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Speaker 1: Cool Zone Media book Club book Club, book Club book Club.

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Speaker 1: It's the Cool Zone Media book Club. Welcome nicols On

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Speaker 1: Media book Club, the only book club where you don't

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Speaker 1: have to do the reading because I do it for you.

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Speaker 1: I'm your host, Margaret Kiljoy and this week I'm going

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Speaker 1: to read you a story by one of my favorite authors,

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Speaker 1: Sophia's Semitar.

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Speaker 2: The story is called Selki Stories Are for Losers and

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Speaker 2: it was published in twenty thirteen by Strange Horizons, and

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Speaker 2: you can also get it in Sofia's twenty nineteen collection Tender.

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Speaker 2: This story was nominated for just a fuck ton of

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Speaker 2: awards in twenty fourteen, basically the big ones, the Hugo,

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Speaker 2: the Nebula, the World Fantasy Award, and the BSFA Award,

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Speaker 2: which is the British Award basically. And it's a Selki story,

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Speaker 2: as you might have guessed because the title is Selki

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Speaker 2: Stories are for Losers, and I guess we're all losers

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Speaker 2: because this is a Selky story for us. And Selkies

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Speaker 2: are a part of Celtic and Norse myth originally, and

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Speaker 2: Selkies are people, usually women. They're se ole people and

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Speaker 2: they can transform between seal and human form by putting

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Speaker 2: on their seal skins. In a classic Selky story, a

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Speaker 2: guy will see like a hot seal lady and steal

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Speaker 2: her skin, forcing her to be stuck as a human,

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Speaker 2: and then usually he'll marry her and she'll be sad

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Speaker 2: and lonely and miss the sea, and if she manages

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Speaker 2: to get back her skin, she'll disappear and ditch her

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Speaker 2: husband captor and her kids and fuck off to the sea.

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Speaker 2: There's a lot there, obviously from a feminist point of view.

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Speaker 2: One of the things that I find really interesting is

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Speaker 2: that there's this sort of medieval European conception of women

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Speaker 2: where it's not that women are like docile, like the

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Speaker 2: way that the Victorian women is presented, but instead that

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Speaker 2: women are naturally wild and untamed. And you know, there's

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Speaker 2: this been complete switch of what misogyny like it used

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Speaker 2: to look like, calling us wild and untamed, and now

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Speaker 2: it accuses us of being docile or whatever. So the

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Speaker 2: Selky myth ties so well into this idea that like

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Speaker 2: women in their original state are these wild creatures. Okay,

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Speaker 2: that's the basic outline of what a Selky story might

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Speaker 2: be for context, but it's not this story. This story

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Speaker 2: it's called selky stories are for losers by Sophia Somitar.

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Speaker 2: I hate selky stories. They're always about how you went

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Speaker 2: up to the attic to look for a book and

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Speaker 2: you found a disgusting old coat and brought it downstairs

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Speaker 2: between finger and thumb and said, what's this? And you

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Speaker 2: never saw your mom again. I work at a restaurant

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Speaker 2: called Lapacha. I got the job after my mom left

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Speaker 2: to help with the bills. On my first night at work,

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Speaker 2: I got yelled at twice by the head server, burnt

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Speaker 2: my fingers on a hot day, spilled lentil parsley soup

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Speaker 2: all over my apron, and left my keys in the kitchen.

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Speaker 2: I didn't realize at first I'd forgotten my keys. I

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Speaker 2: stood in the parking lot, breathing slowly and letting the

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Speaker 2: oil smell lift away from my hair. And when all

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Speaker 2: the other cars had started up and driven away, I

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Speaker 2: put my hand in my jacket pocket. Then I knew.

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Speaker 2: I ran back to the restaurant and banged on the door.

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Speaker 2: Of course no one came. I smelled cigarette smoke an

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Speaker 2: instant before I heard the voice Hey. I turned and

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Speaker 2: Mona was standing there, smoke rising white from between her fingers.

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Speaker 2: I left my keys inside, I said. Mona is the

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Speaker 2: only other server at Lapacha who's a girl. She is

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Speaker 2: related to everybody at the restaurant except me. The owner

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Speaker 2: who goes by Uncle Tad is really her uncle, her

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Speaker 2: mom's brother. Don't talk to him unless you have to.

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Speaker 2: Mona advised me he's a creeper. That was after she'd

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Speaker 2: sighed and dropped her cigarette and crushed it out with

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Speaker 2: her shoe and stepped into my clasped hands so I

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Speaker 2: could boost her up to the window. After she'd wriggled

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Speaker 2: through the kitchen and opened the door for me, she

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Speaker 2: said madame in a dry voice and bowed. At least

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Speaker 2: I think she said madame. She might have said, my lady.

