Today on the site, we’re excited to welcome Celine Frohn, editor of Unspeakable: A Queer Gothic Anthology, out now from Nyx Publishing! This speculative collection features a wide range of identities, including gay, lesbian, bi/pan, trans and non-binary, poly, and asexual characters. Check it out here and then learn a little more about the stories that make it up!
Unspeakable contains eighteen Gothic tales with uncanny twists and characters that creep under your skin. Its stories feature sapphic ghosts, terrifying creatures of the sea, and haunted houses concealing their own secrets. Whether you’re looking for your non-binary knight in shining armour or a poly family to murder with, Unspeakable showcases the best contemporary Gothic queer short fiction. Even dark tales deserve their time in the sun.
The anthology contains stories by Claire Hamilton Russell, Ally Kölzow, C. L., Lindsay King-Miller, Avery Kit Malone, Katalina Watt, Jude Reid, S.T. Gibson, Jenna MacDonald, Eliza Temple, Katie Young, Sam Hirst, Ryann Fletcher, Heather Valentine, Jen Glifort, E. Saxey, Anna Moon, and Mason Hawthorne.
The haunted house as a metaphor is something that fascinates me. In “Leadbitter House”, the house is a proxy for the protagonist’s body, the struggles he faces throughout the story reflect a number of struggles that are common to transgender experiences. Elijah is confronted over and over by people who believe that his house must be arranged or decorated or treated in the way that they expect it to be, rather than how Elijah needs it to be, or who express outright disgust at it. The use of body horror elements in this story is another part of the gender narrative that I explore through my work. Often, it isn’t until other people read my writing and say “wow that’s body horror!” that I realise what effect the scenes I develop might have for someone who is not in my head. I try to make the ostensibly gory, horrific elements more about connection and exploration of the body, about intimacy and anxiety connected to bodily experience, in a way that uses the uncanny to interrogate that which is often assumed to be familiar and ‘normal’.
But besides all that, sometimes organ removal is fun!
“Laguna and the Engkanto” by Katalina Watt
My story ‘Laguna and the Engkanto’ takes place on a fictional island called Avelina and is inspired by Filipino folklore, specifically the engkanto: a mythical spirit of the environment. The engkanto in my story is genderless and similar to a siren or mermaid, acting as a catalyst for and symbol of sexual awakening. Laguna begins the story with a fear of the sea, and as she becomes more in tune with herself and her body, this transforms into a longing for it.
I wanted to explore the idea of queerness within the prism of a society which is highly spiritual in both the religious and folkloric sense. The characters are living under the shadow of colonialism which has brought, among other things, these new religious ideologies. Within this society and particularly for a young woman, the engkanto represents both sexual agency but also transgressive pleasure, and I wanted to play with the concept of queerness as it relates to these intersections within a culture.
“Brideprice” by S.T. Gibson
“Brideprice” is my love letter to the vampire novels and action fantasy movies like Van Helsing that got me through my teens. When I was first coming to terms with my own bisexuality, my desires felt monstrous, so stories of ravenous supernatural creatures pining away after maidens soothed me. I was enamored by the capricious, sensual, mysterious brides of D, who struck me as the perfect mix of maiden and monster, seducer and seducee. I wrote “Brideprice” to give them their own narrative voices, and to play up the queerness inherent in the source text. This undying family is re-imagined as a polyamorous unit of cis and trans men and women who simultaneously desire one another and compete with one another for power.
The Dracula myth is generally told from his perspective, or the perspective of his victims, but not the brides. “Brideprice” is my attempt to give agency back to the brides. This is why Dracula rarely speaks in the story and only exists filtered through the brides’ memories: he’s just the catalyst for their leap into immortality. Whether they’re trying to escape violence, bigotry, or poverty, he’s their dark door into a new world, but they’re the ones seizing agency and making that final choice.
