By Courtney E. Morgan
In surprising and occasionally extraordinary narrative turns, the tales in Courtney E. Morgan’s The Seven Autopsies of Nora Hanneman traverse the gamut of female/human event, either grounded actually and within the irreal. schoolgirls culminate their sexual exploration in a surreal act of cannibalism. A sister molds her lifeless brother’s physique right into a fowl. a lady provides start to balls of cord and fur (among different things). A intercourse employee engages a model of herself in a brothel of prostituted physique parts.
Morgan tears aside a bunch of archetypes and tropes of femininity—dismembering them, skinning them, after which draping them one after the other over her characters like fur coats—revealing them as ill-fitting, occasionally comedic, occasionally gigantic, and continuously inadequate, mask. besides those skins of the cultural “feminine,” the gathering attempts on an array of genres—dissecting, mutating, and breeding them together—from fairy story to horror, surrealism to confessional (non)fiction, and erotica to (un)creation myth.
The booklet weaves round questions of sexuality, id, and subjectivity. Mutability, instability, and liminality are foregrounded, either in content material and shape, personality and language—blurring the traces among delivery and demise, dying and intercourse, tugging on the transitional areas of formative years and gestation. whilst its therapy is essentialized, gender is muddied and obscured. Morgan exhibits off her linguistic diversity during this assortment, from sharp-as-nails prose to lyrical moments of poetic reach—probing the extremes of the human via either narrative line and language itself.
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The Seven Autopsies of Nora Hanneman: Stories by Courtney E. Morgan