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Speaker 2: I don't remember that night too well because we drank

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Speaker 2: a lot of wine. Mona said that as long as

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Speaker 2: we were breaking and entering, we might as well steal something,

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Speaker 2: and she lined up all the bottles of red wine

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Speaker 2: that had already been opened. I shone the light from

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Speaker 2: my phone on her while she took out the special

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Speaker 2: rubber corks and poured some of each bottle into a

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Speaker 2: plastic pitcher. She called it the house wine. I was

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Speaker 2: surprised she was being so nice to me, since she'd

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Speaker 2: hardly spoken to me while we were working. Later, she

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Speaker 2: told me she hates everybody the first time she meets them.

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Speaker 2: I called home, but Dad didn't pick up. He was

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Speaker 2: probably in the basement. I left him a message and

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Speaker 2: turned off my phone. Do you know what this guy

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Speaker 2: said to me tonight? Mona asked he want a beef

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Speaker 2: couscous and he said, I'll have the beef conscious. Mona's

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Speaker 2: mom doesn't work it Lepatcha, but sometimes she comes in

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Speaker 2: around three o'clock and sits in Mona's section and cries.

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Speaker 2: Then Mona jams on her orange baseball cap and goes

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Speaker 2: out through the back and smokes a cigarette, and I

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Speaker 2: take over her section. Mona's mom won't order anything from me.

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Speaker 2: She's got Mona's eyes or Mona's got hers, huge angry

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Speaker 2: eyes with lashes that curl up at the ends. She

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Speaker 2: shakes her head and says nothing nothing. Finally, Uncle Tad

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Speaker 2: comes over and Mona's mom hugs and kisses him sobbing

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Speaker 2: in Arabic. After work, Mona says, got the keys. We

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Speaker 2: get in my car and I drive us through town

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Speaker 2: to the bone. Zone, a giant cemetery on a hill.

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Speaker 2: I pull into the empty parking lot and Mona rolls

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Speaker 2: a joint. There's only one lamp burning high and cold

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Speaker 2: in the middle of the lot. Mona pushes her shoes

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Speaker 2: off and puts her feet up on the dashboard and cries.

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Speaker 2: She warned me about that the night we met. I

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Speaker 2: said something stupid to her, like you're so funny, and

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Speaker 2: she said, actually, I cry a lot. That's something you

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Speaker 2: should know. I was so happy she thought I should

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Speaker 2: know things about her. I didn't care. I still don't care.

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Speaker 2: But it's true that Mona cries a lot. She cries

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Speaker 2: because she scared her mom will take her away to Egypt,

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Speaker 2: where the family used to live and where Mona has

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Speaker 2: never been. What would I do there? I don't even

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Speaker 2: speak Arabic. She wipes her mascara on her sleeve, and

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Speaker 2: I tell her to look at the lamp outside and

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Speaker 2: pretend that its glassy brightness is a bonfire, and that

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Speaker 2: she and I are personally throwing every selky story ever

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Speaker 2: written onto it and watching them burn up. You and

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Speaker 2: your selky stories, she says. I tell her they're not

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Speaker 2: my sulky stories, not ever. And I'll never tell one

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Speaker 2: which is true. I never will, And I don't tell

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Speaker 2: her how I went up to the attic that day,

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Speaker 2: or that what I was looking for was a book

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Speaker 2: I used to read when I was little, Beauty and

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Speaker 2: the Beast, which is a really decent story about an

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Speaker 2: animal who gets turned into a human and stays that

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Speaker 2: way the way it's supposed to be. I don't tell

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Speaker 2: Mona that Beauty's black hair coiled to the edge of

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Speaker 2: the page, or that the beast had yellow horns and

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Speaker 2: a smoking jacket, or that instead of finding the book,

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Speaker 2: I found the coat, and my mom put it on

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Speaker 2: and went out the kitchen door and started up her car.

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Speaker 2: And do you know what, I think she was leaving

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Speaker 2: the house to go? Do I think she was leaving

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Speaker 2: the house to take advantage of these products and services.

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Speaker 2: I think that's the most likely thing. I haven't finished

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Speaker 2: reading this story yet, so I don't know what's going

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Speaker 2: to happen, But I assume that what happened was that

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Speaker 2: she went out because she heard these acts. And we're back.

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Speaker 2: One sulky story tells about a man from Merthur Toller.

