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Winter 2011 Issue

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Welcome to Winter 2011 Issue of Mirror Dance!

In this issue…

•Flash Fiction by Tyrell Johnson, Brittany Warman, Simon Kewin, Gwenan Haines, Sara Cleto, and Kenneth Weene

•Poetry by Jacob Rakovan, Kelda Crich, Annie Neugebauer and Shelly Bryant

•An interview with Mike Phillips

Feel free to leave comments on the individual pieces.

Mirror Dance welcomes letters to the editor! Questions, suggestions for the website, and comments on the stories and poems may be e-mailed to markenberg at yahoo.com.

Water Girl

Water Girl
by Tyrell Johnson

Water Girl


Her skin sparkled like silver, a dazzling display of color against the dull fluorescent hospital lights.

The doctor pulled her from the water and she shone so bright she was hard to look at. He snipped the umbilical cord with his white, gloved hands, then passed Elya to me. I held my breath and took her into my arms, both of our bodies half submerged in the birthing tub. Something was terribly wrong, but no one said a word. As I held the luminescent child against my chest they all watched the light on her face recede to a dim glimmer.

The nurse pulled Elya from the water, dried and swaddled her in a soft blue cloth and laid her in the hospital crib, which looked like a terrarium for some exotic animal. We all stared like she was about to burst into flame and it wasn’t until the last tiny spec of light faded from her cheek that she began to cry.

* * *


When I was pregnant I didn’t have any weird sort of cravings. But that didn’t stop me from calling Jon and having him bring me all kinds of things. We weren’t together then, but he’d still bring me ice cream, pizza, olives, teriyaki chicken, peanut butter and pad thai. I hardly ate any of it, and after nine months my fridge was so stocked with food I didn’t know what to do with it all.

But I was often thirsty. I’d wake up in the middle of the night with my throat dry like leather and I’d waddle downstairs and drink glass upon glass of water. I never wet the bed or peed myself either, as I’ve heard happens with some pregnant women. It was like my belly was one giant tub of water. I’d press my hand against my stomach and when I felt her little kicks, I’d pretend she was swimming.

* * *


At first I thought it was some sort of allergic reaction. Perhaps something in the water was irritating her skin. Jon came to the hospital and sat with me in silence as the doctor tested her blood and dripped little beads of water from a dropper onto her arm. We all watched as they sparkled. Elya was squirmy at first, so I shushed her and held her tight, but when the water touched her skin she grew quiet and content.

“Good Lord,” the doctor said and pulled Elya’s glowing arm up to his face. He called the other doctors, who left their patients with fevers, infections, heart palpitations, and sexually transmitted diseases to come look at the girl with the diamond skin. They crowded around the room and mumbled excitedly when more drops were administered.

I was so upset I took Elya and stormed out, in my hospital clothes and everything. They called after me. They said they needed to hold her overnight, that they had more things they could do for her, medicine they could give her, experiments they could run. They pushed their cards at me but Jon and I just shoved our way through the white coats and double sliding screen doors. A few followed us into the parking lot, others shouted from their windows as I buckled Elya in Jon’s car and we drove away. The sound of the doctors’ jaws snapped after us.

* * *


Instead of baths, I wiped her down with a damp towel and dried her as quickly as I could. It didn’t do a whole lot and since I lived on the beach she began to smell like the ocean. When Jon came to visit he’d take her outside and rock her on the porch. I’d stand by the screen door and watch the unraveling waves and imagine long watery arms reaching out for her. He’d sing and I’d listen as he did, thinking that I didn’t know he could sing, and that he never sang when we were together.

When she was three she dunked her hand in a glass of water. I had left the glass in the middle of the table like I always do, and she was in her room taking a nap. I had the TV on when I heard her giggling. She had climbed onto the table, and dunked her hand into the glass. Her palm lit up like a light bulb, then grew translucent, melding with the water as little streams spilled over the edge and gathered into pools on the table. By the time I got to her I couldn’t tell what was water and what was skin. I pulled her off and ran for a rag. Her hand dripped, then slowly came back into focus, then glistened and shone like so many tiny lights before it finally went back to normal.

“Tickles mommy,” she said.

“I know honey but it’s bad for you ok?”

“I like it.”

Her eyes looked big and sad and I nodded.

“I know, sweetheart.”

I drank milk from then on.

* * *


When we were first dating, Jon would look at me while making love. He’d stare into my face and tell me that he wanted to swim in the blue of my eyes. I told him to jump right in. Toward the end, however, he kept his eyes shut. He’d bite his lip like he was in pain or something, but I still held him close, pressing the skin of my hands to the skin of his back till I could feel his freckles. Open your eyes, open your eyes, I’d think with each motion of his body.

The night he broke it off with me we made love again. I shouldn’t have, but he was a nostalgic person and I thought if I just had him for one more night, he’d remember what we’d meant to each other. We were on the floor with my jeans digging into my shoulder and I cried as I imagined our skin melting and sticking like glue. He wiped the tears from my cheeks, but didn’t say a word. He didn’t say a word as he gathered his clothes, as he stood in the hallway for a moment as if remembering something, or trying to forget, and he didn’t say a word when I called out his name. He just left, the click of the door handle drowning the empty house.

