by: Kelly Ann Rogers
Farah Daye, who unfortunately hasnt written anything
recently, has nonetheless left behind a charming set of four short stories, each of which
is a little gem. Farahs world is sweet and tender, sometimes infused with magic, and
always utterly and delightfully feminine. Indeed, Farah instills her characters with a
palpable sense of joy in being feminine. They revel in it. They exult in it, and they
share it with you in a most generous way.
The "Imitation Wife" has long been one of my favorites. Its the story
of a young male nursing student who, as a joke, dresses as a female nurse during a school
ceremony. This lands him in hot water, but the kindly school administrator
offers a way out.
"Just act as my wife for a few days," he offers.
"You bet," replies, your heroine, barely able to hide her glee.
And the story goes from there. Of course our girl adores what happens to her, and we
adore it along with her as she drifts to the end of the story, which allows her to
discover what being a wife really means, in a dreamy, almost trance-like state of
pleasure. Its easy to imagine this is how an adoring new bride feels once she has
gotten home for the first time with her new husband. Theres an interesting twist at
the end, but when its over, all you can say is Oh no, that cant be the end.
I want more.
In "Stress Response", we meet a husband with a strange reaction to stress; he
turns into a woman (this is TG fiction right?). The lovely wife is enchanted and soon
comes to see possible advantages in this and has him substitute for her at her job when
she occasionally needs to be elsewhere. Of course he adores it, and of course he takes up
with her lovers, and of course..., well youll just have to read it. The most
wonderful part of this story, however is not the narrative, which is just fine, but it is
the way Farah inhabits her occasionally female main character. She is sensual, deliriously
happy with the femininity of the experience, and almost euphoric in her love of being a
woman. Enjoy the ride.
Another of my favorites is "The Willow Tree", a love story. Two star-crossed,
adulterous lovers end up trapped in each others bodies as the result of an unlucky
lightning strike. Worse, though they love each other dearly, they are both stuck in
unhappy marriages and seem doomed to live each others joyless lives, especially when
her circle of witches steps in and forbids them from seeing each other. But love will
triumph over adversity, and with the help of... Well, I told you, its a love story.
Did you ever get one of those small boxes of Godiva chocolates? You know, a small
number of absolutely rich and heavenly truffles, fudges, and fruit-filled chocolate
candies. Farahs fourth piece is one of those. It contains a set of seven little
vignettes. None of these are long, but all are touchingly sweet, and are written with a
wonderful sense of poignant innocence. If they were photographs, they would have been
taken at the end of the day, when the golden red glow of the sun makes everything look
better. They would be framed with flowers, handled with fond nostalgia, and viewed with
contented sighs. Youll probably read them that way too.
Farah has not written much, but what she has written is a real romantic gift to her
readers. Theres nothing harsh in her stories; they are all soft and innocent and
sweet. What distinguishes them is the utterly feminine feel that infuses them and the
enchanting joy the characters express about being feminine. These are not stories about
sissies, sluts, or whores, they are about someones sweetheart, who is seen from a
distance wearing a flowing, lacy dress, and resting languorously in a sunny garden. Go,
join her. It will be a delightful interlude for you.
by: Sydney Michelle
When an author chooses a nom de plume as imaginative as Farahs
play on words, the read begins with great hopes of literacy and ingenuity. Farah does not
Her writing makes for a very easy read without being boringly limited in structure.
Beginning writers please copy: Read her stories, preferably aloud, to develop your
sense of pace, rhythm, and description. When Farah reuses her story elements, the sinking
feeling of "here we go again" is definitely missing. Her stories are inspired by
some of the best sources, with her development deserving high marks.
When it comes to the inevitable intercourse, Farah belongs to the "less is
more" school of description. If your interest is full bore descriptions, Farahs
work wont be for you, but if you find the dance more exciting than the aftermath,
then her work will provide a more than adequate springboard for your imagination.
Farah has posted three short stories and a collection of vignettes, characters and
situations that might be expanded into future stories. The short stories are long enough
for decent character exposition and lots of well done description. The plot devices are
sufficiently explained to ease the necessary willing suspension of disbelief.
In "Stress Reaction," a psychological affliction comes with a convenient, for
the writer, physical side effect. A wish hidden, a dream fulfilled, and a loving woman who
will conveniently pass on without hurt. What more could a fantasy offer?
In "Willow Tree," the change blends life after death and body snatching into
a surprising yarn of magic, hidden forces, and soul mates. This one gets a bit muddy in
deciphering who is what at times, but with so many characters having so multiple
identities, that goes with the territory. Rest assured, the bad guys get theirs, and life
happily ever after ensues.
In "Imitation Wife," a prank and opportunity leads to wish fulfillment. Two
themes combine, as though the writer were searching for an audience, much as the where do
we go from here? questions at the end suggested. The wish fulfillment aspect really
doesnt gee with the tricked and betrayed theme, detracting somewhat from the ending.
Its still a good read, just not the best.
The final submission contains seven scraps of work, some character developments, some
plot skeletons. The works are not fully developed, but Farahs writing style rarely
flags. The first exercises description to the max, the love of women, of the possibility
of being a woman, coming through loud and clear. The second concentrates on plot at the
expense of character, a situation of bad males leading to disguise, socialization, and
unprotested physical conversion. The third provides voyeuristic descriptive exercise, a
fragment that could be developed many ways. The fourth returns to description from the
changelings point of view. The final three are a bit longer, a theme and variations on the
lucrative safe harbor of life as a club performer. The lite motif is the desire for
connections, of life beyond the solitary.
If one had to pick a theme for Farahs work, it would be Anticipation, competently
performed with flair.