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Speaker 2: He was on the cliffs one day and heard people

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Speaker 2: singing and dancing inside a cave, and he noticed a

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Speaker 2: bunch of skins piled on the rocks. He took one

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Speaker 2: of the skins home and locked it in a chest,

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Speaker 2: And when he went back, a girl was sitting there

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Speaker 2: alone crying. She was naked, and he gave her some

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Speaker 2: clothes and took her home. They got married and had kids.

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Speaker 2: You know how this goes. One day the man changed

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Speaker 2: his clothes and forgot to take the key to the

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Speaker 2: chest out of his pocket, and when his wife washed

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Speaker 2: the clothes, she found it. You're not going to Egypt,

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Speaker 2: I tell Mona. We're going to Colorado. Remember that's our

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Speaker 2: big dream, to go to Colorado. It's where Mona was born.

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Speaker 2: She lived there until she was four. She still remembers

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Speaker 2: the rocks and the pines in the cold, cold air.

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Speaker 2: She says, the clouds of Colorado are bright like pieces

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Speaker 2: of mirror. In Colorado, Mona's parents got divorced, and Mona's

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Speaker 2: mom tried to kill herself for the first time. She

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Speaker 2: tried it once here too. She put her head in

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Speaker 2: the oven, resting on a pillow. Mona is in seventh grade.

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Speaker 2: Selkies go back to the sea in a flash like

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Speaker 2: they've never been away. That's one of the ways they're

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Speaker 2: different from human beings. Once my dad tried to go

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Speaker 2: back somewhere. He was in the army stationed in Germany,

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Speaker 2: and he went to Norway to look up the town

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Speaker 2: where my great grandmother came from. He actually found the

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Speaker 2: place and even an old farm with the same name

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Speaker 2: as us. In the town. He went into a restaurant

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Speaker 2: and ordered lutefish, a disgusting fish thing my grandmother makes.

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Speaker 2: The cook came out of the kitchen and looked at

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Speaker 2: him like he was nuts. She said they only eat

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Speaker 2: lutfish at Christmas. There went Dad's plan of bringing back

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Speaker 2: the original flavor of lutfish. Now all he's got from

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Speaker 2: Norway is my great grandmother's Bible. There's also the diary

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Speaker 2: she wrote on the farm up north, but we can't

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Speaker 2: read it. There's only four English words in the whole book.

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Speaker 2: My God, awful day. You might suspect my dad picked

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Speaker 2: my mom up in Norway, where they have seals. He didn't,

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Speaker 2: though he met her at the pool. As for Mom,

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Speaker 2: she never talked about her relatives. I asked her once

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Speaker 2: if she had any, and she said they were no

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Speaker 2: kind of people. At the time, I thought she meant

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Speaker 2: they were druggies or murderers, maybe in prison somewhere. Now

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Speaker 2: I wish that was true. One of the stories I

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Speaker 2: Don't tell Mona comes from a dictionary of British folklore

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Speaker 2: in the English language. In that story, it's the Sulkies

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Speaker 2: little girl who points out where the skin is hidden.

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Speaker 2: She doesn't know what's going to happen, of course, she

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Speaker 2: just knows her mother is looking for a skin, and

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Speaker 2: she remembers her dad taking one out from under the

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Speaker 2: bed and stroking it. The little girl's mother drags out

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Speaker 2: the skin and says, fair wheel pieri. Butto she doesn't

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Speaker 2: think about how the little girl is going to miss her,

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Speaker 2: or how she's been breathing air all this time. She

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Speaker 2: can surely keep it up a little longer. She just

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Speaker 2: throws on the skin and jumps into the sea. After

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Speaker 2: Mom left, I waited for my dad to get home

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Speaker 2: from work. He didn't say anything when I told him

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Speaker 2: about the coat. He stood in the light of the

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Speaker 2: clock on the stove and rubbed his fingers together softly,

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Speaker 2: almost like he was snapping, but with no sound. Then

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Speaker 2: he sat down at the kitchen table and lit a cigarette.

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Speaker 2: I'd never seen him smoke in the house before. Mom's

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Speaker 2: going to lose it, I thought, And then I realized

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Speaker 2: that no, my mom wasn't going to lose anything. We

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Speaker 2: were the losers, me and Dad. He still waits up

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Speaker 2: for me, So just before midnight I pull out of

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Speaker 2: the parking lot. I'm hoping to get home early enough

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Speaker 2: that he doesn't grumble, but late enough that he doesn't

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Speaker 2: want to come up from the basement where he takes

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Speaker 2: apart old TVs and talk to me about college. I've

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Speaker 2: told him I'm not going to college. I'm going to Colorado,

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Speaker 2: a landlocked state. Only twenty out of fifty states are

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Speaker 2: completely landlocked, which means they don't touch the Great Lakes

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Speaker 2: or the Sea. Mona turns on the light and tries

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Speaker 2: to put on eyeliner in the mirror, and I swerve

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Speaker 2: to make her mess up. She turns out the light

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Speaker 2: and hits me. All the windows are down to air

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Speaker 2: out the car, and Mona's hair blows wild around her face.

