Sunday, May 19, 2013

Ebook Edition of Nancy Jane Moore's Conscientious Inconsistencies

Conscientious Inconsistencies
Nancy Jane Moore's collection, Conscientious Inconsistencies, which was originally published in a now out-of-print limited hardcover edition by PS Publishing, is now available as an ebook from Book View Cafe.

The ebook includes the original introduction by Timmi Duchamp and the cover is based on the original cover painting by Edward Miller. You can see more of Miller's art on the Les Edwards website.

An excerpt from one of the stories in the collection, "Three O'Clock in the Morning," is on the Book View Cafe blog.

Friday, May 17, 2013

Seattle Science Festival

Here's a press release from the Seattle Science Festival (June 6-16), which will be offering a program of interest to anyone even slightly geeky:

I would like to take this opportunity to invite you and your organization to the second annual Seattle Science Festival. This year, the region’s largest celebration of science will take place June 6-16, 2013 to celebrate the importance of science, technology, engineering and mathematics (STEM) to our community’s culture and to its continued growth and prosperity. The Seattle Science Festival will consist of the following components:

·         Science EXPO Day, Saturday, June 8, will feature exciting, engaging events all day long throughout the grounds of Seattle Center. Over 15,000 students, parents, scientists, educators and other community members are anticipated to take part in this FREE event. Science EXPO Day will showcase over 150 hands-on activities and demonstrations; it will also feature live science performances on the EXPO Day Stage. FREE BUS PARKING IS AVAILABLE ON SCIENCE EXPO DAY! Contact Jordan Adams at jadams@pacsci.org for more details.

·         Signature Programs, June 6-16, will provide events developed by our program collaborators specifically for the Seattle Science Festival. Signature Programs include behind-the-scenes tours, science adventures, field trip opportunities for classrooms, workshops, screenings of science-themed films, a Cool Jobs Series at the Seattle Public Library on June 9-Computer Science, June 12-Green & Clean Technology, and June 13-Biomedical Science, plus many other events held at venues all over the Puget Sound region.

·         Opening Night at the Paramount Theatre, June 6, 8 – 10 PM Beyond Infinity? The Search for Understanding at the Limits of Space and Time. Featuring Brian Greene, Sean Carroll, Adam Frank and the West Coast premiere of Icarus at the Edge of Time, and music by Philip Glass, conducted by Marcus Tsutakawa and performed by the Garfield High School Orchestra. Avoid service charges by purchasing tickets IN PERSON at the Paramount Theatre Box Office at 911 Pine Street, Seattle, or for 10 or more tickets, contact their Group Sales Manager at (206) 315-8054. 

·         Closing Night at the Seattle Repertory Theatre, June 15, 7:30 – 9:30 PM Our 11th Hour: Straight Talk on Climate Change from People Who Know. Featuring Kevin E. Trenberth, Richard Alley, Andrew Revkin and a performance of Seattle Opera’s Heron and the Salmon Girl. Buy tickets at www.seattlesciencefestival.org.

These high profile events will present some of the greatest scientific and creative minds of our time and weave together science, music, art and philosophy for two inspiring, thought-provoking and engaging evenings.

How can you get involved?

·         Sign up for the Seattle Science Festival E-Newsletter
·         Coordinate a group of students to bring to a Seattle Science Festival event
·         Become a Seattle Science Festival Ambassador and help spread the word
·         Sign up to be a Seattle Science Festival volunteer by May 22

Visit www.seattlesciencefestival.org to learn more about how you can get involved and I hope to see you there!

Wednesday, May 15, 2013

Tanith Lee's Space Is Just a Starry Night

I'm pleased to announce that Aqueduct Press has taken delivery of Tanith Lee's new collection, Space Is Just a Starry Night. The tales in Space Is Just a Starry Night range across genres, as elegant as the field of stars spanning a clear dark sky. A lone survivor of plague receives a mysterious visitor; a prison planet tortures political prisoners by methodically manipulating their memories; a young woman uncovers the ghastly truth about the cryogenically preserved ancestor who’s been thawed; a ship's officer struggles with his suspicions about a shy drab woman taking passage aboard a ship of sun-worshipers—Tanith Lee explores these and other scenarios in her ever intense sensual prose.

Tanith Lee's work has long been noted for its masterful beauty and sensuality. Wierdifctionreview.com's list of 101 Weird writers slotted her in at #10, observing that “Whatever her subject, Lee's vision is intense and feverish; like many of her characters, she seems to navigate the waters of unseen worlds. And it’s difficult to resist the call of that spell; there's something haunting about these visions.”