“Homesick” by Sam Hirst
Writing has always been a means of exploring and expressing myself from those early days of pre-teen poetry with its paeans to blonde beauties right through the angsty self-repressing tragedies of my teens littered with sapphic ladies dying to save their beloved. Emerging from years of denial about who I was and ignorance about the words that existed to describe myself – asexual, sapphic, queer… I turned to writing to work out my confusions before I even knew what they were. And that’s where ‘Homesick’ comes from. It mixes the Gothic elements I’ve always loved – ghosts – and one of the intriguing riddles associated with – how the afterlife actually works – with an exploration of queer identity that I’ve often felt didn’t fit in any of the existing categories. Ghosts allow you to move away from the physical. Sexual attraction disappears from the world of my story, the way it is absent from my own life. Exploring life after death allowed me to imagine a world lived within sight of your past but not bound or determined by it. My ghosts are homesick because they haven’t found a home yet and my story is about them finding their way there – to the place and the people they belong with. In writing this story, I followed Marion and Sanan through a Gothic world that they made beautiful. It’s a story of hope in the end and I hope people read it that way.
“Lady of Letters; or, the Twenty-First Century Homunculus” by Heather Valentine
Lady of Letters came from an idea I’d been toying around with for a while about fake profiles and alternate accounts in the mid-2000s era of early social media. I’d played a few games that were either set in that era or touched on the ideas I was interested in – Cibele takes place in a fake MMORPG, and spoke to my experiences of playing Phantasy Star Universe while having arguments with my soon-to-be-ex high school boyfriend in the private chat; and Simulacra takes the idea of the sentient profile in a far more cosmic horror direction.
Seeing the call for stories for Unspeakable, I realised that the key to exploring these ideas on the page was the Gothic. Taking the genre’s sometimes-features of narratives framed through letters and recordings; the all-encompassing emotions its heightened settings allow its protagonists to have without that teenage shame of feeling too much; the idea of a ghostly romance, but making the spectre a digital one.
I think the way that classic Gothic writing explores and remembers is past is something we can use to explore our own much more recent history, as people and as communities.
“Hearteater” by Eliza Temple
Hearteater is a story about a woman who lives alone in a decaying manor house named Scarlet Hall. One dark and stormy night, a stranger named Kat turns up at the house looking for shelter. Lady Scarlet invites her inside, and they grow close, despite each insisting on their own monstrosity.
My initial idea for Hearteater was to explore how Gothic preoccupations with virginity would work when applied to queer sex, but literally none of that made it into the final draft because I got preoccupied by my own issues. Both Lady Scarlet and Kat refer to themselves as monsters throughout the text; they literally are, in the sense of being supernatural and nonhuman, but they also live in a heteronormative society which could consider them monstrous for not being attracted to men. When Kat comes to Scarlet Hall, both women find community in each other—not only are they both lesbians, but their respective supernatural powers complement each other. I wrote Hearteater at a time when I didn’t really have any friends who were also gay women, so the heart of the story is the joy and comfort that comes from finding someone like you, when before you were all alone.
“Taylor Hall” by Jen Glifort
I’ve always loved haunted houses—the dilapidated buildings, the secret passages, the unpredictability of a house’s temperament. But what if the house was benevolent, rather than threatening? I wanted to explore what it would be like to live in a haunted house that was devoted to its owner and wanted to help them.
I thought Taylor Hall would be the ideal environment for a character like Kit, who struggles with gender identity and all the insecurity that comes with it. I’ve questioned my own gender identity my whole life, and feel like I’ve only recently started coming to terms with that. In my experience, suppressing those feelings can cause them to express themselves in unexpected ways (although they’ve never resulted in my house misbehaving in the middle of the night). I wanted to see how something like having a crush on a new roommate could bring up those emotions for Kit.
Setting this story in a haunted house gave me a chance to play with the concept of home. I loved the idea of someone who found a loving, nurturing home that caters to their needs while still trying to find a home in themselves.
“The Dream Eater” by Anna Moon
What if an asexual person is faced with a succubus or incubus? That was my initial inspiration for “The Dream Eater”, where the ace protagonist, Dan, comes across a genderless entity that drains people’s life force. I wanted to write a story where asexuality and queerness allows the main character to relate to the supernatural in a different (and positive) way, and at the same time show an ace person in a happy relationship with an allosexual person (his girlfriend, Elise). The Gothic, and a threatening presence that looms in the space between dream and reality, seemed like the perfect lens through which to explore sexuality, identity, and what it means to be human.