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Speaker 2: Peery butto the book says, is a quote term of endearment.

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Speaker 2: Peerie butto I say to Mona, she's got the hiccups.

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Speaker 2: She can't stop laughing. I've never kissed Mona. I've thought

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Speaker 2: about it a lot, but I keep deciding it's not time.

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Speaker 2: It's not that I think she'd freak out or anything.

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Speaker 2: It's not even that I'm afraid she wouldn't kiss me back.

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Speaker 2: It's worse. I'm afraid she'd kiss me back, but not

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Speaker 2: mean it. But do you know what we say but

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Speaker 2: don't mean that. We love our sponsors here they are,

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Speaker 2: We love.

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Speaker 3: Them and Rebecca.

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Speaker 2: Probably one of the biggest losers to fall in love

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Speaker 2: with a selkie was the man who carried her skin

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Speaker 2: around in his knapsack. He was so scared she'd find

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Speaker 2: it that he took the skin with him everywhere when

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Speaker 2: he went fishing, when he went drinking in the town.

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Speaker 2: Then one day he had a wonderful catch of fish.

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Speaker 2: There were so many that he couldn't drag them all

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Speaker 2: home in his net. He emptied his knapsack and filled

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Speaker 2: it with fish, and he put the skin over his shoulder,

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Speaker 2: and on his way up the road to his house,

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Speaker 2: he dropped it. Gray in the front and gray in

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Speaker 2: the back. Does the very thing I lack. That's what

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00:14:32,680 --> 00:14:36,200
Speaker 2: the man's wife said when she found the skin. The

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00:14:36,280 --> 00:14:38,960
Speaker 2: man ran to catch her. He even kissed her, even

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00:14:39,000 --> 00:14:41,760
Speaker 2: though she was already a seal, but she squirmed off

246
00:14:41,840 --> 00:14:45,200
Speaker 2: down the road and flopped into the water. The man

247
00:14:45,240 --> 00:14:48,920
Speaker 2: stood knee deep in the chilly waves, stinking of fish,

248
00:14:48,960 --> 00:14:54,680
Speaker 2: and cried in sulky stories. Kissing never solves anything. No

249
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Speaker 2: transformation happens because of a kiss. No one loves you

250
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Speaker 2: just because you love them. What kind of fairy tale

251
00:15:02,720 --> 00:15:09,680
Speaker 2: is that she wouldn't wake up? Mona says, I pulled

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Speaker 2: her out of the oven onto the floor, and I

253
00:15:11,680 --> 00:15:14,840
Speaker 2: turned off the gas and opened the windows. It's not

254
00:15:14,920 --> 00:15:18,040
Speaker 2: that I was smart. I wasn't thinking at all. I

255
00:15:18,120 --> 00:15:22,040
Speaker 2: called Uncle Tad and the police, and I still wasn't thinking.

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00:15:23,120 --> 00:15:25,920
Speaker 2: I don't believe she wasn't smart. She even tried to

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00:15:25,920 --> 00:15:28,400
Speaker 2: give her mom a CPR, but her mom didn't wake

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Speaker 2: up until later in the hospital. They had to reach

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00:15:31,680 --> 00:15:33,440
Speaker 2: in and drag her out of death. She was so

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Speaker 2: closed up in it. Death is skin tight. Mona says,

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Speaker 2: gray in front and gray in back. Dear Mona, When

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00:15:42,800 --> 00:15:47,160
Speaker 2: I look at you, my skin hurts. I pull into

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Speaker 2: her driveway to drop her off. The house is dark,

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00:15:50,320 --> 00:15:53,640
Speaker 2: the darkest house on her street, because Mona's mom doesn't

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Speaker 2: like the porch light on. She says, it shines in

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Speaker 2: around the blinds and keeps her Awakea's has a beautiful

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00:16:00,920 --> 00:16:04,760
Speaker 2: bedroom upstairs with lots of old photographs and gilt frames,

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Speaker 2: but she sleeps on the living room couch beside the aquarium.

