Paul D. Brazill
It goes like this: A rainy night in Soho, thrown out of The French House and off to Ronnie Scott’s til dawn. Then a gypsy cab driven by an Islamic fundamentalist over to the East End and a dodgy pub near a meat market. Go for a slash on in an alleyway near Crucifix Lane and get lost just off Druid Street. Follow a group of old women into a pockmarked terraced house and realise that they’re having a séance. A tall Polish woman with a turban gives me a message from beyond. And that message becomes A Bit Of A Pickle.
Pick up Drag Noir today by clicking on the picture below and get your glad rags on.
Today we are delighted to announce we have unleashed a mass of femme fatales on the unsuspecting public. Available now from Fox Spirit Books are two exciting volumes of high heels and deadly doings!
The third in our Noir series of anthologies edited by K.A.Laity is ‘Drag Noir‘ where the drag scene meets the seedy world of Chandler and Hammett, where glamour meets grit, where everyone wears a disguise.
Cover by S. L. Johnson
And from Alchemy Press editors Jan Edwards and Jenny Barber we are delighted to bring you ‘Wicked Women‘! Women who write their own rules, skate along the edge of the law and generally aim to misbehave.
Cover by Sarah Anne Langton
So join us for double trouble!
If you would like review copies or to interview the editors please contact adele@foxspirit.co.uk
Regardless of the social progress made in recent years, our world is still not yet kind to the subversive: women who love women remain the target of stares and lewd comments; men who love men have blood which is considered unclean by the majority of the planet’s health authorities (because ‘AIDS was invented by homos’); whilst men who dress as women are still victim to physical and verbal abuse. Public acceptance may be on the increase, but as every queer person and drag queen knows, we have a long way to go.
Meanwhile, a different yet parallel rights movement is fighting for its own social and legal equality: rights for the disabled. Those with cerebral palsy are still the target of stares and verbal abuse; those with mobility needs are still denied access to the majority of the planet’s public transportation (back of the bus? You’re not even getting on!); whilst closed-circuit hearing loops are still absent from most public spaces. Progress has been made, but as every blind or autistic person knows, we have a long way to go.
Of course there are more similarities between disability and gender nonconformity than my structuring two similar paragraphs on each. Firstly, each has the ability to make the public uncomfortable, as each causes us to question our own identities: whether the shaky and often-transitional nature of our perceived gender, or our immortal able-bodiedness. Each presents us with a deviation from the norm which a great number of people still feel uncomfortable with, and which presents this difficult truth: that the privilege one receives for cis-heterosexuality or able-bodiedness is a result of random chaotic chance.
The second similarity is that both gender nonconformity and disability have been heavily medicalised by both public discourse and institutions. The very term ‘homosexuality’ was coined in an attempt to diagnose a mental condition; trans people are subject to intense physical and mental scrutiny by medical professionals who pass ultimate judgement on their personal identities; the disabled are also still viewed through this same medical lens. Are deaf people merely a medical condition, or a culture with its own language and social groupings? The nonconformists share a history of dehumanising medical discourse. Both groupings have been the target of eugenics programs. It is this similarity which prompted me to write my sci-fi short story ‘Straight Baby’.
It is this shared discourse lies at the heart of the story. In a world in which parents have (or believe they have) genetically engineered every aspect of their children, the disabled and the queer face the same threat of marginalisation and persecution. This shared struggle is embodied in Thomas, a disabled homosexual who faces intense persecution because of the random chaotic chance of his birth – a deviance which can never be truly eradicated, regardless of technological advancement.
Yet the story also examines the interplay between his identities as a gay, disabled man. Whilst other gay men are beaten and arrested when caught with other men, Thomas’ physical disability has, thus far, allowed him to escape the clutches of the heterosexist legal system. In this future, as in our own time, the disabled are frequently viewed as asexual. Thomas’ physical state covers his deviance as a homosexual: his disability is his drag.
Yet Thomas’ drag is not merely external. He manages his position in society via an internal drag, mentally conceiving of himself as a female femme-fatale – a perspective which allows him to navigate his affairs with married men. In short, Thomas is a sexual being in the ‘asexual’ drag of disability, perceiving himself in female terms. Each ‘deviance’ contradicts and reinforces the other. He is a threat masquerading as harmless.
At its root, the story is based in the fact that every struggle is a shared struggle. Gay men and wheelchair users, lesbians and the blind, drag queens and the autistic have all been marginalised by social and medical discourse. Without solidarity and recognition of our shared fight, we risk a future in which society once again uses technology in an attempt to eradicate the nonconformists – a future in which no drag can save us.
