plastic in the oceans.

I don’t mean it. Please bring my son back.

* * *

The next morning I wake up next to my husband, staring at his back without blinking, gasping for breath through slits on my neck. The pillow’s silky with fallen-out hair.

I’m mute so I take care to bite him gently, then lick at the bead of blood. There’s a sudden rustling as he turns over, then a great upheaval, with sheets flying as he jumps out of bed, eyes bulging, mouth O-shaped.

I’m sorry that he’s upset.

There’s a fin sticking out of my back. I’ve seen those awful videos of sharks hauled up on the decks of boats. Their dorsals cut off; their mutilated bodies tossed back to die. I feel a rush of excitement. My change is only fair. It’s part of setting things right.

My husband huddles in a corner with hands on his face, his shoulders heaving.

Maybe I’ll become a megalodon, the biggest shark that ever lived. That would be cool, but I don’t think it works that way, since the megalodons were extinct before humans existed. Another big predator then–a tiger or a mako. Something sleek and fast, but without the cinematic baggage of a great white.

Maybe I can have sex with my husband one last time but no, only a shark’s clasper is fitting in there. I could make pancakes for him and our daughter one last time, but I don’t have all the ingredients and I’m not up for a trip to the grocery store.

He’s calm now. He’s come back to the bed, stroking my head softly. Soon he’ll carry me to the pool. When the time comes, he’ll ride in the truck that will take me and our son to the ocean. His lips will tickle the tough gray skin where my ears used to be, saying goodbye.

He’s a good father, and he’ll take care of our vulpine daughter, until the day she scampers away into the brush.

He’s losing his family, but I don’t think he is lost. The Earth loves all its animals right down to the microbes. Even the humans. She’ll keep some of them around, in the right amount.

Still, a part of me is sorry that he’s human through and through.

This is how the Earth answers me. Maybe it’s what I wanted all along–to drift into the ocean with my manta ray son. With a wave of his wings, he’ll glide away, disappearing in the darkness.

Then I’ll go too, racing after the scent of some wounded creature, following the spilled blood.

 

* * *

Originally published in Fantastic Stories of the Imagination

About the Author

K. A. Rochnik is a speculative fiction writer based in the San Francisco Bay Area. She writes science fiction novels and a wide range of short stories. Her stories have been published in Fantastic Stories of the Imagination, Strange California, NewMyths.com, EGM, and Frostfire Worlds. She is a graduate of the Odyssey Writing Workshop. She dedicates this story to her amazing golden retriever, Lexa!

by L Chan

“She looks into your eyes. Hers are dark all around.”

You know where the selkies come ashore, where they shrug out of their skins, leaving them wrinkled and steaming on the rocks. Not just the protected parks, because selkies are wild things, and even if they speak in their soft, unaffected tongues, they care not for the laws of man.

She stops you with a glance. The weight of her gaze pins your hand to the sealskin, a bloodwarm puddle of skin and fat. If you want her to wife, you have to take the skin. Take the skin, take the woman.

You hold it up. She takes the skin back; she takes the woman back to the roar of the Atlantic.

She comes again. There are many rock pools and beaches for the wild seal folk, but she comes back to this one. So do you.

You know that it’s easy to take a sealskin. The way it’s always done. Not our way, you say to her. Not our way, she says to you.

She hands you a skin. Sometimes a selkie doesn’t come back, drawn by the rough music of the towns, by wind smoother than current, by the fresh green of pine needles rather than the harsh cut of salt. Hard to be given a sealskin. Hard to mash your legs together, ridiculously reminding you of those novelty mermaid tails at kids’ parties.

You know it hurts her to walk, flippers were never meant for walking. Does it always hurt to walk, you ask her. Yes, she says and then she kisses you hard, tasting of sea spray and mineral breeze. Because she knows what’s next, because the skin knows what’s next. When it cinches itself tight, it breaks your femurs in half a dozen places. Legs were never meant for swimming. Will it always hurt to swim, you ask her. Yes, she says and she spits out blood where you’ve bitten through her lip.

She hands you an awl, a bone needle long as your finger. Easy to sew a sealskin up, piercing furred leather. Harder by far to bind the sealskin to yours, rawhide strips weaving through blubber, thick needle pushing through your pinched flesh, pulling velvety seal fat to clammy skin. Sew it to, don’t sew it up. You’d take it off otherwise.

(When a man takes a selkie to wife, he takes her completely. When a man gives a selkie a husband, he gives wholly.)

You think of this a lot. That you will reject the seals; that the seals will reject you. That you will reject the sealskin; that the sealskin will reject you.