“The Ruin” by E. Saxey
“The Ruin” is a romance, with two guys falling in love through their shared interests: ruined buildings, end-of-the-world fiction, incredibly old poetry. These are also a few of my favourite things. I wanted to explore, through a love story, a nagging doubt I have: are these hobbies actually unsavoury? Is Ruinenlust – so fundamental to the Gothic – also fundamentally dodgy? I can tell myself that I’m interested in how people used to live, or how they’d survive in an apocalypse, but I spend a lot of time (imaginatively) in dark crumbling places. Maybe it’s the continuity of the human experience that delights me, but I suspect it’s the continuity of me, posing solo against the background of all these wonderful ruins.
So while I’m fond of both the characters in “The Ruin”, their relationship isn’t ideal. While the narrator’s interest in the end of the world is purely imaginative, his partner may have a more hands-on approach. Or is that just paranoia?
Logan Osborne knows he likes boys, but has not come out to his family or at school, and no one knows that he likes to sometimes wear girls’ clothes and makeup. When he starts at a school for the arts he finds a wider range of gender and orientation being accepted. Logan is attracted to Kyle, who has gay dads. But Kyle is straight. Logan finds he doesn’t like the way gay boys treat him, and a disturbing hookup with a boy who is fetishistic about Logan’s half-Asian background makes Logan even more confused about what he wants and who he is.
Encouraged and supported by his friends at school, Logan experiments with nail polish and more feminine clothes in public. Logan begins questioning his gender and decides to use they pronouns while trying to figure things out. Logan meets a classmate’s chosen mother, who is a transgender Chinese woman, and begins to come to terms with their gender identity. Realizing they are not a gay boy, but a transgender girl, Logan asks for people to call them Veronica. As a girl, does Veronica stand a chance with Kyle?
This is the third and final book in the Dragori series.
Zacriah is imprisoned within the city of Lilioira which is firmly under the control of Gordex. Separated from Hadrian and his allies, he tries to deal with a darkness that grows within him. A new, deadly power. Heart Magick.
The Druid will stop at nothing to retrieve the final Dragori to complete his ultimate plan of raising his kin once again. And all it takes is one failed rescue mission to set the wheels of doom in motion.
In a Sweden wracked by war and haunted by folk stories so dark they can only be spoken of in whispers, Helvig has been raised by her brigand father to steal whatever treasure catches her eye. When her men ambush a girl on the road with hair pale as death and a raven perched on her shoulder, Helvig cannot resist bringing home a truly unique prize: a genuine witch.
Drawn irresistibly into the other woman’s web, Helvig soon learns of Gerda’s reason for walking the icy border roads alone: to find the Queen who lives at the top of the world and kill her. Anyone else would be smart enough not to believe a children’s story, but Helvig is plagued by enchantments of her own, and she struggles to guard the sins of her past while growing closer to Gerda.
As Christmastide gives way to the thin-veiled days when ghosts are at their most vengeful, the two women find themselves on a journey through forest and Samiland to a final confrontation that will either redeem them or destroy them entirely.
A good friend will bury your body, a best friend will dig you back up.
Dino doesn’t mind spending time with the dead. His parents own a funeral home, and death is literally the family business. He’s just not used to them talking back. Until Dino’s ex-best friend July dies suddenly—and then comes back to life. Except not exactly. Somehow July is not quite alive, and not quite dead.
As Dino and July attempt to figure out what’s happening, they must also confront why and how their friendship ended so badly, and what they have left to understand about themselves, each other, and all those grand mysteries of life.
For Nari, aka Narioka Diane, aka hacker digital alter ego “d0l0s,” it’s college and then a career at “one of the big ones,” like Google or Apple. Keagan, her sweet, sensitive boyfriend, is happy to follow her wherever she may lead. Reese is an ace/aro visual artist with plans to travel the world. Santiago is off to Stanford on a diving scholarship, with very real Olympic hopes. And Bellamy? Physics genius Bellamy is admitted to MIT—but the student loan she’d been counting on is denied when it turns out her estranged father—one Robert Foster—is loaded.