I’m pretty sure that was the night Elya was conceived.

* * *


I decided to homeschool her and she seemed fine with it. She liked learning about animals and plants and she loved to draw. When we finger-painted she would only use blue, so I went out and bought seven different shades of blue from three different stores. Sky blue, ocean blue, royal blue, baby blue, navy blue, denim blue, grey blue. She used all of them.

She liked being near the ocean and never really asked about other children. But the first time she saw a family swimming down the beach she would not stop pestering me to take her for a swim.

“You can’t, El, you’re allergic.”

“I’m not allergic,” she’d say.

She didn’t understand. I had to watch her from the moment she was awake to when we read stories at night. She’d sit on my lap and I’d smell her salty hair. Her favorite book was a children’s illustrated version of Moby Dick.

“You think the white whale lives in our ocean, mommy?”

“I don’t see why not,” I said.

“I want to meet him.”

I looked down at her intent little eyes. “Maybe someday he’ll come visit you.”

“But whales live in the ocean.”

“That’s right, and you live on land. Here with me.”

She nodded as she placed her small fingers on the page and stroked the picture of the giant whale.

* * *


I suppose I’d seen it coming all along. Perhaps I was even waiting for it to happen. From the moment she was born I knew she never fully belonged to me. I knew one day she’d be gone. Perhaps it was the fear of it that made me love her so much.

When I got up that night for a glass of milk I saw her through the window. She was standing on the beach in the light of the dilated moon, laughing as the waves made her toes shine like fireflies. I ran.

I could hear her giggling even as I screamed. She walked forward into the waves, laughing like she couldn’t control herself. The sand gave way under my feet as the water began to bubble and boil with a silver light that surrounded her like a dress. I yelled again, but she didn’t even turn as she sunk her head beneath a rolling black wave. Her whole body shone, white like the whale, and I could see her radiating, even from beneath the surface. It was like on nights when the moon is so bright that it burns a red and black moon-spot into your eyes and no matter where you look you see its shadow.

When I dove into the water, Elya’s shinning body was gone. I dunked under the surface and scanned the ocean, even though I couldn’t see a thing and it stung my eyes terribly.

I surfaced, my nightgown clinging to my body like a straightjacket.

“Elya.”

Nothing.

I swam and screamed and dove and searched until I fell exhausted onto the beach, staring at a night sky scarred with a few dull stars, hiding from the blinding light of the moon.

* * *


They never found a body, though I knew they wouldn’t. They searched, investigated, sent out be-on-the-lookout notices, but nothing ever turned up. Jon was devastated, or at least he pretended to be. That’s nice of him, I say to myself, that’s nice of him at least to pretend.

* * *


Sometimes I imagine her coming back, washing up on shore and shinning like a fallen star. Other times I imagine her with her whale, swimming and giggling and stroking its rough white hide. I drink a gallon of water almost every day now. And I swim. I swim every night and somehow I feel close to her when I do. I picture the water as her skin, clinging to mine. The smell of her on my face, in my hair. She gets in my eyes and it burns, but I hardly mind. Sometimes, when I’m feeling extra lonely, I dunk my head a few feet, keep my eyes closed, and fill my mouth with the salty ocean. When my cheeks are about to burst I imagine absorbing her into myself, carrying her like I did for nine months. Then I swallow, again and again until I collapse onto the shore, coughing and spitting and inhaling lungfuls of sweet, life-giving air.

* * *


Tyrell Johnson is a graduate of the MFA program at the University of California, Riverside where he studied fiction and poetry. His reviews are published at hipsterbookclub.com, his poetry can be found in the January 2011 issue of Autumn Sky Poetry, and his fiction in Pinion Journal. Sometimes he lives in Bellingham Washington, sometimes he’s in Kelowna BC with his wife Tessa and their one and a half dogs.

What do you think is the most important part of a fantasy story?

The way in which a character reacts and interacts with the magic is, for me, the essence of why we write fantasy–to put real characters with real wants and emotions in a backdrop of the fantastical. But not only should the magic do something for the story or the character, everything else around the magic must be believable and tangible, and the author must write with authority so as not to give the reader a moment to doubt. That way when readers encounter the impossible, they’ll think, since everything else is so real, why not a talking bear?

After a Painting of Circe

After a Painting of Circe
by Jacob Rakovan



1.
How they come, to the house in the wood
to be devoured, the green boys fresh from ships.
They elbow one another
Outside the house, the wolves and lions
roll on their backs for their bellies to be scratched

Hers is the sweet-house, the gingersnap house
Baba Yaga’s cottage on chicken legs
and the boys enter in to be eaten.
so eager to throw their bones amidst her furs

She is Theda Bara. She is Barbara Stanwyck.
She is Rita Hayworth, the tutor of boys.

