From Britain With Love: Flute and Harp in BFS Journal 12; A Brief History of Le Grand Guignol

“Inside this issue of the BFS Journal, then, you will find fiction, poetry, and features showcasing the fact that fantasy, perhaps more than any other literary form, can and should be open to all forms of LGBTQ expression.  From trans-forest dwellers lusting after a sultry demigod in Sarah Newton’s ‘The Treeleaper’, to gender-preferences being thrown out of the window in between some classic sword-and-sorcery in Lea Fletcher’s ‘The Last Man of Rowandale’, fantasy’s secondary world structure allows for the examination of alternate norms in a unique way.  Further, it reminds us that no matter how we identify we are all people, and we can all understand each other in that way.  After all, what is fantasy for if not to look at reality in a different way?”

So says BRITISH FANTASY SOCIETY JOURNAL #12 Editor Max Edwards, the call having gone out a half year before for “some of the material in #12 to reflect the theme ‘LGBT & Fantasy’.  This could be fiction or poetry featuring LGBT (lesbian, gay, bisexual and transgender) characters or non-fiction concerning LGBT authors or writing.”

On Monday the issue arrived in my mailbox with, sandwiched among the stories cited above, my tale of “Flute and Harp” (cf. May 27), about two doomed musicians and their mutual love.  Originally published in the anthology WHISPERS & SHADOWS (Prime Books, 2001), “Flute and Harp” is set in my far-future, dying-Earth universe of the “Tombs” where love, above most things and regardless of details, is highly valued .*

And then for something a fair bit different.  A few days ago, with a tip of the hat to Joan Hawkins (cf. post just below) via Nate Carroll on Facebook, I, Francophilehrrrgrndggnl2GrandGuignol (and theatre maven — well, sort of) that I am, came across a piece on an interesting phase of theatrical history.  I speak of Le Théâtre du Grand-Guignol, Paris’s infamous precursor of splatterpunk from 1897 to a little bit after World War II, as described briefly — but with pictures — in a post on dangerousminds.net by Paul Gallagher, for which press here.

Or for more on le Grand Guignol, since I wasn’t going to let it go at only that, a more complete history by Agnes Peirron (translated from French by Deborah Treisman) can be found here.  Other links can be found on this page too, along with this description of the almost sad ending of live theatre’s possibly most outré era. “In an interview conducted immediately after the Grand-Guignol closed in 1962, Charles Nonon, its last director, explained:  ‘We could never compete with Buchenwald. Before the war, everyone believed that what happened on stage was purely imaginary; now we know that these things — and worse — are possible.’”

 

*For a special “Flute and Harp” fun fact, the story had also been accepted in 2003 by Laurajean Ermayne for the late Forrest J. Ackerman’s upcoming SCIFI LESBIANTHOLOGY, as by Jamie Dorr.  However, to my knowledge, the anthology has never been published.

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  1. Reblogged this on kdwilsonauthorblog and commented:
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  2. You do realize that I’m going to call you Jamie Dorr from now on, don’t you, Jamie?

  3. Not unless it finally gets published 😀 (I did point out to Forry though that if he ran a copyright notice with the acknowledgements I’d be “outed.”)

  1. 1 From Britain With Love: Flute and Harp in BFS Journal 12; A Brief History of Le Grand-Guignol | kdwilsonauthorblog

    […] From Britain With Love: Flute and Harp in BFS Journal 12; A Brief History of Le Grand-Guignol. […]




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