Only read:
- The following stories:
3. “ANIMAL HUSBANDRY” by SEANAN MCGUIRE - excellent. It starts kind of slow, despite being pretty short, and sounds like a run-of-the-mill apocalyptic story, but the twists keep coming at the end. I’m not 100% sure about one of them (was the girl being abused by the man, who “almost certainly adopted her after the pandemic”?) - whether the implications were intentional on the author’s part or not. I think they were, since there are multiple hints, which otherwise would have to be just weird sounding sentences. And I’m not sure if the girl was actually sick or pretending to be, in order to stop/pause the abuse. But even without those twists, the story has plenty of others.
4. “…FOR A SINGLE YESTERDAY” by GEORGE R. R. MARTIN - very good. I’ll read basically anything written by GRRM, as his writing style and a lot of the themes he touches on speak to me. The tone of this story is very nostalgic and it left me very sad, despite me not liking Keith or empathizing with his loss of Sadie very much. The story isn’t really about them, I guess, but about that tiny piece of humanity we loose every time we “get over” certain people, memories, places, things, ordeals. P.S. F*ck Pete and people like him.
5. “CHISLEHURST MESSIAH” by LAUREN BEUKES - good. The main character is your run-of-the-mill asshole, who thinks highly of himself, has deplorable opinions about the rest of the world, and without any trace of a conscience or self-awareness. Which makes the whole thing really funny.
8. “FOUNDATION” by ANN AGUIRRE - not bad.
- The ending felt too abrupt, rushed. And it didn’t fit the rest of the story tonally.
- Based on the vague hints and gloomy foreshadowing throughout the story, I was expecting some big twist that would make everything much worse than it already was. Specifically, I was expecting Austin to turn out evil - a psycho, rapist, murderer, or just an asshole that leaves her the moment she’s no longer his only option for a girlfriend. Another option was for him and everyone else in the bunkers to die, leaving Robin alone - the last and only survivor type of thing. None of that happened. Instead the story seems to end on a much higher note than it starts, which makes all the foreshadowing mostly meaningless.
- There was also something weird going on with the references to “the company” that had built, sold, and was maintaining the bunkers. Without any prelude or justification, Robin just decides that they are evil and are going to experiment on them or kill them off. There is no evidence of any intentional wrongdoing on their part other than idle speculation. I have a suspicion this story was “cut out” and patched together from a much longer piece where this might have made sense, but the supporting background information was left on the cutting floor. UPDATE 1: After checking on Goodreads, seems I was essentially correct in my guess - this story is a prequel to a 9-book Razorland series, so the reader is probably expected to have been exposed to the “evil company” already. But then, it shouldn’t be treated as a stand-alone like in this anthology.
- UPDATE 1: After checking the story’s dedicated Goodreads page, I learned (based on the story description) that the narrator is supposed to be male. THERE WAS NO EXPLICIT OR AT LEAST UNAMBIGUOUS INDICATION OF THIS. The name Robin is unisex. Robin’s parents always refer to him by name. He himself doesn’t identify himself as male at any point. I did think the paragraph about Robin being “odd - not because [he] preferred boys, but because it didn’t seem to matter”, i.e. him being bisexual/pansexual, strange - girls preferring boys isn’t odd in our world. But I decided that it either meant that the narrator was talking about socialization in general - and in that case girls preferring the company of boys is often considered unusual, - or that in the world of the story things were flipped - preference for same sex/gender was the default. Finally, the narrative voice definitely felt female to me, that’s why I started off thinking the narrator was a girl, and kept that assumption since there was nothing to definitively indicate otherwise. I suspect this is due to the same problem that some female authors, who write gay male characters, face - they write these characters as they would a girl/woman, and just slap a male name and pronouns on them. This approach ignores differences in the physical abilities/presentation/experiences, day-to-day routines, social treatment and expectations from others, etc. between sexes.
- UPDATE 2: Some of the reviewers on this story think that the gender ambiguity was intentional on the author’s part, so as not to turn away readers who might find gay romance objectionable. If that’s the case, it’s still bad, if for different reasons. First, it implies that there are no gay/queer characters in those 9 books of the series, since pandering to homophobic readers was still an option in this prequel story. Second, this story was published in 2012-2013. That’s waaaay too late to still be trying to toe a neutral line on the subject of LGBTQ+ relationships, in my opinion. If the author felt it was still necessary, then maybe she should’ve stayed away from the subject completely, rather than making such a half-hearted attempt at being gay-friendly.
