Love Beyond, Body, Space, and Time is a collection of indigenous science fiction and urban fantasy focusing on LGBT and two-spirit characters. These stories range from a transgender woman trying an experimental transition medication to young lovers separated through decades and meeting far in their own future. These are stories of machines and magic, love, and self-love.
This collection features prose stories by:
Cherie Dimaline “The Girl Who Grew a Galaxy,” “Red Rooms”
Gwen Benaway “Ceremonies for the Dead”
David Robertson “Betty: The Helen Betty Osborne Story,” Tales From Big Spirit series
Richard Van Camp “The Lesser Blessed,” “Three Feathers”
Mari Kurisato “Celia’s Song,” “Bent Box”
Nathan Adler “Wrist”
Daniel Heath Justice “The Way of Thorn and Thunder: The Kynship Chronicles”
Darcie Little Badger “Nkásht íí, The Sea Under Texas”
And an introduction by Niigaanwewidam James Sinclair “Manitowapow,” with a foreword by Grace Dillon “Walking the Clouds”.
Edited by Hope Nicholson “Moonshot,” “The Secret Loves of Geek Girls”
I wrote “Transition” because I wanted to see a 1st person narrative of an Indigenous transwoman in the world. I can’t remember ever reading a narrative with an Indigenous transwoman as the main voice, so it felt important to centre us as active subjects in literature. Another part of my desire was to also challenge Western models of becoming “female.” The transgender specific narratives I encounter are often about the medical process of transitioning like surgeries or hormones, but I am interested in exploring what transitioning means in an Indigenous context. We know there was Indigenous transwoman before contact in most Indigenous nations. I often wish I could call up those transgender aunties and ask them “what was it like for you?”. For them, transitioning must have been very different. Being female would have meant something different. They certainly were not going on hormones, removing body hair, or having surgeries, but they were also very clearly perceived and lived as women in our societies.
It is empowering for me to imagine a process of transitioning which is not about morphing our biological bodies, but about reclaiming our souls. Being transgender for Indigenous transwomen is spiritual. Our teachings say it comes from our relationship to the earth and the world around us. It’s intrinsically who we are and we demonstrate our femininity through our actions and responsibilities, not our appearance. In the context of this story, I wanted to place ceremony and Western science side by side and have a main character who works through her gender via both. I cheat a little and fall strongly on the side of her gender coming through her ancestors, but the idea of her female ancestors reaching out to her to guide her into womanhood is a really beautiful and loving image for me. She’s not “changing” her gender. She is reconnecting to who she has always been: an Indigenous woman interwoven into a web of powerful Indigenous women which stretches across time and space.
You don’t always get the opportunity to write a story that involves an LGBT couple, has one character that is Indigenous, and, oh yeah, is sci-fi. Needless to say, it was an amazing and challenging experience to write “Perfectly You.” I wanted to write a love story that felt real in an unreal setting, that didn’t fall into cliche or stereotype, and that was surprising in its narrative, rather than in the sexual orientation or cultural background of its protagonist. In the end, for me, “Perfectly You” really is saying that love is love, and love is timeless.
“Aliens” was a fun piece to write. I believe that this is my third piece of writing as a woman and I’m proud to have placed this story in Fort Smith, my home town. I’ve always had a “what if?” story about aliens, as in, “What if they just showed up and stayed? What would we do?” I didn’t want this story to be about the Sky People as beings. I wanted this to be about the Sky People as a symbol of never being able to go back to the way humanity was before: I also wanted there to be hope with the gentle bubbling of the oceans. I pray that, in this story, the Sky People are coming to help and teach us what we need to get along and heal our planet together. I also wanted this to be a love story. I love it when friendships break down and people start making out. Mah! 🙂
When you listen to the hunters and trappers, so many of them have stories of seeing UFO’s and I believe them. This was a joy to write and I’m grateful to Hope Nicholson for asking me to create something for “Love Beyond Body, Space and Time.” Mahsi cho!
You’ll notice that I dedicated this story to Carla Ulrich. Carla is a director, producer, writer and actor from the North who has adapted three of my books and turned them into movies: “Hickey Gone Wrong”, “Three Feathers” and “The Blue Raven.” I’m so grateful for her and her vision in all that she does. The least I could do is dedicate a story to her.
“Aliens” is now the first story in my new short story collection manuscript “Moccasin Square Gardens” because it has such a playful spirit.
Imposter Syndrome is the short story of Aanji, a noncitizen artificial life-form who is desperate to escape a grim fate, using her human ancestors’ memories. Set several (hundred?) years after the events of Escape Light, it details one person’s attempt to reclaim her soul. It’s also very autobiographical in some spots, which is why I’m nervous and pleased as punch that the wonderful Hope L. Nicholson is publishing it, alongside amazing Indigenous authors like Doctor Darcie Little Badger, Daniel Heath Justice, Nathan Adler, Gwen Benaway, and Cherie Dimaline.
“Valediction at The Star View Motel” is about relationships, and death, and meteor-showers, and messages from beyond the grave, it’s about one of the strongest and lightest materials in the world, spider’s-silk, and love, and connection across time and space. The story started with the two characters—Edie and Mushkeg—and I knew they had this back-story forming, waiting to be told, so when Hope approached me about contributing to this Anthology, I thought this story would be a good fit, and that maybe it was time to write the story of how Edie and Mushkeg met.
Hummingbirds fascinate me. They possess a kind of wild, fierce beauty you don’t see in other creatures; they’re brave, bold, temperamental, and dramatic. In so many ways, they embody a courageous certainty of self, and I wanted to capture some of this spirit in a story for those on the margins (especially queer and two-spirit Indigenous folks) who are coming to an understanding of their own special beauty but see too few examples to help inspire their struggle. This world isn’t kind to those who are different; we know this too well. But that’s only because of human prejudices—the rest of the world is teeming with strange beauty.
I drew a bit of inspiration from the Cherokee story about Hummingbird and how sacred tobacco came to heal the People through the skill and cleverness of a medicine man. He put on a feathered cloak and became a hummingbird to steal the plant from an island of selfish, murderous giants. But there are many different kinds of healing, and there are many different kinds of medicine. To me this is a story of love and self-acceptance, and the beauty that inhabits so many of us but is so often denied.
At its core, Né łe is a lighthearted story about lesbians and puppies in space. Perhaps counterintuitively, I – a horror fanatic – enjoy writing sweet comedies. That said, Né łe contains sad themes that are familiar to my tribe and many others, particularly dispossession. Her longing for a stolen home drives the Apache protagonist of Né łe to Mars.
As a final note, the Watson to my Holmes is a Navajo veterinarian; their guidance enabled me to write the sci-fi veterinary scenes in Né łe. I’m extremely grateful!
Hope Nicholson is the publisher of Bedside Press and comics historian. Her latest book is a collection of indigenous science fiction and fantasy stories starring queer and two-spirit characters. She also works in reprinted work bringing attention to lost comics.
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