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Speaker 2: Looking at the fish helps her to sleep, although she

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00:16:12,280 --> 00:16:15,640
Speaker 2: also says this country has no real fish. That's what

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Speaker 2: Mona calls one of her mom's refrains. Mona gets out

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Speaker 2: yanking the little piece of my heart that stays with

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Speaker 2: her wherever she goes. She stands outside the car and

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Speaker 2: leans in through the open door. I can hardly see her,

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Speaker 2: but I can smell the lemon scented stuff she puts

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Speaker 2: on her hair, mixed up with the smells of sweat

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Speaker 2: and weed. Mona smells like a forest, not the sea.

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Speaker 2: Oh my god, she says, I forgot to tell you tonight.

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Speaker 2: You know Table six, that big horde of Uncle Tad's friends. Yeah,

280
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Speaker 2: so they wanted the soup with the food, and I forgot.

281
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Speaker 2: And you know what the old guy says to me,

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Speaker 2: the little guy at the head of the table, what

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Speaker 2: he Goeste Bete mademoiselle, She says it in a rough,

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Speaker 2: growly voice and laughs, I can tell it's French, but

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Speaker 2: that's all.

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00:17:09,119 --> 00:17:09,800
Speaker 3: What does it mean?

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Speaker 2: You're an idiot? Miss? She ducks her head, stiffling giggles.

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Speaker 2: He called you an idiot? Yeah, bet, it's like beast.

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00:17:21,400 --> 00:17:24,640
Speaker 2: She lifts her head, then shakes it. A light from

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00:17:24,640 --> 00:17:28,119
Speaker 2: someone else's porch bounces off her nose. She puts on

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00:17:28,160 --> 00:17:31,720
Speaker 2: a fake Norwegian accent and says, my god, awful day,

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Speaker 2: I nod awful day. And because we say it all

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Speaker 2: the time, because it's the kind of silly, ordinary thing

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00:17:39,040 --> 00:17:42,399
Speaker 2: you could call one of our refrains, or maybe because

295
00:17:42,440 --> 00:17:45,200
Speaker 2: of the weed I've smoked. A whole bunch of days

296
00:17:45,240 --> 00:17:48,960
Speaker 2: seemed pressed together inside this moment, more than you could count.

297
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Speaker 2: There's the time we all went out for New Year's

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Speaker 2: Eve and Uncle Tad drove me, And when he stopped

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00:17:55,200 --> 00:17:57,479
Speaker 2: and I opened the door, he told me to close it,

300
00:17:57,920 --> 00:18:01,240
Speaker 2: and I said, I will when I'm on the side.

301
00:18:01,280 --> 00:18:03,439
Speaker 2: And when I told Mona, we laughed so hard we

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00:18:03,480 --> 00:18:06,720
Speaker 2: had to run away and hide in the bathroom. There's

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00:18:06,760 --> 00:18:09,120
Speaker 2: the day some people we know from school came in

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Speaker 2: and we served them wine even though they were under age,

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00:18:12,320 --> 00:18:15,320
Speaker 2: and Mona got nervous and spilled it all over the tablecloth.

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00:18:15,920 --> 00:18:18,600
Speaker 2: And the day her nice cousin came to visit and

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00:18:18,720 --> 00:18:21,639
Speaker 2: made us cheese and mint sandwiches in the microwave and

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00:18:21,680 --> 00:18:25,080
Speaker 2: got yelled at for wasting food. And the day of

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Speaker 2: the party for Mona's mom's birthday, when Uncle Tad played

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Speaker 2: music and made us all dance, and Mona's mom's eyes

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00:18:32,840 --> 00:18:37,080
Speaker 2: went Julie with tears. And afterward Mona told me I

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Speaker 2: should just run away. I'm the only thing keeping her here.

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Speaker 2: My god, awful days, all the best days of my life. Bye,

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Speaker 2: Mona whispers. I watch her until she disappears into the house.

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Speaker 2: My mom used to swim every morning at the YWCA

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Speaker 2: when I was little. She took me along. I didn't

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00:19:00,400 --> 00:19:02,760
Speaker 2: like swimming. I'd sit in a chair with a book

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Speaker 2: while she went up and down, up and down a

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Speaker 2: dim streak in the water. When I read Miss Frisbee

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00:19:09,920 --> 00:19:12,879
Speaker 2: and the Rats of nim it seemed like Mom was

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00:19:12,920 --> 00:19:15,800
Speaker 2: a labrat doing tasks the way she kept touching one

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Speaker 2: side of the pool and then the other. At last,

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00:19:18,560 --> 00:19:21,720
Speaker 2: she climbed out and pulled off her bathing cap. In

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00:19:21,760 --> 00:19:24,400
Speaker 2: the locker room, she hung up her suit, a thin

325
00:19:24,480 --> 00:19:27,919
Speaker 2: gray rag dripping on the floor. Most people put the

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00:19:27,960 --> 00:19:30,359
Speaker 2: hook of their padlock through the straps of their suit

327
00:19:30,800 --> 00:19:34,000
Speaker 2: so the suits could hang outside the lockers without getting stolen.

