Movie Review: Tales From the Hood 2

Tales from the Hood 2
by James Goodridge

Tales from the Hood 2 (TFTH2) is the long-awaited sequel to Rusty Cundieff’s original movie which was a milestone in the sub-genre of Black Horror. Films such as Son of Ingagi and Abby preceded it. Produced in association with Universal, Spike Lee’s 40 Mule Company, and Netflix, it was showcased on Netflix in 2018.

TFTH2 is an anthology broken up into five stories.

“Good Golly” directed by Cundieff is what I would call a cautionary tale aimed at millennials to not forget the past within context. Audrey (Alexandra De Berry) is in mindless rapture in a hunt for a gollywog—a jet black stereotyped image of—a doll. In England, these things even found their way onto television as a kids show. Bringing back fond memories for her of the one Grandma use to let her play with, Audrey tries to work the mysterious curator of the “Museum of Negrosity” into selling the doll. Rebuffed her, her friend Zoe (Jasmine Akakpoo) who as a young black woman is totally devoid of or has rescinded what little black consciousness she has, returns later at night to steal the doll with the help of her boyfriend Phillip (Andy Cohen). All hell breaks loose when Zoe and Phillip engage in a little slave master/slave, joking around, enraging an evil force in the museum, which in this writer’s opinion you can’t blame it. Not to give the punch line or ending away for those who haven’t seen it, all I can say is otherworldly bulk cases of Similac are to be had. A nice Easter egg is a doll from the original TFTH can be seen at times.

“The Medium” directed by Darin Scott takes aim (in a supernatural way) the struggle to rise above the negatives by doing the right thing. Redemption. Three would be thugs kidnap a reformed pimp, Cliff Bettis (Creighton Thomas), demanding he turn over his fortune, which he pleads is going to go back into the community. Killing the tenacious Bettis, the crew come up with a plan B which is to kidnap television psychic, John Lloyd (Byan Batt), a knock off of John Edwards. The end game is a séance scene that’s funny yet creepy.

“Date Night” also directed by Scott is predictable, you see the end coming half way through. Quick paced, it’s like the old horror 800 numbers from the 80’s you would (I’m showing my age) dial to listen to a flash fiction story.

“The Sacrifice” directed by Cundieff is—I confess the first time—a horror movie that brought tears to my eyes. Mainly B-horror movies are like comfort food for me but this short pulled at my heart. A combination of horror and the horror of the American experience for Black folks historically is what Cundieff had the fortitude to film. I give him a nod and a fist bump. Henry Bradley (Kendrick Cross), a black Republican of means in a red state throws his support behind a white populist mayor William Cotton (Cotton Yancey), who’s making a run for the state house and looking like KFC’s Col. Sanders which is a little over the top. Interpose this with flashbacks to the night Emmit Till (Chirstopher Paul Horne) was murdered. Creepy and visceral are how I feel towards Horne in that he reminds me of my youngest son in looks. Till’s haunting is taking a toll on Bradley’s pregnant white wife Emily (Jillian Batherson) and throwing Bradley into an alternate reality. The climax has Till, the four little girl victims of the 16th Street church bombing in ’63, Medger Evers, Chaney, Goodman & Schwerner, and Dr. King confront Bradley with a choice.

“Robo Hell” which opens and closes the movie, segwaying the stories, has Portifoy Simms (the iconic Keith David) locking horns with tycoon and MAGA 45 wannabe Dumas Beach (Bill Martin Willaims). Dumas’s company has invented a Robo Cop type robot.

All in all TFTH2 is watchable and let’s hope it’s not cursed as the urban legend tale making rounds, happened to the original Tales from the Hood.


aiuthor pix 3Born and raised in the Bronx, New York James is new to writing speculative fiction. After ten years as an artist representative and paralegal, James decided in 2013 to make a better commitment to writing. Currently writing a series of short Twilight Zone-inspired stories from the world of art (An occult detective short story, The E.E. Just Affair) with the goal of producing compelling stories. His work has appeared in BlackSciencefictionSociety.com, Genesis Winter 2015 Issue, AfroPhantoms.com, Horroraddicts.net, and a non-fiction essay in Apairy Magazine #8 2016 a Metro Philadelphia arts and literature magazine. You can also hear an interview with Mr. Goodridge on Genesis Science Fiction Radio air date 12/2/16 on YouTube.