What does it matter, if she weeps when
the cup falls clattering to the stone
and the boys run off, squealing

There was a man, once
who had snowdrops in his teeth
who drank her wine, and stayed
but he is gone, and the sea is dark

The boys come, one after the other
To become something other than they are

2.
There was a girl once
bound in marriage to the muddy dark
To the gravepits and the furrows
to the shadow's house

How she ate one seed of sweetness at his table
and could not leave,
How they brought her flowers and pigs
to lure her from her dark,
Sent heroes and boys like weasels down after
a rabbit in her hole,
when she wrapped herself in burial cloth
and refused the sun

Still they sing and sing for her
And call her bondage spring

3.
Here is blood, and honey
Cold mother, be kind

* * *

Image: Allegory XVI - Circe Cthonia by Herb Roe, 2010

* * *


Jacob Rakovan is a 2011 New York Foundation for the Arts fellow in poetry and a resident of Rochester, NY.

What do you think is the attraction of the fantasy genre?

Every story has a strain of the fantastic. It is what makes it worth telling, or what happens to the story when we tell it. For myself, I dislike the term fantasy, as it mostly serves as a ghetto for writing that has been judged insufficiently serious. Homer, for instance, is chock full of monsters and deities, implausible escapes, magical objects, and yet somehow he manages to escape having Fabio airbrushed on his cover in a pirate shirt. The first stories we have are fantastic. The Epic of Gilgamesh, the Old Testament, etc...I think people are attracted to what is now disparaged as "genre" (western, sci-fi, fantasy, mystery) writing because it has some element of the mythic, some element of storytelling beyond reporting, some reach toward meaning. I think these stories will endure, regardless of fashion, or labels, and that the stories that people continue to tell will continue to be ones that have meaning. Magic realism, Myth, Fantasy, Science Fiction, are really all just applied labels to the simple human impulse of storytelling.

Inside the Wolf

Inside the Wolf
by Brittany Warman

Inside the Wolf


The inside of the wolf's stomach is swollen red silence. The walls come in and the walls go out - in, out, in, out - and I wait, small and folded up inside myself inside the wolf. I am waiting for something I cannot name. There is no death here, only the familiar press of his skin against mine. The air becomes heavier and heavier as my fear fades into shame. Red drips from the breathing walls and he shutters all around me, content.

No one can consume you without your permission.


The inside of the wolf's stomach is haunted. I find my grandmother in the redness and we huddle close together like parenthesis around our clasped hands. What is left of my self breaks open between us. I couldn't begin to say how long she has been here. I try to tell her that it's all over, that I don't have to be afraid anymore, but she looks away and says I was always a curious girl. Together we stare up through rib bones at unending red shadows pulsing to a heartbeat that isn't mine. I tell her, this is not what I imagined.

The inside of the wolf's stomach is a cage for little girls lost. As he sleeps, I lie awake in the darkness, remembering. Come closer. What big eyes you have. Close closer. What big ears you have. "Closer still" his lips had whispered against my neck. What big teeth you have, ah, so much the better to eat me with.

* * *


Brittany Warman is a graduate of Sarah Lawrence College and is currently working on her master's degree in folklore and literature at George Mason University. Her creative work has been published or is forthcoming from Jabberwocky Magazine, Cabinet des Fees: Scheherezade's Bequest, Magpie Magazine, Finery, EMG-Zine, and The Sarah Lawrence College Review. Her website is www.brittanywarman.com and she journals at briarspell.livejournal.com.

Where do you get the ideas for your stories?

The majority of my ideas for stories have their roots in the folktales, fairy tales, and myths that I study in academia. I have always loved and been inspired by folklore and my work there has encouraged me to think in new ways about the oldest of stories and to then twist them into unexpected new shapes. There is always more to discover!

Cup and Ring Carving

Cup and Ring Carving
by Kelda Crich

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Take this pick made from deer horn that you found in the woods where she liked to walk.
Leave the village where your brothers silently split thin branches. New wood, green wood, does not burn well.
Walk onto the moors which are bathed in sunlight, sliding through the clouds, patterning the land bright and happy as cheerful woven cloth.
Go to the outcrop, where she would sit, and the wind blowing her hair from her face. The wind snatching her laughter.
Fall to your knees.
The wind blows cold on the moors. Think that you will never have the strength to rise.

Take this horn pick and into the stone make the carving. The cup, the depression, encircled by two rings. Two rings for each of the ten years of her life.
Look at the small symbol. Simple, unlike the carvings on the boulders of the barrow, interlaced connecting of carved rings, and spiral, ladders, linking all to all.
Now the ashes of her bones are mixed with the dead. Think that she is free.
This carving. The cup and the two rings. So simple, like her life. Run your fingers gently over the stone. Remove the flecks of dust.
Think that such a small carving might be washed away by wind and rain, but that it will endure for a good few years. Think that you can come here and remember.