And here's the first review:

Lee’s powerful science fiction collection assembles 12 tales published between 1979 and 2011, plus two originals. All of them showcase her strong, entertaining, and often gorgeous writing. “The Beautiful Biting Machine” packs an irresistible wallop as it describes a sensuous sideshow at the Nightfair, a sort of giant carnival of dark desires. The werewolf myth takes on a deep space element in “Moon Wolf,” in which Lee's prose is lovely: “The ocean came in, sigh on sigh, quintessential sea, to solace the onyx shore, under the solar light that did not glare any more but was smooth as the taste of cream.” The intriguing “With a Flaming Sword” puts an unusual spin on the story of Adam and Eve (in a manner that might fluster Biblical literalists). “Written in Water” also tackles creation myths, with a far grimmer outcome. This is a solid grouping of stories that deserves a broad audience. —Publishers Weekly July 06, 2013

"Once worlds have ended, and the curtains of space closed upon them, where does their genius go? Their great music and art, their architecture, literature, and thought, their beauty—all held till then in vessels of physical form, or the records of machines, or simply in the memory of humankind. Is everything obliterated merely, rinsed away and lost?"   —from “Within the Ghost”

You can purchase the book now, in trade paperback as well as e-book editions, in advance of the official release date, directly from Aqueduct Press. Eventually, of course, it will be available in all the usual places. 

Friday, May 10, 2013

Last night at the Seattle Public Library

Good things happened last night in the auditorium of Seattle's Public Library. Ursula Le Guin, who came up from Portland, Mariano Martin Rodriguez, who flew to the US from Brussels, author Gheorghe Sasarman's daughter, who flew to the US from Munich, and his nephew who came down from Vancouver BC, all joined forces with University Bookstore and the Seattle Public Library to launch Sasarman's Squaring the Circle: A Pseudotreatise of Urbogony, into the anglophone world. Misha Stone opened for the Seattle Public Library with a brief introduction, then presented Sasarman's daughter, Anna, who read his letter to the audience in fluent English, detailing a bit of the book's history dating from the mid-1970s (and its vicissitudes under the insanities of the infamous Ceausescu regime) and the importance to him of its finally achieving an English-language publication.

The book's Spanish translator, Marian Marin Rodriguez, spoke next, describing the book's happenstance survival through the diverse sorts of misfortunes that can befall books (and which often end in their eternal obscurity). He himself somehow came upon the French translation of Squaring the Circle, an edition of the book which was nearly lost forever when its publisher went bankrupt shortly after the book was printed, and as a result sought out the Romanian original and tracked down its author. He then undertook the Spanish translation with the author's blessing. When his Spanish translation was published, Mariano sent the book to Ursula, his favorite English-language author. It was a little like putting a message in a bottle, he said-- a gesture of hope but little certainty that she would actually one day read the book.

Next Ursula took the microphone. Many people send her their books, she said, and so as she usually does, after receiving the book, she paged through it, appreciating the beauty of its design, and sent Mariano a polite note thanking him. In most such cases, the audience was left to infer, that would be the end of the story. But the book persisted in remaining on her desk-- where, Ursula said, very few books ever stay for long. And so before long she picked it up and decided to try one of its tales. Its language appealed to her, and she tried another. Then she decided she wanted to translate what she was reading because, she said, it was only when she makes a translation into English that she feels she really understands the Spanish.

And here's the thing: Ursula loves making translations of work she likes because translating is very much like the part of writing that she loves best: revising and rewriting. The hard part of writing fiction, she said, is getting the first version of the story into words. But revising? "Revising is gravy." At this point I was swooning with pleasure, because that's exactly how I've come to feel about fiction writing, myself (even if I didn't start that way).

And then Ursula told the rest of the story, about translating the first few with the idea of getting them into English-language sf magazines, and then deciding (when that didn't look promising) to translate enough of the book's 36 tales for a book that a publisher like Aqueduct might want to publish. In the end, she translated 24. By this time she was in contact with Mariano, and eventually they together consulted the author on points they couldn't be certain of. And thus was born the English-language edition Aqueduct has published.

The next part of the program also delighted me. Ursula read the collection's second tale, "Arapabad" in her translation (in English), Mariano read it in his translation (in Spanish), and the author's nephew, Vlad, read the original tale (in Romanian). Ursula also read "Vavylon," and she and Mariano read the English and Spanish versions of "Kriegbour" (which Mariano dramatized as he read).

