Posts tagged ‘Anahita Eftekhari’

This is what the apocalypse looks like

Yesterday we had two interviews and a guest post all go live!

  • Quick Questions – Octavia Cade and Joanne Merriam of Women Up To No Good, from Charles Payseur. For me dark fiction is inextricably linked to temptation, to identification with the wrong. It’s one thing to know that poisoning is immoral in broad daylight, and quite another to be brought to feel, though fiction, that poison can be an excusable and tempting thing. It’s a temporary identification, perhaps, but I tend to think that deliberately acknowledging our own capacity for identification with evil is a form of inoculation towards it. In that way horror can be a very empowering genre – at its best, it’s all about self-knowledge and perseverance in the face of failure.
  • Interview with Joanne Merriam, editor of Broad Knowledge, from Sarena Ulibarri. When I’m selecting stories, I try to read blind by saving all of the stories under their titles and removing author identities. Of course, it’s never entirely blind because I can recognize some writers’ voices, but I make the attempt, which means that I have to address diversity in my submissions pool before I get to that largely-blind selection stage.
  • GUEST POST: How A Small Press Is Born, from Alexa at A Thousand Worlds. We’re living in interesting times in the book industry. Issues like monopoly power and predatory pricing, piracy, authors’ rights, and fair compensation are all coming to the forefront. Opportunities to interact in new ways are growing as technology matures. Writers can contact readers more directly. Readers can become book critics with tools like NetGalley. And tiny publishers like me can use tools like Kickstarter to reach readers directly and ask for pre-orders so they can pay their writers professional rates without going bankrupt.

On to our feature!

Today we feature two stories of sisters conspiring to do magic with disastrous results.

In Anahita Eftekhari’s “A Fool’s Feast,” two sisters are expected to go hungry when their brother shows up with his bride and her whole family (“I closed my eyes, counted to five, and opened them again. But they were still there. Car after car. A whole herd of them. Men and women inside. Kids too. My brother’s bride’s people.”) and their mother doesn’t have enough food—so they “help” with a little magic they inherited from their dead father.

In Vida Cruz’s “Blushing Blue,” two sisters use magic to replace their dead mother and comfort their grieving father. Vida Cruz writes:

In 2013, a Category 5 typhoon called Haiyan swept across central Philippines, leaving thousands dead in its wake. I was working as an online journalist-editor at the time, and my job required me to monitor the television for news. The torn roofs, leveled buildings, the bodies floating in filthy water, and an interview with a man who walked six hours while carrying his dead daughter made me think this, this is what the apocalypse looks like. Fast forward a few months later, at the Clarion Science Fiction and Fantasy Writers Workshop in San Diego, I still couldn’t get all that destruction out of my head. Combined with a classmate’s excellent tattoo of a galleon sailing the seas, I tried to exorcise every image of that watery hell with tattoo magic during my fifth week story, which turned out to be “Blushing Blue.” I let it sit for a few years because, after all that time, Haiyan was still too fresh. When submissions for Broad Knowledge opened up, I felt that I could take a look at this story without crying up a storm myself (after all this time, that lasts for about 10 minutes). Rebuilding efforts post-Haiyan are still ongoing; if you’d like to know how to help, this charity is a good place to start.

Go to the Kickstarter to donate and pre-order now!

About the Authors

Vida Cruz is a Filipina born, bred, and based in the Philippines. A 2017 Writers of the Future winner and a 2014 graduate of the Clarion Science Fiction and Fantasy Writers Workshop, her fiction has been published or is forthcoming in Writers of the Future vol. 34, Expanded Horizons, Lontar: The Journal of Southeast Asian Speculative Fiction, Philippine Speculative Fiction, and the Australian fantasy anthology Phantazein. In her spare time, she draws pretty things, pets all the dogs, and claws at her towering TBR pile. Tweet her at @laviecestmoi. If you’d like to help the rebuilding or rehabilitation efforts for the Typhoon Haiyan/Yolanda survivors, this charity is a good place to make inquiries.

Anahita Eftekhari is an Iranian-Canadian who often struggles with her views regarding gender and women’s role in society. She says, “Writing is where I play around with the ideas I don’t dare voice, and where I explore them in the context of the culture that quietly remains a part of me, despite my earlier attempts at abandoning it. As someone with a background in genetics and half a decade of experience teaching ESL in Asia and Europe, I’m not one to limit myself to a single path, and hope my writing displays my appetite for bringing forth overlooked POVs and openness.”

7 June 2018

Kickstarting Women Up To No Good!

 

Projects like the VIDA Count have demonstrated that women account for startlingly less than half of those published, and writers of marginalized sex and gender identities account for much less than their presence in the general population.

To help counteract that—and also because we thought it would be fun—we started the Women Up To No Good series, which focuses on “bad” women, and “good” women who just haven’t been caught yet.

There are other imbalances too, most notably race, and while we have no formal requirement for inclusion of writers of color, we strive for diversity in all of our anthologies.