10. “A BEGINNER’S GUIDE TO SURVIVAL BEFORE, DURING, AND AFTER THE APOCALYPSE” by CHRISTOPHER BARZAK - not bad. Not sure I get it - if it’s a metaphor or an allegory, I think I (mostly) get the intent. If it’s supposed to be a literal (straightforward) sci-fi or supernatural/surreal fantasy story, then I don’t.
17. “WHEN WE WENT TO SEE THE END OF THE WORLD” by ROBERT SILVERBERG - not bad. Pretty funny. I didn’t find it somber, because the end-of-the-world scenarios visited in it have already become cliches in a sense. Not sure what all the partner-swapping was about - is it supposed to be part of the decline that was happening all around them? If so, it felt forced and irrelevant. What resonated with me most was how out of touch this group of “friends” were with what was happening in the world, including in their immediate neighborhood. Money and privilege could insulate you even from the most unpleasant aspects of an apocalypse. Finally, I’m not sure when this story was written (Goodreads says 2014?), but it felt extremely dated - men are the ones that do most of the talking, they are the ones more aware of the serious subjects like economy, stock markets, GDP, politics, epidemics, etc., and a man seems to be the only one who “gets” the irony of what’s happening. Women are nagging, decorative, vacuous, gold-digging sex objects.
19. “FINAL EXAM” by MEGAN ARKENBERG - very good. The structure it’s written in is interesting and something I haven’t seen before. The way the details and twists are integrated into such a mundane format as multiple choice questions and answers is pretty ingenious. Although it does make it for a somewhat confusing reading, especially since the chronology of events isn’t linear either. Basically, I had to reread Part I, before proceeding to Part II, and then I was going back and forth to try and connect the dots. I’m not actually sure I got it fully - my understanding of the story was that the main character went crazy when her marriage started falling apart (the day of the first visit to couple’s therapy), the whole apocalypse with carnivorous sea creatures marching through the streets was happening in her head, once the physical altercation with her husband took place and he left, she went completely off the rails, started acting irrationally in public (the bus incident), got a gun at some point, accidentally shot a boy in a diner when having a hallucination, and is now on the run, hiding from police and drinking herself into oblivion. In the meantime, the ex-husband killed himself - although maybe she was the one who tracked him down and slit his throat. Nora, the ex’s new girlfriend, was probably killed by her.
- UPDATE: I googled for other reviews on this story, and all of them, in addition to an interview with the author herself, seem to be interpreting the story at the face value - fish people apocalypse wasn’t a hallucination, but was actually happening. Well, if that’s the case, the story is still good, but I prefer my interpretation - it makes things much more interesting in my opinion.
21. “PATIENT ZERO” by TANANARIVE DUE - very good. It was heartbreaking and the author succeeded in getting across the childlike naïveté, the inherent goodness of the boy, who was trying to think about the well-being of the rest of the world even if it came at the cost of his lifelong incarceration, while he was literally starving.
23. “OUTER RIMS” by TOIYA KRISTEN FINLEY - pretty good. Jumping between four or five different POVs in such a short story felt a bit chaotic, which might have been the intent considering the events that were being described. At the same time, I felt like both the mother and the son were making sudden leaps in their thinking that were not justified - she picks up a stranger in her car, that person starts showing signs of not being well, and she’s immediately scared that it’s something serious that will affect them/prevent them from evacuating? At this point she doesn’t yet know that there’s a contagious new disease around. The boy realizes he got the sickness from the man they picked up, which is bad, but he immediately concludes that if they leave the hospital they are going to infect everyone else on the planet and cause everyone to die? Based on what? He hasn’t yet seen anyone die from the disease.
24. “ADVERTISING AT THE END OF THE WORLD” by KEFFY R. M. KEHRLI - excellent. I liked everything about this story, despite it being so sad.
25. “HOW THE WORLD BECAME QUIET: A POST-HUMAN CREATION MYTH” by RACHEL SWIRSKY - not bad. Doesn’t work as a straightforward story, but is somewhat interesting as a myth. Parallels to the environmental harm our modern society is responsible for were too on the nose. UPDATE: Looks like this is a prequel or side story to the author’s novel “How the World Became Quiet”, which makes sense.
- As an aside: I think it’s time to completely phase out the use of “man” and “men” to refer to the human species or human population as a whole. In this story it gets so ridiculous that a whole group, despite being defined as consisting only of females, is immediately referred to as “mosquito men”… A female author especially has no excuse for doing this.
