House. by Nigel Best

Nigel Best has been writing poetry for over four decades. His poetry has been greatly influenced by life experiences, as well as by his love of language. He has read at several Scottish book festivals and enjoys experimenting with different styles and subject matters.

 


 

House.

 

a wonderful house
with trees and yes flowers in the garden
the driveway lined with poplars
twelve-tonal doorbell
a fitted carpet lying unfitted
and dejected
dust climbing the stairs
cobweb wallpaper in every corner
slow motion pictures reaching for the floor
striving for hidden foundations
bare brick
unwilling wood
the doors are hinge-stuck
the ungrateful owner took away the roof
the postman delivers silence
and you sit in the kitchen
playing the atmosphere
a wonderful
mighty house


Nigel can be reached via email.

Excerpt from A Message From the Other Side by Moira Forsyth

Moira Forsyth is the author of five novels and has also published poetry and short stories in magazines and anthologies. As editorial director of Sandstone Press, she has edited both fiction and non-fiction, including a novel long-listed for the Man Booker Award and the 2017 Betty Trask Prize.

The following excerpt from Moira’s upcoming novel, A Message From the Other Side, gives readers a glimpse into the life of Helen as she navigates the 1990s–and all the intrigue and excitement of a new, uncertain world…

 


 

Excerpt from A Message From the Other Side

 

You could not rely on Joe. Years later, Helen thought how different her whole relationship with him might have been had it happened twenty years later and they both had mobile phones. She could have kept track of him, and he might have told her what he was doing, or given her more warning if he wasn’t going to be around. As it was, Joe was one of the first people she knew to get a mobile phone, when many of her friends still scorned them. He saw the advantages.

There were times when Joe’s unreliability worked in her favour. He appeared out of the blue, probably letting someone else down, with a new car or–once, alarmingly, a huge motorbike–ready to take her out. He wanted her to drop everything, the moment he was back. Mostly she did, since being with Joe was much more exciting than being with anyone else.

‘Right–where do you fancy tonight?’

‘I’ve not had supper–do you want something to eat?’

‘We’ll eat up in town. Little place in Soho I fancy trying–my pal Bernie runs it. All right?’

‘I’m not dressed for that. ’

He was in her tiny hallway and she was in his arms. ‘Bed first? You lovely girl–come on then.’

It was ten o’clock before they were eating in Bernie’s cramped restaurant, full of people who knew each other.

‘You’re ruining my digestion,’ she told Joe. ‘I never eat so late.’

‘Try this,’ he said, pouring the rioja.

What was Bernie going to do when his friends stopped coming for dinner? It was such a small restaurant she didn’t see how he made any money, since everyone stayed for hours and he never got the tables cleared for another sitting.

Sometimes they were not back in her flat before three or four in the morning, taking expensive taxis home. He always had cash and rarely used his American Express card. He was not a man who liked paperwork. He took a roll of notes out of the inside pocket of his leather jacket, peeled off what he wanted, gave a generous tip, and was off and up the stairs before Helen.

‘Come on, girl, get your key out.’

‘Hush, you’ll wake the neighbours.’

‘Give them something to talk about.’

‘You’ve already done that, with a new car every other week and that motorbike!’

As soon as they were indoors his hands were all over her.

‘I wouldn’t like to get in a fight with you,’ she gasped, feeling the hardness of muscle as he gripped her. ‘How tough you feel.’

‘Women think they can fight men off,’ he shrugged, ‘but they don’t stand a chance. Men are always stronger.’

She wasn’t going to get in a fight with him, so what did it matter? His strength was good; she felt protected. He had old-fashioned ideas about the frailty of women.

He smoked but, in deference to her, not in bed. He sometimes got up again after sex, pulled on his jeans and a jersey and sat in an armchair with another cigarette. In those early days she rose too, giving up the night since it would soon be morning. During that first summer when Catherine went to Scotland, it grew light while they were sitting there, the grey London dawn coming bleakly into her little sitting room. ‘I’m exhausted. I don’t know how you do this.’

He shrugged. ‘It’s the weekend. Party while you can.’

‘If it was just the weekend–but I’ll soon have work to go to, even if you don’t.’

‘I’ve got work.’

‘What?’

‘I’m my own boss. I suit myself when I start and finish.’

‘What kind of business is it?’

They had been seeing each other for two months. The school holidays were nearly over and she still had little idea of how he spent his time when they were apart. They’d gone all the way to Brighton on the back of that motorbike, and walked over Hampstead Heath one morning he was full of energy he needed to work off. Once when he was driving a Jaguar, they had gone to Cambridge to meet someone who was keen to buy the car. She assumed he was some kind of car dealer, but he shrugged off questions about his business.

‘Ask no questions, you’ll be told no lies.’

She hated this answer. Seeing him lounging in her Windsor chair, dropping cigarette ash on the carpet, filling her room with smoke, she wondered if she even liked him. He wasn’t her sort. He said he had grown up in Glasgow then left at eighteen to find work in London. He had never gone to university, though he admitted to being ‘at college’ for a while, but she was no wiser about that than when she had first met him.

‘You know all about me,’ she said. ‘What’s the secrecy for?’

‘No secrets,’ he said. ‘I have a few things going, that’s all.’

‘Selling cars?’

He stubbed out his cigarette in the ashtray she’d put by the chair. ‘Furniture, antiques, that kind of thing. We got a warehouse just outside Watford.’

‘We? You have a partner?’

‘Two. You met them. Charlie and Brian.’

She could not remember which was which, or even if Brian was the man she was thinking of, that they’d met one night at a club, and whose wife had said to her as they occupied adjacent cubicles in the Ladies, ‘Joe says you’re a teacher, right?’

Unused to carrying on a conversation while she peed, Helen said only ‘yes’ until they were out and washing their hands. In the mirror their eyes met, Gaynor’s heavy with make-up. She was older than Helen, glamorous in a showy way, with heavy jewellery and short skirts.

‘I’m a music teacher. I work in primary schools and I have a couple of private pupils too.’

‘You’re not his usual sort,’ Gaynor said, amused, ‘but he’s smitten right enough.’

She watched him now in the cold early light, the white sky outside revealing nothing about what kind of day was coming, though the flat was stuffy from yesterday’s heat.

‘It’s just that school starts next week. You could come here in the evening, and I’ll still have weekends, except I’ve taken on a couple of Saturday morning pupils, so–’

‘Will I move in?’

‘What?’

‘Would it make it easier for you if I move in?’

She had not reached that stage. Where, anyway, was his home? In bad moments she wondered if he had a wife somewhere. There had been a speculative look in Gaynor’s eye when she questioned her that night in the club. So you’re his bit on the side this time, she might have been thinking.

If he offered to move in, there was clearly not a wife. Relieved, she said, ‘Would you like to? What about your own place?’

‘I’ve been kipping at Brian and Gaynor’s when I’m not here, to be honest. I gave up my place weeks ago.’

Perhaps the wife had thrown him out. Perhaps Gaynor had had enough of putting him up.

‘We could see how it went…’

‘Just say if you’d rather not.’ His smile was rueful. ‘Sorry, didn’t mean to put you on the spot.’

‘No, no it’s fine, it would be lovely.’

‘Tell you what, I’ll give up the fags. You’d like that?’

Laughing, she went to sit on his welcoming lap, and put her arms round him. ‘I would.’

 

Afterwards, she began to panic. She knew so little about him, and there was a dangerous edge to Joe, with his secrets. Too late: he was moving in before school began.

She expected him to come and go mysteriously as he always had, out of contact for a few days, reappearing without warning. For the first few weeks, it was not like that at all; it was a kind of honeymoon. When she came home from school he was there, cooking the evening meal. He went outside for a cigarette when he couldn’t do without one, and he filled the only vase she had with flowers, then brought her a jug that looked old and valuable. Perhaps it was true about the antiques, for the next week he brought home a round mahogany table. Her kitchen was a galley, so she had no dining table and was tired of eating from a tray on her lap. The wood was burnished, the bow legs intricately carved. It took up most of the middle of the sitting room.

‘Pity you’ve got that piano,’ he said as they edged round the table on their way out one day. ‘Takes up a lot of space.’

‘Not as much as your table!’

‘I thought you liked it?’

‘I do. It’s beautiful.’ She kissed him. ‘But I need the piano.’

‘Got to get a bigger flat then,’ he said as they went downstairs to the street door.

‘I can’t afford a bigger one.’

‘Don’t you worry about that.’

He opened the passenger door and she got in. He made sure she was settled in the car before he got in himself. He always did this, just as he always walked on the outside of the pavement when they were together. In some ways, he was what her mother would call a gentleman. Not that her parents had met Joe and she was in no hurry for that to happen. They lived in the house where she and Catherine had grown up, in a leafy road of 1930s half-timbered houses, her father growing tomatoes and playing golf in his spare time, her mother a stalwart of the WI.

Joe took her to an exhibition preview at a small gallery in Highgate. Another surprising thing was how wide his acquaintance was, how catholic his interests. He knew the gallery owner, not the artist, but he said they should buy something as this was a painter whose work would increase in value.

‘What if you don’t like the pictures?’ Helen teased.

‘We don’t have to put the bleeding thing on the wall, girl. I’ll keep it in the lock-up, wait a bit, then in another year or two, sell it on.’

‘That seems a waste. I’d rather buy something I liked and have it to look at.’

‘If you like one of them,’ he said, ‘I’ll get it, and you can hang it on the wall in our new place.’

As they reached the gallery he said, ‘What about Highgate then? D’you fancy a place here?’

‘Can we afford it?’

He put his arm round her waist and squeezed. ‘Course we can. Come on then, this is it.’

There was no missing the gallery, since on this warm summer evening the preview guests had spilled out onto the pavement with their glasses of wine. She felt the buzz of excitement that went with all Joe’s excursions.

Joe introduced her to the gallery owner, a little man in an embroidered waistcoat waving a cigarette in an ebony holder. His laugh was hoarse with years of smoke inhalation and he had a Glasgow accent many times thicker than Joe’s, whose veered between Govan and North London depending on his mood and who he was talking to. Helen thought Frankie a bit of a poser, but he made her laugh and seemed such a friend within five minutes she felt she could ask him, when Joe drifted off to speak to other people, ‘Which one is the artist? I can’t imagine, looking at the paintings. Everyone looks too civilised to produce one of them.’

‘Over the top, eh?’ Frankie said with a wink. ‘They sell though. I don’t see him in this crowd. He’ll be outside having a fag, pontificating aboot his art.’ He reached out and caught a girl by the arm. ‘Never mind, here’s Rose, she’ll tell you about the paintings. Won’t you sweetheart?’

‘Oh, hi, Frankie,’ the girl said. She looked Helen up and down.

‘I’m Helen Guthrie.’

‘She’s with Joe,’ Frankie said, grinning, so that Helen worried this meant more to Rose than mere information. Not that Rose would attract Joe. She was stocky, with no looks, and dressed in dusty black. She also seemed, as Helen shook her hand, a bit grubby, her dyed red hair unbrushed and lank.

‘Right,’ Rose said. ‘How long’s that been then?’

‘That I’ve been with Joe? Oh, not so long. A couple of months.’

Rose raised her eyebrows. ‘You’re doing well.’

Catherine had a gift for chilling you with a look. It was a gift Helen longed for sometimes.