Broad Knowledge: 35 Women Up To No Good and Sharp & Sugar Tooth: Women Up To No Good are anthologies of writing by women and authors of marginalized sex and gender identities, about female protagonists whose knowledge or appetites are critical to their stories.

We’re raising money to be able to pay our authors professional rates, and to properly promote the anthologies so they get the attention they deserve. Our hope is to get the Women Up To No Good series on a solid enough footing that sales of the books will support all future anthologies.

 

Broad Knowledge authors

Sharp & Sugar Tooth authors

Check out our Kickstarter here.

1 April 2018

Sharp & Sugar Tooth

Print (978-1-937794-88-0).
Ebook (978-1-937794-89-7).

 
Go to: About | Reviews | Goodreads
Forthcoming 26 March 2019.

 

About

Sharp & Sugar Tooth: Women Up To No Good is a horror anthology of dark fiction and darker appetites, edited by Octavia Cade. Containing 22 stories of “bad” women, and “good” women who just haven’t been caught yet, it features 22 fearless writers who identify as female, non-binary, or a marginalized sex or gender identity. It’s the third in the Women Up To No Good series, which can be read in any order. It’s forthcoming on 26 March 2019.

Our contributors are based in or hailing from Australia, Brazil, Canada, New Zealand, Nigeria, Singapore, the UK, and all over the United States. Between them, they have won the Andre Norton, Eugie Foster Memorial, Hugo, Lambda, Locus, Mythopoeic, Nebula, Prix Imaginales, Rhysling, Romantic Times’ Critics Choice, This Is Horror, James Tiptree Jr., and World Fantasy Awards, and been shortlisted for the Bram Stoker, John W. Campbell, and Shirley Jackson Awards!

 

Table of Contents

  • Kathleen Alcalá, “The Doll’s Eye”
  • Betsy Aoki, “And When We Die They Will Consume Us”
  • Joyce Chng, “Dear Son”
  • Katharine E. K. Duckett, “Gimme Sugar”
  • Anahita Eftekhari, “The Fool’s Feast”
  • Chikodili Emelumadu, “Candy Girl” (first published in Apex Magazine, issue 66, November 2014)
  • Amelia Gorman, “She Makes the Deep Boil”
  • Jasmyne J. Harris, “What the Bees Know About Discarded Girlish Organs”
  • A. R. Henle, “Strong Meat”
  • Crystal Lynn Hilbert, “Soul of Soup Bones” (first published in Apex Magazine, issue 61, June 2014)
  • Erin Horáková, “A Year Without the Taste of Meat”
  • Kathryn McMahon, “The Honey Witch”
  • H. Pueyo, “I Eat”
  • D. A. Xiaolin Spires, “Bristling Skim”
  • Rachael Sterling, “Alice Underground”
  • Penny Stirling, “Red, From the Heartwood”
  • Catherynne M. Valente, “The Lily and the Horn” (first published in Fantasy Magazine, issue 59, Queers Destroy Fantasy!, 2015)
  • Sabrina Vourvoulias, “A Fish Tale”
  • Damien Angelica Walters, “A Lie You Give, And Thus I Take” (first published in Lightspeed, issue 55, December 2014)
  • Rem Wigmore, “Who Watches”
  • Alyssa Wong, “Hungry Daughters of Starving Mothers” (first published in Nightmare, issue 37, Queers Destroy Horror!, 2015)
  • Caroline M. Yoachim, “The Carnival Was Eaten, All Except the Clown” (first published in Electric Velocipede, issue 27, 2013 and republished at Drabblecast)

 

Contributors

“The Doll’s Eye” (original) is by Kathleen Alcalá, the author of six books of fiction and nonfiction, from a collection of magical realism called Mrs. Vargas and the Dead Naturalist, to The Deepest Roots: Finding Food and Community on a Pacific Northwest Island.

“And When We Die They Will Consume Us” (original) is by Betsy Aoki. This is her first speculative fiction publication, though her poems have appeared in Uncanny, Southern Humanities Review, Hunger Mountain, and Calyx, among others.

“Dear Son” (original) is by Singaporean Joyce Chng. Her fiction has appeared in The Apex Book of World SF II, We See A Different Frontier, Cranky Ladies of History, and Accessing The Future. Joyce also co-edited THE SEA IS OURS: Tales of Steampunk Southeast Asia with Jaymee Goh. Her alter-ego is J. Damask.

“Gimme Sugar” (original) by Katharine E. K. Duckett, whose stories have appeared in Apex and Interzone, and been reprinted in Wilde Stories 2015 and The Best of Apex: Volume I. She works in publishing and lives in Brooklyn with her wife.

“The Fool’s Feast” (original) is by Iranian-Canadian Anahita Eftekhari. She has a background in genetics and half a decade of experience teaching ESL in Asia and Europe.

Chikodili Emelumadu is a Nigerian writer currently residing in Cambridge, MA. Her work has been published in Eclectica, One Throne, Omenana, and various other magazines and anthologies. Her “Candy Girl” first appeared in Apex Magazine and was nominated for the Shirley Jackson prize.