A port stop during a cruise disembarked us in Mexico, facing a row of tour vans and buses. Most of these were staffed by sign-wielding native folks with weary, worldly-wise faces; obviously they did this job for the living it provided and not because they found it fun. One of the tour guides was a lesbian, white-skinned, aging none too gracefully, and it was evident from her accent that she’d begun life as a North American Midwesterner. She looked and clearly felt, however, more akin to her brown-skinned career associates than to the flocks of North American tourists who surrounded her. We wondered what, or who, had led her to this path. And of course, romantics that we are, we wondered whom she went home to when her day of tourist-wrangling was over.
I wanted to be Jim West. The hero of the television programme Wild Wild West played by Robert Conrad epitomized cool as far as I was concerned as a kid. He looked slick, fought bad guys and lived in luxurious style in a train caboose with his pal Artemus Gordon—every week a new location and a new adventure.
But more than that, the look: that snugly fitted suit, short jacket, broad shoulders and black boots. Sure he did spend a lot of time shirtless and tied up, too. Somehow at the advent the androgynous glam rock look of the 70s and the nascent punk scene, anything at all seemed possible—at least until my body betrayed me with the double-whammy of adolescent hormones and a thyroid that tipped over into overdrive, hitting my rangy frame with unexpected curves and bewildered loss of identity.
I grew up with two brothers, four baseball diamonds and a football field behind my house, so I played a lot of sports. Yet when I started school I was expected to wear dresses. I wanted to be the boy in My Side of the Mountain but it was a revelation to see Karen Carpenter play drums because it was a thing girls weren’t supposed to do. I was a guileless and mostly unaware child so it came as a bit of a shock when I realised there was a great deal of anxiety attached to who I was supposed to be. I failed so much at being a girl that I was sent to charm school, a racket run by the local department store.
It failed.
My adolescent discomfort sprang largely from being forced into a category that didn’t fit me, as much as it did with being trapped in one place when I wanted to travel the world. Academia belatedly taught me an essential term: slippage. Our brains like to categorise things into distinct pigeon-holes, but nature just bleeds into the margins. I like slipping between categories (as these noir mash-ups show). Then as now I hated to be pigeon-holed. On my website I quote Kierkegaard: “Once you label me, you negate me.”
It’s no wonder that I took to gender studies like a PI to trenchcoats; it explained the discomfort I had struggled with for so long—and proved I wasn’t the only one. It gave me so much more to think about when I considered my own childhood (not to mention two men living together in a caboose—hello!). Judith Butler showed me gender was constructed by culture, just as I’d always intuited. She instilled in me the love of playing with those conventions consciously, testing people’s reactions, and teaching students to be conscious of them as well.
But it was Ru Paul who cut to the essential: “We’re born naked, and the rest is drag.”
Manufacturers seem to have doubled down on building the great gender divide; all you have to do is look at the ‘girls’ aisle in any toy store—a throbbing pink ghetto. Toys that were bright primary colours a couple decades ago now receive a varnish of glutinous pink. The ‘princess’ industry is reinforced 24/7 on the Disney media empire of television and radio. Maybe it’s the last ditch backlash against a broadening culture that not only recognizes the rainbow spectrum of genders, but increasingly celebrates them. I’m all onboard with the Pink Stinks camp, but maybe princess power isn’t as monolithic as I sometimes fear (given my tomboy self). I was pleasantly surprised the other day when the Executive Toddler (3) and her brother (9) were on scooters, which he reminded her both belonged to him, when she told him imperiously that she liked ‘boy things and girl things’. I leaned over and said, ‘I’ll tell you a secret: there aren’t really “girl things” and “boy things”—there are only “things”‘.
You can spend your life trying to protect the divisions between categories, but nature bleeds through the barriers. That’s why we have parthenogenesis. Nature will find a way. Try too hard to maintain those artificial borders and you’re bound to fail.
Of course noir is all about failing, but it’s also about shadows, surfaces and a lot of grey areas. Hiding and revealing, deceptive appearances, buried truths: the stories here run the gamut. So do the writers: some I knew already, others I didn’t at all. I was disappointed to have so few drag king stories, but maybe that leaves room to revisit the topic. I had no idea what I would get, but I was pleased with the results. I hope you are too.