* * *

On the prehistoric cup and ring carving etched into a Yorkshire stone, five thousand years ago. The meaning of such petroglyphs has been lost.

Image adapted from Laxe das Rodas by Froaringus.


* * *


Kelda Crich is a new born entity. She's been lurking in her creator's mind for a few years. Now she's out in the open. Find her in London looking at strange things in medical museums or on her blog: http://keldacrichblog.blogspot.com/

What inspires you to write and keep writing?

I'm inspired by the fact that when I do finish a poem or story, it's unique. I'm the only one who could have created that particular work. Good or bad, it's all about meeee. Oh, and the reader. Thank you, kind reader. Without you, I would be nothing.

What do you think is the attraction of the fantasy genre?


The fantasy genre can be a window into past cultures. How did people think in times past? How did their culture shape their actions and their imaginations?And does that shine a light onto us today?

The Good King

The Good King
by Simon Kewin

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“How much further?”

“Not far, my lord, less than a league now.”

“Hold the torch higher! I can barely see. It’s bad enough trudging through all this snow without walking into trees too.”

“Yes, my lord. Sorry, my lord.”

Besz held the torch higher as instructed. Not that they really needed it. The cold, blue light of the full moon gave them more than enough illumination to see the trees. They skirted around a pool of dark water filling a clearing. A low waterfall, frozen to spiky ice, dangled off the rocks at one side. They said Agnes' Pools had healing properties if you swam in them. He wasn’t about to try them out now.

“This whole escapade is madness,” the king continued. “We’ve passed three hamlets already. They’re all my subjects aren’t they? What difference does it make?”

Besz, ploughing through the snow three paces behind, didn’t reply immediately. His feet were numb and the cold crept up the bones of his shins. His face ached from the chill of the night air and from his clenched jaw muscles. Did he have to spell it all out again? Did the king really not understand? He was worse than a child. His feet wouldn’t be cold of course, and not just because of his fine, fur-lined leather boots. Besz glanced back at Lucian, the court minstrel they’d brought along with them, slipping and leaping through the snow-drifts ten yards further back. Lucian looked to be in an even worse state. His thin, multicoloured costume was utterly unsuited to an expedition through the forest at the dead of night, the dead of winter. Perhaps it was just the moon, but his skin looked blue.

“This far from the castle is safer, my lord,” said Besz. “No-one comes this way. No-one will know.”

“I don’t see that it matters. They’re all just peasants.”

“It avoids...difficulties, my lord. We’re nearly there now, I assure you.”

“Light,” shouted Lucian. “I see light through the trees.” They were the first words the minstrel had spoken since they set out. Up ahead, a smudge of yellow shone between the shifting boughs.

“This is it?” asked the king.

“He’s lived out here for years,” said Besz. “Never sees anyone. He’s perfect. No-one even knows his name.”

“Very well. Follow me to the hovel but stay outside. Make sure no-one else comes in while I’m … busy.”

“Yes, my lord.”

* * *


Besz and Lucian sat together on the step of the ramshackle hovel. The sweet smell of pine woodsmoke from the peasant’s fire inside filled the air. The shadowy bulk of the mountains blanked out the stars to their left. In the moonlight, Besz could just see the line of footsteps they had made, winding between the trees to lead up to the peasant’s door.

He talked, louder than necessary in the muffled hush of the winter night. He talked to drown out the sounds from within: the scuffling, the blows, the sobbing, the screams.
“So you know what you have to do?” he said to Lucian.

Lucian nodded, breathing into his clenched fists. Besz just hoped he wasn’t frostbitten. He’d be useless as a lute player then.

“I’ll do what you need, don’t worry. I’ll make sure the right story gets out. A simple tune and some pretty words and people will soon think that’s what really happened here.”

“Just make it good.”

“I could have stayed back at the castle and done that, you know.”

“I think the king wanted you to be very clear about what he’s capable of. To those he doesn’t like.”

Lucian nodded, but didn’t reply.

The king emerged from the hovel, then, wide eyed, breathing deeply. He wiped blood from his mouth. Blood that was not his own.

“Bury the body,” he said. “What’s left of it. Then we return to the castle.”

“You are sated, my lord?”

“Until the spring, when the roads out of the kingdom open again. Now dig.”

“Yes, my lord.”

* * *


The effort of digging the grave warmed them up. The minstrel, not used to hard work, merely scraped away at the frozen surface. The king sat some distance away against a tree, impervious to the cold, of course, not watching them. Perhaps he slept.

“What will you call it?” asked Besz. “Your song.” He had to stand on the spade, the peasant’s own spade, to force it into the frozen ground.

“The Good King,” said Lucian, breathing hard. “Something like that.”

Besz nodded. That would do. People would believe that.

Once they had buried the remains they trudged their way back through the snow to the warmth of the castle, following the footsteps of Wenceslas, the king.

* * *


Simon Kewin's fiction, poetry and computer software, although usually not at the same time. His fiction and poetry has appeared in a wide variety of magazines and anthologies. He lives in the UK with Alison and their two daughters Eleanor and Rose. His web site is http://simonkewin.co.uk and his blog is http://spellmaking.blogspot.com.