She helps you, hand on yours when it shakes too much to push the awl. She helps you, when your hand is lily white.

(There is so much blood. Such is the nature of birthing.)

You can’t do your head. Not enough skin of your own to pinch. It takes two.

She looks into your eyes. Hers are dark all around. Seal eyes, you can always tell them by the eyes.

You press the needle through the skin of your forehead. Skin and scalp are thin there. Too thin for the drag of arctic water. If the needle doesn’t go deep enough, the ice will rip the sealskin straight off you.

(The ring of the hammer is felt not heard.)

(It takes two to make a seal wife. It takes two to make a seal husband.)

(The needle bites into bone.)

You look into her eyes. You’ll always see your whiskers.

She’ll always see the whites of your eyes. Human eyes. You can always tell by the eyes. She pulls her own sealskin around her; easily, effortlessly as you’d once have put on a shirt.

(Never again.)

(Never again will you put on a shirt. Never again will she take off her sealskin.)

(Into the water she goes.)

You give yourself to her completely, wholly.

 

* * *

About the Author

L Chan hails from Singapore, where he spends most of his energy wrangling two dogs. His work has appeared in places like Liminal Stories, Arsenika, Podcastle and The Dark. He tweets occasionally as @lchanwrites.

by Mackenzie Kincaid

“Only small, crawling things could easily wriggle their way into Gwyn’s den, like little children and beasts of the wood and tittering, discomfited birds with messages tied around their ankles.”

Gwyn the hedgewitch had her home in the ground.

It was a matter of comfort and practicality, because Gwyn had been a simple badger before she’d ever been a hedgewitch, but it also tended to put off visitors, which was just as Gwyn wished it. The hole that was the entrance looked much too small for any grown man to fit into, and that was just as well because Gwyn had had more than enough of grown men. She’d hardly be taking them on as clients, whether they could find their way to her door or no.

Only small, crawling things could easily wriggle their way into Gwyn’s den, like little children and beasts of the wood and tittering, discomfited birds with messages tied around their ankles. Gwyn preferred it to be so. Procuring the services of a hedgewitch, in Gwyn’s opinion, ought to be more difficult than walking up to a little cottage and rapping on the door.

Still, a grown man could crawl down the passage into the den, because the magic that had helped to dig the den in the first place allowed that. It was only that no man had ever tried, until one day, one of them did.

He called down first, which could have been thought polite, if the sound of his voice didn’t make something primal in Gwyn’s body bristle and hackle, didn’t make her shrink against the back wall of her own parlor, clicking her claws together for want of something to score with them.

The man called, “Hullo, the hedgewitch!”, and generally just made an awful racket, answering Gwyn’s silence with more noise.

He was cacophonous coming down the tunnel, too, but come down he did, even with mail and buckles jingling about him, his sword rattling in its scabbard, the toes of his boots scuffing the dirt as he shuffled in on hands and knees.

Gwyn watched as he spilled into her space in a jumble of limbs and dirt. He looked surprised to find himself on a rug, in a home as big as any human-built, tucked beneath the ground and between the roots of ancient trees, where it should not have been able to fit. He scrambled to his feet quickly and brushed the worst of the mess from himself. He even offered a courtly bow to the badger-woman lurking in the corner.

“Good day, my lady,” he said, as if he were addressing a beautiful courtier and not a badger the size of a small human, who walked about on her hind feet. “Are you the hedgewitch they call Gwyn?”

“I am she,” Gwyn admitted, reluctantly, for she had a wealth of experience with men — and men’s dogs — and none of it good. “What brings you to my house?”

“Just the same!” the man said, as if Gwyn had made a correct guess in some sort of amusing game. “Your house is the very matter. I wonder if I might commission you to build another.”

Gwyn squinted at him, for a badger’s eyes were never much good, accustomed to dark twilight spaces. “To build a house? Surely you have human craftsmen for such a thing. I’ve seen the structures they build: cottages, manors, and castles. All very grand.”

“Yes, but none so marvelous as this,” the knight said, and he waved his hand around as if to encompass the cozy, well-worn interior of Gwyn’s own home. He didn’t appear to be disparaging her efforts, though she found it unfathomable that he’d just claimed her humble sett was more grand than any castle. He had to be mad. “There are no men who build homes like this one, burrowed so into the ground. I’ve inquired, and human builders believe it to be a folly to dig a home right into the earth.”

“Men are ever terrified of being buried, in one way or the other,” Gwyn agreed. “And so why would a man want for a hole in the ground, if it is not one to be interred in?”