Next came  questions from the audience with answers from Ursula and Mariano, followed by their
signing books. Which took a long, long time, since many people had books for Ursula to sign. And not only books to sign-- as you can see from Misha's photograph, Ursula also signed a guitar last night.

I believe there will eventually be a podcast of the event available, made by the Seattle Public Library. As soon as I've heard anything about that, I'll let you all know. 

Monday, May 6, 2013

Event alert!

On Thursday evening, Ursula Le Guin and Mariano Martin Rodriguez, translators of Gheorghe Sasarman's Squaring the Circle, will be celebrating its release at the Seattle Public Library. The event promises to be a bit off the beaten path of readings, because Ursula and Mariano will be discussing the translation process that brought the English version of the collection into existence as well as taking turns reading tales in English, Spanish, and the original Romanian.

Here's the SPL's press release:

Ursula K. Le Guin and Mariano Martin Rodriguez discuss 'Squaring the Circle' at The Seattle Public Library May 9

Ursula Le Guin
Acclaimed poet and author Ursula K. Le Guin and Mariano Martin Rodriguez will discuss translating Gheorghe Săsărman's "Squaring the Circle: A Pseudotreatise of Urbogony" from 7 p.m. to 8:30 p.m. Thursday, May 9 at The Seattle Public Library, Central Library, 1000 Fourth Ave., Level 1, Microsoft Auditorium.

The program is free and open to the public. Registration is not required. Limited parking is available in the Central Library garage for $5 after 5 p.m. Doors will open at 6:30 p.m.

"Squaring the Circle: A Pseudotreatise of Urbogony" is a collection of stories that explores imaginary societies and human nature through architectural descriptions of alien cities. The stories were originally published in Romanian in 1975.

Le Guin is an award-winning poet and author. She has received five Hugo awards, six Nebula awards and the PEN/Malamud Award for "excellence in a body of short fiction" in 2003. She lives in Portland, Ore.

This event is supported by The Seattle Public Library Foundation, author series sponsor Gary Kunis, and media sponsor The Seattle Times. It is presented in cooperation with University Book Store.  Books will be available for purchase and signing.

For more information, call The Seattle Public Library at 206-386-4636 or Ask a Librarian.

For more information contact:

Andra Addison, communications director
206-386-4103

Sunday, May 5, 2013

On discovering a "first sale" I somehow never knew about

For years I've had dreams in which I discover a cache of stories I've written and completely forgotten about, only to discover them with amazement and delight. What's just happened to me shares something of the feel of those dreams-- only with an unpleasant affect.

Thanks to Google Scholar, I just this afternoon learned-- 24 years after the fact-- that a story of mine was published without my permission or even knowledge in the minnesota review. Though this is not exactly catastrophic news, it's turned my stomach inside-out and is making my brain buzz with so much noise that I'm finding it difficult to concentrate on anything else. Perhaps the best way of putting it is to say that my sense of reality feels threatened. (I'm expecting that this rocky feeling will vanish soon, when I've processed this revision of my personal history.) What adds an extra little force to the punch is that this would have been my first sale (had my permission for publication been solicited by the journal).

 One part of me is trying to imagine the difference this sale would have made to me in 1989 (the year I made my first sale, "O's Story," to Susana Sturgis for her Crossing Press anthology Memories and Visions: Women's Fantasy and Science Fiction), when I had given up on marketing the Marq'ssan Cycle or indeed any of my novels and was trying to break into the short fiction market. When I didn't hear back from the minnesota review after ten months, I assumed they'd rejected the story, "Ms. Peach Makes a Run for Coffee," and next tried Interzone-- around the time the minnesota review published it. The story then received 19 rejections from a mix of literary and genre magazine, until Terra Incognita bought first serial rights to its publication in 1996. Some of the rejections were brutal, because the story was overtly political. It went through numerous line-edits over those years. So the version published by the minnesota review is slightly different from the one published in Terra Incognita. I have no idea why the editors published it without contacting me. But I do note that the contributors page omits my name-- presumably because they did not solicit a bio from me.

Another part of me is wondering whether I've been naive about this. I always tell writing students that reputable publications do not publish submissions without permission-- that they have little to fear from publications with an established reputation. I'd probably say that still--and yet, I wonder whether I ought to. This strangely improbable thing happened to me-- something I wouldn't have known about if Project MUSE hadn't archived old pre-internet issues and Google hadn't included that issue in its search. One part of me is sure there must be some benign explanation. Some mix up in paper work. An overworked assistant dropping the ball. Is that naive? I don't think so. As a publisher myself, I know enough about the nuts and bolts of publishing to imagine such a thing happening even with the best intentions.