Where do you get the ideas for your stories?

I don’t think there’s any great mystery about that. I think we all make sense of the world through stories. We gossip our experiences to each other in the form of little tales. The media calls events in the news "stories". I think our brains have evolved to form narratives and all a writer does is set them down. And, I suppose, jumble up ideas and associations from a variety of different places to form something new. But I don’t think there’s anything particularly special about doing so.

Breaking Earth

Breaking Earth: a prose sonnet
by Annie Neugebauer

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She wants to break the earth in her hands, she says, feel it crumble around her skin like the dirt is under her power. She is wild with the desire – the need to have something submit. Never mind that spring has brought the damp soil and lively worms of an early shower. She is on her knees grasping gratefully in a pink and yellow sundress through slime and grit.

She moans that she will know the secrets of soil. Hands shake and nails are packed with dirt, but still she burrows deeper. It is through the exterior that she fights – beyond the deepest reachings of some inner turmoil. She must conquer; she must be something’s keeper.

It is only when she’s elbow-deep and coated in the purest gray-brown she’s ever seen that something breaks. Beyond her understanding, against her will, she freezes with the realization that she will never fly. The need to dig – to control – is a rebuttal denying that where shoulder blades sit and wings could grow is where it aches. She sits back on her caked heels, covers face with muddy hands, and gives in to the need to cry.

She came here to destroy, contain, command, inter. But somehow, in spite of all her rage and all her tears and all her effort to scrape the roots of deepest trees… earth has broken her.

* * *


Annie Neugebauer is a short story author, novelist, and award-winning poet. She has work appearing or forthcoming in in over a dozen venues, including The Spirit of Poe, Underneath the Juniper Tree, So Long and Thanks For All the Brains: A Zombie Anthology, The Stray Branch, Phantom Kangaroo, Six Sentences, the British Fantasy Society journal Dark Horizons, and the National Federation of State Poetry Societies’ prize anthology Encore. When she’s not frightening people with her writing, she’s most likely frightening her husband Kyle and their two mischievous cats: Buttons and Snaps. You can visit her at www.AnnieNeugebauer.com.

What do you think is the attraction of the fantasy genre?

The attraction of the fantasy genre, for me, is the ability to approach big questions in new ways. Literary fiction is limited in its scope for the reason that (for the most part) it can only answer life’s questions in ways that real people can. In fantasy, the circumstances of the world can be completely geared toward one specific, unknowable question. For example, would someone really trade all of their wealth to see their dead parent one last time? In literary fiction, we can only theorize. In fantasy, we can force a character into a situation where they really have to choose. We can put the question to the test and see the results.

Scar

Scar
by Gwenan Haines

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Like mother, like daughter. Just because I was royalty didn’t mean I was oblivious to what they said about us. For seven months I took to shutting myself up in my chambers, but the resemblance was not a thing I could avoid. Her eyes mirrored mine, her thoughts . . . mirrored . . . mine. One day not so far off I would be the one to translate silver’s watery truth into words the kingdom could use.

Already I had discovered some of her tricks. The dye she kept in a blue bottle labeled Sleeping Potion. The yellow-ribboned corset that created her waist. On the inside of her wrist were constellations of pinpricks—the secret of her ruby lips. I was next in line but I wasn’t the only one. There were sisters, cousins, vying for her place. I didn’t blame her. If she cast illusion’s dust into their eyes, she did it for good reason. Not everyone had her gift for euphemism, for singing bleakness into sunlight.

When she came to me one night and pulled me through black corridors, I understood. “The heart,” she told the hunter by my side, “must be removed.” She leaned down and pressed her lips to my forehead. “When you can run your fingertip along the scar without drawing blood, you can find your way back. Then you shall take my place.”

I didn’t find my way back. I hid deep within the earth, in a place where veins of gold and silver glowed with heat. I woke I in a cottage so small I could only cross from room to room by bending double as I passed between doors. The dwarves were stunted, with gnarled hands, and in the dark their spirits looked no different than the color of wind.

They were hardy but not cruel. I never doubted they would protect me, even when I could run my fingertip along the scar without drawing blood. My soul no longer burned blue at night, but whether it was due to the missing heart or the smallness of the cottage I did not know. After seven years I could pass my hand through my spirit and it was no different than grasping air. One day I looked in the lake’s mirror and saw skin pale as beauty, lips red as pain, hair black as oblivion.

Three times she tried to save me. First the combs, then the ribbons, and, at last, the apple. She knew what it meant: to look straight through one’s palms. I devoured her poisons and embraced the freedom of impenetrable dreams. The light through the coffin glass warmed my mind until its pulse beat blue again.

The prince came at the solstice, just as the sun dawned crimson across new fallen snow. His axe smashed the coffin into a thousand diamonds. One he wrapped around my finger, kneeling to kiss away the blood. The breeze wove all the mirrors into veils.