“She Makes the Deep Boil” (original) is by Minnesotan Amelia Gorman. Her other monstrous-themed writing appears in the Lovecraftian anthology She Walks in Shadows, and her poetry in Liminality Magazine, Star*Line, and Eternal Haunted Summer.

“What the Bees Know About Discarded Girlish Organs” (original) is by Jasmyne J. Harris, who lives in Washington, DC. Her work is forthcoming in Bayou Magazine.

“Strong Meat” (original) is by archivist, historian, and librarian A. R. Henle.

Crystal Lynn Hilbert lives in the forgotten backwaters of Western Pennsylvania. Her latest stories appear in Betwixt Magazine. Her “Soul of Soup Bones” was first published in Apex Magazine in June 2014.

“A Year Without the Taste of Meat” (original) is by Erin Horáková, a southern American writer who lives in London. She’s working towards her literature PhD, which focuses on how charm evolves over time.

“The Honey Witch” (original) is by Kathryn McMahon, an American writer living abroad with her British wife and dog. Her fiction has appeared or is forthcoming in The Baltimore Review, Crack the Spine, and Necessary Fiction, among others.

“I Eat” (original) is by H. Pueyo, a South American writer living in Brazil who writes short stories and comics in both English and Portuguese.

“Bristling Skim” (original) is by D.A. Xiaolin Spires who stares at skies and wonders what there is to eat out there in the cosmos.

“Alice Underground” (original) is by Rachael Sterling, who lives in sunny Santa Monica, California, teaching music to preschoolers most mornings and writing most afternoons. You can find her talking about books on YouTube under the name Rae Sterling.

“Red, From the Heartwood” (original) is by Penny Stirling, who edits and embroiders in Western Australia. Their speculative fiction and poetry can be found in Lackington’s, Interfictions, Strange Horizons, and other venues.

Catherynne M. Valente is the New York Times bestselling author of over two dozen works of fiction and poetry, including Space Opera, the Orphan’s Tales series, and The Girl Who Circumnavigated Fairyland in a Ship of Her Own Making. She is the winner of the Andre Norton, Eugie Foster Memorial, Hugo, Lambda, Locus, Mythopoeic, Prix Imaginales, Rhysling, Romantic Times’ Critics Choice, and Tiptree awards. Her “The Lily and the Horn” was first published in Fantasy Magazine‘s 2015 Queers Destroy Fantasy! issue.

“A Fish Tale” (original) is by Sabrina Vourvoulias, the author of Ink, which was named to Latinidad’s Best Books of 2012. Her fiction can be found in Uncanny, Tor.com, Strange Horizons, and Crossed Genres.

Damien Angelica Walters wrote Sing Me Your Scars, Paper Tigers, and Cry Your Way Home. Her short fiction has been nominated twice for a Bram Stoker Award and reprinted in The Year’s Best Dark Fantasy & Horror and The Year’s Best Weird Fiction. She lives in Maryland with her husband and two rescued pit bulls. Her “A Lie You Give, And Thus I Take” was first published in Lightspeed in December 2014.

“Who Watches” (original) is by Wellington-based Rem Wigmore, who also published under Summer Wigmore. Their first novel The Wind City was published in 2013 by Steam Press and they had a short story in the 2016 At the Edge anthology.

Alyssa Wong was a finalist for the 2016 John W. Campbell Award for Best New Writer. Her fiction has been shortlisted for the Hugo Award, the Bram Stoker Award, the Locus Award, and the Shirley Jackson Award. Her “Hungry Daughters of Starving Mothers” was first published in the 2015 Queers Destroy Horror! issue of Nightmare, and won the 2015 Nebula Award for Best Short Story and the 2016 World Fantasy Award for Short Fiction.

Caroline M. Yoachim has written dozens of short stories, appearing in Asimov’s, Clarkesworld, Fantasy & Science Fiction, Lightspeed, and her short story collection, Seven Wonders of a Once and Future World & Other Stories. Her “The Carnival Was Eaten, All Except the Clown” was first published in Electric Velocipede in 2013 and was featured in The Drabblecast.

 

Editor Octavia Cade is a New Zealand writer with a PhD in science communication and a particular interest in science history and marine studies. She has most recently been researching the reproductive strategies of Zostera muelleri seagrass. She has had around 30 short stories published, in places like Clarkesworld, Asimov’s, and Apex Magazine, amongst others. Her poetry collection on the periodic table, Chemical Letters, was published by Popcorn Press and her novellas have been published by Masque Books, Paper Road Press, and The Book Smugglers. She has been nominated for BSFA and Elgin awards, and has won three Sir Julius Vogels, twice for best novella (The Ghost of Matter and The Convergence of Fairy Tales) and once for best fan writing, for a series of columns on food and horror, which became Food and Horror: Essays on Ravenous Souls, Toothsome Monsters, and Vicious Cravings (Book Smugglers, 2017).

 

 

Reviews & Mentions

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25 January 2018


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