Later, she said to Joe, ‘Who was that girl, Rose something? Is she Will’s girlfriend?  The artist.’

Joe stopped outside an Italian restaurant. ‘This do? I’m starving after all that cheap wine. Frankie’s commission’s about ninety per cent and he still buys antifreeze.’ He pushed the door open. ‘Ok?’

‘Rose?’

‘Oh, give it a rest. I’ve known Rose for years. She’s always hanging round some guy’s neck. It could be Will now, for all I know. Piss, his pictures anyway–I wouldn’t waste my money.’

‘So you didn’t buy one?’ She wouldn’t have minded Will’s painting being consigned to a lock-up in Camden.

‘Too right. Frankie’s losing his touch.’

They went into the restaurant, where it turned out he knew the waiter and there was a long conversation about football before they even ordered their food.

Rose. They had barely spoken before Gaynor appeared, and Gaynor by contrast seemed quite a pal, so she had gone round the exhibition with her. Gaynor had drunk several glasses of the cheap wine, and was able to tell her a lot about Frankie and the artist and several other people, that Helen found illuminating. Joe’s world opened up a little more.

Gaynor said nothing about Rose, except, ‘That cow.’ Then with a squeeze of Helen’s arm, ‘You keep away darlin’, she’s not the kind you want to get friendly with.’

 

There was no need to worry about Rose–or anything else. In a fortnight Joe had found them a three-bedroomed flat in a 1930s block in Highgate, close to Hampstead Heath. He arranged it so that Helen got out of the lease of her own flat without a penalty, and he took her to Heal’s to buy furniture, since the new flat was largely unfurnished. She did not see whether he counted out several thousand pounds to pay for all that, since she had wandered off to look at lamps and coffee tables while he arranged delivery.

Go back to the Highlands and live with her sister? She was glad she hadn’t even considered it.

Three months after they moved into the new flat, Helen realised she was pregnant.


A Message From the Other Side launches in Inverness on July 20th. To keep up to date on the release, you can follow Moira on Twitter and Sandstone Press on Twitter and Facebook.

 

For Kristiina by James Machell

James Machell is an Edinburgh-based science fiction writer who dabbles in romantic poetry. Aside from numerous SF publications, he has performed one of his poems for the inaugural edition of Underpass magazine and has had poetry published by Concrete.

 


 

For Kristiina

 

1
Kristiina, Kristiina,
Hardly is your name spoken
Without regret,
For if only to have met you sooner,
Would have spared
My mortal ribs
From breaking as they hold you now.

2
I, like some old age peasant,
Am made delirious by the sun,
And nursed by her second face,
Will hold the hand of Kristiina,
Forever, in my second place.

3
I burn at the memory of your hand,
Which from first touch,
Measured larger than mine,
And your eyes in bed,
Sprawl, marking my dreams
Like the fly, mercifully crushed
Against my open page.


James can be contacted via his Twitter, @JamesRJMachell.

Hebron by Yael Veitz

Yael Veitz is a New York-based poet and editor of Clio: The Journal of the Brooklyn College Historical Society. Both her historical interests and her poetry reflect a geographically diverse background, an insatiable wanderlust, and, occasionally, her love for her cats.

 


 

Hebron

 

City of earth, of sleeping souls
Holding our shared ancestors as if in a cradle, under the mountain steps.
Do not inter the living.
Do not crush your inhabitants under broken cobblestones, blanketing them with thin,
White dust as they sleep.

You bury. It is your calling. You deaden their hearts, let them cast stones at each other
At the bus stop.
The flimsy fence between them, strewn with garbage, becomes another monument
To the dead.

You are all gravestones. You are cracked walls, broken pavement, warning signs and
Scarlet declarations gashed into centuries-old walls.
I slog up your steps,
Sneak into both halves of your great tomb, and feel the great sleep coming over me.
Eyelids heavy with weeping,
I almost curl up on the carpet at the mothers’ feet.

If the city has ears, they must be here, in the women who carried me.
So I murmur to them.
They incline their heads to me–Sarah, Rivkah–toss their soft braids over my shoulder,
Their ears a great desert expanse,
Their wombs puckered, leathern.

I try to tell them.
I try to tell them about the stones, the swastikas;
About the thick glass between our two halves, and the bullets that put it there;
About the girl who slashed her wrists to ribbons, wound those around her throat.

I try to tell them–Sarah, Rivkah–
Beg them to shake the earth,
To level the trenches,
To forget old jealousies.

But my words come out in squeaks–only one word, many times:
Just please, and please, and please–


Yael can be found via Facebook.

Interview: Chrys on Game of Thrones

Chrys is an online exegete known for her distinct blend of humor and insight. Several years ago, she began her popular series Chrys Reviews, in which she analyses TV shows through episodic recaps. These are presented as a compilation of stills from the show with her thoughts as subtitles (often satirizing the characters and scenes being portrayed). Chrys’ commentary thoroughly dissects the episode, paying special attention to dialogue, relationships between characters, and the (sometimes unabashed) mishandling of tropes. Chrys’ reviews are well-received on multiple platforms, including Tumblr, Reddit, and Imgur. Over time, she’s incorporated a number of different TV shows (including Westworld, Sleepy Hollow, and How to Get Away with Murder) into her Reviews series; she’s reviewed more Game of Thrones than anything else, with thirty-five episodes of the show’s sixty episodes covered.

In this interview, The Ogilvie’s Chief Editor Calder Hudson speaks with Chrys about her review process as well as her thoughts on HBO’s Game of Thrones and its upcoming seventh season. The opinions expressed in this piece are those of the authors and not necessarily of The Ogilvie editorial staff.

 


 

What was it that first made you decide to do the Chrys Reviews series? With respect to the screenshot-style, did you have the format and presentation planned out in advance, or did your method develop over time?

I wanted to make people laugh and to challenge myself as a writer (or as a friend lovingly says, “shitpost generator”). The screenshot-style recap has been a Tumblr staple for quite some time, and while I’d never actually seen the show, Hannibal screenshots that made me laugh (even though I had no context) were the reason I thought it might be fun to do my own. At first I didn’t really know what I was doing, as might be evident in some Teen Wolf recaps, but I soon found that giving each character a voice of their own helped tremendously. The format itself shaped the style more than anything else. Text on a limited space means verbosity is out of the window, unless you make the very deliberate effort to turn that into a joke–a wall of words can effectively communicate the fact that a character is monologuing or rambling. Screenshots are also great for pacing; there’s nothing like a text-free shot to give a joke time to land.

 

Between the screenshotting and the commentary, how long does it usually take to complete each episodic review? Is there a particular process you have with respect to making them?

It really depends on the length of the episode. I normally go through every single frame of a scene to find the best facial expressions (Conleth Hill–Varys in GoT–and Ed Harris–the Man in Black in Westworld–are prime examples of actors that spoil me for choice). This also helps me to notice details I might have otherwise missed. The time it takes to write an episode recap can vary, especially from show to show. Since I go frame to frame, the longer the episode, the more work I have. It usually takes between five and eight hours total. Writer’s block can happen, but I think it usually affects the quality of the writing (and my mood!) more than the length of time spent on a piece.

 

In some cases you’ve written an accompanying text post with your thoughts on an episode. When you begin the recaps, do you usually go in with a skeleton-structure of what you want to address in the episode, or do you do the full write-ups after you’ve finished the recap?

The write-ups always happen after I finish the recaps, while I’m waiting for the images to upload. I keep notes while watching the episode and always have a mental list of things I want to address, for the most part managing to get my point across as succinctly as possible without forgetting anything. The trouble with writing something at around (or past) midnight is that memory and editing become… interesting creatures.

 

The shows you’ve picked (Westworld, How to Get Away with Murder, Teen Wolf, Game of Thrones, etc.) cross an array of genres. How do you select which shows you want to review?

All those shows are high drama, with ridiculous plot twists, situations, and characters. They’re fun! Even Westworld, with its more cerebral approach, can become a parody of itself without particular effort on my part. Additionally, they’re shows that sometimes become controversial and deeply affect the fans watching. This means I can be critical at times and provide much needed levity during others. My Patreon supporters also have a say, but they still choose from shows I’m interested in doing. Westworld recaps could just have easily been Luke Cage recaps save for a few votes, so that’s an interesting road not taken. The most important thing is that I either love the show or love-hate it. If I find myself bored, disappointed, or just plain tired of its nonsense, I stop (and have done so for at least three shows off the top of my head). I do have to admit to liking my version of events so much I’m still watching Game of Thrones as part of some sort of weird and narcissistic exercise in writing.

 

Yes—you also mentioned earlier that you wanted to challenge yourself as a writer. What sort of writing do you do outside the Reviews?

I’ve written a few short fanfics and generally like to play with characters and ideas. I’m currently wrestling with an original fantasy novel and the recaps have been excellent training for letting myself abandon the pursuit of perfection in order to get something (anything!) down.

 

On the subject of Game of Thrones—you’ve done more GoT episode recaps than you have for any other TV show, and earlier you mentioned you either need to love or love-hate a show to proceed to review it. If you had to put GoT into one of these two categories…?

Game of Thrones is something I have a lot of thoughts and emotions about, especially as the show relates to the books. I will always love the show for introducing me to the world and to a lot of people who enjoy talking about it. I also kinda hate the show for the way it cheapens and distorts the source material. A Storm of Swords is my favorite A Song of Ice and Fire book and I started recapping the show during Season Four, extremely excited to witness the Lannisters tearing themselves apart. To say that I was disappointed by the way certain elements were adapted is putting it lightly, so the recaps became a way to deal with all my nerd rage… and Season Five was just bad! However, the recaps help me adapt the adaptation—and having enjoyed the sixth season, I think GoT has become a show I’ve accepted. Like the weather, good or bad. For the most part I just like talking about it. It also doesn’t hurt that people apparently like what I’m doing; getting feedback of any kind is wonderful and the response to the recaps has been overwhelming.

 

GoT gets a lot of flak for how it’s adapted George R.R. Martin’s ASoIaF series, as you mentioned. Book fans and show-only fans often end up at odds with one another—do you feel you enjoy the show more or less because you’ve read the books and have that awareness of the differences between them?

Ignorance is bliss, yet it’s pretty hard to remain engaged and ignorant on the internet, no matter how hard YouTube commenters strive to disprove this point. I think I’d probably enjoy the show a bit more if I hadn’t read the books, but given how loud book fans can get, I doubt I’d remain in the dark and would eventually be disappointed.

 

Some of your recaps touch on the fact that GoT has gradually moved away from ASoIaF, especially insofar as how certain characters and plotlines are represented (or, in some cases, are not represented). Do you think this differentiation is why many fans feel less enthusiastic about recent seasons (particularly, as you said, Season Five), or are there other causes for that fallout?

I know a lot of people, book readers and show watchers alike, who were extremely excited about Dorne. I think disappointment hit both sides hard. It’s probably one of the few things we can all agree on: the Dorne plotline was subpar and a waste of everyone’s time and talent (particularly that of Alexander Siddig, who played Doran Martell). And then there’s the whole mess with Stannis which was… poorly executed. I’ve also noticed that production values just aren’t what they used to be. Screenshots from Season One make later seasons look like they were filmed in a basement using post production color grading as lighting… and let’s not even mention the wigs. At the end of the day what hit the hardest for me personally was seeing a whole bunch of people who used to love the show abandon ship and write quite bitter, eloquently phrased articles about it. To say it didn’t help quell my own dissatisfaction is an understatement.

