Mercury Blobs by Sylvia Petter, Raging Aardvark Publishing (Australia)

Mercury directly harms the human neurological system causing problems with speech and memory, among other symptoms. It may also be a useful motive for this collection's various protagonists.
   Here we discover forty pieces of flash fiction and, as such, are glimpses into psyches that any one of which may one day play out into further scenes of a longer family saga. Single descriptions here would be unfair, inevitably giving too much away from such economical prose.
  Favoured themes include murderous intent, vampirism, personal fears, food and, inevitably, 'the ways of love.' The stabs of black humour that peppered Back Burning (Interactive Press) (Petter's second collection, Pan Reviewed two years ago) are here further to the fore. Also present are its touches of humility that thankfully never descend to fake or awkward pathos.
  Alongside the more fantasy-orientated sketches, the all-too-short 'true life' takes are, quite simply, moving, intimating the requisite life experience to expand into a future novel. (Elizabeth Jane Howard could do with a successor). So, Petter is especially strong when wryly reflecting upon seasoned relationships alongside those hoped for that may never be.
  Uncanny glimpses occasionally wink from this necessity of what is left out; be it a near-fatal accident ('The Hook'), a window into the mind of a serial killer ('Widow's Peak'), a dalliance with temptation ('Golden Lover'), or an ambiguous motive (and a favourite, 'Uncle Henri').
  The mature perspectives tantalise, crying out for a longer work, which, I hope, Petter will produce in the fullness of time.

　

                                                  ALBERTINE'S WOOERS


Reggie Oliver has three works newly available. Virtue In Danger (Ex-Occidente) is a comic novel by the short tale master. Couched within retro theatrical covers and a design of decadent maroon, it tells of the fundamentalist Moral Regeneration Movement and its cult-ish members vying to take over from their adored but ailing leader. The narrative perspective is from one Ivor Smith, an indifferent, independently minded actor unwisely hired by the MRM to theatrically portray their message of high moral tonality. (While "for him the job was simply an escape from a failed marriage and a faltering career"). The lampooning, while undeniably present, is credibly restrained, with the satirical touch of the late Tom Sharpe. In inspiration, I was reminded of the moral campaigners of the Festival of Light and its leaders' attempts to conscript second-rate celebrities to its cause. Recommended. Also out is Oliver's Flowers of the Sea - Thirteen Stories and Two Novellas (Tartarus Press), his sixth collection of strange stories containing ‘Introduction’ by Michael Dirda, ‘A Child’s Problem’, ‘Striding Edge’, ‘Hand to Mouth’, ‘Singing Blood’, ‘Flowers of the Sea’, ‘Lord of the Fleas’, ‘Didman’s Corner’, ‘The Posthumous Messiah’, ‘Charm’, ‘Between Four Yews’, ‘The Spooks of Shellborough’, ‘Süssmayr’s Requiem’, ‘Come Into My Parlour’, ‘Lightning’, ‘Waving to the Boats’ and ‘Author’s Note’. Still available, also from Tartarus, (and reviewed in these pages), is The Complete Symphonies of Adolf Hitler.

Back Burning and Other Stories by Sylvia Petter, Interactive Press

Back-burning is the term used when man-made fires are deliberately started in a desperate bid to swamp other, out-of-control, brushfires and steer them away from habitation as damage limitation. Here, fire is used throughout as a metaphor in differing situations amongst different characters. Collectively, this might be summed-up in the title story.

A daughter accompanying her mother from her second husband's funeral challenges her allegiance: '"Why didn't you leave Dad...if you loved Ralph so?" "There was you." "Then why didn't you let Ralph go?"(Her mother) sighed. "You know what happens when the brush fires come. You can't escape them when the wind hits and the bush starts to burn."' Petter should know. Born in Vienna and a graduate from the University of New South Wales, she has divided her literary education between these alliterative nations. Such a fate takes a hand in the following twenty-seven titles - each an easily digestible two - six pages - where subjective perceptions are suddenly subverted - and diverted - by circumstance.

In 'The Colour Of Haze' I am reminded of another Sylvia P. with Austrian roots. A German couple are bringing up their daughter, Anna, born in post-war Australia where they now live. One day, Anna returns home from school in tears having been accused by a classmate of being a Nazi; a word she's never heard. Her mother comforts her, but the cold receipt of the news of the death of her father's brother - innocently brought to the kitchen table by Anna - reveals his allegiance. I also wonder if Anna is Petter herself.

The following tale - 'The Past Present' - continues the theme, dealing again with Austrian emigres in Australia. The now middle-aged husband, down on his luck, is encouraged by his wife to teach the old language. But it is one he'd been trying to forget, considering the rest of his past it would inevitably bring up. But a brief contact from a grateful Polish mother of two students builds a touching, unforeseen bridge. The final story builds another bridge; back to the first tale. Only by now the perception has darkened. A seemingly innocent relationship between a daughter and her mother's boyfriend has tragic consequences. Again, the daughter figure narrates, to whom, again, the author seems to relate. Though not obviously 'uncanny,' these tales - making up Petter's second collection - pleasingly twist into shadow as much as light. While there is a faith in human nature that, assuredly, embraces both.


                                                         *


An Antique Land: A Cryptic Caprice Collected & Edited by John Shire, Invocations Press

A slender pocket book running to just 56 pages, you will find, concieved within, a little esoteric patchwork of past meditations on travel; specifically, two metaphysical journeys intercut with mystical woodcuts of vague or unknown provenance. Its contents - piecemeal and incomplete - are inspired not so much 'found' formations as disparately 'sent' submissions, the point of their acquisition long forgotten by the equally long forgotten editor who first advertised for them more than a century ago.  

In his letter accompanying this copy for review, John Shire - Invocations Press founder - admitted to a lack of any grand vision. "I'm still making it up as I go along." What he described to me as "a small love letter to books, disguised as an experiment in cheap publishing..." pulls you in with moments of 'Boys Own' high drama, suddenly interrupted with the seemingly unrelated woodcuts and scenes from a second tale of haunting melancholy. Each is incomplete and the source of nearly all, anonymous. But there is no frustration in this. Rather, such brief glimpses into worlds that never were only serve to whet the pallet for further metaphysical glimpses. On this evidence, I hope what Shire considers a lack of clear direction sustains him further. Then, perhaps this was because I was in transit myself at the time - on a number 31 bus.


                                                         *      


A last word on another great new £2.99 release from Wordsworth Edition's 'Mystery & the Supernatural' range. 'Night Terrors: The Ghost Stories of E. F. Benson' fills a gaping void with tales out-of-print for the last twenty years. Credit to Derek Wright, David Stuart Davies and their colleagues for the additional research, bulking out the seminal collection with further uncovered titles, clocking in this release at an extraordinary 702 pages.