Review by Ian Keogh

In an introduction Colleen Douglas writes of the stories she heard growing up in Guyana and how there’s a strong mythology that’s constantly overlooked in the wider world. With the material adapted for Silk Cotton she hopes to put that right.

That being the case, Silk Cotton needed far greater clarity as right from the start of talking spiders, nightmares and protectors manifesting in a child’s bedroom during a nightmare, events seem random and lacking foundation. That can be the way with folklore and oral tradition, but it’s not a way to involve people in a story, and it’s also missing an immediate emotional hook with Peter, the child whose mother dies, seemingly very accepting of what’s happened.

He’s the same ten years later, when it comes to believing a talking spider in preference to the Aunt that took him in and raised him. It’s the right thing to do, but there’s again no explanation for what happens. Why would the spirit within his Aunt wait all that time masquerading as kindly before revealing herself as evil? We never know. The sample art serves as an example. It’s not the local dialect that’s a problem, but the references to unknown concepts.

If you’re willing to go with the flow, the fantastic is attractively presented by artist Jesus C. Gan. He’s imaginative as Peter heeds warnings, extricates himself from danger and allies himself with others whose intentions are good. Whether designing magical creations himself, or following known descriptions, Gan conceives the visually memorable. Lorenzo Palombo’s bright colours add an extra layer of atmosphere.

However, Silk Cotton never comes to life as it should, reading throughout as if Douglas is so familiar with the stories she doesn’t realise they need explaining. The introduction to individual myths after the story reveals fascinating looking characters concisely explained, so this is sadly wasted potential.