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00:19:34,760 --> 00:19:37,439
Speaker 2: But my mom never did that. She just tied her

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Speaker 2: suit loosely.

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Speaker 3: On the lock.

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00:19:39,320 --> 00:19:42,080
Speaker 2: No one's going to steal that stretchy old thing, she said,

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00:19:42,720 --> 00:19:46,080
Speaker 2: and no one did. That should have been the end

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00:19:46,080 --> 00:19:49,760
Speaker 2: of the story, but it wasn't. My dad says Mom

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00:19:49,920 --> 00:19:53,840
Speaker 2: was an elemental, a sort of stranger, not of our kind.

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Speaker 2: It wasn't my fault she left. It was because she

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00:19:57,440 --> 00:20:01,720
Speaker 2: couldn't learn to breathe on land. That's the worst story

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00:20:01,720 --> 00:20:05,879
Speaker 2: I've ever heard. I'll never tell Mona, not ever, not

338
00:20:06,040 --> 00:20:08,800
Speaker 2: even when we're leaving for Colorado with everything we need

339
00:20:08,840 --> 00:20:11,159
Speaker 2: in the back of my car, and I meet her

340
00:20:11,160 --> 00:20:14,040
Speaker 2: at the grocery store the way we've already planned, and

341
00:20:14,080 --> 00:20:17,919
Speaker 2: she runs out, smiling under her orange baseball cap. I

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00:20:18,000 --> 00:20:21,080
Speaker 2: won't tell her how dangerous attics are, or how some

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00:20:21,200 --> 00:20:24,159
Speaker 2: people can't start over, or how I still see my

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00:20:24,240 --> 00:20:27,119
Speaker 2: mom in the shop windows with her long hair the

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00:20:27,160 --> 00:20:30,480
Speaker 2: same silver gray as her coat, or how once when

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00:20:30,480 --> 00:20:33,440
Speaker 2: my little cousins came to visit, we went to the zoo,

347
00:20:33,520 --> 00:20:36,560
Speaker 2: and the seals recognized me. They both stood up in

348
00:20:36,560 --> 00:20:39,920
Speaker 2: the water and talked in a foreign language. I won't

349
00:20:39,960 --> 00:20:43,880
Speaker 2: tell her, I'm too scared. I won't even tell her

350
00:20:43,880 --> 00:20:46,320
Speaker 2: what she needs to know, that we've got to be

351
00:20:46,400 --> 00:20:50,119
Speaker 2: tougher than our mom's, that we've got to have different stories.

352
00:20:50,720 --> 00:20:52,960
Speaker 2: That she'd better not change her mind and drop me

353
00:20:53,000 --> 00:20:56,320
Speaker 2: in Colorado because I won't understand. I'll hate her forever

354
00:20:56,640 --> 00:20:59,560
Speaker 2: and burn her stuff and stay up all night screaming

355
00:20:59,560 --> 00:21:02,160
Speaker 2: at the wood because it's stupid not to be able

356
00:21:02,200 --> 00:21:05,200
Speaker 2: to breathe. Whoever heard of somebody breathing in one place

357
00:21:05,240 --> 00:21:08,000
Speaker 2: but not another? And we're not like that, Mona and

358
00:21:08,040 --> 00:21:11,399
Speaker 2: Me and Selky stories are only for losers, stuck on

359
00:21:11,440 --> 00:21:14,960
Speaker 2: the wrong side of magic. People who drop things, who

360
00:21:15,000 --> 00:21:18,240
Speaker 2: tell all, who leave keys around, who let go.

361
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Speaker 3: The end.

362
00:21:25,400 --> 00:21:28,280
Speaker 2: This story was picked out by my friend Hazel, who

363
00:21:28,400 --> 00:21:31,679
Speaker 2: said this about it. Selky stories are for losers, like

364
00:21:31,720 --> 00:21:35,000
Speaker 2: they're for suckers. But Selky stories are also for losers,

365
00:21:35,400 --> 00:21:37,720
Speaker 2: people who lose people and need to make sense of

366
00:21:37,720 --> 00:21:42,600
Speaker 2: that loss. And we asked Sophia if there's anything she

367
00:21:42,640 --> 00:21:45,080
Speaker 2: wanted to include in this reading, and she had this

368
00:21:45,160 --> 00:21:48,359
Speaker 2: to say about the piece quote. I think what I'd

369
00:21:48,359 --> 00:21:50,320
Speaker 2: want to say about this story is that it marked

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00:21:50,359 --> 00:21:53,840
Speaker 2: a turning point in my writing practice. Writing it, I

371
00:21:53,960 --> 00:21:56,960
Speaker 2: understood for the first time what a short story was.