 

With respect to “adapting the adaptation”, what do you think is missing most from the show which is present in the books—and on the flipside, is there anything you’re glad the show has altered from the source material?

The books make an effort to show that war and revenge slowly strip away people’s humanity. While graphic at times, the writing doesn’t glorify violence and savagery, and contains beautifully written anti-war rhetoric. The show is not only missing this, but also refuses to give characters the complexity they have in the books, a sin I could forgive in a movie adaptation but not in a series of ten-hour seasons. As far as things that are better… the aging-up of some younger characters makes for more palatable watching. While certain actions can’t be excused of adults–resulting in characters who are rash or stupid rather than childishly immature or overwhelmed–it’s easier to see horrible things happen to people around 20, rather than to people under 16.

 

As you said, a great many fans of the show have jumped ship in the last few years. Meanwhile, some book fans are also voicing resentment, having grown increasingly impatient during the wait for the release of The Winds of Winter. This has created another point of contention within the fan community, with dissatisfied readers going head-to-head with those defending the speed of GRRM’s writing. Has this controversy impacted you or your reviews?

I’m not that impacted by the controversy. This is probably due to the fact that the parts of fandom I’m most involved in are comprised of writers who are almost unanimously defenders of his speed, even while joking about it. Essentially it’s a conflict happening far away and which my environment ensures I’m on the right side of, since I’m of the opinion that we don’t own GRRM’s time, no matter how much we love his work and how disappointed we are by the fact there’s not more of it (and I find it all kinds of hilarious that show watchers get to be smug about spoilers).

 

Back in May, Entertainment Weekly reported that HBO is considering four different Game of Thrones spinoffs. Given your feelings towards the show in its current state, what are your immediate thoughts on that?

Honestly, my immediate thought was “Ugh…” but having read the article, I can think of at least a couple of stories from GRRM’s canon I’d love to see adapted (the fall of Valyria in particular). Maybe by a completely different team of creators, though.

 

The Fall of Valyria would an interesting base for a spinoff. Most people initially predicted that they would cover Robert’s Rebellion, Dunk & Egg, or the Dance of the Dragons… all parts of the canon which GRRM has already written a great deal about. Choosing something he hasn’t elaborated on much would allow for more artistic liberties and would enable them to avoid some of the lost-in-translation issues GoT has faced. Would you like to see the Fall of Valyria because GRRM has kept it ambiguous in many ways, or is it just part of the canon you’re very interested in?

I love the stories surrounding the fall of empires. There’s just something about the grandiose tragedy of it all, especially when combined with a kind of sick, morbid delight at seeing something that epic falling to its knees. In all honesty, though, I’d be lying if I didn’t say that curiosity has a lot to do with it.

 

With Season Seven of GoT only a month away, some spoilers have already surfaced through set photos and leaks. Have you looked into these, or are you keeping away from them until the start of the season?

I don’t go hunting for spoilers, no. I like to go into new seasons knowing next to nothing, though I have inadvertently seen set photos and that wonderful paparazzi shot of Kit Harington in full armor with sunglasses on.

 

With Season Seven in mind, is there anything you’re particularly nervous or enthusiastic about with respect to the show’s direction?

Sansa’s characterization is always a worry. That’s the big one. What I’m most looking forward to is all the characters’ roads converging as we head into the final season.

 

Is there anything you’re planning or predicting with respect to the new season of GoT—or the other shows you review, for that matter?

I have more than a few theories about what will happen in GoT (e.g. Jaime killing Cersei which I’d love because of the Aerys parallel, or Jon and Dany hooking up which I’d hate because it’s boring). As far as actually using any of them in the recaps, well… we’ll see. The GoT subreddit has rather draconic rules concerning spoilers and I’d rather censor myself than deal with the appropriate spoiler tags. In the case of Westworld, on the other hand, I felt completely at ease jumping on a theory’s bandwagon before it was revealed to be canon.

 

As far as those predictions are concerned, I expect only time will tell–though in the meantime, the Chrys Reviews series will continue to offer hints! On that note, do you think your close analysis of shows–even shows which can at times be so frustrating–honed your artistic instincts? Has making all these recaps left you with any lessons on writing and creativity at large?

Pointing out other people’s mistakes should help one avoid making them, right? I would hope that’s true, but we all have our particular quirks. I’m still someone who edits as she writes, doubting word choice and structure to distraction, yet the fact that I had to have something delivered every Monday has helped me to learn to just let go. It’s been good. Typos are still annoying, but they’re not the end of the world and I’ve made enough to know. What else… setting limitations for yourself is great. I’ve tried to avoid obvious and lazy jokes or references and the result is almost always better than what I might have originally written. Comedians who complain about PC culture really annoy me in this regard, because if we remove the whole hurting people aspect of their comedy they’re really just demanding the right to rest on the same lazy old tropes… deciding to not use the word “bitch” was hard, particularly because I swear a lot and Jesse Pinkman made it goddamn hilarious. But: the format is great for learning to create characters and flowing dialogue. I’d highly recommend it to anyone wanting to improve.


Chrys’ reviews and other projects are accessible through her website and her Patreon; she is also on Tumblr and Twitter.

Notes and Addendum by Jenny Wu

Jenny Wu is currently working toward an MFA at Washington University in St. Louis, where she edits The Spectacle literary magazine. Recently, some of her fiction was selected for WTAW’s Features Chapbook Series and, on another occasion, shortlisted for the Dzanc Books Prize for Fiction.

 


 

Notes and Addendum

 

There was one who called herself a doctor on the expedition. I distrusted her right away. “You are not a doctor,” I said. We were now several months into the expedition, but I had not bothered to study her when we started out. Likewise, I have not mentioned her before because I found her trivial and typical of her kind. “You are a mystic,” I said. “Just admit it.” We were walking through a night market in the center of the capital; on both sides of the street colonial edifices with eighteen bays cast their twitching lights like fishermen’s nets onto the rubble.

Perhaps it was not the right time to say such a thing. We were trying to enjoy our night off. Amidst nocturnal peoples selling medicinal herbs like astragalus–slightly toxic, with giant hairy tuberous roots rolling off the stands despite not being round. Often the locals went to barber shops after dinner; visited massage parlors at three in the morning; bought a crate of oranges at midnight. Darkness was something expelled into the atmosphere. On the ground, poverty and its fluorescent reflections; the barber shop employees were all family members, large extended families always hanging around, drinking tea out of paper cups; and whose children were these playing poker? A man and a woman shivered in the cold, on the steps of a bar where workers on either side of the steps were rolling a fried dough balloon–a local favorite. They slapped the sphere of dough in the oil and nudged it with long, thin reeds until an air-pocket rose. They used the reeds–one in each hand–to roll the dough, while the bubble expanded, glistening with oil. So we were out walking in the middle of the night. They stared as I walked past, as if telling me to go to bed, as if simple foot-traffic laws could direct me like the changing chords of a jazz improvisation. Stop. Go. Let other people pass on your left. Do not flash your camera in their eyes. They want to be away from home but they want privacy.

The shorter the street, it seemed, the shorter the street name. Maybe the proportion had to do with the printing of the map. Some were horrifyingly long words, emblazoned on streets that careened off the edge of the paper, made you think the street would take your whole expedition into the Parcae.

Overhead, a white solarium with casement windows and slick tile walls, a ghostly light within. Four hangers arranged in a square, three jean shirts and a pair of jean pants, each piece a different shade of blue. Apartments with no right angles, the balconies turned into rooms with shabby roofs–in other words, rooms with glass doors; in other words, lean-tos suspended in the air. A drove of grey laughing-thrushes diving in from the north. We went to a shop to get our hair washed. Our hair had not been washed in a week and it was almost too enjoyable. The young girl, younger than me, began to tell me the story of her birth, how her parents abandoned her at an orphanage, as she lathered my hair. I would rather have done it myself. But in this city there were no membranes separating one person from the next. They looked inside your shirt when measuring you for clothes. They asked for advice on their bowels. Death and illness did not frighten them.

We scientists were all wearing hiking boots, which was somewhat conspicuous. But that was the only difference. We did not make trouble for the locals. We wore hooked scarves sewn into hoods with neck wrappings over our clean hair, since, in this city, most women on the street wore these. We were cold nevertheless; temperatures dropped below zero after sunset. That night I was drawn to the colonnade’s yellow light, having tricked myself into believing it might be warm.

According to this mystic, I was nothing more than a mouthpiece for my expensive education. I will admit, when I was younger, I knew nothing. By the end of my schooling, though, I had read extensively even outside of my own scientific field and continued to read extensively. By flashlight I read poetry and philosophy in three languages. She mocked me. She admitted to having no formal training, but claimed she had saved more lives than your average doctor. She was middle aged–more “life experience.” Later on, before I had even said anything, she pointed to an old couple inside an illuminated jewelry shop; they were sitting in the back on those fake leather swiveling stools, examining some jewel in the display case with their elbows on the glass, wearing winter coats. The mystic said she had sensed last night, while the rest of us were sleeping, that they were going to have a heart attack, that she had rushed over to save them.

Them?” I said. “Both of them? One heart attack or two? Where? Where did you rush to?”

She said nothing.

Them?” I repeated. I, for one, had never seen these people before.

The mystic pulled up her messaline sleeve, revealing a bracelet. “They bought me this bracelet in gratitude,” she said.

Doubtful, though the bracelet did look like something that would be sold in this city; it was a bit gaudy.

We had been eating cakes with crushed almond powder mixed in under an awning. It had started raining heavily. A restaurant worker was taking a bunch of pots to the back alley for scrubbing. She poured boiling water over an empty soup bowl, over her fingers, rubbing their leathery prints together to remove the oil. She began to explain to me the perplexities of human anatomy. The food here–the tubers–when you ate them your whole body itched, but they tasted so good, especially with salt…

When the heavy rain on the street subsided, we could hear street musicians.

*

In the daylight we each carried binoculars and a slide projector. The villagers of S– were friendly to our expedition despite the politics–first comes the scientific exploratory expedition, then come the army and tanks, as is always the case. I glimpsed the top of their heads from afar, in the ruins. Through one arch I saw a wall with another arch; through this hole I saw a vague figure the color of flesh. It ambled and swayed amidst oblong yellow flowers with dark, fecal bulbs sprouting from their heads, plants with red stalks, blackberries choking an old sawed tree with antler branches, vines and long green beans twirling overhead, weeds like white hairs stomped flat on the ground, and an array of snake skins and milk teeth. The mystic spoke of the field as being otherworldly, occult, spirited, eastern or easterly, of a man falling into the ground never to be found again. But I understood immediately that she was talking about the Greek philosopher Thales, who while walking, staring into the sky, fell into a well–in other words, while staring at air was consumed by water. I was annoyed that I understood this. I was frightened too. The field was quiet so our thoughts were loud.

Three of us explored the foliage. I would rather have been anywhere else–alone under a tree, for instance, getting started on the mandatory report. Instead, a persistent drone of insects. Standing by a stream, feet getting wet and cold. I had the feeling I was being watched. The mystic bent over suddenly.

“What are you doing?”

“I’m tying my shoe.”

