Welcome to my spot on the blog tour for Velocities: Stories by Kathe Koja. Thank you to Meerkat Press for my spot on the tour. Check out my review, and don’t forget to enter the giveaway.
VELOCITIES: STORIES by Kathe Koja
RELEASE DATE: 4/21/20
GENRE: Collection / Dark Fantasy / Weird Fiction / Horror
From the award-winning author of The Cipher and Buddha Boy, comes Velocities, Kathe Koja’s second electrifying collection of short fiction. Thirteen stories, two never before published, all flying at the speed of strange. Dark, disturbing, heartfelt and utterly addictive.
Meerkat Press |Amazon | Indiebound | Barnes & Noble
Velocities by Kathe Koja is a uniquely diverse and addicting collection of stories. Each spoke to me in a different way, yet had the commonality of beautiful writing.
This is my introduction to this author and I am impressed. There is a story here for everyone. You may not love every story but the beauty is the collection as a whole has addicting quality to it. I couldn’t stop reading.
I cannot pick a favorite story as each was uniquely its own with this author’s own brand of language use. Just wonderful. Highly recommended.
*I received a free copy of this book from Meerkat Press in exchange for an honest review on the blog tour. All opinions are my own and unbiased.*
She liked them young, young men; princes. She liked them young when she could like them at all because by now, by this particular minute in time, she had had it with older men, clever men, men who always knew what to say, who smiled a certain kind of smile when she talked about passion, about the difference between hunger and love. The young ones didn’t smile, or if they did it was with a touching puzzlement because they didn’t quite see, weren’t sure, didn’t fully understand: knowing best what they did not know, that there was still so much to learn.
“Learn what?” Edward’s voice from the cage of memory, deep voice, “what’s left to learn?” Reaching for the bottle and the glass, pouring for himself. “And who’ll do the teaching? You?” That smile like an insect’s, like the blank button eyes of a doll made of metal, made from a weapon, born from a knife and see him there, pale sheets crushed careless at the foot of the bed, big canopied bed like a galleon inherited from his first wife—the sheets, too, custom-made sheets—all of it given them as a wedding present by his first wife’s mother: Adele, her name was and he liked to say it, liked to pretend—was it pretense?—that he had fucked her, too, going from mother to daughter in a night, a suite of nights, spreading the seed past four spread legs, and prim Alice could never compare, said Edward, with the grand Adele, Adele the former ballet dancer, Adele who had been everywhere, lived in Paris and Hong Kong, written a biography of Balanchine, Adele who wore nothing but black from the day she turned twenty-one, and “I don’t understand,” he would say, head back, knee bent, his short fat cock like some half-eaten sausage, “what you think you can teach me, aren’t you being just a little bit absurd?”
“We all have something to learn,” she said, and he laughed, left the room to return with a book, Balanchine & Me: Balanchine in color on the cover, a wee black-and-white of Adele on the back. “Read this,” putting the book into her hands. “Find out how much you don’t know.” Whiskey breath and settling back into bed, glass on his chest, big hairy chest like an animal’s, he liked to lie naked with the windows open, lie there and look at her, and “Are you cold?” he would say, knowing she was freezing, that her muscles were cramping. “Do you feel a draft?”
No, she could have said, or yes or fuck you or a million other responses, but in the end she had made none of them, said nothing, got out. Left him there in his canopied bed and found her own place, her own space, living above her studio: dance studio, she had been away for a long time but now she was back and soon, another month or two, she would have enough money maybe to keep the heat on all the time, keep the lights on, keep going. Keep on going: that was her word now, her world, motion at any cost. She was too old to be a dancer? had been away too long, forgotten too much, lost the fascistic grace of the body in torment, the body as a tool of motion, of the will? No. As long as she had legs, arms, a back to bend or twist, as long as she could move she could dance.
In the cold.
In the dark.
From PAS DE DEUX by Kathe Koja
Kathe Koja writes novels and short fiction, and creates and produces immersive fiction performances, both solo and with a rotating ensemble of artists. Her work crosses and combines genres, and her books have won awards, been translated, and optioned for film and performance. She is based in Detroit and thinks globally.
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