* * *

Image by Harry Clarke.

* * *


Gwenan Haines lives in New England with her 11-year-old daughter and a Siberian husky born on Halloween. She has published stories and poems in several literary-type magazines; she is currently working on the first installment of an urban fantasy novel series. She collects old books, colored glass and complicated recipes. You can find excerpts of her novel on wattpad.

Where do you get the ideas for your stories?

From literature, from life. I’m a voracious reader. I especially love fairy tales—both the old versions and new renditions by writers like Tanith Lee, Robin McKinley, A.S. Byatt, Mercedes Lackey and others. And of course life is brimming with characters and stories.

What inspires you to write and keep writing?

I’m one of those people who has wanted to write for as long as I can remember. I’m also one of those people who tends to commit to too many things. So I’m caught in a never-ending battle between the real world and the world of imagination. Sometimes I veer too far toward the “real” end of the spectrum and sometimes I get lost in the ether. But it’s also more than a battle—each world enriches and enhances the other. Writing for me is very much a process of discovery. When I write, I feel like a sculptor freeing the forms trapped within the marble.

What do you think is the most important part of a fantasy story?

The same elements that are important as in other types of fiction – strong characters, interesting plot, vivid language. The difference, I suppose, is that in fantasy Possibility has a far greater role. When Emily Dickinson wrote “I dwell in possibility” she might have been referring to someone immersed in a great fantasy novel.

What do you think is the attraction of the fantasy genre?

As I mentioned in my last answer, fantasy offers the possibility of escape. Not that escape is always desirable. The world can be gorgeously intense—but it can also be infinity mundane, frustrating, painful and [insert pejorative adjective here]. Nothing better than to sit down and banish all that for an afternoon.

What advice do you have for other fantasy writers?

Read as much as you can. Write as much as you can. Even if you don't think you have time, try to fit a few pages into the gaps in your schedule.

Storm at Sea

Storm at Sea
by Shelly Bryant

the path up and down is one and the same thing - Heraclitus

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from the beach watching
an electric storm
far out at sea
lightning bolts dance
          — their touch
stirring the body beneath

a childhood recalled
from its smoldering lair
beneath layers
          of memory
storms raging at home
Father’s bluster
          as Mother cowers
and him
          in between

he rubs his bandaged heel
and sighs into the wind
          stoking
the coals of his campfire

* * *


Shelly Bryant splits her time between Singapore and Shanghai, sometimes teaching English literature, and sometimes studying Chinese language. Her first poetry collection, Cyborg Chimera, was released in 2009, and her second is due out later this year. Besides working with speculative poetry, she does some nonfiction writing. Her loves for travel and writing intermingle in the Pocket Guide to Suzhou, which was published in May 2010 in Shanghai, China.

What do you think is the attraction of the fantasy genre?

I think the attraction to the fantasy genre lies in the way it triggers the reader's imagination, even as it hints at (never exhausts) the ranges of writer's imagination. It gives us a safe place to explore issues in the "real" world — those hard realities that are better examined when removed from the here and now, if we hope to gain the sort of distance that gives us a suitable perspective for proper contemplation.

Breakfast with the Charmings

Breakfast with the Charmings
by Sara Cleto

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“I want to see other people,” Prince Charming said as he shook out and refolded his paper.

Cinderella dropped the platter of pancakes she’d made for him—fluffy, six inches across, spiced lightly with pumpkin. Porcelain shards broke the pattern in the tiled kitchen floor, obscuring the geometric repeat they had selected, after much consideration, when they refinished the house directly after their marriage. Syrup spilled across the floor like blood.

“You ruined my shoes,” he chided gently. He removed his loafers and carried them to the sink where he carefully mopped the excess syrup with a paper towel.

“I don’t understand,” she quavered.

Prince Charming sighed and threw the soiled towel in the trash. “This isn’t what I wanted. I thought it was, but it isn’t.”

She knelt, tried to gather the bits of broken porcelain, just to have a task around which to orient herself—old habits die hard.

“I wanted to travel after university. I was going to join the Peace Corps! I’d applied and everything, and they’d assigned me to Mongolia. Mongolia, can you imagine?”

She couldn’t. He required freshly brewed coffee, the beans ground moments before they were placed in the filter, poured into a heated mug and set beside his plate. He preferred the dishware matched, the blue-rimmed mug with the blue-rimmed plate, or the Japanese-inspired floral wears placed side by side. All of this had been explained, meticulously, by his housekeeper when Cinderella entered his home for the first time.

“But my father swore I’d never be the CEO after him if I did something so impetuous.”

That she could imagine.

“He said he’d bar me from the company, and cut me off to boot! So I said I’d stay, and he threw me a party, and there you were.” He looked at her for the first time that morning. “You had such tiny feet.”

Cinderella reached for another shard, a long and sickle-shaped, but her shaking hand slipped. The point of the porcelain shard pricked her finger, and a single drop of blood welled up.