The knight’s face lit up, as if he’d been waiting for her to ask so that he might tell her the answer. “You see, I’ve been courting a lady who is rather particular about her living arrangements. She’s insisted she cannot possibly marry me if I ask that she live in a home above ground. She says she longs for the cool, sweet comfort of the earth, and who am I to refuse her anything that is her heart’s desire? Only, if we’re to live in such a place together, as man and wife, it would have to accommodate the both of us comfortably, and though I may live happily in a home beneath the ground, I hope to do it standing up. I made certain inquiries and heard of the tremendous craftsmanship of your own lovely home which I am told was built by your own hands. Well, claws. Should I say claws, is that proper? At any rate, I would like to contract you to build another home such as this, if you would agree to it.”

Gwyn made the sound that all badgers make when they feel a mixture of disdain and disbelief; it sounded something like a sneeze. “You do realize your intended is not a human woman,” she said at last when she’d decided that the keeping of another beast’s secrets was not her concern.

“No, no, she’s a bit of— well, she’s a fox, you see. Only she looks like a woman, and speaks as a woman, and feels like a woman, and so—”

“And so you still wish to make her a wife,” Gwyn concluded for him. “You men are fickle things. One day you pursue a fox with all your hounds, and the next you pursue her with all your heart.”

“I thought it rather romantic,” the knight said.

“You’re a knight; your lot think everything is romantic,” Gwyn answered. She watched him for a long moment and knew his ridiculous story to be true, because his eyes had the far-away cast of a creature in love. His hand kept resting against his armored belly, as if he were trying to hold all of his feelings inside.

Which was why Gwyn sighed, clacked her claws together, and said, “Where is this house to be built?” like an absolute fool.

* * *

The building of a burrow was not, as a rule, a terribly difficult thing for a badger. Gwyn’s claws could shape earth as easily as potters shaped clay, and her powerful shoulders and back could stand up to a long day’s labor, carving soil away and pushing it out in her wake with casual thrusts of her hind feet. Building a house a grown man could stand up in wasn’t too demanding a task for her either; magic could make small things large, fold and unfold the shape of a space, make an entryway bend itself to accommodate any guest while still sheltering a den from even the most persistent of dogs.

What it could not do, it seemed, was please a fox.

“It’s rather dark,” the fox-woman said, when her knight brought her by for a look at the construction. “It’s not as I would have dug it.”

Gwyn was still working on the rough shape of it then, using magic and slabs of stone and carefully rearranged tree roots to hold the walls in their places, until they could be shored up. She paused to shake the dirt from her back and did not care that some of it landed in the fox-woman’s jewel-encrusted bodice.

The fox-woman huffed and shook herself too, the way a sodden fox would, which was rather undignified in a dress. Some of her carefully coiled russet hair fell away from the hold of its pins. There was still dirt clinging to her from where she had crawled through the unfinished entry tunnel, and her shaking-off did nothing to dislodge it.

“Why did you not dig it yourself, then?” Gwyn asked, because foxes too were good at dens and burrows, hiding places in the dark.

“I’m hardly a laborer, am I?” the fox-woman said. She inspected the ends of her fingers, carefully groomed human nails where her claws should have been. There was still something foxy about her face, pointed nose and narrow mouth, eyes so light brown they were nearly gold, and there was certainly something canine in her manner, but her knight didn’t seem to notice or mind.

He gazed on her like she was the sun and moon together, even as she belittled his efforts and threw off his gentling touch from her elbow.

The fox-woman said, “It should be much larger and more opulent. I know you badgers have no taste to speak of, so I shall instruct you as to just how this house shall be built.”

She did instruct, at length, with diagrams carved into the rough earthen floor using the point of her would-be husband’s borrowed sword and detailed descriptions of just how everything should be. It was all within Gwyn’s capabilities, of course, but she doubted whether it was within the knight’s means.

“Imported stone and Roman plumbing,” Gwyn said, shaking her head, her disapproval shuddering in a ripple of muscles down her back. The knight had escorted his lady home — wherever that might be, perhaps a courtly palace or perhaps a tree stump — and then come back to the dig to confer with his builder on the new design. “Gold leafing and the tapping of hot springs. Magic can do much, sir knight, but I cannot conjure wealth for you from barren ground.”

“Money is no object,” the knight said, in the way of any beast whose larder had never gone empty. “It’s a small price to pay for my lady’s happiness.”

“Your lady is a fox,” Gwyn reminded him, “and has probably been happy enough before with a sparrow’s bones to chew upon and a dry hollow in which to sleep the night.”