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BHH: Maman Dragonne

Maman Dragonne
by James Goodridge

I’m on a journey as a writer of Speculative Fiction’s sub-genre, Occult Detectives. So, I’ve made it my business to make a study of authors to bolster my knowledge.

Venturing deeper into the occult literary traditions, led me to the work of Seabury Quinn (1889-1969), creator of his character Dr. De Grandin. A reading of Quinn’s short story “Pledged to the Dead”—which was published in the October issue of Weird Tales — gave me immense interest in Quinn’s depiction of “Maman Dragonne.”

Dragonne would be considered in fiction a “flat character” because she really doesn’t appear in the first quarter of the story (at least in human form), but becomes increasingly important to the plot even though she has little in the way of dialogue. The story begins with a frantic young lady’s urgent need to see Dr. De Grandin, barging into his just-concluded dinner party. A guest, Dr. Trowbridge, is a somewhat of a Dr. Watson type sidekick. Dr. Trowbridge’s other job is to move the narrative along. It seems the lady’s fiancé, Ned Minton, has got himself into paranormal intrigue during a visit to New Orleans. One moonlit night as Minton walked pass St. Denis Cemetery, then onto Bienville St a japonica is dropped from a balcony, in front of his feet. Julie d’ Ayen is guilty of the aerial flirt. Her searching for an eternal love takes a bizarre turn, with Minton being stalked by a three-foot cottonmouth snake “Grand ‘tante” as Quinn wrote,

“Protector of Julie d’ Ayena mulatress aged black magic ‘conjon’ woman in turban and cambric apron, Maman Dragonne is not to be trifled with. Practitioner of Obeah from the Congo. Julie should have many loves but her body should not know corruption nor her spirit rest until she could find one to keep his promise and return to her with word of love upon his lips. Those who failed her should die horribly, but he who kept his pledge would bring her rest and peace spoke Maman Dragonne.”

Julie d’ Ayen and Maman Dragonne aka Grand ‘tante roam St. Denis Cemetery. Now, I don’t want to give the rest of the story away for “Pledged to The Dead” can be found in the public domain. 1937 was not an exactly a time in any medium for positive depictions of people of color as characters (in the story you’ll find the use of the word “darkie”) and I don’t know in depth about what Quinn’s views on race were during his lifetime but in a roundabout way, Quinn transforms Dragonne from a flat to round character and gives her strength as a person of color. Evil? Yes, but strong none the less. She is splendid in her silence which elevates the horror in the story.

**Sources: The Project Gutenberg www.gutenberg.net, http://www.pgdp.net


 

aiuthor pix 3Born and raised in the Bronx, New York James is new to writing speculative fiction. After ten years as an artist representative and paralegal, James decided in 2013 to make a better commitment to writing. Currently writing a series of short Twilight Zone-inspired stories from the world of art (An occult detective short story, The E.E. Just Affair) with the goal of producing compelling stories. His work has appeared in BlackSciencefictionSociety.com, Genesis Winter 2015 Issue, AfroPhantoms.com, Horroraddicts.net, and a non-fiction essay in Apairy Magazine #8 2016 a Metro Philadelphia arts and literature magazine. You can also hear an interview with Mr. Goodridge on Genesis Science Fiction Radio air date 12/2/16 on YouTube.

BHH: From Gagool to Akasha: Black Characters in Horror Fiction

From Gagool to Akasha: Black characters in Horror Fiction

by Sumiko Saulson

Black representation in horror fiction is about both characters and writers: we need more black authors, directors, screenwriters, and people behind the scenes to make sure that our communities are envisioned through our eyes. Yet, there is undeniable value to black heroes and villains envisioned by white and other non-black authors. The 2017 remake of Stephen King’s IT is a prime example of how betrayed black audiences feel when representation is diminished by erasing or minimizing the presence of an important black hero like Mike Hanlon. Outrage over whitewashing doesn’t disappear just because the character was written by someone who isn’t black. And anger about black actors portraying characters like Rue in The Hunger Games and Akasha in Queen of the Damned suggest overwhelmingly, racism among audiences. The success of Black Panther demonstrates both the need for black characters and the factual ability of black characters envisioned by white writers to be handed over to black production and writing teams.

