$13.00
ISBN 1590210336
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Reviewed by Jean Roberta
(07/25/07)
"It began with small things," claims the nameless third-person narrator of "Kink," a story about a woman who seems to have a dull-grey life until a pair of spike-heeled leather shoes make her feel like "a woman no one could ignore." These shoes lead her to "the boots: full-length black leather ones that ran up her thighs."
At first her boyfriend is intrigued until he realizes that the boots arouse her more than he does, and then he leaves. His absence leaves a hole in the woman's life, which is filled by an increasing leather wardrobe. She finds a leather bar and gets adopted by some of the "bears" (large, hairy men) who hang out in that urban den. The woman's quest for ecstasy shows a momentum, which could lead her to heaven or to hell -- or to one, then the other. Eventually, her new life in the bar leads her to a biker dyke who understands her fetish and who gives her the satisfaction she has been seeking.
Most of the fifteen stories in this collection begin with small things and escalate quickly until each lesbian central character reaches nirvana, enlightenment, disillusionment or death. It is hard for a reader to guess at first where desire will lead. "Be careful what you wish for" seems to be one of the themes of this collection.
So many of the author's stories (not only in this book but in various anthologies and in her earlier collection, Night's Kiss) feature magic and the supernatural that even her more realistic plots seem to shimmer with a pinch of fairy dust. The realistic stories in this collection could be considered tribal, since they all sound like anecdotes that are passed around in lesbian communities: the myths of lesbian culture, which can seem exotic to members of other communities.
"Spec fic," as it is broadly defined, is this author's forte, and the most imaginative stories in the collection are this reviewer's favorites. Lundoff reworks the conventions of sword-and-sorcery, of international spy capers, of Westerns, of romance featuring shapeshifters, and of sci-fi, providing a smorgasbord of styles and plots. In the fantasy realms of these stories, women play all the roles which have traditionally been played by men. For some readers, of course, that is the major appeal of a collection of lesbian stories.
While the author's command of various genres is clear throughout the book, the emotional tone of these stories varies enormously. Some of them seem like witty spoofs of literature set in male-dominated cultures. Other paranormal stories in this collection are more genuinely poignant, suspenseful or eerie. All of them center on the mysteries of desire, not only for sex as a quick release.
The one werewolf story is named "Leader of the Pack." This title, apparently a reference to a rock song of the 1960s about a Romeo-and-Juliet relationship which ends tragically, reminds the reader that the author is influenced by popular culture as well as by literature.
In Lundoff's version, the "leader" is a female werewolf in the old West who serves as the town sheriff by day and leads a pack of wolves by night. In true canine tradition, the leader dominates the pack, including her devoted submissive lover, a waitress in town whom she turned into a werewolf with a love-bite. Like very closeted leatherdykes in a hostile environment, the two female werewolves are in danger of being exposed and killed by human males. The climax of this story is as dramatic as the climax of the rock song by the same name. This story is entertaining, but its cultural references make it hard to take seriously.
The tongue-in-cheek quality of the werewolf story also appears in the fairy-tale takeoff, "Hands of a Princess." The hands of the title are not dainty and deft with an embroidery needle, as one might expect, but large, competent and legendary as lesbian sex organs. The princess' mother, the Queen, had similar hands and a similar reputation among her servants and bodyguards. Will the princess really enter a diplomatic marriage with the man who was chosen for her? Or will she subvert an official tradition in order to continue enjoying "personal services" from the women who serve her? The answer is not hard to guess.
The sci-fi story, "Medusa's Touch," is not about Medusa, the snake-haired monster of Greek mythology. The "medusas" in the story are hair-like wires that are embedded in the brains of space pilots, who can use them to fly spacecraft by their thoughts alone. The author is a computer specialist, and the technology in this story could be seen as a more exciting version of the kind she deals with in the real world. In the story, an amoral dyke pilot-for-hire explains with a leer that the medusas can be used for more than official work. As in other space operas, the central characters must survive by their wits during the Corporate Wars.
Arguably the darkest and most gripping of these stories is "Emily Says," which was previously published in an anthology of literary erotica. Emily is an invisible, irresistible lover who continually distracts the narrator from caring that her relationship with an actual woman (who has human limits) is quickly going downhill along with her life. Like a stranger picked up in a bar, Emily has no last name and no personal history that she is willing to reveal, but the narrator is unable to hang onto her sensible reservations in the face of overwhelming pleasure. The real-life girlfriend's anguish is palpable.
"By the Winding Mere" conveys the flavor of oral history. The narrator is the daughter of a family of warriors, the only survivor of a battle over coveted territory with a rival clan. The battle-maiden must seek the witch who can heal her if she wishes to live, but she is very conscious of her duty to avenge her male relatives, who lie unburied until she can return to them. The witch, however, has an alternative value system, and she challenges the narrator's concept of "honor" much like a pacifist feminist confronting a military dyke. Is it really honorable to kill and risk being killed? Is there no better way for a strong woman to avenge her slaughtered kin than by shedding more blood? The narrator herself has no answer for those questions, but she vows to find one.
The final story, "An Evening in Esteli," raises similar political questions in the realistic context of Nicaragua in 1988, where an international swarm of leftist volunteers have come to support the popular regime. A wall mural showing women coffee pickers with hopeful expressions serves as an icon for a volunteer from New York, who hopes that her relationship with a glamorous woman-of-the-world can also ripen and bear fruit.
In general, this collection shows a remarkable range. All the stories contain sexual heat in various degrees, but following the trajectory of each plot to find out what happens next is such a pleasure in itself that using these stories simply as stroke material would be to miss out on the distinct appeal of each one. This book is highly recommended, and would make a good gift for any fan of lesbian erotica.