“She has developed a taste for the finer things, since I brought her into my household,” the knight said, but it was more a fond musing than a realization. “Her gowns are only the finest, and she delights in the softness of mink.”

Gwyn snorted, which for a badger was a full-body event. “She’ll have torn mink apart with her own teeth, for all her delicacy. To set your eyes on a creature-wife is a foolish endeavor. You should abandon this folly and seek a human woman. This burrow-house will be the ruin of you.”

The knight’s smile thinned, and his countenance hardened. “That’s just what my father said,” he told her, and it was clearly not a pleasant remembrance.

Gwyn shrugged her wide shoulders, turning back to the wall that was now to be knocked out, according to the sharp-edged sketch on the floor. She set her claws into the damp earth and pulled. “You should heed him. He must know a thing or two about foxes.”

The knight said, “Yes, he keeps a collection of their hides,” and then he swept out, his foul mood following behind him.

* * *

The thing about having a tunnel for a front door was that it forced anyone who paid a visit to do so on hands and knees, worming along on their belly. For animals, it was a comfortable enough proposition; for men, it was a form of low subjugation. Any man who wished to enter first must lower himself to crawling like a beast.

Gwyn’s latest guest seemed to know it, too. He was already in a towering rage when he tumbled out of the tunnel and onto the floor. There were stones laid now, and they were heated by the hot springs that Gwyn had already tapped, but that did not make them comfortable for a man sprawled across them, ungainly like a fledgling bird, his round stomach doing nothing to cushion his fall.

“This is an outrage,” the gentleman said as he staggered to his feet, trying — and failing — to arrange his hair into something dignified. “I demand you cease this digging immediately, I will not stand for it!”

“Ah,” Gwyn said, and did not stop her digging, nor mind where she piled the dirt, even when it spilled across his finely polished boots. “You must be my client’s father, then.”

“I am not simply your client’s father, animal. I am the earl of these lands, and I order you to stop immediately!”

“Ah, yes, I recognize you now,” Gwyn said, and this time she did stop digging, turned around and squinted at him. “You look different when you’re not on horseback. One of your hounds tried to tear out my neck last winter, and your hunting party trampled my favorite watering hole into mud.”

These were the least of their crimes, but the earl was a guest, in a way, and Gwyn could only tolerate being a certain amount of rude.

“I do as I like,” the earl said, as if that were in itself answer enough. “I will have my way, and my son will not marry that wild woman, much less live in a hovel beneath the earth like an animal!”

“I’ve already told him to abandon this folly,” Gwyn said, with a wave of her ponderous claws. “But men don’t listen to beasts of the wood, even when they ought.”

“Oh, but they do,” the earl snarled. “That thrice-damned fox has my son’s ear bent and the rest of him wrapped right around her finger. He’ll not say no to anything she bids him do.”

“Perhaps she loves him,” Gwyn said, though she doubted it.

“Perhaps she seeks to bury him in his own house,” the earl rejoined, and Gwyn could admit that that did seem distinctly more likely. “You’re to halt construction immediately. My son’s inheritance this parcel may be, but I am not dead yet. A ‘manor house,’ my fool boy called this venture. By all the gods, I won’t have it.”

Gwyn said, “The money’s already spent, I’m afraid. All that’s left is my labor, which also is already paid, and which I will discharge, for I did give my word.”

The earl squinted back at her, perhaps in anger, or perhaps simply because it was dark down in that house-hole, the light-tunnels not yet dug, the braziers not yet installed into the unfinished walls.

The earl said, “This is not the end of the matter,” and wagged his finger in a way that to other humans may have looked threatening.

Gwyn, for her part, was not intimidated by anything without tooth and claw, so she turned back to her labor and did not see him out.

* * *

The fox-woman visited alone, the next time, when the house was nearly completed. Gwyn was just laying the finishing touches — carefully straightening the unnerving hide rug before the fireplace, and whisking away the last of the construction dust with a pristine new birch broom — when the fox-woman wandered in.

She was dressed more plainly this time in breeches and riding coat, fine kidskin gloves and knee-high boots, as if she’d ridden there on a horse, instead of being chased to ground by one. The idea made Gwyn shiver uncomfortably; she didn’t much like the idea of her own feet parting with the earth.

“My goodness, you’re a marvel,” the fox-woman said, when Gwyn had expected more criticism and even more extravagant demands. “You actually built all these ridiculous things I asked for. I took a wrong turn from the receiving room and had to walk through ten more rooms, each more beautiful than the last before I found you here. This place is truly a palace below the ground.”

“It is as you asked for,” Gwyn said, cautiously. “Is it not?”

