Kristine Ong Muslim ‘The Drone Outside’It is not officially morning but everyone in the world has already reported waking up from dreams either completely or partially encrusted with black mold. The general consensus: it is black mold, all right.
These snapshots (interconnected, but by the barest thread) of the apocalypse are laden with unknown references to veiled wider world lore and impressionistic aesthetics that lend them an oppressive, dreamlike quality. In Kristine Ong Muslim’s The Drone Outside,the boundaries of speculative fiction are pushed into a surrealist fantasy space. Muslim envisions our species’ shared narrative limits. Some of these pieces are descriptively rich, others merely fragments of dialogue such as ‘The Outsiders’ or contextually obscured epistolary microfictions such as ‘Demolition Day,’ a series of letters, at least one to the dead. From the first page to the last, we readers are haunted by something so incomprehensibly vast (in its consequences and reach) that it becomes, essentially, a limit experience to contemplate. The longest and most memorable story (the most sensibly narrative based) is ‘The Early Signs of Blight,’ which obeys many of the conventions of a supernatural horror, only to be so enigmatic about the locus of its horror — which is only semi-perceived and even then largely from a child’s point of view — that it becomes something more than this genre categorisation helpfully indicates. It is eerie not chiefly because it is cosmic or alien, but because those qualities are barely detectable beneath a kitsch domesticity, but sufficiently present to invoke the eerie.