By Anthony Nanson
Chrissy Derbyshire is a master of style – lyrical and accessible, archly ironic, and yet at the same time charged with the sensual feyness of Faerie. The eight stories in Mysteries take tropes from myth and fairy tale and animate them, through the alembic of lived experience, with a potent contemporary spark. The ten poems also included in this collection do the same, in a more focused epiphanic way. In the literary cosmos, Chrissy’s work fits somewhere between Tanith Lee, only with more sense of humour, and Storm Constantine, only more lyrical. Ten years after this book’s first publication, Awen is pleased to release a second edition, including an additional story and three extra poems, with a foreword by fantasy author Kim Huggens and stunning cover art by Tom Brown. You can order Mysteries, like all our books, from the website.
Here’s the information from the back of the book:
This enchanting and exquisitely crafted collection by Chrissy Derbyshire will whet your appetite for more from this superbly talented wordsmith. Her short stories interlaced with poems depict chimeras, femmes fatales, mountebanks, absinthe addicts, changelings, derelict warlocks, and persons foolhardy enough to stray into the beguiling world of Faerie. Let the sirens’ song seduce you into the Underworld.
‘All of the pieces in Mysteries are entertaining. But they also speak twice. Each one has layers of meaning that touch on the ultimate that cannot be put into words and speak to our inner landscapes that are so full of desire for meaning. Chrissy’s journey, elaborately retold in the arena of mythology, is our own journey.’ Kim Huggens
By Anthony Nanson
I’m very pleased to announce that the second edition of Karola Renard’s collection of stories The Firekeeper’s Daughter, originally published in 2011, is now in print. It’s not just a collection, and the stories are not merely short stories. These tales may be described as ‘mythic stories’ in the sense that, though the characters and situations are of Karola’s own invention, at the core of each tale is a potent awareness of mythic archetypes – and, in particular, archetypes of the divine feminine. Karola’s concept of ‘firekeeper’ refers to the notion of a lineage through history of women who have a special calling to carry the flame of spiritual hope. What exactly this means in practice varies between different cultures and different time periods. They may be priestesses, they may be medicine women, they may be shamans, they may be mysterious figures who appear for a time from somewhere else and, having touched other people’s lives, vanish back wherever they came from. Maybe, whether you’re a woman or a man, you’ve been blessed once or twice in your life through encountering a woman of this kind.
So the twelve stories in The Firekeeper’s Daughter are threaded together by this theme, even though each story involves new characters and a new setting. The tales are arranged in roughly chronological order from ‘Daughter of Ice’, which takes place in a Palaeolithic Ice Age setting, to ‘Orchard of Stones’, set in twentieth-century Germany. One of the book’s elegances from a literary point of view is that the style of each story is adapted to the setting. The earlier stories, set in earlier periods, have the more oral intonation of myth, legend, or fairy tale, and Karola performed some of these tales live as a storyteller during the time she was developing them. The later stories converge towards the norms of contemporary prose fiction; that final story, ‘Orchard of Stones’, is structured as a fragmented narrative that jump-cuts back and forth between different decades. The Firekeeper’s Daughter is a book that can be enjoyed simply as a set of evocative, moving, and varied short stories; but for readers who are interested in the continuing importance of myth and archetype in our lives today, and especially of the sacred worth of the divine feminine, there is a deeper level of inspiration to be found here.