“Well, yes, but I hadn’t expected to actually have it,” the fox-woman said. “You’re a bit mad, I think, building a thing like this for a man.”

“I build it for a man who builds it for you. Will you take him as your husband, then?”

“I hadn’t intended to,” the fox-woman said, and she ran her gloved fingers absently along the edge of the stout wooden mantel beam, as if checking for dust. “I meant to put him off, insisting on a burrow instead of a manor house. What kind of fool man would agree to such a thing? And even when he did, I never thought he’d find a builder to agree to it. And then he did, and I thought well, at very least I can bankrupt him and his father both with this foolishness. Do you know they cornered me on a hunt? I was run down to the bone and changing into a girl was all I could think to do to make them call their hounds away. I didn’t expect him to carry me home like I was some sort of damsel, naked and wrapped in his cloak. Everything else was a joke got out of hand, really.”

Gwyn raised her brows, the fur there bristling a little. Foxes loved a good joke, but they always took them too far, a kind of humor that cut more often than it entertained. “You’ve meant to reject him all this time then,” she said, and in spite of herself and the warnings she’d already given the knight, her heart clenched tight in sympathetic pain for him. He’d spent to his last penny to give his fox-woman the home she’d never truly desired.

“I had thought to,” the fox-woman said. “But he really is charming. He sincerely wants to live in a burrow with me. Even one that wasn’t as grand as this. And he hardly seems to mind, if I curl up in my fox-skin before the fire. Do you think they know what love is, humans? Do you think they’re capable of it?”

“I suppose they must be; perhaps this is the proof of it,” Gwyn said. She looked about the room and decided she was satisfied, her promise finally discharged. “You may tell your knight that his house is finished.”

She thought to leave at that, that perhaps she’d been a bit too sentimental that morning, when she’d packed her satchel and went off to work. But the fox-woman was still lingering at the unlit hearth, staring into the darkness of it as if imagining a future before it. And so Gwyn hesitated, silently cursed herself, then walked back to the heart of the home and opened up her satchel.

“Mugwort, and rosemary, and cedar,” she said, laying a string-tied bundle on the hearth. She followed it with a rock of salt, the size of her palm, and then a rough and lopsided loaf of bread, baked by her own hand. All the while the fox-woman only stared at her, incredulous and confused.

“To bless your home,” Gwyn explained gently, tapping her claws against the hearth once more before withdrawing. “And a wish that its inhabitants should never go hungry.”

The fox-woman blinked at Gwyn, then blinked also at the hearth-gifts, as if she’d never seen the like of either of them.

“I thank you,” she said at last, and Gwyn very quietly showed herself out.

* * *

The knight and his lady utterly left Gwyn’s mind, for a time. She had enough to catch up on, with all the weeks she’d poured into foolish burrow-building, even if it had substantially padded her purse. Her clients had found her home too often empty, and now came in droves to buy their tinctures and salves, to have their gardens blessed, their sewing needles spelled, the wards on their dens renewed for the season. There was never any shortage of work to be done, so Gwyn set her shoulders into each task until it was done, and when she came home she tended her plants, threw in their off-cuttings for the earthworms she was cultivating in the larder, and collapsed into sleep.

She thought no more of the knight and his fox-woman until another human came calling. This one found her in her garden, and he rode in so quickly and reined in his horse so late that he nearly trampled Gwyn’s fragile autumn crops.

“Hullo, the hedgewitch!” the man said merrily, leaping down from the back of his horse as if the animal were no more than a couch upon which he occasionally settled. Gwyn could not speak the language of horses, but she felt the white-rimmed eye of this one was quite eloquent, regardless. The man wore much finer clothing than the knight had worn, and they undoubtedly featured deeper pockets as well.

“I have it on good authority,” the man said, “that you are the clever creature behind the palatial underground estate owned by two of my very dear friends. I have come to hire you to undertake the building of another!”

“Another,” Gwyn said. The word should perhaps have been a question, or a prompting for further information, but it was neither. “Are you also courting a beast-wife?”

“Oh, heavens no, I already have a wife who is perfectly human, thank you very much,” the man said, with an affected, wheezing laugh as if the idea were absurd. The sound was like the braying honk of an irritated goose. “No, you see, this great subterranean manor house you built has only been seen at all by a select few, and everyone is dying for an invitation, but there are none to be had, as the lady of the house has been somewhat selective in her reception of house guests. Apparently, she, ah… bites. I am told.”

Gwyn was glad to hear it; if the fox-woman felt protective of her new den, that was as it should be, and Gwyn was happy for knight and fox both, truly. She only failed to see how it had somehow led yet another man to her door.