Nari isn’t about to let her friend’s dreams be squashed by a deadbeat billionaire, so she hatches a plan to steal just enough from Foster to allow Bellamy to achieve her goals.
It has been a year since the mysterious godsgem cured Cadrium’s king and ushered in what promised to be a new golden age. The heroes who brought the gem home are renowned in story and song, but for two fellows on the quest, peace and prosperity do not come easily.
Apprentice Knight Kalanthe Ironheart wasn’t meant for heroism this early in life, and while she has no intention of giving up the notoriety she has earned, her reputation does not pay her bills. With time running out, Kalanthe may be forced to betray not her kingdom or her friends, but her own heart as she seeks a stable future for herself and those she loves.
Olsa Rhetsdaughter was never meant for heroism at all. Beggar, pick pocket, thief, she lived hand to mouth on the city streets until fortune–or fate–pulled her into Kalanthe’s orbit. And now she’s quite reluctant to leave it. Even more alarmingly, her fame has made her recognizable, which makes her profession difficult, and a choice between poverty and the noose isn’t much of a choice at all.
Both girls think their paths are laid out, but the godsgem isn’t quite done with them and that new golden age isn’t a sure thing yet.
In a tale both sweepingly epic and intensely personal, Kalanthe and Olsa fight to maintain their newfound independence and to find their way back to each other.
At the Medio School for Girls, distinguished young women are trained for one of two roles in their polarized society. Depending on her specialization, a graduate will one day run a husband’s household or raise his children, but both are promised a life of comfort and luxury, far from the frequent political uprisings of the lower class. Daniela Vargas is the school’s top student, but her bright future depends upon no one discovering her darkest secret—that her pedigree is a lie. Her parents sacrificed everything to obtain forged identification papers so Dani could rise above her station. Now that her marriage to an important politico’s son is fast approaching, she must keep the truth hidden or be sent back to the fringes of society, where famine and poverty rule supreme.
On her graduation night, Dani seems to be in the clear, despite the surprises that unfold. But nothing prepares her for all the difficult choices she must make, especially when she is asked to spy for a resistance group desperately fighting to bring equality to Medio. Will Dani cling to the privilege her parents fought to win for her, or to give up everything she’s strived for in pursuit of a free Medio—and a chance at a forbidden love?
Max: Chill. Sports. Video games. Gay and not a big deal, not to him, not to his mom, not to his buddies. And a secret: An encounter with an older kid that makes it hard to breathe, one that he doesn’t want to think about, ever.
Jordan: The opposite of chill. Poetry. His “wives” and the Chandler Mall. Never been kissed and searching for Mr. Right, who probably won’t like him anyway. And a secret: A spiraling out of control mother, and the knowledge that he’s the only one who can keep the family from falling apart.
Throw in a rickety, 1980s-era food truck called Coq Au Vinny. Add in prickly pears, cloud eggs, and a murky idea of what’s considered locally sourced and organic. Place it all in Mesa, Arizona, in June, where the temp regularly hits 114. And top it off with a touch of undeniable chemistry between utter opposites.
Over the course of one summer, two boys will have to face their biggest fears and decide what they’re willing to risk — to get the thing they want the most.
A world divided.
A queendom without an heir.
An ancient enemy awakens.
The House of Berethnet has ruled Inys for a thousand years. Still unwed, Queen Sabran the Ninth must conceive a daughter to protect her realm from destruction—but assassins are getting closer to her door.
Ead Duryan is an outsider at court. Though she has risen to the position of lady-in-waiting, she is loyal to a hidden society of mages. Ead keeps a watchful eye on Sabran, secretly protecting her with forbidden magic.
Across the dark sea, Tané has trained all her life to be a dragonrider, but is forced to make a choice that could see her life unravel.
Meanwhile, the divided East and West refuse to parley, and forces of chaos are rising from their sleep.