Nisi Shawl and Cynthia Ward’s authoritative work on the subject is called writing the Other. It deals with the ins and outs of writing characters unlike oneself.  This is crucial as many of the black characters in Victorian fiction are hopelessly stereotyped characters of black witch doctors and high priestesses like Gagool, the evil old hag who advises the twisted dictator King Twala in the Alan Quartermain story King Solomon’s Mine by H. Rider Haggard. Haggard was one of the better known writers in the Lost Word genre. Modern takes on mysteriously hidden societies can be elevated, like the 2018 movie Black Panther’s take on Wakanda by black director Ryan Coogler and writer Joe Robert Cole, or feature terrifying evil white overlords against spunky black heroes, like Jordan Peele’s award-winning 2018 horror film Get Out.

That doesn’t mean we can easily get away from the vast number of old noble savage and evil mammy crone stereotypes that have historically plagued black heroes and villains in horror. No conversation on the subject would be complete without mentioning Stephen King, as sometimes he gets it right like in the Dark Tower or IT, but other times the obvious Uncle Tom stereotypes take over like in The Green Mile. His willingness to forge ahead and fill literature with black characters despite of criticism, and relatively thick-skinned response to black critics, is laudable, although it cannot replace black voices. It speaks volumes when compared to choices like the erasure of an Asian male character to insert a white female character in the 2016 Dr. Strange movie. The producers and directors copped out, saying they didn’t cast an Asian female in the gender-swapped role because they were afraid of a Dragon Lady stereotype. The writer’s inability to write a person of color who isn’t a one-dimensional trope should NEVER be an excuse for deleting POCs from movies.

Speaking of white washing, the Netflix Death Note movie’s predominately white cast marred the already lackluster film’s reputation so much that stand-out performances by Willem Dafoe as Ryuk and the hotness that is Lakeith Stanfield as L could not salvage it from its overall mediocrity. However, they did prevent it from being a complete train wreck like DragonBall Z: Evolution or Gods of Egypt, and elevated it above the snooze fest that was Iron Fist.

Like a lot of black people, I had mixed feelings about the obvious pandering involved in casting Lakeith Stanfield, who some may also recognize from his performances as one of the terrifying black abductees in Get Out.  Like Tilda Swinton in the role of Ancient One, Stanfield turned in an amazing performance in a less than amazing film and was forced to kowtow on behalf of its producers, making excuses for their whitewashing, in exchange. It is cringe-worthy, and the producers and directors of these films need to do a much better job. There should be a diversity of roles for older women, and black men, and no one should be forced in this kind of position in the first place.

Stephen King isn’t the only famous modern white author who has persisted in writing black characters despite criticism, and in the case of Anne Rice, who is notoriously thin-skinned and hates critics and editors, it is a labor of love forged from her connection to New Orleans. Once she told me that if I had been born in New Orleans, I would never have to suffer the lot of San Franciscans who treat me as though I am not a beautiful woman, because a girl who looks like me in NOLA would be damned near haughty about her mulatta looks. I laughed – Californian politics frown upon embracing one’s light-skinned privilege. The Feast of All Saints was the first book I read that had terms like quadroon and I was quite shocked and horrified when I read it as a young lady and found out everything about blood quantum, words like octoroon, the quadroon balls, and how interracial relationships were treated during and just post slavery that my politically correct African American mother and white Jewish father hid from. My parents just told me that mulatto was a slave word and we don’t talk about such things.

It wouldn’t be until years later, during college, that I was re-introduced to the same subject by African American authors like Toni Morrison, Zora Neale Hurston, and Alice Walker.

The Anne Rice villain Akasha was someone that I and my mother both related to, my mother more so than I. She tapped into the deep well of African American identification with Egyptian culture, and although some Anne Rice fans throw a fit about black identification with the character and the casting of Aaliyah, I am of the firm opinion that Aaliyah and the soundtrack are the only redeeming qualities of a train wreck that infuriated Anne Rice so much that fans are asked to please refrain from mentioning That Movie on her Facebook page.