Oblivious to her wandering attention, the man went on: “They say she has deigned to allow the Queen herself inside, and none other, but rumors have already spread of the home’s opulence and beauty, and, well. We must have one.”

“You must have a burrow,” Gwyn repeated. She felt as if perhaps she’d stepped out of her own home that morning and into some other reality entirely, where men lived in holes in the ground and perhaps a frog sat upon the throne.

“Oh, we must, we absolutely must,” the man agreed, his head bobbling rapidly enough that it startled his horse into taking one alarmed step backward. “I was the first to find you, so naturally you shall have to build my home first, before all the others come ’round inquiring after their own burrow-houses. The earl’s wife is already talking about having one built as a sort of summer cottage, so we must get cracking. It’ll be the height of fashion by spring.”

Gwyn said, “I see.”

She turned to survey her own burrow opening: the roots curled around it, the moss like a living threshold, the fresh-painted door standing invitingly open, the dark tunnel leading down and down into the warm embrace of clean earth.

“I’m afraid I won’t be able to help you,” she said, not at all regretfully, and retreated into the safety of the ground.

“Why-ever not?” the man spluttered, stooping down to peer after her into the darkness of the tunnel.

Gwyn said, “I only craft burrows for beasts, sir, and perhaps you’ll be kind enough to tell your fellows as much. Though, if any of them should happen to fall in love with a fox, I suppose I might hear them out. I grew rather fond of the last ones, by the end. Good day to you.”

Then she closed the door, gently but firmly, in his face. She had supper to make, and seedlings to tend, and had no time at all for the foolishness of men.

 

* * *

About the Author

Mackenzie Kincaid is a writer and artist; she lives in the American West with one black cat and a modest collection of bones. She is the author of The Writer’s Guide to Horses, a wordsmith’s manual to all things equine. Her short fiction appears in the anthologies Gunsmoke & Dragonfire and Tales From The Old Black Ambulance, and is forthcoming in Beneath Ceaseless Skies. She can be found on the web at mackenziekincaid.com and on Twitter, Instagram, and Tumblr as @mackincaid.

So are unicorns trash ponies??? "Set in a suburban fantasy world, Disney and Pixar’s “Onward” introduces two teenage elf brothers who embark on an extraordinary quest to discover if there is still a little magic left out there. Pixar Animation Studios’ all-new original feature film is directed by Dan Scanlon and produced by Kori Rae—the team behind “Monsters University.” “Onward” releases in theaters on March 6, 2020."
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Holy crap! They finally made the series! What HAVE the skeksis done?!?!
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How far will one go for a horrible pun? Months of high quality animation and voice acting? Yup, VoxelWolves did.
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Are your characters failing to make decisions? Is your plot telling everyone how it’s going to be? Are your climaxes failing to have impact? If you answered yes to any of these, maybe it’s time to double check the agency in your story.
Character agency is a fundamental many writers forget to include in their stories. Learn about what it is and how to use it in this episode.

Ep 81 – Character Agency - Are your characters failing to make decisions? Is your plot telling everyone how it’s going to be? Are your climaxes failing to have impact? If you answered yes to any of these, maybe it’s time to double check the agency in your story.

The cast is all together this week, still tweaking things but ready to blab for you all to enjoy! Episode 63 - Sharking the year away

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Animation workshop has put out a bunch of shorts targeting the very young wiht some cute and surreal stuff. https://youtu.be/vfekyLS5bPo
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The Furry Film Festival is the very first festival of its type to come to the international furry community. While some small film festival events have been featured at furry conventions in the past, this event is a completely standalone festival, dedicated entirely to furry movies and film making. It’s a multi-day celebration held in […]

Recently we discovered Crossroads, an urban fantasy comic series brought to you by Crossroads Comix — a collection of creative folks from San Jose State University in California. To hear them tell it, “This multimedia series takes place in the sleepy Pacific Northwest beach town of Crossroads. A washed-up college graduate named Como is at an impasse in his life, but his life is turned upside down as a series of unusual events start to follow him and his friends everywhere they go. Como and his friend Nina set out to find out what is really going on in Crossroads.” Multimedia means there’s an on-line comic, as well as upcoming animation and music videos. There’s even a trade paperback called The Art of Crossroads available. Visit their Tumblr site to find out more.

