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Caitlin R. Kiernan fans got a special treat in to-day's new Sirenia Digest--a previously unpublished story called "Chevy Swamp" from 1987, from well before Kiernan had become an established name in weird fiction. In the introduction to this month's Digest, Kiernan talks about how the story reflects her inexperience at that point in her life as a writer and expresses dislike for the story's obvious resemblance to Stephen King's It, which had been published not long before "Chevy Swamp" was written. This might seem a strange thing to complain about to-day when Stranger Things has garnered so much praise for its obvious modelling on It and other fantasy and horror fiction from the 1980s centred on groups of kids. For anyone looking for more stories like that now, "Chevy Swamp" is certain to satisfy, particularly for anyone looking for such a story told from the perspective of a female character.

A first person narrative told by a character named Mary, the story concerns her and her two friends, Arnie and Rusty, and their relationship with the swamp of the title. All of them are around eleven years old and there's a nice description of a biology class project followed by an encounter with a bully named Ellroy. There's some allusion to the psychological causes of bullying behaviour, of cycles of abuse, but the story takes it in a weird direction as Mary and her two friends form a nicely understated, weird love/hate bond with the swamp and a strange creature that may or may not exist within. In a very effective creative decision, Kiernan avoids bringing the creature explicitly into the story--it manifests in dreams, suspicions, and mutilated bodies. This makes the creature menacing and mysterious while also providing a tortuous ambiguity for the protagonists who are compelled to wonder how much responsibility their bear for the creature's behaviour.

The resemblance to It is certainly clear but Kiernan creates characters who are very much her own, particularly Mary, to inhabit this It pastiche world. It's a nice addition to what is becoming a vibrant genre again.
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Stories of murder can be horrific, gripping, or even funny. They probably shouldn't be dull and rote but 2017's 1922 took that route. Based on a presumably better Stephen King novella, the film's robotic, adequate compositions and cinematography combined with actors who never seem quite like they're in the same movie to give the impression of a rudderless production helmed by a person or persons without anything resembling passion or artistic impulse.

I saw Stephen King tweet about this new movie on NetFlix a few days ago, based on his novella and starring Thomas Jane. I really missed Thomas Jane on The Expanse and I have a NetFlix account so I thought I'd check it out. I wish I hadn't. Jane is, indeed, the most interesting part of the production, playing the stoic but desperate farmer with a tight jaw and a really broad accent--an accent no-one else in the film has, not his son, Henry (Dylan Schmid) or his wife, Arlette (Molly Parker), or anyone else. For all the exposition from Wilfred about how things were in 1922, as compared to what I guess was 1930 or so, the film never really establishes a sense of that time and place. People talk and act mostly like they're from 2017.



Wilfred narrates the film which portrays the events we see him writing about in a notebook in a little hotel room. He explains how, in 1922, a man's pride was his land and his son and he further explains how a man's wife was considered his to do with as he pleased. It would have been nice if we'd seen this illustrated in the behaviour of the sheriff who comes to investigate after Wilfred kills her, or some support for the idea that Wilfred grew up in a culture that supported notions of men possessing women. Or at least teased the possibility but Wilfred with his broad accent seems isolated in his world of adequate, hacky compositions that probably got someone a good grade in a film class but do nothing to enhance or establish mood or emotion in the story.



There are ghosts and rats and cg, all with less impact than the haunted house put on by your local elementary school, and a whole lot less fun.

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