The Breath of the Sun is that rare fantasy novel that reminds us that stakes in this genre don't have to be world-destroying or matters of high politics.

On the whole, these pieces tend to tap the same stream which quenches most modern Anglo-American Fantastika.

In this world, people means women. That’s not an accident.

None of what Venom does is particularly good or new in the grand scheme of things, but the film’s mobilisation of its queer, race, power, class, and dis/ability narratives offers a way to think through how often these ideas intersect and are in/visibilised.

Sodom Road Exit is a very physical story, both in terms of the stories we tell about landscape, but also the physical realities of that land itself.

The critical question is whether this set of stories—some written by Jurado directly in English, others translated by James Womack—will have the same impact for an audience reading her work from seasoned positions in the English-language horror-fantasy tradition. And the answer—though unfortunately a “no”—is worth more expansive study.

In Lee’s careful telling, the two are intertwined—the beautiful, violent, balletic sequencing of a fight to the death between Green Bone warriors, and the slow behind-the-scenes erosion of jade-burdened, honor-conscious, unconfessed human psyches.

I sat down to view the first episode of Larysa Kondracki’s Picnic at Hanging Rock with great anticipation. I was taken aback by the visceral dislike and, at a critical level, grave disappointment I felt at what I actually saw. For the critic, strong reactions are interesting in and of themselves: why did I dislike this new adaptation so much? Did my reaction say more about me and my attachment to an earlier adaptation than it did about the new material?

After all, is an adaptation trying to effectively “translate” a text or perform a telling of it, or is it using that material for its own project?

I Stole You is a speculative book, and a queer one, and specifically a D/deaf one