372
00:21:57,760 --> 00:22:02,040
Speaker 2: I learned this by studying Karen joifouls excellent story King Rat,

373
00:22:02,480 --> 00:22:06,840
Speaker 2: which also uses a mixture of realism and folklore. And

374
00:22:07,520 --> 00:22:11,080
Speaker 2: that makes sense to me, because honestly, I am blown

375
00:22:11,080 --> 00:22:13,520
Speaker 2: away by the craft of this story. I think that

376
00:22:13,600 --> 00:22:16,600
Speaker 2: this story is well. I've already been saying for years

377
00:22:16,600 --> 00:22:19,639
Speaker 2: that Sofia Samitar's story The Ogres of East Africa is

378
00:22:19,680 --> 00:22:25,280
Speaker 2: my favorite short story, and it's true thematically and prose wise,

379
00:22:25,320 --> 00:22:27,359
Speaker 2: but also just on this like craft level.

380
00:22:27,440 --> 00:22:28,480
Speaker 3: I'm just really.

381
00:22:28,200 --> 00:22:32,000
Speaker 2: Blown away by how Sophia writes. I think that the

382
00:22:32,040 --> 00:22:35,880
Speaker 2: way that this story, the Selky story, is telling two

383
00:22:35,880 --> 00:22:39,840
Speaker 2: parallel stories at the same time, with these like brilliant

384
00:22:40,200 --> 00:22:45,560
Speaker 2: overlaps and parallels that are still remarkably different, like culturally different,

385
00:22:45,680 --> 00:22:48,760
Speaker 2: like you know, I'm afraid It'll be taken back to

386
00:22:48,840 --> 00:22:52,320
Speaker 2: Egypt versus like I'm going to move to a landlocked state.

387
00:22:52,840 --> 00:22:55,640
Speaker 2: And obviously the parallel about the way in which both

388
00:22:55,640 --> 00:22:59,040
Speaker 2: of their mothers have attempted to leave And it's interesting because,

389
00:22:59,080 --> 00:23:01,200
Speaker 2: by default, when I think of Selky stories, I really

390
00:23:01,200 --> 00:23:04,159
Speaker 2: think about, you know, the running back to the wild

391
00:23:04,280 --> 00:23:08,200
Speaker 2: and sort of abandoning the family. But then this story is, well,

392
00:23:08,200 --> 00:23:09,879
Speaker 2: there's a little bit of that. It's also just like

393
00:23:09,960 --> 00:23:13,080
Speaker 2: clearly about like death and being sort of too wild

394
00:23:13,160 --> 00:23:16,160
Speaker 2: to be alive in some ways. And you know, when

395
00:23:16,200 --> 00:23:20,080
Speaker 2: I hear a Selki story, traditionally my thoughts are like, fuck, yeah,

396
00:23:20,119 --> 00:23:23,399
Speaker 2: she got away from that guy, right, But then positioning

397
00:23:23,400 --> 00:23:25,439
Speaker 2: in it from the point of view of the kids,

398
00:23:25,960 --> 00:23:29,439
Speaker 2: it deepens a feminist understanding of what it means to

399
00:23:30,240 --> 00:23:33,680
Speaker 2: feel trapped by a family, you know, and it complicates

400
00:23:33,680 --> 00:23:36,320
Speaker 2: it in this way that I think is necessary and

401
00:23:36,400 --> 00:23:37,919
Speaker 2: makes it no longer.

402
00:23:37,640 --> 00:23:39,040
Speaker 3: So black and white.