After rain, the colors intensified, time passed slowly. The other two were talking but I couldn’t understand what they were saying. The mystic led me to the ruins–to look at something painted on the menhirs, or so she said. Again, that childhood habit–climbing on stones to prove you are not afraid of heights. Walking along the top of a stone wall the height of two men, one foot in front of the other; there was a gap in the wall. The mystic said she had been up here many times; she knew the structure of the ruins; she knew where to place her feet. She leapt effortlessly over the gap. She motioned for me to leap. I couldn’t. She held out her hand for me to shakingly take; she looked so far away; besides, I didn’t want to take her hand.

Outside the village of K– we sat around a small fire boiling tin cans. The cartographer rolled some tobacco and another expedition member, the conservationist, struck a match for him. The mystic was off to the side performing a bloodletting on a villager who had smelled our lunch and ventured into the field. Distracted by this spectacle, the two lingered with the match too long and the cigarette went up in flames like a candle. The cartographer shook it and embers fell to the dark wet ground. The conservationist pointed at the papers on my lap–the beginnings of my report. “I just finished mine.”

“You’re the first one to finish his report,” the cartographer said to him. Some of us who went on these kinds of expeditions were known to procrastinate for months after we got home. “Let me give you a gift of congratulation,” he said. Took out a small thing.

The conservationist suddenly panicked, leaned away. “No! Keep it! I don’t want your things!”

The cartographer rummaged through his bag. “Just a small thing I picked up. Thought you would like it.”

The conservationist grunted. He was drinking a soup made from berries, with a medicinal smell.

“Here is a photograph of that man who refused to be photographed,” said the cartographer, trying to give it.

“Mm!” said the conservationist, pushing his hand away.

“And here,” I said, retrieving another bulging envelope from the cartographer’s bag, “are the two-hundred Polaroid photos of a black sky that you took the other night.”

“Because I was trying to capture the lightning.”

“You were very drunk.”

The mystic came over to sit beside me. We spoke about our credos. “Once,” she said, “I was asked to read the palm of a man from the north who was visiting my city on business. His palm revealed to me that at the age of fifty a great tragedy would befall him.”

“What do you tell them,” the conservationist asked, strumming a lap dulcimer, “when the news is bad?”

“I tell them the truth,” said the mystic. “It does them no good to lie.”

“Do they get angry at you?”

“In fact, this man did not,” said the mystic. “What happened was this: the year he was supposed to turn fifty, one day in the spring I received an international call from him to meet me for tea; a few days later he flew all the way from another country to meet me. His twin had died.”

I said, “Ah, so the tragedies you predict are unspecific.”

She said, “Twins, you know. They have the same palms.”

The villager told us how to make it over the summit by sunset. His village was located on a crag that overlooked a treeless section of the mountain whose inner rock layers were showing, the orange colossus broken and lying at the bottom of the drop. The road ran dangerously close to the edge. The people in this region fetched their water from a nearby stream. Pleasure to see clear water slopping over the half-buried rocks–you could lie belly-down on a flat rock and drink from the green and black current. Upstream, in the middle of the rushing waters, was a woman squatting on a rock, washing her clothes.

Uphill the whole way and, mid-ascent, out came the peasants selling their wares–they charred sardines on sticks atop an open coal fire. A pile of skewered sardines sat raw on the side, their bluish-white scales still wet and glistening. Other vendors had skewered some sort of long-necked bird. In the fire these birds’ bodies turned gray and brown, their blue innards peering through transparent breasts, while their heads reddened and bulged. Some sellers had whole eggs boiling in metal pots, plates of red chili powder at their feet, their children crouched beside basins of live fish. A man smoking a waterpipe made from a stack of bottomless tin cans slumped on a footstool, swarmed by red-faced cockerels. Women sweeping with hand brooms. A single yellow monkey scoured the hillside for fruit, and, when it found some, turned and stared suspiciously at everyone as it ate. For half a kilometer beside the stream the mountain economy was concentrated where travelers passed by. The women sold charred meat.

The children sold flowers. The very small children sold pebbles. These were mountain people; despite the cold they sit outside.

We could no longer understand their language. For the rest of the day we communicated with rudimentary gestures. Went up the mountain and took a detour, picked up a stone from the grass, weighed it in my hand, and held onto it.

“Who needs to piss? Show of hands… Alright, we’re taking a detour.” The men unzipped their pants and pissed in the dirt, off the cliff.

“Would it be wrong to call us a choir?” They stood in a line, shoulder to shoulder, facing the abyss.

“I’ve heard that saying used,” said another.

“Next time we have to piss we’ll call it ‘going to sing,’” they chuckled.

I waded alone through brambles, sometimes cutting my own way through the entangled branches with my knife. I came this way because I wanted to–there was no other reason. Eventually I came down on another side of the mountain, evergreen trees and white twiggy underbrush: a vast expanse of land flanking a crude road stretching as far as the eye could see. Maybe I beat the expedition here; they should be coming up the road any time now. The road was gray gravel pounded into flat scales. It looked new, with no weeds between the stones and no cart ruts to either side. I had to criticize, however, the irrigation practices of these peoples; the deforestation; the roads, like the manmade ponds, partitioned with stone slabs that disrupted runoff. Water and land must have, I would argue, a natural meeting point. The trees on each side grew dense and green like spears over the land, gradually steepening into the sides of the mountains that contained them like a bowl, and the sky dropping–cloudless–in every direction like a dome. I continued west. Behind me, the gravel disappeared into the green hills, and I noticed every so often there was a big stone on the side of the road. As I walked on I realized that someone, for some reason, had been marking the distances on the road.

Wherever the trees stopped growing, the patch of land was left destitute and foreboding. Pockmarked landscape with cairns. Upon closer inspection, some of the cairns were mausoleums hidden under grass. At least five mausoleums in a jagged line, all facing the road. Were they, I wondered, a family? Or strangers who met only after death? Sitting on the roadside writing this entry, I looked at their land and saw that they could grow pears, walnuts, chestnuts, wild honey. There was even evidence that these crops had grown here before. There ought to be some goats in the mountains. The threat of tigers? After all, tigers factor into their paranoid superstition: on the first day of the fifth month, I was told, each person must sleep alone. Stay hidden while the ghosts and tigers prowl the yard, they said…and if a villager is sick, they pray to the tiger head.

*

Our first night in the countryside. Awake due to some indigestion. Snuck out and went into the field and took a night-photograph. It turned out blurry. The kitchens and outhouses in this region were communal; both types of mudbrick houses clumped together on the periphery of the village. There were giant crystals of salt on the road; they gleamed in the moonlight, winding down toward the houses.

Woke up in the morning to caterpillars and white butterflies. Found all sorts of animals in the garden: the usual gray rabbit, the locals gestured–now twice its original size–then a Maltese cat, then a prickly hedgehog, then an orange-and-black fox whose tail I snuck up behind, whose fur was rustling, who looked at me suddenly over his shoulder. As though our villa had become the setting of a fairy story.

The mystic came outside, stretching, and said, “It feels like we’ve lived here all our lives, doesn’t it?”

That day we found a village where they spoke our language; stayed there, visited homes, tasted their tea, even though the people were not particularly pleasant. The men in this village were gamblers. Subsistence farmers: grow some sprouts, eat them, and gamble. Any money in the village was locked in drawers, away from the prying hands of the women.

Next was a house with old man on the floor. Perhaps it was the age of the man, his refusal to present himself, refusal sit up straight, even when there were people observing him. He had coarse black and gray hair knotted in the back, but strands around the temples seemed to have been torn out of the knot and were standing on end. He had no eyebrows–probably from age–but his brow was permanently raised, his mouth permanently pursed in a horizontal line. His eyes stared at nothing, two pinpricks. Extremely long ears. He was wearing tweed trousers, dark gray, and a ramie collared shirt underneath a sweater in the faintest shade of lavender imaginable. He was resting on one elbow, the hand on his stomach, the other at an odd angle on an old quilt. The old quilts were all over the floor, gray bundles with the occasional square of city-colors. Not a scrap of furniture. “It’s been gambled away, so be careful,” said the mystic. “That old man sees that you have money on you.” Where the blankets did not reach there was cardboard taped to the floor and the corners of the wall with yellowed translucent packaging tape. The walls were covered in pages from an atlas, maps of the same area of land with different routes marked in red, showing different sized portions of the ocean. Above them, magazine clippings showing the latest styles of cassimere, voile, damask, muslin… all the pages pasted perfectly straight, not a slapdash effort. The paint on the windows was flaking; there were thin pages of some book printed with gray ink covering the window jambs. On the sill, strangely, two pieces of porcelain; they looked like soap dishes with dirt in them, a shriveled stem and some excavated roots still visible in one. On the wall–on top of the atlas pages, beside the magazine clippings–a colorful flower print, an ultramarine background with tricolored peonies and a golden border. Pasted on top of that, as though the larger flower print was a frame, a blown-up image of paper money–a bluish note with the profiles of the heads of state and everything. Was this decoration? The mystic explained. “They paste any paper they can find on the walls for insulation and because it looks better than the blank wall underneath. Every so often they need new paper because the existing layer turns black.”

An old woman hobbled into the room and told a story of their relative–pointing at the seated man–“his brother.” We listened to her story; we watched her hobbling around holding her wet laundry in a knot, as though she did not know where to put it. She was the shortest person I had ever seen in my life. “His brother,” she said, “gambled the entire family’s savings; his mother and father starved, some of the younger ones starved to death. He was the only one who took pity on this brother; the rest had planned to tie him to the bed and lock him in a back room for the rest of his life. Ah, I’m telling a story that’s fifty years old.”

“Whose brother?” the old man suddenly said.

Your brother,” the old woman said. “This idiot”–her index finger shaking–“brought his brother to come live with us, eat our food, and gave him a portion of our land and even a share of his ensete trees, livestock, and our business. He loved his brother so much, you know. They were closest in age. They went everywhere together, did everything together. When his brother got whipped in the yard he would cry, cry, cry for him. And the first thing he did was destroy our business. The fruit on the trees? The goat? All gone. Then he stole everything of value in our house. I set up traps for him and even caught him with my own eyes. Still this idiot took pity on him.” She set her wet shirt on the windowsill. “Our village has been debased by these men. Do you know how our women make a living? They sell rocks to travelers. Well. You want to guess what this man’s brother did after all that? You’ll never guess what happened then.” She cackled; she showed her silver teeth. “Then he disappeared!”

We spoke at length with local experts. Governments would be alerted. Aid would be sent to this village, preferably in the form of microcredit. We were to leave the village through a narrow mountain pass; from a distance we saw the women lined up on both sides. As we entered the pass a child approached–young, naked, protruding navel. He was holding something in his hand. A ruddy volcanic rock. The women, too, were selling stones–polished limestone bracelets, heavy pendants, crude sculptures. Some of them had stands, and some were sitting on threadbare blankets with the rocks spread before them. They clamored over each other, describing the rocks as artifacts unique to the region, that such-and-such rocks were blessed by a goddess. One of the rock sellers smiled at me. I realized that for however many months we had been traveling, I had not seen a single local smile. The girl was pale and fat and sleepy, but–was I mistaken?–she had smiled. I approached her without confidence; I approached her politely; I bought a rock. I felt oafish, conspicuous.

“You saw the village where I live?” she asked.

