New year, new story, and this in a magazine I have long coveted publication. When I started reading contemporary SF/F/H again a few years ago, two of the first magazines I encountered were Shimmer and Clarkesworld and here it is–my first Shimmer story! It has the longest title I’ve so far come up with: “An Incomplete Catalogue of Miraculous Births, or, Secrets of the Uterus Abscondita.”
I wrote the story last spring, conceived and drafted during the second trimester of my pregnancy, though completed during the third.
Pregnancy is miraculous and terrifying and cool and weird. You grow a new organ. Your senses of taste and smell change. Your emotions. Your centre of gravity. I thought a lot about the peculiar subjectivity of pregnancy, in which you are once yourself and not at all yourself. In which the idea of a distinction between self, brain, body, and mind seems increasingly ridiculous, since your body undertakes actions beyond your control, and rewires your perceptions and your brain. Of course, this is always true of the mind/body relationship– but pregnancy foregrounds it.
I came across the story of Mary Toft a few years ago, and it so horrified me I couldn’t pursue it in fiction, though I wanted to. I returned to her in those strange months midway through my pregnancy, and I began to seek out other reproductive marvels: mooncalves, and headless children, and maternal impression, and hens that give birth to prophecy-eggs. Several times I encountered the image of a reversed birth, of children returned—forcibly—to their mother, and felt a deep, visceral horror at the image.
So what do I do with all those feelings? I collect them, and watch the images play against one another, and try to imagine what sort of era produces this deeply awful image of reversal, of wrongness, a disorder so profound it unsettles the forward momentum of reproduction itself. This is probably why Mary Toft’s story speaks to me so viscerally: it is unnatural in a deep way, and witnesses a stealthy, awful sort of violence that is at once intimate and public.
Finally, a note on attribution: I borrowed two lines of poetry in one of the story’s subtitles, which reads “where children thus are born with hairy coats / heaven’s wrath on the kingdom it denotes” which is, as far as I can tell, from an anonymous seventeenth-century work attributed to Aristotle.