In the run up to the release of Drag Noir, we’re featuring a few spots to drum up the excitement because, well — we’re so excited! Here’s a story from skulk member Graham Wynd to give you a sense of the flavour of the collection. Consider it a “bonus track” for the anthology.
SMALLBANY
by Graham Wynd
Content alerts: salty language, guns, drugs, sexual shenanigans
I desperately turned every door handle along the corridor while swearing a blue streak, trying to figure out where it had all gone wrong. The image of Bomber’s face covered with blood still haunted my vision though I tried to push it aside long enough to think straight.
“We have to seize the means of production,” Bomber had said. I laughed at the memory of his words and gripped the handle of the French horn case even tighter. There had to be a way out of here.
At last a handle moved under my sweaty grip. I pushed through the door. A supply closet: stacks of cocktail napkins, swizzle sticks and whatnot filled the shelves. Dead end, I knew. But maybe I could hide out here while things calmed down.
I threw the case in the corner and shoved a few bigger boxes together to make a leaning tower of booze boxes, then ducked down behind it. I willed my breath to slow down, but the ragged rasp of it continued. The bellows of my lung threatened to give me away if anybody tried the door behind me.
Maybe no one had followed me down the corridor.
Bomber’s gory face swam into view again and I cursed his name. ‘Means of production,’ my aunt Fanny.
Both of them.
“What do you mean, ‘means of production’?” Moaning Murdoch had asked him. He’d had that unfortunate moniker since back in the kiddie days when we were wet enough to let girls drag us to Harry Potter films. No matter that he outgrew the round face, that the big specs were replaced by contacts and Murdoch himself landed a scholarship playing for the Danes as a fullback. He was still Moaning Murdoch.
Bomber smiled in that way he had that suggested he knew the inside track. His smugness had only grown since he switched his major to business. The original plan to be a rapper had been scuppered due to his inherent lack of talent (which we all could have told him before but never mind that, he wasn’t listening).
October at Fox Spirit is celebrating the Femme Fatale..after a fashion. Our anthologies ‘Wicked Women’ edited by Jenny Barber and Jan Edwards and ‘Drag Noir’ edited by K.A.Laity are coming up. These ladies are armed and dangerous.
From thieves and tyrants to witches and warriors, here are twelve tales of women who gleefully write their own rules, women who’ll bend or break the social norms, who’ll skate along the edge of the law and generally aim to misbehave.
Contents:
Juliet E. McKenna – Win Some, Lose Some
Christine Morgan – The Shabti-Maker
Tom Johnstone – Kravolitz
A. R. Aston – No Place of Honour
Adrian Tchaikovsky – This Blessed Union
Sam Stone – The Book of the Gods
Chloë Yates – How to be the Perfect Housewife
Stephanie Burgis – Red Ribbons
Jonathan Ward – A Change in Leadership
Jaine Fenn – Down at the Lake
Zen Cho – The First Witch of Damansara
Gaie Sebold – A Change of Heart
Cover by S. L. Johnson
DRAG NOIR: this is where glamour meets grit, where everyone’s wearing a disguise (whether they know it or not) and knowing the players takes a lot more than simply reading the score cards. Maybe everyone’s got something to hide, but they’ve got something to reveal, too. Scratch the surface and explore what secrets lie beneath — it’s bound to cost someone…a lot.
Contents:
Introduction by Dana Gravesen and Bryan Asbury
The Meaning of Skin – Richard Godwin
Wheel Man – Tess Makovesky
No. 21: Gabriella Merlo – Ben Solomon
Geezer Dyke – Becky Thacker
Lucky in Cards – Jack Bates
Trespassing – Michael S. Chong
Chianti – Selene MacLeod
The Changeling – Tracy Fahey
Straight Baby – Redfern Jon Barrett
Kiki Le Shade – Chloe Yates
Protect Her – Walter Conley
King Bitch – James Bennett
A Bit of a Pickle – Paul D. Brazill
Stainless Steel – Amelia Mangan
The Itch of the Iron, The Pull of the Moon – Carol Borden
There was supposed to be an introduction to Girl, I wrote it but I never sent it to the formatter with the rest of the book. I just wasn’t sure I wanted to share it yet. Now Book 1 is out, Book 2 is almost finished and I think perhaps this is a better place for it. The apocalypse can happen to anyone & I never saw it coming.
***
‘It’s all over and I’m standing pretty
In this dust that was a city
If I could find a souvenir
Just to prove the world was here.’