“I was just there,” I said.

“Why do travelers prefer to come in winter?” she asked. “In the summer no one comes.”

“A lot of travelers pass through in the winter?”

“Every three days or so, a group passes through.”

“Have you ever considered leaving with them?” I regretted asking; I could not make any promises.

But she shook her head. “I’ve never thought to leave my family. Or to be alone. Where would I go anyway?”

I told her I’d lived on my own for five years, since I was fifteen.

“We’re the same age then,” she said.

I didn’t know what to say; I wondered who was more surprised. So I told her, “It’s nice to be on your own. But being alone causes you to form all sorts of weird rituals.”

“Like what?” she asked.

“Oh, I don’t know… I can’t think of any off the top of my head.”

“You’re so brave,” she said.

Suppose I moved to this village and married this girl? Immediately following this thought I was seized by dread and tremors. I didn’t even know if this girl liked women. I looked up and down the mountainsides; their immensity dizzied me; for a moment I forgot which way we were walking, which way we were coming from.

“That girl,” said the mystic, “is your soul mate.”

Looked back at her over my shoulder; the sun was setting and getting in my eyes. “But I have an expensive education, remember?” I waited for the mystic’s reaction. Getting none, I said, “I doubt she can read.” I had never thought much about marriage, always buried in my studies. And I had no feelings for this girl beside the thought that I ought to…

“She will be very surprised.”

For the first time I looked closely at this mystic’s face. She had a square-shaped face, brown skin, crow’s feet, and black moles. Compared to the average head, hers was relatively small.

“She won’t know why, but she’ll say yes. She’ll never be able to understand why she said yes, but she will think about it much, and she’ll never argue with you.” The mystic seemed utterly convinced by what she was saying. “And day by day you will find yourself more accustomed to the traditions here.”

She embraced me. I patted her on the back. How rare, I thought, that my life should cross paths with the likes of this mystic. There was truly no one like her. She went on to predict that I would spend the rest of my life working with my hands, specifically with wood. We looked around at the trees of the region–aspens.

“I must catch up with the expedition,” the mystic said.

 

 

 

 

When the army and tanks rolled into the region, they were met, in this mountain pass, with a funeral. The funeral happened to be processing in the opposite direction, momentarily blocking the army’s path. The funeral, they learned, was for a young woman scientist who had, five years earlier, married one of the locals but for whom the combination of harsh working conditions and the high elevation proved to be too much. She had overworked herself trying to provide for her wife, a baby-faced woman seen walking in the procession with her head down, weeping tears of unmatched devotion.


Jenny can be found at her website, jennyzw.com.

 

Excerpt from The Health of Strangers by Lesley Kelly

Lesley Kelly is a Scottish novelist with twenty years’ experience in the public and voluntary sectors. Having dabbled in both poetry and stand-up comedy, Lesley Kelly’s fiction has won numerous competitions, including the Scotsman’s Short Story award in 2008. Lesley now lives in Edinburgh with her husband and two sons.

What follows is an excerpt from The Health of Strangers, Lesley Kelly’s upcoming novel, in which the North Edinburgh Health Enforcement Team faces new threats and unforeseen risks.

 


 

Excerpt from The Health of Strangers

 

‘He’s dead all right.’

Mona stepped back, and ran her eye over the corpse. She’d seen worse than this, much worse in fact, but not in the last few months. Funny how quickly you forgot the sights and smells of death. Maybe you had to forget, maybe the amnesia was some kind of defensive mechanism; if you remembered what it was like you’d spend every night downing a bottle of wine while surfing jobs websites for less traumatising employment. She glanced over her shoulder to where her partner, Bernard, was standing, and quickly stifled a laugh at the expression on his face. From past experience she recognised the signs that he was channelling all his energy into keeping his breakfast safely lodged in its rightful place. He ran his hands over his short hair a couple of times, tugged at the collar of his polo shirt, and, despite his distress, managed to choke out a few words.

‘The Virus?’

‘Hard to say, with him being so decomposed.’ She took a further step away from the armchair. ‘I mean, when the skin’s turned black like this, and the teeth and hair have started to fall out there’s not much to go on. And look at this–there’s some kind of larvae on his cheek here.’ She waved him closer. ‘Come and see.’

He bolted out the door, and Mona gave in to a grin. You either had the nerve for these kinds of things, or you didn’t. That being said, the smell of the room wasn’t doing her stomach any good either. She gave a quick look over to the door to check Bernard wasn’t about to reappear, then negotiated her way between the heavy wooden furniture toward the window, stopping only to pull a handkerchief out of her pocket and clamp it over her nose.

The curtains were a seventies relic, a lurid orange-and-brown mess of swirls and curlicues. She pulled at them one-handed, and after a couple of tugs they opened, filling the room with weak April sunshine. Yellowed netting covered the length of the pane; she reached behind it and found the catch. She fiddled with it for a minute, succeeding only in cutting herself on the rusting paintwork. She cursed and pulled her hand back. The rust had dyed her fingertips brown, and a small cut was sending a river of red down her index finger. Wiping her hand on her jeans, she made a mental note to dig out the Savlon when she got back to the office. There were enough ways to die at the moment, without succumbing to good old-fashioned tetanus. She gave the catch another try, and to her relief, it opened. She hauled the window up a couple of inches and crouched on the floor next to the fresh air.

Mona pulled her notes out of her bag and gave herself a quick refresher on the facts. Their visit had been triggered by the non-appearance of one Reginald Dwyer at his monthly Virus Prevention Health Check. According to her notes Reginald was in his seventies, Caucasian, 5’6” tall, with grey hair and blue eyes. She poked her head and handkerchief back round the curtain and eyed up the corpse. The nylon trousers and woolly cardigan combination suggested a senior citizen’s wardrobe, but the other facts were lost to the indignities of decomposition.

Now it was a judgement call–phone the Health Enforcement Team first or the Police? Alerting the Police to a potentially suspicious death made it their problem. Phoning it in to the office as a Health Check Violation Due to Fatality left it resting firmly in her in tray, with a tonne of attached paperwork. She walked back into the middle of the room, and looked round in search of anything that could justify her phoning her former colleagues in Police Scotland.

A little wooden side table next to the corpse had a newspaper resting on it, open at the TV listings. She picked it up, trying her hardest not to disturb the deceased. The last thing she wanted was a shower of teeth, hair, or worse, falling off the late Mr Dwyer. The date on the paper was the 21st February, just over a month ago. Probably the length of time he’d been lying here, which fitted in well with her gut feeling about how long he’d been dead.

‘Bernard?’ She removed the hanky from her face.

‘Yes?’ Her partner’s voiced echoed feebly down the hall.

‘Can you check with the neighbours when they last saw him? Or when they first noticed the smell?’ She put her makeshift face mask back on.

‘I tried. No-one’s in, apart from a woman in the ground floor flat who doesn’t speak English.’

No surprise there. Getting the average Edinburgh tenement dweller to answer their doors to a stranger had always been a struggle, but these days a warm welcome would have been some kind of miracle. She didn’t blame people for their caution. After you’d spent a fortune germ-proofing your home, why take the risk of opening up to find someone coughing and spluttering on your doorstep?

Bernard’s face appeared in the doorway, wan as a waxing moon. ‘I peered through the letterbox of the flat across the hall and I don’t think it’s occupied.’ He paused and grimaced. ‘Can we get out of here now?’

‘Just a sec.’

There were two doors leading off the living room. She threw open the nearest one, which revealed a bedroom, the divan resplendent with an orange candlewick cover. She took a couple of strides and pushed open what she assumed was the door to the kitchen.

‘Bernard–look at this.’

He appeared at her side, and gaped, as she had done, at the tinned goods that were stacked from floor to ceiling all across the room.

‘He didn’t pay much attention to our advice about not hoarding food, did he?’ Bernard took a step back. ‘Ironic really, given how he ended up.’

Mona smiled. ‘Poor sod.’

‘Can we go?’

She took a last look around the room, and sighed. ‘Yup. Just let me phone it in.’ She dug out her mobile and selected the North Edinburgh HET office from her contacts list as she walked toward the stairwell. ‘Maitland, it’s me, Mona.’ She pulled the door of Reginald Dwyer (deceased) firmly closed. ‘We’ve got a stiff.’

 

‘So–did you puke?’

Bernard ignored the question and walked purposefully in the direction of his desk. Undeterred, Maitland rolled his chair across the office and ground to a halt an inch from his side, trapping Bernard’s little toe under a castor. Bernard pulled his trainer loose, booted Maitland back toward his desk, and was gratified to hear a tiny squeak of pain from him as he collided with a sharp edge. Unfortunately, the injury was not enough to silence him.

‘But did you?’ Maitland was beaming from ear to ear, every inch of his six foot three frame bouncing up and down with pleasure at Bernard’s discomfort. He sat back, knitted his fingers together, and rested them on his dark hair. ‘C’mon, Bern, did you spew when you found the body?’

‘No, Maitland, I did not spew, as you put it.’ Bernard reached the safety of his own workspace, and lowered himself into his seat. OK, so he had left Mona to deal with it and stood outside trying to overcome his nausea. But he wasn’t going to give his colleague the satisfaction of admitting it. ‘I’ve seen dead bodies before, as you are well aware.’

‘Aye,’ Maitland grinned and dived toward Bernard’s desk, ‘but those were in a medical setting, where everything is nice and clean and neat.’ He rested his elbows on the back of Bernard’s chair, and lowered his voice. ‘This time, we’re not talking hospital corners and disinfectant. We’re talking weeks-old corpse, maggots, bluebottles burying their eggs in the decaying flesh…’

Bernard’s stomach heaved, and he leaned on his desk with his hand over his mouth. After a moment, he pushed Maitland’s arm off the back of his chair, and his tormentor turned away, laughing.

‘Mona, so did he puke or what?’

She dismissed Maitland’s question with a wave of her hand. Her hair hid her face and Bernard wondered if she too was mocking him under the blonde bob. It was impossible to tell. He thought about going over to see if she was actually laughing, but worried he would seem overanxious. Mona had made it plain over the past few months that she did not like needy men.

Maitland wandered back to his side of the office, still chuckling.

Bernard sighed, and started looking for the piece of paper that would let him know just how bad the rest of his day was going to be.

It wasn’t in his tray, or on top of the neat pile of previous cases he’d left sitting prominently in the centre of the desk, in the hope that someone would file them. It wasn’t caught up in his personal papers, and, when he picked up his copy of the Guardian and shook it, it didn’t fall out from within its pages.

Bernard leaned back in his chair, sighing again. There was definitely no Defaulter List on his desk. ‘Mona–have you got our DL?’

Across the room his partner was still engrossed in paperwork. She looked up, shook her head, and shrugged.

In the four months he’d been working for the Health Enforcement Team this had never happened before. As surely as night followed day, by 9am every morning a memo appeared on each of their desks outlining who had defaulted on their Health Checks that week. The idea was that this notification arrived the day after someone had defaulted. The demise of Reg Dwyer was testament to how well this system worked. Bernard looked round the office for someone else to ask. Maitland’s desk was now empty, although his coat was thrown over the back of his chair.

He looked over at Carole Brooks’s desk. In amongst the pictures of her kids, and a range of handmade and, probably, fair trade clutter, Carole was on her mobile. Bernard overheard snippets of her conversation.