Anyone who has read Prince Lestat knows that Anne Rice isn’t personally unhappy about black folks relating to Akasha. In the book, her son Seth is a peaceful science-loving Egyptian intellectual who goes way, way out of his way to maintain his dark skin despite the pallor that descends upon vampires. His love of his ethnic background and his pride in his dark skin are a symbolic love note to all of the black readers who nearly fainted when they read about the beautiful, wicked and cruel Queen of the Damned, Akasha.

Black folks love Akasha like we love Candyman. Sometimes black villains have more autonomy than black heroes do. We love Killmonger because he has the freedom to lash out against oppression in a way that the tight-laced T’Challa cannot. Being a good person concerned with all of mankind means turning a blind eye to injustice all too often. That’s why so many of us get a kick out of identifying with characters that have completely lost it and gone on a rampage. We are sick to death of the Allan Quartermains of the world and don’t want to play nice, turn the other cheek, and be like Martin Luther King, Jr. anymore. We want to rage and burn it all down like Killmonger in our secret heart of hearts. Because we are all so sick of that martyr Mother Abigail, John Coffey role we could scream.

It is the Noble Savage stereotype with an American twist that makes it so that so many black heroes in white literature are martyrs. Uncle Tom’s Cabin, the source of the term Uncle Tom, is about a black slave so faithful to a white Christian savior that he literally lets racist slavers beat him to death without fighting back. The evil surviving white slavers converted after they killed good old Uncle Tom. None of us really want to go out like Uncle Tom, so we start daydreaming about being like Killmonger, or Akasha, or Candyman.

Black heroes who aren’t martyrs are still present in white horror fiction. Michonne in The Walking Dead, the black L in the Netflix Death Note, Bonnie Bennett in the Vampire Diaries – but they are disconnected from black community. Michonne becomes a part of Richonne and Rick’s white kids replace her dead white son. Bonnie’s black grandma dies and she’s dating white boys and fading into the generally white-dominated and not particularly multicultural casts. The black audiences flee to The Originals, where New Orleans and Marcello make for steamy, black centered episodes, even when the improbable happens such as a white character switching into a black body.

The Originals was a truly multicultural program in a way that the Vampire Diaries never was. Truly multicultural programs have enough representation for each minority that there isn’t just the one black witch standing there at the end. The Originals had a Latina teen witch, Davina, who has relationships with other Latino community members even though she is Marcel’s adopted daughter. Black and Latino witches and warlocks populate the tale throughout, and not just one family line of them.

We have come a long way since King Twala and Gagool with characters like Shuri, Queen Ramonda, and T’Challa. Yet, we still have a long way to go. The twisted witch doctor in the video game Diablo III crawling on her knuckles like a subhuman; shades of Gagool. The mixed bag of horribly triggering content that plagues talented actresses like Gabourney Sidibe and Angela Bassett, shades of Gagool. We still haven’t gotten away from the tropes that haunt the black community and we cannot without vigilance on the part of every writer who tackles characters of color.


sumiko armband

Sumiko Saulson a horror, sci-fi and dark fantasy writer. Her novels include “Solitude,” “Warmth”, and “Happiness and Other Diseases.” She is the author of the Young Adult horror novella series “The Moon Cried Blood”, and short story anthology “Things That Go Bump in My Head.” Born to African-American and Russian-Jewish parents, she is a native Californian, and has spent most of her adult life in the Bay Area. She is a horror blogger and journalist

BHH: Interview with DAWN filmmaker Alex Fernandez

Interview with DAWN filmmaker Alex Fernandez
Interviewed by James Goodridge

  1. For those people out there seeing this for the first time tell us about DAWN the web series:

Alex Fernandez’s Dawn is the story of Eva Santiago who was born in a poor village in Peru in 994 A.D. At age 8 she began to learn witchcraft eventually becoming a full fledge witch. But when her family died from a deadly plague Eva vowed that it would never happen to her. It set her feet on a path in search of immortals. After 2 years of searching she found what she was looking for losing her soul and becoming a vampire. For 800 years she was a cold blood hearted killer. Until one day she was offered a chance from GOD by the Archangel Gabriel to become a warrior of GOD. She accepted and took on the moniker of “DAWN’.  That is what makes the Dawn character and series so unique is the fact that she is a vampire who works for GOD. We are currently in the second season. Eva Santiago/Dawn is played by Victoria Amber. 2019 will also see the release of a Dawn short film titled SURGE OF DAWN. A crossover film that brings Dawn into the world of another superhero Surge from the Surge of power films.WE also have comic books based on DAWN. We are currently on the fourth book of Dawn.