403
00:23:39,280 --> 00:23:41,600
Speaker 2: So yeah, I've enjoyed the story every time I've read it,

404
00:23:41,680 --> 00:23:43,880
Speaker 2: and I will probably come back to it just from

405
00:23:43,920 --> 00:23:48,359
Speaker 2: a craft level to study it further. I really can't

406
00:23:48,600 --> 00:23:53,359
Speaker 2: say enough about it, but I will say that Sophia's

407
00:23:53,359 --> 00:23:55,760
Speaker 2: most recent books, if you want to read more of

408
00:23:55,760 --> 00:23:59,840
Speaker 2: her stuff, are the science fiction novella The Practice, The

409
00:24:00,080 --> 00:24:02,920
Speaker 2: Horizon and The Chain, which was a finalist for the

410
00:24:03,000 --> 00:24:07,679
Speaker 2: Hugo Nebula. Philip K. Dick and Locus Awards and Opacities

411
00:24:07,800 --> 00:24:11,760
Speaker 2: on Writing and the Writing Life, A Meditation on Writing, Publishing,

412
00:24:11,800 --> 00:24:15,520
Speaker 2: and Friendship. And I'm going to go out and get

413
00:24:15,520 --> 00:24:17,800
Speaker 2: both of those books. And I have like a thing

414
00:24:17,840 --> 00:24:21,359
Speaker 2: where I really like books about writing, but most of

415
00:24:21,400 --> 00:24:27,359
Speaker 2: them aren't very good, and I suspect that this one

416
00:24:27,520 --> 00:24:30,240
Speaker 2: will be very good. And I really like how different

417
00:24:30,720 --> 00:24:33,760
Speaker 2: every author who writes books about writing is going to

418
00:24:33,760 --> 00:24:35,840
Speaker 2: write a book like it's a very you think it'd

419
00:24:35,840 --> 00:24:38,800
Speaker 2: be a very like standard kind of textbooky thing, but

420
00:24:38,920 --> 00:24:43,440
Speaker 2: everyone's books are so completely different, even like Jeffvandermer is

421
00:24:43,480 --> 00:24:46,120
Speaker 2: two different books on writing and they're night and day

422
00:24:46,119 --> 00:24:49,160
Speaker 2: different from each other. One's called Wonder Book and it's

423
00:24:49,160 --> 00:24:51,320
Speaker 2: like esoteric and feels like you're on LSD, but it

424
00:24:51,359 --> 00:24:53,760
Speaker 2: also teaches you about story. And one's called I think

425
00:24:53,760 --> 00:24:57,119
Speaker 2: it's called The Writing Life or something, and it's just

426
00:24:57,200 --> 00:24:59,800
Speaker 2: about how to not lose your brain.

427
00:25:01,119 --> 00:25:01,439
Speaker 3: Anyway.

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Speaker 2: I don't know what I'm talking about that, but if

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Speaker 2: you want to keep up with Sophia Semtar's work, you

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Speaker 2: can do that. I believe she's not on social media.

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Speaker 2: I believe she is free, but she has a website.

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Speaker 2: Sofia Samitar dot com, which is s O F I

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Speaker 2: A S A M A T A R dot com.

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Speaker 2: And I'm Margaret Kiljoy and you can find me at

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Speaker 2: Birdsbefore Thestorm dot net. It's a website that I never obtained.

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00:25:25,800 --> 00:25:27,080
Speaker 2: I don't know why I'm telling you to go there.

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00:25:27,119 --> 00:25:28,560
Speaker 2: I have an author website. I've had it for a

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Speaker 2: very long time, but I don't use it. I am

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00:25:30,800 --> 00:25:33,199
Speaker 2: on social media because I am not free. You can

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Speaker 2: find me at either Margaret or Magpie Kiljoy on various things.

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00:25:36,840 --> 00:25:39,080
Speaker 2: I don't know. We search my name, you'll figure it out.

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00:25:39,119 --> 00:25:41,399
Speaker 2: I believe in you, and I write a substack that

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Speaker 2: comes out every week. And I have another podcast it's

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Speaker 2: called Cool People Who Did Cool Stuff. And also I

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Speaker 2: hope all of you are doing as well as you

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Speaker 2: can during this moment. I say this all the time,

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00:25:51,280 --> 00:25:55,520
Speaker 2: but it's not like things are. It's always always a

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00:25:55,520 --> 00:25:58,320
Speaker 2: complicated time, and that's why we have stories all right

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00:25:59,160 --> 00:26:00,840
Speaker 2: by everyone.

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Speaker 3: It could happen here as a production of cool Zone Media.

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Speaker 3: For more podcasts from cool Zone Media, visit our website

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00:26:07,320 --> 00:26:10,440
Speaker 3: Coolzonemedia dot com, or check us out on the iHeartRadio app,

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00:26:10,480 --> 00:26:13,840
Speaker 3: Apple Podcasts, or wherever you listen to podcasts you can

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Speaker 3: find sources for.

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Speaker 1: It could happen here, Updated monthly at coolzonmedia dot com

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Speaker 1: slash sources.

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Speaker 2: Thanks for listening,