‘So, how much is his temperature up by?’

Bernard winced, and feeling suddenly breathless, sat down at his desk. This was what grief felt like, the poleaxing power of a stray comment, or a TV show, or, like this, an overheard conversation to knock him sideways. Six months now since his son had died, too young and weak to fight off the Virus. And when the memory hit him, it wasn’t just of the boy’s death; it was of the paralysis, the helplessness, the overwhelming impotency he had felt in the face of the illness. He’d not told his colleagues about his loss; how to describe it to these people he barely knew?

Carole ended the conversation but sat staring at her desk. She pulled out the band that was holding her hair up, and let it fall loose. She ran her hands through it, then after a second she gathered up the strands and tucked them away.

He decided not to bother her and reluctantly looked in the direction of his boss’s office. Once upon a time, the building that the HET occupied had been a grand Georgian house on the Southside of Edinburgh. It had remained intact until the owner had racked up gambling debts so astronomical that the only method of staving off creditors was the sale of the family home to the newly formed South Eastern Regional Hospital Board. Lothian Health Board had taken the premises over in 1972, and had knocked through rooms, boarded up chimneys, and bricked up doors with a cheerful disregard for the intricacy of the cornicing, or the delicate tiling on the Adam fireplaces. In a final mortification, when the HET moved in, a corner of the room had been partitioned off with MDF to create an internal office for the head of the team. Bernard knew that deep within this temporary structure sat Team Leader Paterson, drinking tea, regretting the day he left the Police, and thinking of new ways to make Bernard’s life miserable.

Bernard caught Paterson’s eye through the office’s window, and within seconds his boss threw open the door. He stood in the doorway, his greying crew cut scraping the top of the door frame. Paterson was a very big man, in a very small office.

He pointed a large finger at Mona, then Bernard. ‘You two–in here now.’

They exchanged glances and got to their feet.

‘You were right, Guv, the No Show was dead. Looked like he’d been lying there for weeks. Seems that he’d…’

Mona broke off as she walked into Paterson’s office. Bernard peered round her side and saw there was someone else in the room. This was interesting; Paterson was not in the habit of entertaining visitors. A stranger in the boss’s office, hot on the heels of the missing Defaulter List, meant that today was veering off the fairly repetitive course that Bernard had experienced since his arrival at the HET.

The man was tall, with neat blonde hair and square, brown-rimmed glasses. A raincoat was folded across his knees, and at his side was a brown leather briefcase. He radiated an air of controlled competency not often found nestling in the chaos of the HET office. The new arrival had been given the only comfortable seat in the office and was sitting behind Paterson’s desk.

The Team Leader leaned his considerable bulk against his desk, and gestured a thumb in the stranger’s direction.

‘This is Doctor Toller.’

The three of them shook hands, which involved a fair bit of manoeuvring, given the limited dimensions of the office. Mona sat on the plastic chair that Paterson had swiped from the canteen some months ago. Bernard looked round for somewhere to sit, and in the absence of options, stayed standing.

‘Toller here works for the German Government and is investigating a Missing Person. Heidi Weber, eighteen years old, exchange student at Edinburgh University. Showing up on our Defaulter List for the first time today.’ He passed a case file across the desk which Mona grabbed and started reading. ‘I want you to give Doctor Toller every assistance in locating this young lady.’ Paterson pointed his finger at each of them to emphasise the point. ‘Every assistance.’

Mona spoke without looking up from the file. ‘Can I ask why she is of interest to you, Sir?’

The Doctor smiled. ‘She is not, of herself, of particular interest.’ His English was good, but tinged with a German accent. ‘We are concerned about the Health Status of all our nationals who are living abroad. As you know our infected population is much lower than yours, which is twenty-eight per cent, I believe?’

‘Twenty-eight per cent average, lower for older people and children, higher for young adults.’

Paterson coughed. Bernard ignored the hint and carried on.

‘But the infection rate is falling year-on-year. We’re anticipating an eight per cent infection rate next year.’

A thin blonde eyebrow was raised by the German. ‘Yet you still have mortality of 2.5 per cent?’

‘2.4 per cent, to be precise.’

‘Bernard…’ Paterson had a familiar tone of warning in his voice. He wasn’t a big fan of Bernard’s ability to remember facts and figures relating to the Virus. Bernard was torn between avoiding his boss’s wrath and defending his country’s public health record. Patriotism won.

‘And twenty per cent of the population is already immune.’ He finished the sentence as quickly as he could.

‘In Germany we have mortality of less than two per cent.’ The Doctor smiled and folded his arms. ‘You can see why we are concerned about any health risk that our citizens may be encountering.’

Before Bernard could open his mouth to pursue the point, Mona spoke up. ‘She hasn’t been reported missing by her parents.’ She waved the case file in the air. ‘Although they have expressed concern that they hadn’t heard from her?’

Paterson jumped to his feet. ‘Doctor, I think my colleagues have enough to go on. I need to brief them about a couple of things, then the three of you can make a start on locating young Heidi.’ He yanked opened the door, causing the walls of the office to vibrate.

The Doctor stayed seated for a moment staring at Paterson, then slowly stood up. ‘I wish to use the lavatory before we leave. I will meet you in the main entrance.’ He stopped and turned to address Mona and Bernard. ‘I am not overly concerned about this young woman. We made a check of her room, and all her documents were there, including her passport.’

Paterson smiled expansively at his guest and extended an arm in the direction of the exit. He waited until the door shut behind the German. ‘Dickhead.’


The Health of Strangers releases on Thursday, June 15th, 2017, and will be available as a paperback and e-book, courtesy of Sandstone Press.

An excerpt from Lesley Kelly’s previous novel, A Fine House in Trinity, can be found here.

Workshop: The Last Kingdom, Season One by Angela Hicks & Calder Hudson

Angela Hicks and Calder Hudson were both Creative Writing MSc students at the University of Edinburgh for the 2015-16 year. They began watching BBC’s historical drama series, The Last Kingdom, in early 2017; after completing its first season, the two sat down to assess its strengths and weaknesses.

This discussion contains spoilers for Season One of The Last Kingdom. The opinions expressed in this piece are those of the authors and not necessarily of The Ogilvie editorial staff.

 


 

Workshop: The Last Kingdom, Season One by Angela Hicks & Calder Hudson

 

C: Before we begin there is something we should make clear. The Last Kingdom is based off of Bernard Cornwell’s Saxon Stories series, and shares its name with the first book in that saga. Neither of us have read that series, which is quite out of the ordinary for us; I think we’re used to considering these sorts of shows chiefly as adaptations–from history, from literature, and sometimes from both–but that isn’t true in this case. Not having read Cornwell’s source material, we cannot comment on how accurate or inaccurate an adaptation this series is. If you are reading this and are familiar with the books, you can enjoy any dramatic irony we may incur.

A: Yes; we’ve chosen to look at this TV series not as a good or bad reflection of the books, but as a TV series. We’ll also try to avoid making too many comparisons between The Last Kingdom and Vikings, the last show we workshopped.

C: Although admittedly there are obvious parallels between them regarding setting and what they’re attempting to portray and achieve.

A: Right. But with respect to this review, we’re not going to–at least, we’re going to try not to–continually use this as more space in which to criticize Vikings. With that said: whereas our last workshop mainly picked out the things wrong with that show, this workshop will largely focus on positives–the “hey, these are the ways it can actually work” moments.

C: A good starting point is the minor characters. One of the things that makes TLK continually entertaining is just how the minor characters are fleshed out. Across the board, with respect to both acting and writing, I’m still fascinated by how well they’ve done characterization in this show. The characters fluctuate between good and bad decisions, they develop, they…

A: I think, not to interrupt, but: “minor characters” covers a whole array.

C: That’s true.

A: For those less familiar with the show, there’s one major character, Uhtred, and then there’s a whole bevvy of second-tier characters, for lack of a better term: Alfred, Brida, Leofric, Beocca–characters who are consistently important and involved with Uhtred’s journey. Then there’s the third-tier characters who are named and get dialogue and agency; Guthrum is one, Prince Æthelwald’s another. And all of these characters, regardless of tiering, are given weight in the narrative.

C: Even truly minor characters–unnamed sergeants and huntsmen–are given a lot of personality and attention.

A: Yeah, I cared too much about everyone. I am very much traumatized by all the death. But looking at this from a workshopping perspective, it’s great that both the writing and also the filming of the show–frames with just minor characters in them, lingering shots, and so on–give so much attention to all the characters. It makes watching it a much more engaging experience.

C: True. Too often a lot of shows do a handful of main characters and then have underdeveloped background characters as set-dressing, and it’s just less interesting. There are so many shows–not just Vikings–which aim for a aesthetics and atmospheres like TLK’s, but lack this crucial feature. I think this is my biggest takeaway from TLK, and I’d argue is TLK’s greatest asset: this show treats all of its characters like human beings, not like set-pieces. Probably the most obvious example is Hild.

A: To summarize her arrival about two-thirds into the season, there’s a scene where an unnamed nun is being sexually assaulted in the wake of a battle. The sexual assault is stopped by a group of established characters as they leave the battleground.

C: Scenes depicting sexual violence have become a staple for many shows in the fantasy and historical fiction watershed. Game of Thrones has developed a terrible habit of including sexual violence as a plot device at the drop of a hat; often shows use it to point out how heroic the victims’ rescuers are–so when that occurred in TLK, we weren’t particularly surprised. But then–and I can’t stress how unusual this felt–rather than having that unnamed nun disappear into the background, she accompanies the main characters as they leave, and continues to be a character in later episodes as well. Hild remains relevant; she possess her own agency; she takes part in conversations and significant moments for the rest of the season. She’s given a fully-fledged personality.

A: And she has a pre-existing story which is brought in. That’s also worth emphasizing: often it can feel like characters who appear midway through a show have had no life prior to the main character finding them, but that’s not the case with Hild, as we learn through conversations she has in later episodes. Everyone feels so real.

C: Hild was not included solely to make Uhtred appear heroic or to provide a fight scene. The way the show handles her character is representative of the way it portrays the entire cast. It’s refreshing to watch a show which avoids so many typical tropes.

A: If we were to just describe certain characters from TLK, they would sound like tropes–but they take those traits and make them into a fully realized person. Brida’s a good example–she could easily have been a love interest who becomes the scorned woman, but instead she gets to be a proper character with emotional range and an understandable set of motivations behind her decision making. And you understand how she’s fitting into this society as a woman without it being horribly trope-y or contrived.

C: Characters of all sorts–Brida, Leofric, and Ælswith, among others–shift from episode to episode; they make choices that feel true to their characterization and own motives, rather than always acting helpfully or detrimentally towards the protagonist.

A: You once described it as “the same personality from different perspectives.”

C: Yeah.

A: That’s easiest to see in pious characters like Alfred and Beocca; at times we’re very happy that their codes of conduct are beneficial for Uthred’s fortunes, and at other times we are frustrated by their rigidity and implacability. This depth and complexity of characters is impressive.

