Accessing The Mermaid

Accessing The Mermaid

Accessing the MermaidA review of Angeline Woon’s “The Mermaid and the Prince of Dirt” in Those Who Make Us: Canadian Creature, Myth, and Monster Stories, edited by Kaitlin Tremblay and Kelsi Morris (Exile, 2016)
By Derek Newman-Stille

In “The Mermaid and the Prince of Dirt”, Angeline Woon takes the exploration of essential otherness in Hans Christian Andersen’s “The Little Mermaid” and reworks it into a tale of disability and trying to fit into a world that actively prevents spaces of accommodation. The Little Mermaid was already a tale about ideas of belonging and spaces that prevented access, but Woon’s reimagining of the tale focuses on the way that our social and physical environments are made to exclude and reject certain bodies. 

Woon’s narrator is a mermaid who sought the land not due to her obsession over a human prince, but because she wanted to escape the control of her older sisters who regularly made decisions for her. As a mermaid, she already felt like an outsider. Annalee seeks out a witch who can give her access to the surface world and, like the mermaid in Andersen’s tale, Annalee gives her voice in order to gain the ability to walk on the surface world.

Annalee doesn’t rankle at her loss of voice and finds that as long as she can move and dance, she can express herself, but her sisters view her as incomplete without having a voice and decide that she can’t be complete unless she has one, so they unilaterally make the decision to trade with the witch to get Annalee’s voice back. The witch decides to take away most of Annalee’s legs as part of the bargain and Annalee becomes a wheelchair user. Decisions over her body are still being made by her sisters and she is assumed incapable of making her own decisions.

Rather than seeking a prince, Annalee finds Liam, a person who experiences mental health issues, but is also willing to believe her when she says that she is a mermaid, which most people refuse to do. Although Liam doesn’t come from noble blood, he is a prince to Annalee because he is one of the few people who is willing to make spaces accessible to her body. 

Woon’s reworking of The Little Mermaid becomes social commentary, bringing attention to the way that accessibility is still not a priority for most people, issues with government financial assistance (both the lack of it, and the constant requirement to prove disability), and the willingness and readiness of our society to assume the worst of people experiencing mental illness. 

To discover more about Those Who Make Us, visit https://thosewhomakeus.wordpress.com and http://www.exileeditions.com/shop/those-who-make-us-the-exile-book-of-anthology-series-number-thirteen/

To discover more about Angeline Woon, visit https://angelinewoon.wordpress.com

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Do Emperors Dream of Electronic Nightingales?

Originally Posted on Speculating Canada, here is my review of Michelle Sagara West’s “The Nightingale”.

Speculating Canada: Canadian Horror, Science Fiction, and Fantasy

Do Emperors Dream of Electronic Nightingales?
A review of Michelle West’s ‘The Nightingale’ in Once Upon a Galaxy Edited by Wil McCarthy, Martin H. Greenberg, and John Helfers (Daw, 2002).
By Derek Newman-Stille

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Michelle Sagara West (here writing as Michelle West) takes Hans Christian Andersen’s “The Nightingale” from once upon a time into the (un)Happily Ever After, transforming myth into science fiction. Andersen’s tale is one of nature versus artificiality, pitting the natural songs of a living nightingale against the regularity of a clockwork nightingale. Both are able to produce music, but the variety and passion of the biological Nightingale surpasses that of the artificial.

Michelle Sagara West plays with this contrast between the natural and artificial by setting her tale In the future. West introduces the nightingale to the audience first, narrating from her perspective. She is constructed entirely as an object of the Emperor, an extension of his…

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The Art of The Emperor’s New Clothes

Over the Rainbow: Folk and Fairy Tales from the Margins

The Emperor’s New Clothes is an intensely visual tale, exploring ideas of dignity, performance, and the ostentatiousness of royalty. But, fundamentally, it is about what is not there – the absence of art, the absence of clothing.

Clothing is a way that we perform our identity, the way that we illustrate who we are. It is an art that is linked to identity. The Emperor in the tale is caught between the power of the spoken word to create clothing (by describing it and convincing the court of the presence of the clothing), yet the clothing is not physically present. It is not something that exists except in the descriptive sense.

Art work about The Emperor’s New Clothes is simultaneously about what is there and what is absent.

Harry Clarke

(from Fairy Tales by Hans Christian Andersen, New York: Brentano’s 1916)

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Clarke portrays the Emperor as a mix of nudity…

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