2.You won a few awards tell us about them ?

I have been blessed and honored to have won a few awards for not only Dawn but as well some of my other works. It is always nice when you work really hard your craft and get recognized by your peers. But more important than any award is a message from a fan or a letter that says they have been inspired by my shows or that they love it.

Hip Hop Film Festival

2017 Winner

Hip Hop Film Festival Award

Best Sci- Fi Series

Body Jumpers Resurrection (2016)

 

International Euro Film Festival

2015 Winner

Official Trophy

Best Web Series

Body Jumpers (2012)

 

LA CineFest Film Festival

2018 Nominee

Los Angeles CineFest Award

Semi – Finalist

Alex Fernandez’s Silent Stories (2017)

 

Urban Action Showcase And Expo

2018 Winner

Urban Action Showcase New Media/TV Pilot Award

Presented by HBO/CINEMAX

Best Visual FX

Body Jumpers Resurrection (2016)

2017 Winner

Angels of Action

Best Web Series

Body Jumpers Resurrection (2016)

Winner

Urban Action Showcase New Media/TV Pilot Award

Presented by HBO/CINEMAX

Best Visual FX

Body Jumpers Resurrection (2016)

2016 Winner

Angels of Action

Best Web Series

Alex Fernandez’s Dawn (2015)

Winner

Urban Action Showcase New Media/TV Pilot Award

Presented by HBO/CINEMAX

Best Visual FX

Alex Fernandez’s Dawn (2015)

2015 Winner

Urban Action Showcase New Media/TV Pilot Award

Presented by HBO/CINEMAX

Best Visual FX

Body Jumpers (2012)

  1. Is there a director past or presently in the horror movie genre you admire?

My favorite director of all time Alfred Hitchcock happens to also have directed one of the most important horror films of all times PSYCHO. For me without a doubt he was truly not only the master of suspense but also a master filmmaker. Rear Window is still my favorite film of all time. He was a director that was way ahead of his time and a director that will be studied long after we are all gone.

  1. I see a lot of passion in your work. Do you ever think you’ll lose that passion ?

I need film like most people need water. It is something that I not only have passion for but its something that i absolutely love. I don’t think it will go away till the day I leave this world. As long as I am able I will continue to tell stories. My earliest memories of me as a child at 4 years old and me sitting in the theaters watching films. Even to this day I make sure I watch a movie everyday.

  1. What else do you have out there and where to find it?

Body Jumpers Resurrection Season 1 www.youtube.com/TheBodyJumpers


 

aiuthor pix 3Born and raised in the Bronx, New York James is new to writing speculative fiction. After ten years as an artist representative and paralegal, James decided in 2013 to make a better commitment to writing. Currently writing a series of short Twilight Zone-inspired stories from the world of art (An occult detective short story, The E.E. Just Affair) with the goal of producing compelling stories. His work has appeared in BlackSciencefictionSociety.com, Genesis Winter 2015 Issue, AfroPhantoms.com, Horroraddicts.net, and a non-fiction essay in Apairy Magazine #8 2016 a Metro Philadelphia arts and literature magazine. You can also hear an interview with Mr. Goodridge on Genesis Science Fiction Radio air date 12/2/16 on YouTube.

BHH: “Outcasts” by Valjeanne Jeffers 3 of 3

“Outcasts” by Valjeanne Jeffers 3 of 3

Monique sat in bed beside her window, trying to keep her eyes open. Tomorrow during the chilly dawn, her jailers would drag her out of bed to put her in the cage. Yet instead of sleeping, one of her few refuges, she sat waiting. For what?

 

Just when she’d resolve to wrap up in a blanket and surrender to sleep, a soft cooing sound echoed outside her window. She knew the sound well. It was she and Angelique’s code signal, for whenever they decided to sneak away.