A curious sensation began to build in Cinderella’s chest. She was conscious, for the first time in years, of her heartbeat. It swelled and echoed through her body like a rising tide. Her face felt hot, and her hands still shook but with a different emotion than fear or loss, one she hadn’t felt since she’d slid those exquisite glass pumps on her feet all those years ago.

Cinderella felt… awake.

And she felt angry.

“You married me for my feet?” she howled.

A week later, using the proceeds from the sale of her glass slippers, she moved into a bright, tiny apartment in Brooklyn and sent Parson’s a portfolio of her best shoe designs. Her neighbor, a graduate student in sociology, complimented her smile and invited her out for drinks. She slipped on a pair of flats and raced him down the stairs.

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Image by Margaret Evans Price.

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Sara Cleto received her B.A. from the University of Pennsylvania
where she majored in English Literature, and she is currently pursuing
her Master's degree in Folklore and Literature at George Mason
University. She grew up in Atlanta, Georgia but has lived in England,
Ireland, and Peru in addition to many locations in the US.

Where do you get the ideas for your stories?

I'm particularly inspired by fairy tales and folklore, the stories
that you hear over and over and sometimes take for granted. I love
taking those familiar shapes and warping them to create something
unexpected and empowering. I wonder about the silenced or marginalized
characters in the stories, what they might like to say or do, and
that's when a new story creeps up on me.

Brisé

Brisé
by Kenneth Weene

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There is great lightning without rain. “A bad omen,” says the crone.

A deer runs through the camp and entangles his antlers. “A good omen.” pronounces the man who slit the beast’s throat.

Stramboli says nothing. He dreams. He is on the high wire. Crowds crane to watch. Gracefully he dances: pirouette and grand jeté, passé, and grand-plié. The crowd thunders approval.

He hasn’t had such a dream since his fall. What use have the paralyzed for dreams?

Stramboli lets the balance pole drop. It falls away. He follows. “Death,” he wonders, “is it a good omen or bad?”

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Image adapted from Tightrope Walking by Wiros.

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A New Englander by upbringing and inclination, Kenneth Weene is a teacher, psychologist, and pastoral counselor by education. Ken’s short stories and poetry have appeared in numerous publications including Sol Spirits, Palo Verde Pages, Vox Poetica Clutching at Straws, Legendary, Sex and Murder Magazine, The New Flesh Magazine, The Santa Fe Literary Review, Daily Flashes of Erotica Quarterly, Bewildering Stories and A Word With You Press. Ken’s novels, Widow’s Walk and Memoirs From the Asylum, are published by All Things That Matter Press. To learn more about Ken’s writing, visit: http://www.authorkenweene.com.

What inspires you to write and keep writing?

Life itches and torments me like pesky flies. Annoyed, I pick up a paper to slap at the buzzing and often whack myself on the head. Each whack is another story. At least having half-blinded myself, I have learned to not wave the pencil about. I will, however, write on until the last gray cell has retreated and there are no longer these strange ideas demanding my feeble efforts.

Nonfiction

An Interview with Mike Phillips

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The Planting of the Spectre” and “The Night of the Cloud Spectre” have both appeared in Mirror Dance, and a quick Google search of your name brings up a dozen more Crow Witch stories. Do you have a complete list of them available? Do the Crow Witch stories have a set chronology?

The response to the Crow Witch stories has been great, much better than I ever expected. With the publication of my first novel, it is my hope that I’ll have the opportunity to put all the Crow Witch Stories together into an anthology. Cross your fingers!!!

Until then, my website is mikephillipsfantasy.com, but I must confess that I haven’t gotten it up and running yet. When I do, I think listing out the Crow Witch stories would be a great idea. The only hesitation I have is that, like you say, the stories are scattered all over print publications and the web. Several have yet to be published. I’d hate to tease people with titles they wouldn’t be able to find.

How and why did you begin writing the Crow Witch stories? Do you follow a similar pattern when writing all of them, or does each develop in a different way?

This is going to sound strange but I have no idea where Miss Weigenmeister comes from. She started out as a minor character in a werewolf series I intended to write. She was going to be a sort of Gandalf with wings. Even before the first story was over, she had become the focus. I never wrote the werewolf series, but that character makes occasional appearances in the Crow Witch stories.

With many of the stories, the Crow Witch was not originally the intended protagonist, but somehow made her way in anyway –Maybe she comes to rescue me from bad ideas. While in the writing, if not to suggest a mental instability on my part, it almost seems like she has a say in what happens. Sometimes I catch myself arguing with her in my head. In “Night of the Cloud Spectre,” we are introduced to Jenny Bracco. Jenny becomes an important figure in later stories, being both counterpoint and student to Miss Weigenmeister. Now that I’ve thought about it, perhaps Jenny is my way of putting myself into the story so I can have my say too.

I love your characterization of Mrs. Weigenmeister—her dryly witty dialogue is especially entertaining, and something I look forward to in each Crow Witch story. Do you think Mrs. Weigenmeister’s personality develops and evolves from story to story, or does it remain stable?

