Author’s note: this story is a retelling of the Grimms’ tale, “The Fox and the Geese.” It first appeared in OfOtherWorlds in 2015, and was subsequently published in Fractured and Other Fairy Tales, 2015.
Mr. Fox liked to walk along the edge of the old city. One spring evening, he was strolling along, and he happened upon a field where a flock of geese were gathered, gabbling away and walking through the stubble.
“What do we have here?” he said, eyeing the fat geese, as he leaned on his walking cane. “Looks like dinner.”
The geese were terrified, and they honked and cried for mercy.
“Mercy,” laughed Mr. Fox. “You will find no mercy here. I’m interested in some dinner. Now you just line yourselves up in a row, and I will wring your pretty necks one by one, and then I’ll take your carcasses back to my house in the city.”
But there was one old goose who was at least as cunning as Mr. Fox. She was a grandam of the flock, and she peered up at Mr. Fox.
“Mr. Fox,” she said, bobbing her head, “since you are going to eat us anyway, I don’t suppose you would mind if I told my children and grandchildren one more story?”
Now, if Mr. Fox had a weakness, besides a greedy desire for fresh goose, it was for a good story. “Oh, very well,” he said, petulantly. “Tell your story. But when you are done, I expect you to line up like good little geese so I can pick out the fattest for my table.”
The old goose began her story. She gabbled and honked, telling of faraway places, of all the things she had seen on her travels, of the lives of people and animals, of strange and secret things only seen by moonlight and starlight. And before she was finished, she was joined by one of her children, and together, they gabbled and grumbled and honked of the places they had seen together. They were joined by the others, one by one, until soon the whole flock was gabbling the story of their travels, from the hot countries of the south to the wide spaces of the north.
The sun slowly set, and Mr. Fox listened, forgetting about everything else as he was swept away to places he had never known.
Did Mr. Fox ever get his dinner? Who can say?—for the geese are still telling their story to this day. And if you stop to listen, in the spring and the fall, you can hear it too—the gabbling of travelers’ tales upon the air.
In 2013, Thomas Wharton published The Tree of Story, the third book in his Perilous Realm series. This book brought the adventures of Will and Rowen to a close—or just about. In an interesting return to his series, Tom has decided to republish a new version of the trilogy on his website, ThomasWharton.ca.
The Perilous Realm Online begins with the retitled first book, The Endless Road, and Will, still the main character, finding himself alone in a mysterious wood.
Tom has dispensed with the prologue, which I always loved, and some of the back story of Will’s family. The book now launches right into a motorcycle crash and a boy fleeing into a forest. The tone is darker and the pace faster.
Tom will be publishing the series a chapter at a time, so be sure to follow along. I’m looking forward to seeing what he does with this new Perilous Realm.
This summer, I had the good fortune to visit some fascinating places. I’m prairie born and bread—used to open spaces, long summer evenings, and cold winters. But I love the ocean and had the chance to visit more than one.
In May, I travelled with a friend to Newfoundland, where we drove from the ferry landing at Port Aux Basque to Cape Spear, the eastern-most point of North America.
I returned to the east coast in June, visiting Prince Edward Island for a conference, where I took the Hippo, an amphibious vehicle that tours historical Charlottetown, then drives straight out into the Charlottetown Harbour.
Finally, in July, I met one of my daughters in New Zealand, where we spend a week touring the North Island before flying to Melbourne. We had the chance one day to drive part of the Great Ocean Road, built by Australian war vets after the first World War. We also visited the Moonlit Sanctuary, where we had the chance to meet some local wildlife. All in all, a summer I will remember.
Girl heroes are a prominent part of children’s and young adult literature—they have been for over a century. Katniss from The Hunger Games, Bella from Twilight, and Elsa from Frozen are only three such girl heroes to find their way into popular culture in the last decade. The popularity of such characters, however, raises questions.
Consider, for a moment. Katniss is thrown into an arena where she has to kill other young people, and she becomes a post-traumatic wreck by the third book in the series. Bella is largely a passive character, who chooses to become a vampire by … which book I can’t remember. As for Elsa, she is a Disney princess who chooses isolation, builds a giant ice castle, and inadvertently creates an endless winter. Such girl heroes get caught up in violence, questionable relationships, or, just … causing endless winters.
I find The Hunger Games compelling, and I love Frozen. I couldn’t bring myself to finish even the second book in the Twilight series—largely because of the turgid prose and ridiculous characters. That’s just me. I always love discovering new girl heroes, but I have my favourites, too. L. M. Montgomery’s Anne is one of those favourites.
Last June, I attended the Lucy Maud Montgomery and Reading conference in Charlottetown, PEI. I love visiting Prince Edward Island—the people there are more open and friendlier than anywhere I’ve visited. But I also enjoy this conference more than most. I shouldn’t be, but I’m always surprised at how much people love Lucy Maud Montgomery—the Anne books, in particular. This conference happens every two years, and it was good to catch up with people I met at earlier conferences and talk about Montgomery. I also tried to have fun—going for an historical ride on the Hippo, an amphibious vehicle that tours downtown Charlottetown before heading into the harbor.