 A third part of me worries about a question I can't answer and might need an attorney to instruct me on: did minnesota review's appropriation of my work rob me of my rights? Did I lose the rights to that story after they pirated it? I fervently hope not. I've had it posted on my website for free download for several years now-- not knowing that someone else had published it first. And it would seem the height of injustice that their violation of my copyright would result in my loss of ownership. (Which is not to say that even more egregious injustices don't often happen.) Ought I to remove "Ms. Peach" from my website?

And yet another part of me-- the part that is always producing sfnal thoughts-- is yearning to imagine an alternate history, in which I received an acceptance letter informing me of my first sale (likely prior to my sale of "O's Story"). Would it have made any difference to me? After all, I'd already written "The Forbidden Words of Margaret A." and "Sadness Ineffable, Desire Ineluctable" and was at the peak of my political activism and about to go on to write The Red Rose Rages (Bleeding)." Probably it wouldn't have substantially affected my writing or my self-confidence (except to make me interested in submitting to that journal again-- which I never did, simply because they couldn't be bothered to send me even a form rejection). So, no significantly divergent alternate history. But in a way, it feels as though two splits in the historical thread have suddenly converged. I suppose this is because something involving myself happened that I've only now become conscious of. As though where my own words have been can't have happened in real time unless I know about those places... which is just wrong, of course. People usually have to learn the hard way that once something's been out on the internet--say, posted to an obscure list-serv, it's to all intents and purposes there for good. And now it seems unaccepted submissions to pre-internet print publications may fall into the same category, too. (God knows I've learned that pre-internet letters to the editor, invidiously doctored by the editors, are now out and accessible on the internet.)  

(The image shown, by the way, is W. Gregory Stewart's illustration to "Ms. Peach Makes a Run for Copy" published in the first issue of Terra Incognita.)


Tuesday, April 30, 2013

Storyteller and listener: an ongoing dynamic interaction between two brains

One of the points I strive to make when I'm teaching writing is that though the words on the page flow from the story in the writer's head, the words on the page aren't the story, but the means through which readers can imagine and re-create the story in their heads. Writers notice when the stories they've created differ from those re-created by readers more than they do the congruences-- presumably because we take the latter for granted and tend to assume that if we and our readers are both doing what we should, there ought not to be many differences between the created and re-created stories. Maybe that assumption is just hopeless wishful thinking. After all, the reasons for those discrepancies are many and many, not necessarily the fault of either side.

Given my longtime preoccupation with this relationship, I'm fascinated to find that neuroscientists are comparing, via fMRI, what happens in the brains of people telling a story with those hearing it. One  attempt at such a comparison is the paper Speaker-listener neural coupling underlies successful communication, published in the Proceedings of the National Academy of Science (July 26, 2010) available (free) online, by Greg J. Stephens, Lauren J. Silbert, and Uri Hasson.(One of the lovely features of this online publication is that rolling the cursor over hyperlinks will bring up figures and references without the user having to click away from the page to see them.)