26. “TIGHT LITTLE STITCHES IN A DEAD MAN’S BACK” by JOE R. LANSDALE - would’ve been okay, if not for all the sexual imagery. The plot is a pretty standard end-of-the-world horror flick, with some original-sounding elements thrown in. There’s your usual family drama, with the small twist that the husband (narrator) was one of nuclear scientists (I think) that worked for the military/government, which causes a lot of blame and guilt. What makes it icky is that either the author was very horny when writing this and that bled into the story or he has some unresolved, somewhat Freudian issues - there is a lot of talk about fantasizing about his naked 16 year old daughter (but of course, there is “nothing sexual about it” - of course).
27. “AFTER THE APOCALYPSE” by MAUREEN F. McHUGH - again, would’ve been okay, if not for a weird sexual subtext.
- Based on how the author/narrator kept focusing on Franny, her body, her being “almost” at the age of going “guy crazy”, but already having “that flirting way” when talking to a guy of indeterminate age, who isn’t overly interested in sex with Franny’s mother, but seems a bit too friendly with a 14-year old he has just met - based on all the focus this dynamic received in the narration, I was expecting Nate to be a paedophile, who’s just waiting for Jane to leave them unattended. Which is exactly what she does, except, she’s expecting him to “keep an eye” on Franny.
- As to Jane herself, yes, she is a weird and unpleasant character - although most of the weirdness described in the beginning seemed to me like how an autistic character would react to being overstimulated (e.g. by constant presence of others). The unpleasantness itself wasn’t problematic. It was the fact that she seemed hell bent on providing men with her sexual “services”. Long before anyone even asked or showed interest. She felt she “had to” keep having sex with Nate every night in order to keep him with them, despite the fact that he had clearly lost interest. Then she was trying to pick who to offer herself to, when they seemed to be in a situation that was going to quickly turn into gangrape (so in this instance she was actually justified in her thinking). Then she felt she owed Nate nightly sex, because he saved her from the danger. And in the end, she went to offer herself to a division of soldiers/contractors, essentially becoming a “camp follower” - I guess, to have access to the vestiges of civilization that the military still possessed. So. She doesn’t come off as a flawed character. She just comes off as someone, who, consciously or not, was set on becoming a prostitute in some shape or form and using sex as the preferred and only currency, but kept getting sidetracked by motherhood, relationships, traveling companions, and finally achieved her desired status for the foreseeable future. What is that supposed to tell me as a reader?
- Finally, what’s up with the racism? The author seemed to be determined to drive it home that seeing WHITE people - with BLUE eyes and BLONDE hair - dirty, hungry, homeless, and displaced, LIKE REFUGEES, who are only supposed to come from, like, Africa or Mexico or something - that white people being in such embarrassing conditions was untenable, the starkest sign of the end of civilization… I mean, really? Couldn’t come up with anything else? Also, I had to look up what “Chicano” meant. Fine, it used to be a slur for Mexican Americans, but has been reclaimed since and refers to a specific cultural as well as ethnic identity. Specific, because it’s distinct from Mexican American identity. So, tell me, how does one know a person is Chicano and not Mexican American or Latin American or Native American just by looking at them, as Jane seems to do in the story?
28. “THE TRADITIONAL” by MARIA DAHVANA HEADLEY - pretty good, even though weird and gross. I liked the story, I didn’t like the storytelling, although I did get used to it halfway through. For such a short story it has a lot packed into it, with a surprising amount of character growth and plot development. I found the prose unnecessarily cryptic, where I had no idea what specific sentences meant - I understood every word, but didn’t understand what it was trying to say. It didn’t help that the sentences were in a spoken language style, with wonky grammar and randomly omitted words. And it could be just me, but I felt there were a few references that were limited to a specific geography/culture, e.g. Woolworthing seems to refer to an Australian grocery chain Woolworth which I’ve never heard of or the story that inspired the gifts of a ring and a hair comb made of bones and was about “love and pocket watches” might be referring to Alice in Wonderland or something else entirely, because I don’t remember any bone-made hair combs from Alice and wouldn’t say the stories were about love. Finally, the references to Judaism and the name of the god in Torah seemed very random, although it could just be because one is used to Christian imagery when religious references are made in Western literature and there is no objective reason why such references couldn’t invoke any other religion.
29. “MONSTRO” by JUNOT DÍAZ - good. The twist/explanation of what kind of monster we were dealing with felt a bit random. The constant injection of Spanish words and phrases along with slang words and expressions made it difficult to keep reading, because I had to go look up the translation. I guess it adds authenticity to the story, considering the narrator is from Dominican Republic.
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- About the Contributors (for the stories I’ve read).