At the root, the Very Best of Kate Elliot is, honestly, very
good indeed. It’s designed to showcase the author’s short fiction, with
examples pulled from across the last twenty years. That fiction has several defining
characteristics: It has a lot of lyrical prose, wrapping the reader up into each
world with every syllable. Each of those syllables rewards careful reading –
there’s layers sat under each story which give the whole more depth on each
read through. There’s a lot of emotional weight; some more than others, but each of these
stories feels genuine, feels raw – in some cases, so much so that it may still
be bleeding, narratively speaking.
Critically, each of these stories also has a lot of female
agency. I don’t say strong female characters, because some of them are not –
some are broken, in one way or another, some are afraid, some confused – but all
of them take their own actions, make their own choices, and feel alive, in a
way that the more stereotypical weeping maiden, waiting for a prince to carry
her off on a white horse, never really does. These are women-as-people, and
each and every one of these stories approaches that topic. Not stridently, not
unpleasantly, but in a refreshingly matter of fact way. There are a few butt-kicking
protagonists – the tribal warrioress of The
Gates of Joriun, for example – but at the same times there’s the gentle
pair of political pragmatists in The
Queen’s Garden, or the girl growing toward independence in Sunseeker. And each of those characters
make choices, and whilst those choices may be right or wrong, they’re not
presented as being any less valid than another.
With that in mind, twenty years on, I don’t know if the idea
of protagonists who a re also women has quite the shock value it has had over
the last two decades. Fortunately, the stories stand up on their own as well. I
won’t get into spoilers here, but will say that there’s a nice variety of
narratives on show. There’s a nice bit
of thoroughly alien sci-fi, wrapped in a production of Macbeth in My Voice is my Sword. There’s the
aforementioned discussion and plottery in The
Queen’s Garden. A solid bit of fantasy, ending with the acceptance of
consequences in On the Dying Winds of the
Old Year and the Birthing Winds of the New. A
story of change, the moving into adulthood, in Making the World Live Again. There’s the odd demon, some
swordfights, and some witty dialogue – but mostly, there’s a lot of very well
drawn characters, their personalities and lives drawn out from dialogue, from
the reactions of those around them, from the setting, from the things they say
and do. Basically, Elliot can write a good character, wrap them in a tightly
drawn setting in a broader implied world, and the result will knock your socks
off. Come for the interesting stories,
stay for the characters.
There’s also
four essays in here, largely dealing with the state of the SF&F literary
field. These feel more like they have an overt agenda than the narratives that
precede them. But they do make interesting reading. For example, there’s
discussion of the role of the male gaze in fiction, of the way in which this
gives the cloak of normality to certain genre and general narrative
conventions, and how this can be explored and avoided as a reader and an author.
There’s also a piece on what is and is not explored when building worlds in
genre fiction – that what is not explicitly written may be taken to fit within
the reader’s own existing framework is an interesting idea, and one that invites
a closer critical view from, again, both author and reader.
Overall then,
this is an excellent collection of short stories; they serve to showcase Elliot
as a real talent, and one whose work is deserving of both attention and praise.
If you have an interest in well drawn characters sat in interesting worlds,
with narratives that have a real eye for emotional truth, then this collection
is definitely worth your time.
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