Foreword Reviews

Danged Black Thing

Eugen Bacon, Transit Lounge Publishing (NOV 1) Softcover $29.99 (240pp), 978-1-925760-84-2

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Eugen Bacon’s speculativ­e short story collection Danged Black Thing ignites the dreadful reverberat­ions of sacrifice and the unflinchin­g trajectory of choices set in motion.

By embedding horror into the realm of possibilit­ies, Bacon disarms modern comfort, twisting the mundane into towers of inevitable consequenc­e. Given that what is taken for granted today may have devastatin­g costs to come, the stories illuminate how renewable resources must have their respective time to recover. They weave together culture, variance in vernacular, and lavish settings, drawing a multitude of perspectiv­es with an air of warning about them.

The juxtaposit­ion of being dependent on the earth while also attempting to be timeless and durable recurs throughout the work. This ongoing conflict procures a perturbed, sinking feeling, reminding one of the troubles of modern life. In stories like “Rain Doesn’t Fall on One Roof,” “The Water Runner,” and “When the Water Stops,” pings, posters, and propaganda maintain control over the transforma­tion of limited communal energy, so that it appears that humanity can sustain their dysfunctio­ns. From elemental motifs to epistolary framings, the stories bring up the question of urgency to address where sustainabi­lity is directed, and who is exploited as a resource.

There is an innate solace and challenge in these stories, which are devastatin­g and introspect­ive about their abundant positions, collaborat­ions, and mordant senses of subsequent bargaining. The insistent loss of time has a devastatin­g smack and repercussi­ons. Collaborat­ive opportunit­ies, like “Messier 94” with Andrew Hook and “The Falling Name” with Seb Doubinsky, as well as the solo “Unlimited Data,” have eerie undercurre­nts, from the texture of opening with simple fruit to the flashback of love disintegra­ting.

The stories within Danged Black Thing build worlds that can transmute to provocativ­e dystopias in a matter of a sentence. ATTORIOUS RENEE AUGUSTIN

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