Her personality hit home for me right with the first story. From then, though we find out more about her past and her abilities, she is who she is.

Spectres play a large role in both of the Crow Witch stories published in Mirror Dance. What exactly is a sepctre? Do you think the spectres in the stories are symbolic of anything outside of the story?

Honestly, I use the word spectre because it sounds creepy. The spectres in both stories are creatures of unknown origin or nature, a sort of vampire/ghost/ghoul/zombie thing.

In “The Planting of the Spectre,” my use of the spectre began with an image. I saw bony hands with long fingers reaching into the sky, being able to grab hold of the air and take flight. Usually, I don’t have an ending to a story until I write it; but in this one, the pumpkin had it in for him from the beginning.

In “The Night of the Cloud Spectre,” the spectre is an evil creature that has been cursed to travel the world in cloud form during the day. This idea came to me as I was traveling in Michigan’s Upper Peninsula. It happened to be that I was coming up on the Lake of the Clouds, which is near where Miss Weigenmeister lives and all the Crow Witch stories take place. I saw a dark gray cloud set very low in the sky. The cloud almost seemed to follow the road into the mountains. I could imagine the cloud had purpose and intent, like something inside was watching everything going on around it. In my mind, the creature became predatory in nature. On the west side of the Porcupine Mountains is Lake Superior, so it was only natural and fitting that I dump the monster in the lake before letting him loose on the world at large. It may interest you to know that the park where the Jenny Bracco first encounters the Cloud Spectre is right there at the State Park, but I took the name for the park from Sunset Park in Petoskey, Michigan just because I like the name.

JournalStone recently published your novel, The Reign of the Nightmare Prince. What can readers expect to find between the covers?

Reign of the Nightmare Prince is a story about a young shaman. He is on his Jaribu, a spiritual journey, the last test he must pass before becoming an adult. But as he returns to his homeland, he finds all the villages destroyed, the people vanished. Rushing home, he finds his people in terrible danger and he must unite them against this unknown enemy.

How did you develop the world and cultures in The Reign of the Nightmare Prince?

While browsing a used book sale, I came across an old copy of Roots. I hadn’t read it in years, and thought the buck fifty was certainly worth the chance to read it again. During the first section, the idea of how a tribal culture reacts to a more sophisticated one fixed in my mind. From that starting point, I began to develop the idea of the young shaman, proving himself worthy, finding a terrible enemy stands against him and his return home.

Many African cultures and traditions have colored my writing, even to the extent of using some Swahili words in the text. I find that my writing is strengthened by taking known cultures and myths and working them into my own work. Many writers do the same. I have done some study on how human cultures develop and use that in creating my world of the Nightmare Prince. Please forgive me for sounding so technical, but I am a bit of a book worm. There is a theory that likens human culture and development to ripples in a pond. Throw a stone into a pond and concentric circles form. So too, goes the theory, is human advancement. There is an idea or discovery and that idea is shared in waves from the point of origin. So when Rakam comes home, we start out in the backwoods and work our way into the capital city, going from the primitive to the more advanced. From there it is my great joy to throw a monkey wrench into the plot. Beasts and wicked spirits of all kinds work against Rakam even as he tries to save the world they live in. Just when the reader thinks they have everything figured out, we are introduced to the antagonists, the ones that are causing all the trouble. This ties the story into a great big knot that is only sorted out in the final chapters.

Where there any similarities between the writing processes for a novel and a series of short stories? What advice do you have for other writers attempting either?

Both the short form and the novel form have their advantages. I must confess that I like to write what excites me. “Strike while the iron is hot,” the saying goes, and I find the same works for writing. The short format allows me to take more chances with my writing. I can try out characters, settings, styles, without a big commitment. The novel gives me a chance to better develop the puzzle of a plot and the characters within. I almost think writing a novel is easier because the characters and setting are already in place. A novel is such a big project, however, that I have to take a break from it every now and then. When I come back, there is always something new to discover.

Publishing is an entirely different matter than writing. About ten years ago, I thought getting published would be pretty neat. So I started sending out stories. Most editors cut me to pieces. Some were encouraging. I started getting published in small journals. Even more importantly, however, I was writing stories I liked. With a finished novel manuscript, I found an agent. As naïve as I was, I thought I was set. But I never did have any luck with agents. Only when I started looking for publishers myself did I finally find Journalstone.

So I guess my advice is, write what tickles you to write. Keep at it. If you are rejected, it’s not a big deal.

Thank you so much for doing this interview! Is there any other news you’d like to share with readers before we go?

Thank you for having me. I hope your readers enjoyed the Crow Witch stories as much as I enjoyed writing them. Take care!

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M. Arkenberg is the editor of Mirror Dance and its sister publication, the historical fiction e-zine Lacuna. Her short fiction and poetry have appeared in Beneath Ceaseless Skies, Ideomancer, Fantasy Magazine, Clarkesworld, and dozens of other places.