Imaginarium 2012

 The Best Canadian Speculative Writing Anthology

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Fiction

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Our Town's Monster

by

The waning light of dusk filters through treetops and colours the sunroom a gentle gold, as if on cue. The realtor smiles at the young couple and readies his end-game pitch.

“Gorgeous view, isn’t it? At the back of the property is the northeast edge of Tiller’s Swamp. The swamp is rather large, about two square miles.”

Dead Man In My Bed

by

Priss liked shorter men; they didn't bleed as much when they died. A quick stretch, a muffled shout or croak from under a pillow, and that was that. Plus, shorter guys tended to be lighter and a bit easier to manage when she had to change the sheets. The tall ones—their howls and the bloodied stumps, plus the leftover feet and the tops of heads—they were trouble. But the murders continued, so Priss had to continue as well.

Forgotten Women

by

She writes her name on the sole of her husband’s foot each night. At first, she would do it when he was awake and he would smile at her, gather her into his arms, promise, “I will never forget you,” and then smother her with kisses. It was nice while it lasted.

After a time he just laughed at her and promised, “I will never forget you,” and kissed her. That, too, was nice while it lasted.

A year later, he just shook his head at her and repeated, “I will never forget you,” and then she had to smother his face with kisses to get his brow to unkink.

In the House of Houses

by

In the Persian Gulf, there's an island so small and nondescript it appears on no map. Perhaps island is too generous a term for what appears to most eyes as no more than a lifeless bunch of rocks barely rising above sea level.

In truth, this is one of the oldest architectural artefacts on Earth—it is the roof of a ziggurat. The ziggurat itself does not lie in the waters of the Gulf but in the land of the gods.

La Divina Commedia

by

Inferno

Last time this happened, I was Orpheus.

Snicker-Snack

by

He's a meter-tall, dancing fur-belly with mono-molecular edged claws, an embroidered nose, and telomerase chains longer than your arm. He's an unnatural – a custom-coded gene-job, a chromo-tweaked talker gestated in a pickling jar and born full-grown in a pet store. The tag in his furry side reads, Teddy Da - StitchLife – Made in Tokyo.

Stars Fell On Alabama

by

P.J.’s called Peej, an me an he wuz blood brothas from the first time I took Pop’s buck knife out scoutin for Talabands in them hills tween our road an the base. I thought that wuz close’s friends could get, me an Peej fightin an fishin an scoutin an all, but that wuz fore I met my otha friend. Can’t feel blood, cept when it’s leavin, an him I felt the whole time he wuz in me, so mebbe that’s the diffrance.

Unpicking the Stitches

by

We’re halfway through a group therapy session when I lean over and poke Lawrence in the cheek. He looks tired. His eyes are slack buttonholes. I can’t resist, so I push the index and middle fingers of my right hand into his eye socket all the way up to the knuckle.

Visions of Destruction Series, Mixed Media

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Destruction I: The First Drop

Five eyes watch the artist. He measures the side of the temple with his gaze and raises his brush. Trees are painted in viridian dappled with purple, acrylic paint on concrete. The newest eye is impressed, but the others believe the work is technically competent yet unoriginal.

One eye follows his face instead of his brush, showing his intensity and the paint speckles on his brow.

The eyes hear the shouts first. It takes a few minutes for the artist to notice.

Coyote at the Crossing

by

Coyote watches the wall.

The wall is two stories high, concrete, and topped with razor wire. Security cameras perch atop it like fat birds. The entire edifice is a canvas for graffiti artists, adorned with weeping Christs, crosses, angry Spanish bubble letters, intricate desert totem guardians against the insanity of a country being walled in—or out.

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