Challenge 264

Good Can Come of It

What does it mean that the comic books in Kevin Ahearn’s “The Man Who Discovered Gay Man” are rediscovered like buried treasure?
In Philip Armstrong’s “Ferity,” what does the final escape of the shape-shifter signify? What is the symbolic significance of the forms it assumes?
Marge Burke’s “Lace” is the opposite of a revenge fantasy. Why are revenge stories easier to write than redemption stories? In what way is Jesse Gordon’s “Losing Character” similar?
The Spanish title of Sergio Gaut vel Hartman’s “Castaway” is “Naufrago de sí mismo,” literally “shipwreck of oneself.” And yet the English title is good: why?
What is the recognition scene in Arthur Vibert’s “The Last Bear”? Is there more than one such scene?
What is the paramount virtue of a benificent deity as depicted in Lee Moan’s “Intervention”? What logical conclusion might the gods reach about their usefulness in nature?
Julie Ann Shapiro’s “Mosquito Moon” is a kind of vampire story. But — the nature of the winged beasties aside — how does it differ from the usual kind?