 

“Grab your bag and climb out!” Angelique hissed. “Do it! And hurry up!”

 

Monique snatched up her cloth bag and climbed out of the window. “Now what?”

 

Her wild-eyed friend grinned. “Now we fly!” Grabbing Monique’s hand before she could protest, she half-dragged, half-led her to the forest beyond her hut.

 

“Have gone insane?”

 

“Shh!” Angelique cautioned her again.

 

Through the forest hidden, under the brush, was an airship. The green balloon over it added to the camouflage. It was crudely built without the intricate carvings of Haitian ships, but looked to be in working order.

 

“But how?”

 

John’s mahogany face appeared at starboard side and waved them up.

 

“We can’t do this!” Monique protested. “If they catch us they’ll kill us!”

 

“Do you want to spend the rest of your life in a cage?”  Angelique shot back. “Come on!” She clamored up the ladder with her friend at her heels.

 

“We can’t fly this thing!” Monique protested, all the while clambering the ladder onto the deck.

 

“Yes we can,” John said proudly. “I built her and Angelique can fly as well as I can!”

 

So she was telling the truth!

 

“I’m a ship captain! But I can’t marry the woman I love, because I have no money—and the color of my skin!” All the while he and Angelique were hoisting the sails.

 

Monique followed them inside to the helm, burning with excitement in spite of herself. She’d never actually walked inside an airship. In the center of the deck, was concentric hatch directly below the gathered edges of the balloon. Angelique opened the hatch to reveal a box of copper and brass, and another hole in its center, and depressions on either side.

 

She pumped the depressions and steam flowed from the box filling the balloon, while Monique and John began turning the cranks on the propellers and flaps. The ship began to rise, and Monique thought her heart would burst with joy.

 

“Here we go!” John shouted. The ships wings flapped, the propeller whirled, tearing and blowing the foliage and lifted from the ground.

 

The airship sputtered forward. “Give her more steam and turn the propellers faster!” The women grunted turning the propeller faster. “Angelique trade places with me!” Angelique took the helm, as he and Monique turned the propellers. The airship picked up speed.

 

The mulatto woman grinned. “My parents thought they could marry me off to an old man. Won’t they be surprised?”

 

“Where will we go?” Monique asked.

 

“There’s an island across the ocean, Santo Domingo,” said John. “Haiti’s armies freed the slaves there too.”

 

The glory of a parvenu life thrust upon her was slowly taking hold. She was free—free of her mother. Free of a lifetime of cages. Free to love who she chose. The Loa Erzulie had answered her prayers after all!

 

But Simone was still lost to her. A weight of sadness pressed against the walls of her new-found liberation. And there were other doubts as well. “What if they don’t want us there? How do we know it will be any better?”

 

A shadow crept from the helm, jerking Monique away from her objections—amber-colored ghosts that instantly became creatures with the head of a bat and four arms.

 

“It’s Madam Cecile’s sorcery!” John shouted. “We must have been spotted!”

 

More shades reared up at them, claws ready. They paused, clearly confused. The three friends were most certainly not French soldiers. The ghosts turned away and attacked the airship dash in earnest, ripping and tearing.

 

Another one zoomed over their heads and struck the helm and it exploded in flames. They screamed—trying to fight the creatures off and fly the ship at the same time. They began losing altitude. The ship was sinking.

 

Below them, a thick, wavering mist blocked their path. The friends eyes were drawn to it. . . they could see images dancing within the fog. . . dancing to the beat of drums that suddenly echoed in the night about them. A cooling breeze wafted toward them . . . One image came into focus. . .

 

The Loa, Erzulie.

 

Their terror vanished.

 

Without another thought they flew into the fog.

 

And out the other side.

 

The flames snuffed out and the turbulence of the airship dissipated out as they flew out of the nosedive. “Let’s land there!” Monique shouted, pointing to the beach below. As the three friends coasted into a smooth descent, their eyes widened. They recognized the Haitian shoreline.

 

“We never left home!” John exclaimed.

 

“Wait a minute,” Angelique said slowly. “When we left Haiti it was midnight. Look at the sky!” A  bright noonday sun beamed downed on them.

