Calls for Submission, Pelekinesis
“On display in Calls for Submission is an artist unafraid to ride the stylistic merry-go-round, because her core is adamant.” —Molly Tanzer, in the Introduction to Calls for Submission.
Selena Chambers’ debut collection guides readers out of space and time and through genre and mythos to explore the micro-cosmic horrors of identity, existence, and will in the face of the world’s adamant calls for submission. Victorian tourists take a virtual trip through their (and the Ottoman empire’s) ideal Orient; a teenage girl learns about independence and battle of the bands, all while caring for her mesmerized, dead mother; a failed Beat poet goes over the edge while exploring the long-abandoned Government Lethal Chambers. Visceral, evocative, and with a distinct style that is both vintage and fresh, Calls for Submission introduces a glowing, new writer of the weird and strange.
“Arrangement in Juniper and Champagne,” short story for Mixed-Up: Cocktail Recipes (and flash fiction) for the Discerning Drinker (And Reader). Skyhorse Publishing
Edited by Nick Mamatas and Molly Tanzer, this wonderful gift book pairs life’s two greatest things: books and booze. My flash piece appears alongside Carmen Maria Machado, Maurice Braddos, Benjamin Percy, among others. My tale riffs on the French 75, Hannah Höch, friendships strained by adulthood, and of course, public drinking.
“The elegance of of beauty and old friendship juxtaposed with small acts of violence aches in Selena Chamber’s “An Arrangement in Juniper and Champagne.” —The Gourmez.com
“The Women Surrealists Helping Me Through Our New Political Reality,” non-fiction, Literary Hub, May 2017.
“While there isn’t a revolution, yet, the strong resistance to the current administration is making a Surrealist Survival Kit more pertinent than ever. The history of Surrealism and political activism is a bit messy, but for the most part they were an anti-Fascist movement whose cry for demanding freedom inspired responses from under represented voices. Among them were numerous female members who created a feminine space filled with reclaimed symbology and deconstructed mythology. In doing so, they laid the groundwork for almost every feminist discussion you can think of.” Read more here.
“Reasons to Celebrate Mary Shelley Beyond Frankenstein and Beyond Halloween,” non-fiction, Luna Luna Magazine, October 2017
“Mary Shelley’s work runs the gamut, like that of her contemporaries. But just as we never discuss Shelley’s less speculative works, we never discuss George Eliot’s grand meditation on mesmerism in The Lifted Veil or Honoré Balzac’s inclusion of the grand scientific debates of the 19th century in several works within his Human Comedy. Even George Sand indulged in fantasy through her eponymous Laura’s journey through a utopian universe housed inside a geode. The term “gothic” is used to describe the Brönte sisters, but as far as I can recall, Jane Eyre has never been lumped into any “10 Must-Read Horror Lists.” Jane Austen has recently been lauded for having horror elements within her drawing rooms that have often been overlooked, but no one is ever going to call her a horror writer.” Read more here.
“Hyenas, Horses, and Rabbits, Oh My!: A Read Along Journey through the Leonora Carrington Century,” review series for WeirdFictionReview.com, Summer through Fall 2017.
“This centennial revival has been a dream to surrealist readers. Now any reader can find most of Carrington’s work outside of academic anthologies and out-of-print collections, and can form their own library without a rare books budget. As a result, not only will this broaden the discussion on the role of women within Surrealism and Modernist work (as well as women’s literature, in general), but also restore the history of women authors working within the Weird and other Fantasist traditions.” Read Parts 1, 2, 3, & 4.
Guest Editor, Nonbinary Review: Issue 12: The Works of Edgar Allan Poe, Zoetic Press, March 2017. Includes revised reprint of my essay “The Living Poe Girl.”
“In poetry, the Poe Girl is a memory, an absent presence. In his prose, the Poe Girl creates a more complex archetype. In theory, she has come to represent many and varied things. Within feminist circles she is symbolic of liberation or of oppression from the male gaze. Within alchemy she is the philosopher’s stone—or, with less mysticism, she provides a basic belief for the soul’s existence. Some critics dismiss the Poe Girl as a mourning mechanism for the author’s wife; however, before Virginia Poe’s fatal hemorrhaging in January 1842, Poe had already published “Berenice” (1835), and “Ligeia” (1838), as well as “Morella” (1835) and “Eleanora” (1841). Even so, it isn’t entirely unreasonable to look to Virginia as the Poe Girl prototype.” Read more by buying the issue here.