This has been hiding in a corner of our web, with the intention of finding a magazine to take it, but the world doesn’t quite work like that, so here it is, front and centre. Thanks Rachael!

Spiders frequently get bad press but according to folklore, the spider represents strong feminine energy, creativity and strength. Perceived to be portents of good luck I have long cherished the spider who lives in my car’s right-hand wing mirror, a miniscule and fine-legged specimen who shivers on her web whilst withstanding the most turbulent of journeys.  On cool autumn mornings there is nothing more beautiful to my camera than the belly of the sun bringing hundreds of dew-laden spider webs into plain view.

To celebrate eight years of publishing, Arachne Press are quite aptly celebrating their success with an anthology of spider literature. This volume of poetry and short fiction explores all things spider at close range, a reading experience which lends itself to being mutually magnifying and yet strangely distorting in its small world exploration of darkly haired creatures who straddle the borders of good and evil, of myth and folklore, of past and present. Crucially, nature meets with human in these narratives full of imagination. Skewered perspectives turn myth and stereotypes on their heads to bring readers the type of spiders that literature needs.

Stella Wulf’s Femmes Fatales is a five-stanza poem which personifies the spider via the timescale of human life from childhood through to adolescence, then adulthood followed by two climax stanzas in which we view the spider’s attack. It is akin to watching a nature documentary in which the spider’s life plays out before viewer’s eyes as we watch the courtship, the struggle. The female as both human and spider is located firmly in the male gaze and potent in the possession of her aesthetic power. The protagonist’s mother warns: it takes more than long legs / and fine bones, to get on in life. Here, we find a girl in adolescence who learns to climb proficiently and challenge social expectations yet discovers her ability to manipulate men reigns supreme. Assonance is shot through this poem, a soft assured chain of stealthy words that sound out the spider’s attack: ‘slip of silk’ ‘see them squirm’ ‘subdued’ ‘watch them sleep’ ‘spin my dreams’’ ‘skitter light’. This is a stunning poem dense with sibilance and sound which echoes that of the spider’s slow seduction of the fly and concludes fittingly: with the female triumphant.

Natalie Rowe’s If You Kill a Spider, the Rain Will Come is a touching poem about the significance a spider takes on following the loss of a father. The weight of grief is beautifully threaded through the close daily observations of a house spider. Longing for conversation, the protagonist:  ‘…began to talk to her / wishing her a good hunt’  As winter approaches, so comes dependence:  ‘I could not stand to lose/ one more  living thing.’ Grief is projected onto the spider’s survival as substitution for the loss of a father and fuelled by a desire to nurture her pet with cockroaches and flies to prevent further loss. Rowe captures that colossal fear post-death of having no control over external factors and exhibits quite painfully, in this tender piece, how we attempt to cling to hope and how futile our caring tendencies can be.

Phoebe Demeger’s Clearing Out the Shed is a flash fiction which features a narrator sorting out her parent’s shed before the house is occupied by a new family. Emotional restraint in the voice ensures that not all of history is given up, allowing the reader to fill the white space with their own interpretation of the parent’s last decade in the building. Setting is conveyed as stagnant and freeze-framed, the protagonist reluctant to ‘disturb the tomb-like atmosphere’ as though the undisturbed spiders in the shed are guarding her parent’s ghosts. A transitional story threaded through with nostalgia and loss, and yet, also, silvery beginnings, and the spiders who seem to represent guardians.

Elizabeth Hopkinson’s piece, Web of Life, draws on the myth of Arachne the weaver who challenged Athena to a tapestry duel and was subsequently turned into a spider. This is such an acoustic story which draws on crochet instructions to convey the process of web making: Chain four. Double crochet. Slip one. Repeat.  The repetitive labour of humans crocheting is closely associated with the spider’s spooling, a sound which can be heard and soothes the ears. A web big enough for the world is created, a handiwork way beyond any spider’s web. This is no lair but a safe house for all of nature’s winged creatures: Silver-Spotted Skipper, Adonis Blue. Hazel Pot Beetle. Language is used so economically, here, but the authentic species names and the specifics of the weaving process gives this small but global story an energy of its own.

This is an inspired and diverse collection of poetry and fiction which sharpens the focus of the lens on the life of the spider. Small-world is magnified for readers who get to see nature in action and often from slant perspectives. Sacred value is given to arthropods who inject their venom and snare with silk, who protect and guide, who attack and seduce, and in seeking out such a range of literary imaginations, the spider really is given new legs.