Nena – 99 Red Balloons
‘The Girl at the End of the World’ is undoubtedly the most personal collection for me that Fox Spirit has done. Maybe that is why I let it get totally out of hand. It was supposed to be one volume of around 20 stories, it’s now two volumes and because there were too many great ideas for covers each volume gets two cover options as well. A total of over 40 stories but I have no regrets, it was hard cutting the submissions down even that much.
The brief was ‘pre, during, post and personal apocalypse’. I wanted a wide range of interpretations and I got them! From the kick off with James Bennett’s ‘Antichristine’ to the far future sci-fi finish I hope it is obvious to readers that although you may find the odd zombie shambling among the pages there is a lot more scope to the end of the world than just natural disasters (which also feature) and the walking dead. There is some humour in there, in particular Carol Borden’s ‘Sophie and the Gates of Hell’ made me laugh out loud while reading through the submissions. The volumes include some wonderful treatments of traditional themes like the post apocalyptic urban survivor stories and some less well trodden routes are also explored. There was no genre specified for these volumes, so you’ll find fantasy, horror, sci-fi, crime and genre-bending playfulness within these pages. There are authors who will be familiar to regulars at Fox Spirit as well as plenty of names that are new to our tables of contents.
Why these books are so personal to me, why this project was inevitable really from the moment Fox Spirit was registered as a publisher is two-fold. One is my own love for these sorts of heroines: Ripley, Sarah Connor, Resident Evil’s Alice and of course Buffy the Vampire Slayer to name a few. Women and girls fighting for their own survival, to hold back the end of the world and in some cases just to be normal and live in the world again for a moment. The same love for these characters and for exploring what goes into their survival that led to the collaborative project ‘The Girls Guide to Surviving the Apocalypse’ stayed with me once that came to an end. It just took a little time to work out what I wanted to do with it.
It was more than that though. Fox Spirit would never have happened if my world as I knew it hadn’t ended. When I realised that my marriage was never going to work I had to let go of the shared life we had planned and suddenly I had no idea what my future was going to look like. It was a painful, frightening and sometimes just numbing experience. I got to spend some time as a zombie, mostly looking for my own brain rather than eating anyone else’s. A lot of the time I was just trying not to fall apart, to keep going every day and then I started to put myself back together and move on. It was while I was moving on from that I ended up agreeing to do ‘Nun and Dragon’ and through that Fox Spirit emerged. I am very fortunate that so many of my close friends, of the people who propped me up through it all are writers and artists and let’s be honest about it, a bit insane.
‘Sorry to barge in. I’m afraid we have a slight apocalypse.’ – Rupert Giles BTVS
The first volume (city cover as shown) of Girl at the End of the World is now available via amazon worldwide. The alternate ‘girl’ cover and ebooks will be going live over the next few days so keep an eye out!
Cover 1 Book 1
Volume 2 is due for release at the end of July.
It’s the end of days. The sky is falling, the seas are burning and your neighbour is a zombie. It’s brutal out there. It’s every man for himself and these heels are going to have to go; you simply can’t run in them!
Across two volumes, The Girl at the End of the World offers forty-one striking visions of the apocalypse and the women and girls dealing with it. From gods to zombies, from epic to deeply personal, from the moment of impact to a future where life is long forgotten; bestselling authors and exciting new writers deliver tales you’ll still remember when holed up in a fallout shelter with one remaining bullet and a best friend with a suspicious bite mark on their neck.
The two volumes feature a number of new and established authors including Adrian Tchaikovsky and best selling crime novelist James Oswald.
We told you we had a lot lined up for 2014 right? Right?
Having just released the marvelous White Rabbit by K.A Laity and the first Young Adult novel, the excellent ‘Warrior Stone : Underland’ By R.B Harkess we are not slowing down. Next up we have the two volumes of ‘The Girl at the End of the World’, ‘Missing Monarchs’, the part prose part poetry novella ‘The Velocity of Constant’ and what we are calling ‘the summer of the wolf’, because we have two werewolf novels coming up. ‘Heart of Fire’ by J.Damask and 25 Ways to Kill a Werewolf’ by Jo Thomas.
We’ve already show you the other covers, so here is Jo’s wraparound to keep you on the edge of your seat.
Sign up to our newsletter for more information and a free sampler of forthcoming poetry chapbook ‘And the Fox Crows’ by V.C. Linde
It’s none stop in the Fox Den to bring you fantastic fiction.
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