The term “splatterpunk” refers to a highly disreputable, extreme subgenre of graphic horror, but its best practitioners do much more with the form.
Kavan’s story is typical of her technical approach, which telescopes time and proceeds in a kind of modified stream-of-consciousness narration.
Valerie Martin’s long story is about a poisonous artistic rivalry.
Two time Scotiabank Giller Prize winner Vassanji’s story is about missed opportunities and unfulfilled dreams.
Mutonji’s story is an empathetic look at burgeoning female sexuality and the roles women are expected to perform in our capitalist system.
The language of the story is tightly calibrated and walks a tightrope between lyricism and incipient violence.
A story about a granddaughter on the day she euthanizes her grandmother is also a veiled critique of the residential school system.
The story is about the mother of an imprisoned son before, during, and after her bus trip to visit him.
Hurston’s story contains the folk idiom for which she is known, as well as being a signal example of her concern with women overcoming abuse at the hands of men.
Not a retread or homage, Bloch’s vampire story displays a momentum and technique typical of the author’s best work.