C: Definitely. This show takes the time to show that depth. I don’t feel that TLK’s world–as in, the actual environment in which these characters exist–is necessarily more developed than other shows of its ilk. From a set and tech perspective, a lot of the shows we’ve mentioned have really impressive budgets and do a good job of conjuring up the appearance of medieval/pre-medieval life. In appearance, TLK isn’t better than them–but its writing is in a totally different league. The characters feel realer against the time-specific backdrop. And when–given that we just watched the season finale, we were bound to talk about this–when characters die, it never feels contrived, regardless of the circumstances. Deaths contribute to the story as a whole while still feeling abrupt and realistic and upsetting. It doesn’t feel like characters are being killed off for shock value–a growing stigma with shows of this type. When people die in TLK, the show focuses on the right things, chiefly how other characters react. It’s not intended purely to catch the audience off-guard. In the finale a character died in a major battle seen as a result of, you know, being in a battle, which makes the battle actually feel dangerous. The battle has weight.

A: That death also happens quite close to the start of the battle and the battle continues. When the character dies the world keeps moving without them, which adds to the atmosphere of danger and realism.

C: Also, there’s no overwhelming feeling of plot armor in TLK. Compare that to Vikings where the main characters were invincible tanks who murdered everybody in every single battle and didn’t look the least bit ruffled afterward–those battles weren’t stressful or worrying because there was no feeling of consequence. There was no weight to the human bodies being tossed around and eventually we stopped caring. There needs to be emotional weight and meaning behind the fighting–another thing TLK got right. Viewers care more about fights if you give them reasons to be interested–I know that sounds basic, but it really is overlooked in some cases.

A: TLK’s battles always feel justified and they all feel distinct. Not only are they staged differently but they conjure up different concerns and feelings for viewers–sometimes Uhtred seems to be on the wrong side, sometimes he’s in single combat… And, even with our knowledge of history, they didn’t feel like foregone conclusions. They were stressful to watch!

C: Speaking of our historical knowledge, we should address the historical accuracy stuff–

A: Yes. The thing we’d both heard before watching this show was, “Oh my god, the Anglo-Saxons use square shields–the fools! The fools!” which, well, [laughs] I think we disagree on this point a little–I feel that minor historical accuracies are fine…

C: Fair enough. [laughs] I didn’t realize I was a zealot about accuracy until this moment, but fair enough.

A: …As long as those inaccuracies are justified. To use the shields as an example: having one side in battles use square shields while the other side uses round shields makes the different armies easier to identify. And if that’s the least accurate part of the show, than the show is doing a lot right.

C: That’s true. TLK has worked hard to keep the majority of its inaccuracies tied to the show’s aesthetic rather than its writing. Better to have a realistic script and a few contrived looking sets and costumes than a hyper-realistic set and awful writing.

A: Broadly–and I think this is probably true for all aspects of writing–if it serves a purpose and is the best way of achieving that purpose, then it’s okay.

C: I agree–and clarity is particularly important given how much content is crammed into TLK; a ton of things happen in this show. There is so much content. Ignoring all the politics between Wessex and the Vikings for the moment, Uhtred himself is all over the place on a real rollercoaster of a narrative. The sheer amount that happens is both a strength and weakness.

A: This season aired first on the BBC, meaning a sixty minute show is more or less sixty minutes, not forty-five. Those extra fifteen minutes gives them time to pack more in. The number of narratives and developments depicted over the eight episodes is certainly impressive, particularly when a character can appear one episode, undergo an entire character arc in the following episode, and die in the next. That can be…a bit much, at times.

C: There’s one episode in the middle of the season which is predominantly set in Cornwall; it introduces so many new characters and plotlines–a number of which are respectively killed or resolved later in the same episode–that it feels almost like a film in of itself. While I think we both love that level of immersion, it does at times feel a bit too much.

A: Not to mention the array of Anglo-Saxon names can be tough to remember, spell, and pronounce.

C: Because there are so many characters, how much time you spend on each one is a difficult distribution to get right. Some names are said once or twice–and yes, those names are hard to pick up–and if you don’t get the name then and there, you’ll be referring to that character as “second priest guy” or “sister two” or “horse man” for three or four episodes before you hear their name again. That’s not the end of the world but it evidences that there’s a lot to juggle, for the writers and the viewers alike.

A: I think the fact that we watched this show one or two episodes at a time is probably good; this isn’t a show I’d like to binge watch. So much happens in a single episode, if you watched more than two of these in a row, I think you’d come away with a headache.

C: Though again, the fact that this show gives you a lot to process and ruminate on could be seen as a strength. Part of the show’s appeal is how many interconnected plots are going on and how much is happening.

A: There’s a fine line. One doesn’t want to have too few characters doing too much or vice versa. TLK mainly walks that line well, but it does dip over at times.

C: With that said, it’s so exciting to have a show which trusts its audience enough to give them this much depth, content, and characterization. Sometimes it can be a bit much, but given that this is so rarely a problem for shows, I’d be loath to suggest they change that. Far better that they keep giving us slightly too much than too little.

A: That’s true, although one area that I might potentially “de-complicate”, is Uhtred’s character arc. This could be an area where not having read the books is a big problem; my suspicion is, in the books, arcs happen over a longer and more drawn out timeline, so there’s more time to see different stages of Uhtred’s life. By truncating the time, his motivations shift a lot–sometimes he’s set on getting back his ancestral home, sometimes he’s focused on revenge; he doesn’t actually get very far with planning how to achieve either.

C: Uhtred’s foster-sister Thyra appears to be, quite literally, abandoned for most of the season. We only realized in the season finale that Uhtred thought she was dead; until then we’d believed he knew she was alive and had effectively given her up as lost. That obviously changes the feel of that entire arc, given that Uhtred and his foster sibling are constantly ruminating on how to revenge themselves on their father’s killers.

A: That whole arc is awkward in many ways because every time it comes up, we wonder why the siblings are taking so long. Uhtred spends much of the season in Wessex, which is admittedly a distance from where he grew up, but not so far that it would be unreasonable for him to return there with soldiers. He is, after all, able to get men to follow him out of Wessex into Cornwall for the promise of silver, so why he never goes north is odd. His foster brother Ragnar makes this stranger still, given that he frequently travels between Ireland and Wessex, largely to see Uhtred about said revenge. Every time this theme comes up it is a bit annoying given that some of the reasoning behind it remains unspecified for so long. I can see that the show was aiming for “dramatic irony”–the audience knowing about Thyra while Uhtred doesn’t–but it really backfires here. It might have been better, if we were changing something, to either make it clearer that he believes her dead, or alternatively have the audience also think she’s dead until that dramatic reveal in the final episode.

C: TLK takes time to develop all its elements, but given that it’s setting itself up as a saga, the backstory isn’t always the prescient part of the narrative. The north becomes largely irrelevant after the second episode, as do all the antagonists associated with that region.

A: As a side note, that is very saga-ish; in the opening of Njal’s Saga the length of someone’s hair is described, then is never mentioned again until it becomes super-relevant about eighty chapters later during her husband’s death scene, when her hair could have been used to restring his bow. And talking about Thyra, we should discuss the tropes surrounding women in shows like TLK.

C: Tropes which, yeah, definitely do still haunt this genre.

A: With both Brida and Mildrith, Uhtred’s wife, we’re given two interesting female characters with distinct personalities disconnected from their looks. It’s easier to see with Brida at first glance. Both Vikings and Game of Thrones–again using the easiest examples–present these “sexy warrior women” who don’t actually feel like real people. TLK manages better, though it’s not precisely clear how they’ve avoided that stereotype. Because admittedly she’s very pretty, and she does have a relationship with the main character–

C: And she’s a warrior.

A: And she’s a warrior. But, she has a lot of depth and we see many different aspects of her life as her own story develops. She’s presented as a scorned woman in some moments but she is also a cool-ass warrior, and it never feels annoyingly contrived.

C: It doesn’t feel as though TLK is trying to prove anything. The show isn’t trying to win points by presenting characters like Brida; it feels like they set out to create real and interesting characters, both men and women. That’s admirable, particularly given this genre is bogged down by so much fetishizing and incoherency when it comes to women.

A: The non-combative are also well portrayed. Mildrith is a capable woman who doesn’t kill people; it’s equally rare to have a strong woman who isn’t wielding political power or an axe but who still manages to be–oh, and we haven’t mentioned this at all thus far: this show is really funny.

C: Yeah.

A: The intention is never to be farcical; lines are just likeably witty much of the time.

C: Another achievement for the writing team.

A: Yeah. And the humor is spread around–there are characters who are written to have better senses of humor, but they’re not just comic relief. To return to Mildrith, she is someone who has principles, sticks to them, develops, and avoids the trope of “pious wife”; she holds her own, she’s determined, and she’s also often quite funny. You don’t feel cheated by the decisions she makes towards the end of the season, when she chooses her own path.

C: Like many characters, Mildrith is shown taking time to reflect on what’s happening to her, and she then acts on those stimuli. Which is what, you know, humans do–and they don’t only do that when they’re in the presence of the main character.

A: Shout out to both the writers and the actors for very strong performances. Even characters we haven’t mentioned yet, like Iseult, prove to be far more interesting than the tropes we initially suspected they might be. So full credit for all the women on this show, pretty much without exception.

C: TLK manages far more effective and more diverse representation of women than many similar shows–

A: While being the least boastful, as you said.

C: If it isn’t already clear, we should mention that we like this show a lot. [laughs] For my own part I’d strongly and unequivocally recommend TLK; what we’ve seen thus far has been very good. One more point: one of the first things you encounter when watching this show is its opening credits, which, I mean, maybe this is just something we’re particularly attentive toward, but…the opening credits.

A: I love them.

C: [laughs]

A: [laughs] They’re very pretty! I’d equate them with the Game of Thrones credits in that they’re very elegant and also serve an immediate purpose. TLK’s opening credits are done to look like woodcuts of different characters and places, accompanied by simple but dynamic music; the Viking invasions are represented by the map of England being burned away. We both came to this show with a good amount of knowledge–we both knew, for instance, that the last kingdom would be Wessex–but for those who don’t come to the show with that knowledge, this is a good way of showing what’s happening. And as I said it’s very pretty. It’s a great representation of the show in that it’s clearly made with love and care and effort, all while remaining informative.

C: Yeah. That’s a very effective summation.

[pause]

C: I’m sorry to do this.

A: [laughs]

C: It’ll be the last time. To hell with it. Okay: we watched a season and a half of Vikings before giving up on it, so we’re pretty familiar with its opening sequence. I have seen that opening sequence with burning boats on the open sea–

A: With the main characters drowning–

C: With the main characters drowning! By the end of our time watching that show I was looking forward to that scene becoming a reality. I suppose they went with that opening because they thought it was cool, but it represents absolutely nothing of the show other than unfulfilled promises. Meanwhile you have TLK over here with nonstop highlights right out of the gate. It’s pretty, it’s cohesive, it’s expansive, it gives a damn, it’s…

A: [laughs]

C: Sorry, I got worked up there, but it’s good. Go watch The Last Kingdom; it’s–it’s good.

A: I’d also add that TLK’s opening helps remind viewers of the backstory and the stakes it initially presents, even when the show is focused on other narrative threads in the short term. It establishes the setting eloquently and is emblematic of the series as a whole.

C: The Last Kingdom’s plot can occasionally move quickly and there are some minor historical inaccuracies, but the reason these aspects are frustrating is because of how likable the show is, and how immersive it can be. Yes the story moves a mile a minute, but it does that to consistently deliver depth and development at a level I haven’t seen in any similar series.