image c. 2019 Crossroads Comix

Here is an amazing stop motion film by Jie Weng [1] about life, death and our relationship with cats.  I really do love the Professional [2] reference with Leon in cat form. "What we expect from the relationship with the animals reveals how we want to be treated and respected. The film focuses on the evolution and changes in the human beings’ life from the first-person perspective of an animal. In "The Quintet of the Sunset", five cats with distinguished personalities live their healthy and happy lives thanks to the care and love of their owner Gina. When Gina reaches the end of her life, they watch over Gina forever in their own way and their hearts beat as one with Gina’s heart." [1] https://www.imdb.com/name/nm3770023/ [2] https://en.wikipedia.org/wiki/L%C3%A9on:_The_Professional
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Here's the first edition of a show we might be doing more often now. We hope you enjoy! for all things Dragget Show -- http://draggetshow.com support us on Patreon! -- https://www.patreon.com/thedraggetshow all of our audio podcasts at https://soundcloud.com/the-dragget-show You can also find us on iTunes & wherever you find podcasts! Dragget Show telegram chat: https://telegram.me/draggetshow Dragget MD #0 (pilot episode!) - TRADITION - Here's the first edition of a show we might be do…

One thing we like about visiting conventions is coming across “how did we miss this?” items. For instance: At BLFC we stumbled across The Tale of Jasper Gold, a black & white on-line comic written and illustrated by Jamil Gonzalez. “When settled rancher Jasper Gold’s bounty-hunting past catches up to him, Jasper must take up his gun once again to track down a gang of criminals as he searches for his lost daughter. The Tale of Jasper Gold is a tale of dastardly villains, gun-toting bounty hunters, and courageous heroes of the West.” Last year, Volume 1 of the Jasper Gold story arc was collected in a trade paperback graphic novel by Jarlidium Press. It’s available now from Rabbit Valley. [In other bunny news: If you didn’t hear, the Rabbit Valley crew are retiring from their appearances at furry conventions. Soon they’ll be moving to on-line sales only. We’ll miss you folks in our travels!]

image c. 2019 Jarlidium Press

I hate furry sci fi. I've reviewed it in the past (Barsk, Bleak Horizons, and Kismet to name a few), and I've managed to keep a fairly objective stance on these books. I can recognize their talent and skill without having much personal attachment. And that's fine! But this Goal Publications' title, Tristan, by Sylvain St-Pierre, blew my f***ing mind.I won't go into detail with my usual gripes about formatting and copyediting. Instead, I want to present you with a list:The Eight Reasons You Should Read Tristan:1. Even though the story is about the typical rogueish Byronic hero (think Drizzt or Han Solo, for example), the author dispenses with the tropish clumsy, goofy, and charming personality and instead infuses him with cold, hard manipulation. From the beginning when Tristan awakes from a ten-year cryosleep, having been tricked and imprisoned, we see him become heartless and ruthless so fast. He is not the noble trickster we see so often. He actually does just want to survive; he's not just saying it and then joins a damn political rebellion (yes, I'm looking at you, Han).2. The pacing is so tight on this book. We have segments where each chapter has Tristan advancing the plot super fast, and we have segments where he has to wait, and so do we. And we get so much character development here.3. The side characters are actually well-done. In the sci fi books I mentioned above, I could not tell you anything about the side characters from memory, but the side characters here will stick with you. I will always remember Miranda. I will remember Alex. Satan below, I will remember Alex.4. As an action book, it does a great job. It has equal parts violence and suspense, so those payoffs are just great. I know that goes back to pacing, but it really is so artfully done here.5. Alex. I will try not to make any spoilers here. But there is an M/M romance in the book that twisted at my heart so bad. If the author is out there reading this review, thank you for having Tristan do what he did instead of what his instinct was telling him. That said, this is not a romance book, but when it appears, it appears well and is handled quickly.6. World-building. For me, good fantasy/sci-fi worldbuilding is actually simple. I don't want a whole Redwall or Star Trek universe each time I pick up such a genre read. And that's coming from someone who read the entirety of Wheel of Time! For a novella, this was just delightful. Most of the world-building was generic and didn't require a lot of memorizing a million proper nouns. I could keep up with it and be super immersed. No, it wasn't the most unique sci fi setting I'd ever seen. But it's the most unique furry sci I've seen anyway.7. So what makes it unique? It's plot definitely. While we are dealing with a sci fi rogue, we are not dealing with corporate scandals like in most furry sci fi right now. It instead tackles questions of just surviving, family drama, and even finding meaning in the world. I will say, using the TRADITIONAL meanings, not the currently in vogue ones, this book is more of a romance than an epic (that is, we follow one character's personal journey and internal struggles, rather than being a large-scale battle of good versus evil [cf. the Solo movie is a romance; the main Star Wars episodes are all epics]; romance doesn't have anything to do with love necessarily). And for me that worked a lot better. I was so invested in the characters, and I didn't want their interpersonal struggles to be given grandiose stakes magically. I appreciated the simple stakes of surviving, completing jobs, having revenge, etc.8. Furry elements. You never once forget this is a furry protagonist. Now, for the life of me, I couldn't tell you what kind of furry the MC is. The blurred cover conveys it's an antlered mammal of some kind, but I couldn't tell you more than that. (And I just pasted the cover above in this post. I swear the printed version has lower contrast and is glossy, so it's a lot harder to tell what it is. I swear I'm not crazy!) But I never once found myself caring. It matters a lot in the book that the character is an anthro animal, but the species never really matters. In this world, he's labeled as Other from just his animal features generally, and that label matters. Thankfully, the author treated that Othering as so much more complex than something like Skyrim does. People hate him because he's Other, yes, but others fetishize him for that.If this isn't enough, then I don't know what else to tell you. Get this book. We need more sci fi like this. Best furry sci fi I have ever read.