I presented on how Anne’s language comes from the books she’s read, and how her use of that language informs and defines her place in Avonlea. Oddly enough, Anne doesn’t refer directly to that many texts: she’s caught reading Ben-Hur by her teacher, and she and her friends enact the story of Elaine from Tennyson’s Idylls of the King. Anne reads novels, but don’t forget, this is a bad thing in turn-of-the-century Canada—or anywhere else, for that matter.
Anne is a girl hero. She has the beginnings of a love interest by the end of the first book, but she doesn’t fully understand her feelings for Gilbert until the end of the third book in the series—a far cry from characters like Katniss or Bella. At the same time, Anne is more like Hermione from Harry Potter: interested in books and scholastically ambitious.
I’m sure my love of girl heroes comes from having raised two daughters. And perhaps because I’m a father, the girl heroes that most appeal to me are those who face difficult, if not necessarily life-threatening issues, and grapple with difficult, if not problematic relationships. This is probably why I love characters such as Anne, Meg from L’Engle’s A Wrinkle in Time, and Tenar from LeGuin’s Earthsea cycle. Girl heroes of the twenty-first century often fall into a type—the teenage misfit, who suddenly finds herself the object of at least one young man’s attention—and often two. Katniss and Bella are both good examples of such a type. Types aside, I will always enjoy meeting new girl heroes, but I will always have my favourites.
A couple of years ago, I was rereading some Grimms’ fairy tales, and I wondered what these stories would be like if they were set at a time when society had collapsed. IN other words, what if I took these stories and put them in an apocalyptic context. Then, I wrote “Hansel and Greta.”
I’ve written this sort of thing before. In the early days of this blog, I wrote a collection of fractured fairy tales that offered new ways to look at older tales, such as “Red Riding Hood, Again Revisited” and “Mr. Wolf and The Seven Kids, An Urban Fairy Tale.” That collection is called Fractured and Other Fairy Tales. These stories are aimed more at kids, and I had my own daughters in mind when I wrote them.
In retelling Grimms’ stories as apocalyptic fairy tales, I have a different audience in mind. These are not stories for children; they are bleak and often violent, and, well, grim in the strictest sense of the word. Having said that, I’ve tried to maintain the spirit of the original tales, in as much as I’m able.
“Hansel and Greta” is the first of these stories to find a home. I must have sent it to a dozen journals before Laura Mansfield and Feast picked it up. Feast is an eclectic online journal about food based in Manchester, UK, and the latest issue is called Consuming Children. Thank you to Laura and the people at Feast for publishing the story. I’m especially grateful that Laura saw the piece as something she could include. Enjoy the story, check out the rest of the journal, and, as always, post any comments.
Climate change fiction for young adults, or cli-fi, also called eco-fiction, is a genre that has been gaining ground for a few years. Cli-Fi is one of those genres that crosses boundaries into other kinds of fiction. It can be dystopian, but it doesn’t have to be. To be cli-fi, these books seem to need an environmental disaster as part of the central conflict.
According to Scientific American, cli-fic is establishing itself as a genre for adults, while it seems to have already become a thing in the world of young adult books. In a larger way, such books are part of what is also called Anthropocene fiction—the Anthropocene being a term describing the period within which humans have had the gratest impact on the planet’s ecosystems.
Weirdly enough, when I first encountered a reference to cli-fic, I was less surprised than I was baffled. How is this suddenly a genre, I wondered. I hadn’t encountered the term before, but this wasn’t exactly a new kind of book for me.
Long, long ago, when phones weren’t smart, and the Internet was just a thing for geeks, I took a badly typed and badly written manuscript to the public library, where Monica Hughes was serving as the writer in residence. I thought I could write at the time, and Monica was so kind and encouraging that I believed I still could upon leaving the library. Seldom have I encountered someone who could provide critical feedback with such grace and understanding. I like to think of her as one of my early writing mentors, even if briefly.
If you don’t know, Monica Hughes was born in Liverpool in 1925. She had a career that included dress maker and bank clerk, and she published her first novel for young adults at the age of fifty. Canada claims her as one of the country’s best science fiction writers for young adults. But she wasn’t just a Canadian; she was an Edmontonian.
Monica Hughes was writing climate change fiction in the 1980s and 90s, long before the genre had ever been thought of. Her Isis trilogy deals with the despoilment of a planet, whose sole inhabitant, Olwen Pendennis, has been surgically altered by her robot guardian so she can live safely in the harsh climate of Isis. Two other important cli-fic books are Ring-Rise, Ring-Set (1982) and The Crystal Drop (1992). Ring-Rise tells the story of the advancing glaciers in northern Canada, the Earth’s climate having been altered because of a ring of asteroidal dust encircling the equator. The Crystal Drop, on the other hand, is set in southern Alberta, where global warming has turned the prairie into a desert. After the death of her mother, Megan Dougal and her younger brother have to make a trek across the drought-stricken prairie to find a new home with their uncle in the mysterious community of Gaia.
There you have it—climate change fiction from the 80s and 90s. And it was happening in Edmonton, coming from Monica Hughes, a delightfully engaging and prolific writer, who was farther ahead of her time than I ever thought.