 

They stared at the turquoise blue waters, as if the ocean held answers. “This cannot be,” John breathed. “Have we traveled backwards in time?”

 

“Non, c’est impossible. . .” Monique breathed. “The only thing we can do is start walking. Maybe when we find town we’ll find our answers.”

 

They covered the airship with seaweed and debris as best as they could. After their strange trip they were a little afraid of it. But the friends still thought it best to protect it in case they needed to escape.

 

When they reached town they discovered they’d left Haiti only to return. But to an alien Republic.

 

They didn’t recognize the township. What was even more incredible was that in this Haiti, the revolution had taken place a month ago. No one knew them here. So, they gave a vague descriptions of a small hamlet they’d traveled from, and no one they meet seemed to care much. Monique found a job cooking for a rich, elderly woman named Michelle. John and Angelique took a job working in the sugar fields she owned.

 

Later, Monique questioned her employer about the customs of her “new home” and found out that class discrimination did not exist in Haiti—informal or otherwise. There were no restrictions upon homosexuality either. Michelle was incredulous that any Republic would have such rules. “We were once slaves, n’est-ce pas? Why would we oppress one another?” The older woman sucked her teeth, and shook her head. “That must truly be a terrible place you came from. No wonder you ran away.”

 

Monique pressed her lips together and said no more. It was my home and I loved it dearly. Now Haiti is here, yet lost to me. Perhaps forever. . .I wonder what unpleasant truths this new world holds?

 

##

 

“We’re going to stay, Monique,” said Angelique. “John and I can be together here.”

 

“What about your mama and papa?”

 

Angelique looked away. “I love them and wish them happiness. But I love John more. Perhaps one day I’ll look for them.” She shrugged. “Perhaps not.”

 

“Both my parents are dead,” the young man added. “Angelique is all the family I have now.”

 

The three were sharing a meal in the tiny house she and John had rented together. The couple had married the same week they’d landed.

 

“You should stay too,” Angelique suggested.

 

Monique had saved a little coin and was determined to search the island until she found Simone. “No, I have to find her. I have to know if she’s happy.”

 

“What will you do, cherie, if you meet her and she is happy. . . with you,” asked John. “We still know so little about this strange world, n’est-ce pas?”

 

Monique smiled. “We will become the best of friends—the three of us. I will wish her well.”

 

“And I will be back.”

 

She left the next morning to find her destiny. In the days to come, some happy, others melancholy, she thought often of the airship they’d left behind on the beach. . .

 

And whatever became of it.

THE END


Valjeanne Jeffers is a graduate of Spelman College, a member of the Carolina African American Writer’s Collective, and the author of eight books.Valjeanne was featured in 60 Black Women in Horror Fiction. Her first novel, Immortal, is featured on the Invisible Universe Documentary time-line. Her stories have been published in Reflections Literary and Arts Magazine; Steamfunk!; Griots: A Sword and Soul Anthology; Genesis Science Fiction Magazine; Griots II: Sisters of the Spear; Possibilities; and The City.Book I of The Switch II: Clockwork was nominated for the best ebook novella of 2013 (eFestival of Words); and her short story Awakening was published as a podcast by Far Fetched Fables. Preview or purchase Valjeanne’s novels at: Valjeanne Jeffers official site

Black Women in Horror: Fierce. Fearless. Female. by Tabitha Thompson

Fierce. Fearless. Female.

by Tabitha Thompson

The very first horror movie I saw was Maniac Cop when I was five years old. Since then, horror has always fascinated me. As the years went on, I found writing to be a great outlet for emotions and devoured writers such as Stephen King, Edward Lee, Edgar Allan Poe, and Jack Ketchum. But one day as I was looking through books at my local library for something new, an author caught my eye, her name was L.A.Banks. Reading her novels Minion and The Awakening, I fell in love with her writing style and how she incorporated dark fiction and horror into her work. She was the first black female that I’ve read who had an Anne Rice feel to her work, while her characters were relatable and interesting. Followed by Toni Morrison and her novel Beloved, I immediately became inspired by these women who were not just great dark fiction/horror writers, but who were also black.