Joseph Lallo’s dark fantasy series The Book of Deacon encompasses about half a dozen novels of warfare between humans, elves, dwarves, and your standard Medieval European Fantasy species. But The Story of Sorrel isn’t about them, at least not directly. Rather it follows a family of a somewhat less typical species, intelligent foxes known to the humanoid races as “malthropes”. That name, a fusion of the Greek word “anthropis” or “person”, and the Latin “malus” for “bad”, tells you just what the humans think of them.We open with the malthrope vixen Sorrel and her kits Wren and Reyna playing “the game” as they call it, where the kits try to evade their mother for as long as possible, her way of teaching them how to survive in a world where seemingly everyone is trying to kill them. On the human-dominated continent malthropes are hunted like vermin and have become so rare that Sorrel believes they may be the last of their kind, but sometime before this book she managed to smuggle her family across the ocean to a more sparsely-populated continent and they’ve avoided signs of civilization ever since. The next day, Sorrel’s belief that their kind are nearly extinct is challenged when she happens upon a tribe of fennec malthropes, who mistake her for a raider from a rival tribe of red malthropes and capture her. It turns out that the two malthrope tribes on this continent are under the “protection” of a dragon who demands a tribute of meat and treasure from both tribes, and the fennecs plan to offer up Sorrel for their meat tribute. By the time the kits find her, the dragon is already carrying her off to his lair. Can Wren and Reyna escape and rescue their mother before the dragon gets bored and eats her? We’ll see how well she taught them.SPOILER ALERT: “Children rescuing parents” is a tried-and-true plot arc, but it’s hard to pull off without making the parents seem incompetent. I was pleased to see that Lallo managed to avoid that here: Sorrel stays alive in captivity by her own wits and guile, and their escape is a product of her own efforts as much as the kits. Now, given the grim tone I picked up from the book and series, I was expecting a far more depressing ending, and was surprised when instead the protagonists pulled off a more than Pyrrhic victory using the elements previously shown throughout the story. SPOILERS CONCLUDED.I’d say that The Story of Sorrel works fairly well as a standalone story but I wouldn’t recommend it as an introduction to the series. Sorrel seems to be the only character with any knowledge of the events of the other “Deacon” books, but she’s always vague about it, when the dragon asks her what has become of the land across the sea she simply answers “two great kingdoms wage war.” Another malthrope-centric novel, Rise of the Red Shadow, told me more about the human side of the world in the free Amazon preview than this entire book did.Overall, I’d call this a good story by a good writer, and I’d heartily recommend it if you’re looking for a quick read or are already familiar with the setting. But if you’re looking to dip your toes into an epic fantasy universe I’d check out the other books in the series.

Just today we got the first full trailer for Abominable, the new animated feature from Dreamworks and Pearl, their production partners in China. Animation Scoop has the video. “When teenage Yi (Chloe Bennet, Marvel’s Agents of S.H.I.E.L.D.) encounters a young Yeti on the roof of her apartment building in Shanghai, she and her mischievous friends, Jin (Tenzing Norgay Trainor) and Peng (Albert Tsai), name him ‘Everest’ and embark on an epic quest to reunite the magical creature with his family at the highest point on Earth. But the trio of friends will have to stay one-step ahead of Burnish (Eddie Izzard), a wealthy man intent on capturing a Yeti, and zoologist Dr. Zara (Sarah Paulson) to help Everest get home… Abominable is written and directed by Jill Culton (Open Season, Monsters, Inc., Toy Story 2) and co-directed by Todd Wilderman (Trolls, The Croods).” Look for it in theaters September 27th.

image c. 2019 Entertainment Weekly