I find myself wondering what genre Aimee Bender’s work falls into. Perhaps not all of her writing, but this collection of short stories. It is literary in the sense that she writes with an eye to the experience of having read her work, in addition to telling a story. There are elements of weird fiction, fantasy, science fiction, erotica, and other hints of genre in the stories, as if her writing is a bumper car and she’s bouncing off the edges of genre, trading paint. There are whispers of genre, where she never comes right out with it.
Like Kelly Link and Karen Joy Fowler, nearly all of her protagonists are women. Is it feminist fiction, then? I don’t think so, no more than anyone else who writes a female main character could be labeled as such. Her women are by turns lost and needy and heartbroken and seeking male approval and inappropriately sexual (and, also, sexy and smart and loving and warm and witty). It’s a collection of stories about a range of people who happen to be, mostly, women.
There is an intimate quality to Bender’s stories, as if we’re being let in on secrets. We’re reminded of the time that we, too, were empty or lost or aching to be touched, and it seems that we can only be reminded of those feelings by someone who has been there as well. Bender reads as a comrade. A fellow wounded soldier, marching on, because the only way is forward.
I think Bender falls under that umbrella we’re calling “magic realism” these days. You can determine the difference between magic realism, fantasy, and paranormal*, by the reaction of others to the weird events which are occurring. In a fantasy setting, magic occurs naturally. It may not be everywhere, but the world at large is not surprised by its existence. It is a thing that happens.
A paranormal or weird fiction story also features creatures or powers or events, such as a haunting or a mutant child or a werewolf running loose. However, society deems this strange. Government agencies get involved, or the townspeople hide the weird out of fear of reprisal. Everyone knows this should not be.
In a magic realism story, a weird thing happens, and everyone thinks it’s wrong, but no one does anything about it. The weird event serves to teach the main character something or to unsettle the reader. It doesn’t change the world but it may change the life of one little girl.
Bender’s collection is full of these stories. A woman whose boyfriend devolves, taking the evolutionary path back to the ocean. The authorities don’t get involved. He isn’t taken by a research center. His friends and coworkers stop calling to ask about him because she asks them to stop – simple as that. She watches him become ape, baboon, turtle, salamander, and yet, the story isn’t about his change. It’s about her discovery of what she can live with, and what she can’t – a theme I see time and time again in Bender’s work. In another example, a woman gives birth to her own (elderly, previously dead) mother, and the obstetrician, once he gets over his surprise, sends them all home. The story here is about letting go of the people you’ve lost, and the consequences of not letting go enough. It isn’t about the impossibility of having given birth to a full grown woman. That’s just the thing that happens in the midst of everything else.
I loved this collection. It’s another one that I have to pause while reading, to come up for air. Each story is its own moment and has to be felt as an individual experience. They’re moving, carrying themselves forward, taking you along for a stroll. You can’t stop the effect it will have on you once the story has started, and I’m certain that’s a good thing. It’s important to be powerless in the face of your fiction sometimes. We need to let go. It refreshes our brains and reboots our spirits and we can carry on with our own lives, a little changed, a little bit bigger than we were before. “The Girl In The Flammable Skirt” is a walk worth taking.
* I would argue that you can use “urban fantasy” instead of “paranormal” in most cases.