A: Those minor things that we would change–and there are very few of them–are outweighed by its many assets, which include exemplary women characters, its respect for its audience’s intelligence, and its historical detail. There’s so much right with The Last Kingdom that it feels better to focus on those strengths.


Angela and Calder are available at their respective Twitter accounts, @MS_a_hicks and @CMA_Hudson. Their previous workshop of Vikings can be found here.

Voyager by Robert McGinty

Robert McGinty works and writes in Edinburgh, where he lives with his wife and son. He was a recipient of a 2016 Scottish Book Trust New Writers Award in the Children’s and Young Adult fiction category. He is currently working on a Young Adult novel called The Dead Men of Pendragon House, as well as occasional articles and stories for his blog-site.

Voyager is a short story about a journey of escape for a space obsessed boy who feels a million miles distant from everything in his world, and his journey out into the universe through the stargate of his imagination.

 


 

Voyager

 

How could he make them understand that his signal took seventeen hours to travel from where he was to where they were?

‘You said you had one yesterday. Show us.’

Giles found himself backed into a corner of the school bike shelter by a crowd of boys from his class. Big Archie, the tallest boy in the year, stood at their head.

‘You haven’t got one, have you?’

Archie held his own mobile phone in front of Giles’s face—a sleek, black rectangle of technology.

‘Everyone else has got one. Are you a freak or something? Are your parents too poor to buy you one?’

They all laughed. They did not understand that their laughter would not reach him for a further seventeen hours.

‘What’s in the bag?’

Giles clutched a white plastic bag with something rather awkward and bulky inside that stuck out of the opening at the top.

‘Voyager 1,’ he said.

He held the bag open for the boys to see and Archie reached in and pulled out the delicate model by the long, latticed arm pointing upwards at him.

‘What the hell is Voyager 1?’ said Archie, turning it over in his hands.

‘A spacecraft,’ said Giles.

There was a sudden crack and the long arm snapped off from the main body of the model.

‘Aw, broke it. Sorry, Spaceman.’

Archie shoved the separate pieces back at Giles. The boys laughed and walked away, leaving him standing alone with the broken model cradled in his arms.

*

Giles did not hear Miss Teather calling at first because his mind was full of space, as it always was.

Sputnik encircled his thoughts, beeping simple messages. Mercury, Gemini and Apollo spacecraft streaked across the blue sky of his imagination, and the Eagle landed in the rocky terrain of his fantasies.

‘Giles!’

Miss Teather’s voice jerked him back to Earth, where he discovered that his class was laughing at him.

‘Yes, Miss?’

Miss Teather, with grey bags under her eyes, barely kept the exasperation out of her voice. ‘Are you ready to give your presentation? Come up to the front of the class.’

Giles picked up the plastic bag containing the broken model and made his way between the desks towards the whiteboard, just avoiding the wicked foot Archie stuck out in his path.

‘Do you have something with you to illustrate your subject, Giles?’ asked Miss Teather.

‘Yes, Miss.’

He fumbled awkwardly with the bag and removed the two parts of Voyager 1.

‘What a shame! How did your model get broken?’

Giles could feel Archie staring very hard at him.

‘Dropped it, Miss.’

He held up the long latticework section of plastic struts that had been snapped off.

‘It’s the magnetometer, Miss. I can mend it when I get home.’

Miss Teather nodded patiently.

‘Well, on you go Giles, when you’re ready.’

Giles turned to face the class and twenty-four bored, hostile faces stared back at him.

‘This is Voyager 1,’ he said, holding up the model.

As soon as he started speaking on his subject, he forgot all about those faces, as if they were no longer there. The spacecraft filled his entire field of vision and all he had to do was broadcast the voice that was always talking in his head, set his controls to autopilot and cruise.

The voice told his class about the launch of the space probe Voyager 1 on September 5th, 1977, sent by NASA on a grand tour of the outer planets. It described the main components of the model: the High Gain Antenna Reflector Dish and Sun Sensor; the boom arm that housed the Ultraviolet and Infrared Spectrometer and Radiometer; the Radioisotope Thermoelectric Generator; the Micrometeorite Shielding; the Hydrazine Thrusters and the Optical Calibration Target.

It explained how the once-in-two-centuries alignment of the planets had enabled the spacecraft to reach Jupiter; how Voyager had used Jupiter’s gravity to slingshot out to Saturn; and of its numerous discoveries among those far away worlds and moons.

The voice described the golden disc attached to the side of Voyager, with its engraved depictions of two humans, a man and a woman, and set of logical directions to Earth that would provide any curious aliens with a route map to find its makers.

The voice told of the Pale Blue Dot, which was the furthest away picture ever taken of the planet Earth–a tiny living speck engulfed in the blackness of space–and of the vast distances the spacecraft had traveled, and how it had crossed the heliopause in 2012, which is the point where the Sun’s solar winds die away and interstellar space begins, and how in 40,272 AD Voyager 1 would pass within 1.7 light years of AC+793888 in the constellation of Ursa Minor.

Finally, the voice explained that from its current position in space, a message from Voyager 1 took seventeen hours to reach Earth traveling at the speed of light, and that its broadcasts would become fainter and more distant until 2025, when the spacecraft would finally run out of power and stop sending messages home.

And then, as if it too had run out of motive power, the voice stopped talking and Giles saw once again the bored, indifferent faces staring at him.

‘Well,’ said Miss Teather, ‘that was a very…detailed…presentation. Thank you, Giles.’

*

As everyone was leaving the classroom for lunch Miss Teather asked Giles to stay behind.

It was strange being in the empty room with just his teacher and the smell of his classmates hanging in the air. Miss Teather sat behind her desk and looked with a kindly face on him.

‘Is everything quite alright, Giles?’ she asked.

‘Yes, Miss.’

‘I’ve noticed that you don’t play with any of the other boys. Has anything happened between you and them?’

How could he explain to her that he was now so incredibly remote from the other boys that anything they had to say to him took seventeen hours to reach him?

‘Nothing’s happened,’ he said.

Miss Teather was quiet for a moment, just looking at him, as if working out in her mind how to span those millions of miles between teacher and pupil.

‘Would you tell me if anyone was bullying you?’

‘Yes, Miss.’

‘Have you told me the truth of how your model got broken?’

‘Yes, Miss.’

‘Is everything quite alright at home?’

‘Yes, Miss.’

He thought fleetingly of his parents, Phobos and Deimos, circling cold and distant in his mind’s orbit.

Something about his answers seemed to make Miss Teather slowly crumple. She looked very tired again.

‘Go and eat your lunch, Giles.’

‘Yes, Miss.’

She called to him just as he was passing through the classroom door.

‘Thank you for the presentation this morning, Giles. It was very interesting.’

‘Thank you, Miss.’

*

He was orbiting Jupiter with his lunch, sitting under the leafless tree that grew on the patch of playing field furthest from the school. The voices of the other children floated to him on the air like distant messages from mission control.

His blue lunch box lay beside him as he ate a cheese sandwich. As well as sandwiches, it contained an apple, a packet of crisps, a chocolate bar and a carton of blackberry juice, all as artfully and economically packed as any astronaut’s provisions. It was important to be supplied with a carefully balanced nutritional package when so far away from home, circling a massive gas giant.

Giles thought of his home, millions of miles nearer the sun and so much warmer than these frigid wastes of space. He saw his busy bedroom walls with their posters of important satellites and spacecraft–from Sputnik to Mars Rover Curiosity–and the recreations of these machines which he had crafted from modeling sets and which stood on every available surface.

Would he ever return? Was there enough power in his engines to turn from his path and cross the distance back? He did not think so: he had traveled too far already. It was a one-way mission, after all. He wondered if his parents would be angry with him when they found out he had gone on such a journey without their leave, or if they would even notice.

Giles was so absorbed in these far away meditations that he was not aware of Archie until a foot kicked his lunchbox and sent his apple rolling off across the grass like an out of control moon.

A shadow fell over him: he looked up.

‘Did you tell?’ said Archie.

Giles shook his head. ‘No.’

‘What did she want?’

‘I don’t know,’ said Giles, shrugging his shoulders. ‘She just asked me some questions.’

‘What sort of questions, Spaceman?’

‘Just questions.’

Archie suddenly dropped on Giles, shoved him into the dirt at the base of the leafless tree and pinned him under his enormous knees.

‘Did you tell on me?’

Archie’s knees were squeezing so much air from Giles’s lungs that he could barely find the breath to answer: ‘No!’

‘Did you?’

‘No!’

‘Bloody freak.’

With a last vindictive shove at Giles’s head with his spade-like palm, Archie released him and jumped up.

‘Tell on me and you’re dead.’

‘I won’t,’ said Giles.

‘Shut up, Spaceman.’

*

Using Jupiter’s enormous gravitational field, Giles shot himself out on a new trajectory across the empty spaces of the playing fields and away from those distant laughing voices.

Soon he was beyond Saturn and still traveling, his lunchbox with his essential supplies gripped in his hand as he walked and walked. He was covered in dust and tears. His cheek throbbed where Archie’s hand had struck.

But Archie was seventeen hours from him and could not hurt him; he was so impossibly remote from all living things that none could touch him. Giles was on his way to places they could not even imagine, covering distances that seemed impossible to them: he was voyaging alone into an astonishing universe.

At last he reached the heliopause, the boundary of his solar system. The school walls stretched out on either side of him.

Pushing his lunch box to the top of the wall, he scrambled up beside it and sat looking at the distant school building, watching the scurrying dots that played inside its protective embrace—so far away that he could barely even hear their voices.

He turned and dangled his legs over the other side of the wall with his back to the school. Across the fields in front of him ran the main road out of the town, where cars passed continually on their journeys to unknown destinations.

He was at the limits of the solar system, his signal weak, all alone on the boundary of the Sun’s influence—so distant that he could no longer feel any of its warmth touching his heart.

The school bell was ringing and ringing, sending him a message which he had traveled too far to hear. He picked up his lunch box and looked out at the vast reaches of interstellar space stretching out in front of him.

He had a long way to go: he jumped off the wall.


Robert McGinty can be contacted via his Twitter account @robertmcginty1 or through his blog. More of Robert’s work can be found here.

 

Moody Coconut Girl by Linda M Crate

Linda M Crate is a Pennsylvanian native whose poetry, short stories, articles, and reviews have been published in a myriad of magazines both online and in print. She’s authored three chapbooks (A Mermaid Crashing Into Dawn, Less Than A Man, and If Tomorrow Never Comes) as well as four fantasy novels (Blood & Magic, Dragons & Magic, Centaurs & Magic, and Corvids & Magic). Her newest novel, Phoenix Tears, is forthcoming.


 

Moody Coconut Girl

 

I forgot that,
Because I’m a woman
With doe eyes,
I’m supposed to be an innocent,
Fragile thing,
Ready to fall open before any man,
Like a flower,
Without talking back
Or answering with a quip
Or fantasizing about breaking
His jaw.
But I’m not the girl society wants me to be.
I’m rough around the edges,
Can be as savage as I’m beautiful.
I don’t really care what you think—
If you don’t like me then you can leave;
There’s no law saying that you must be in my life.
I’m an acquired taste,
Coconut
For the refined palette.
My songs are my own and they are mine,
Because I won’t be a slave
To anyone.


Linda can be contacted via Twitter.