Although I’ve never relished on the fact that I’m a black female writing horror, it felt good that there were women out there like me writing a genre that I loved. In the following years, I’ve also discovered Linda Addison, Pheare Alexander, Sumiko Saulson, and Jemiah Jefferson, and it was gratifying and inspiring. Since I was a teen, I’ve always loved the notion of doing and becoming something different, and horror was something that had turned from fascination to a passion and ended up becoming home for me. Being a black woman writing horror fiction is both an interesting and inspiring path that I wouldn’t trade for the world, I never thought that my writing would take me from my notebooks to being in an anthology that includes such creative women that are just like me. Women can already write horror, so it’s now time that us black women have a bigger platform, so we could tell the beautiful, scary stories that I know for a fact we can write. After all, we are fierce, fearless, and female.


Born in South Florida, Tabitha Thompson always had her roots set deep into telling stories from an early age, including a love for writing stories but at 16, she began writing horror and hasn’t stopped since. Her first short story “Heading West,” was picked up by Sirens Call Publications in 2013 for their online magazine issue #12 Dead And Dying. “West Nile” was released in 2014 also with Sirens Call Publications for their issue #16 Apocalyptic Fiction. For the past few years since
then, she has released several horror short stories and flash fiction. Tabitha Thompson is also the author of “Decency Defiled,” featured in Rejected For Content 6: Workplace Relations, and “Alternative™,” featured in the anthology Black Magic Woman. As long as she has coffee, metal, a pencil, and paper, there will always be some new stories to tell.

Book Review: Black Magic Women

Black Magic Women : Review of an Anthology of Horror

by James Goodridge

Mystical is how I like to label profound work and that’s how I label the work between the covers of Black Magic Women: Terrifying Tales by Scary Sisters, an anthology of well-crafted horror stories by a congress of well-established and up and coming group of women of color.

In recent years there has been a emergence or reemergence of black speculative fiction parallel to the Afro-futurist movement (I took the red pill and have been a creative member since 2013). This anthology will for years to come, be an important must-have book documenting the era.

A labor of love, the anthology is edited and curated by Sumiko Saulson and proof read by Jessica Glanville with contributions by: Valjeanne Jeffers, Kamika Aziza, Crystal Connor, Dicey Grenor, Nina Polina, Nuzo Onoh, Delizhia Jenkins, LH Moore, Kenya Moss-Dyme, Lori Titus, Kai Leakes, Rhonda Jackson Joesph, Cinseare S., Tabitha Thompson, Nicole Given Kurtz, Alledria Hurt, and Kenesha Williams. These women give you a buffet of different writing styles.

In the black community we have a saying that most people have heard and it applies to the contributors: “These ladies can burn!” True horror fans can appreciate horror in all its forms and sub genres. The horrific rush from a movie, web series, or television show. The straining of your hearing at the purported sound of a ghost caught on tape. The widening or squinting of your eyes at a just read gory part of a novel, anthology, or graphic novel. I’m a squinter, and this anthology didn’t fail in that department.

I’ll put it this way, there are no weak links in this anthology. I will not spoil things by going through all of the stories in the anthology, but I will comment on a few.

Valjeanne Jeffers “The Lost Ones” is a Werewolf/Love story/Crime noir story laced with Steam Punk/Funk set in an alternate time line United States, the progressive North America at odds with the conservative True America . The passion between characters Namia and Miles makes for a great read.

Kamika Aziza’s “Trisha & Peter” is a wonderful short story about two people forming bonds while fighting off swarms of bodies aka zombies. The child Trisha has to grow up fast and finds a mentor in Peter.

“Sweet Justice” by Kenesha Williams finds paranormal investigator Maisha Star on the trail of a serial killer and receives help from beyond the grave with a splendid plot twist at the end.

This anthology is an automatic read more than once gem released by Mocha Memoirs Press. Enjoy!


 jamesgoodridge headshot

Born and raised in the Bronx, James is new to writing speculative fiction. After ten years as an artist representative and paralegal James decided in 2013 to make a better commitment to writing.Currently, he is writing a series of short “Twilight Zone” inspired stories from the world of art, (The Artwork) and a diesel/punkfunk saga (Madison Cavendish/Seneca Sue Mystic Detectives) with the goal of producing compelling stories