I especially like that the authors characterize communication as an "ongoing dynamic interaction between two brains." Would it astonish you to learn that the authors report that the brains of those hearing a story mirror-- usually with a one-to-three-second delay-- what happens in the brains of the person telling the story? (Though of course once I start thinking about it, I have to wonder to what extent the brains of persons engaged in antagonistic communication might mirror one another.) The authors suggest that this "neural coupling resembles the action/perception coupling observed within mirror neurons." Particularly interesting for writers is that those listening to stories do a certain amount of anticipating-- and that the more their brains anticipate, the greater their comprehension of the story communicated:
Our analysis also identifies a subset of brain regions in which the activity in the listener's brain precedes the activity in the speaker's brain. The listener's anticipatory responses were localized to areas known to be involved in predictions and value representation (20–23), including the striatum and medial and dorsolateral prefrontal regions (mPFC, dlPFC). The anticipatory responses may provide the listeners with more time to process an input and can compensate for problems with noisy or ambiguous input (24). This hypothesis is supported by the finding that comprehension is facilitated by highly predictable upcoming words (25). Remarkably, the extent of the listener's anticipatory brain responses was highly correlated with the level of understanding (Fig. 4B), indicating that successful communication requires the active engagement of the listener (26, 27).
I've long believed that the stories that are least likely to be grossly misread are those that are in important ways already familiar to readers. Intelligibility is all about familiarity-- which is why it's so difficult for writers to get good readings for new, unfamiliar-to-the-reader stories. A more recent study conducted at Emory--reported here looked at how the brain reacts to metaphors:
"We see that metaphors are engaging the areas of the cerebral cortex involved in sensory responses even though the metaphors are quite familiar," says senior author Krish Sathian, MD, PhD, professor of neurology, rehabilitation medicine, and psychology at Emory University. "This result illustrates how we draw upon sensory experiences to achieve understanding of metaphorical language."
Sathian is also medical director of the Center for Systems Imaging at Emory University School of Medicine and director of the Rehabilitation R&D Center of Excellence at the Atlanta Veterans Affairs Medical Center.
Seven college students who volunteered for the study were asked to listen to sentences containing textural metaphors as well as sentences that were matched for meaning and structure, and to press a button as soon as they understood each sentence. Blood flow in their brains was monitored by functional magnetic resonance imaging. On average, response to a sentence containing a metaphor took slightly longer (0.84 vs 0.63 seconds).
In a previous study, the researchers had already mapped out, for each of these individuals, which parts of the students' brains were involved in processing actual textures by touch and sight. This allowed them to establish with confidence the link within the brain between metaphors involving texture and the sensory experience of texture itself.
"Interestingly, visual cortical regions were not activated by textural metaphors, which fits with other evidence for the primacy of touch in texture perception," says research associate Simon Lacey, PhD, the first author of the paper.
"I don't think that there's only one area responsible for metaphor processing," Sathian says. "Actually, several recent lines of research indicate that engagement with abstract concepts is distributed around the brain."
"I think our research highlights the role of neural networks, rather than a single area of the brain, in these processes. What could be happening is that the brain is conducting an internal simulation as a way to understand the metaphor, and that's why the regions associated with touch get involved. This also demonstrates how complex processes involving symbols, such as appreciating a painting or understanding a metaphor, do not depend just on evolutionarily new parts of the brain, but also on adaptations of older parts of the brain."
All of which underscores the importance of using sensory detail in fiction, no? (And probably in nonfiction, as well-- whenever possible.)

Thursday, April 25, 2013

A couple more links-- for the outrage

Amanda Filipacchi, in an op-ed for the New York Times, "Wikipedia's Sexism Toward Female Novelists," writes:
I JUST noticed something strange on Wikipedia. It appears that gradually, over time, editors have begun the process of moving women, one by one, alphabetically, from the “American Novelists” category to the “American Women Novelists” subcategory. So far, female authors whose last names begin with A or B have been most affected, although many others have, too. 

The intention appears to be to create a list of “American Novelists” on Wikipedia that is made up almost entirely of men. The category lists 3,837 authors, and the first few hundred of them are mainly men. The explanation at the top of the page is that the list of “American Novelists” is too long, and therefore the novelists have to be put in subcategories whenever possible. 

Too bad there isn’t a subcategory for “American Men Novelists.” 

People who go to Wikipedia to get ideas for whom to hire, or honor, or read, and look at that list of “American Novelists” for inspiration, might not even notice that the first page of it includes far more men than women. They might simply use that list without thinking twice about it. It’s probably small, easily fixable things like this that make it harder and slower for women to gain equality in the literary world. 
Read the whole piece here.

Allison Flood, at the Guardian, follows up with an update, noting:
Their observations sparked a widespread condemnation of the policy on social media. "Women writers are consistently underrepresented, their work receiving much less attention than that of their male counterparts. In 2012 the New York Review of Books reviewed only 40 female authors, as opposed to 215 male authors," wrote Abigail Grace Murdy on the publisher Melville House's blog. "The subcategory 'American women novelists' "simply reflects a widespread and belittling perception of women writers that already exists. But in reflecting that perception, Wikipedia perpetuates it, and the sexism marches on."
Wikipedia editors have now begun the task of adding the female writers back into the wider category, while debating the situation among themselves. "This is embarrassing us on a global basis. If you don't segregate males and gender unknowns, then don't segregate women (and that's how it's being perceived)," wrote one.
Another said: "Removing women from the list of novelists is like removing black or foreign-born novelists. Its effect is inherently biased. For those who want to find women novelists, a sublist is acceptable, but it cannot fairly involve removal from the main list. The effect is too discriminatory and drastic. The same applies to all women-nationality lists (not only novelists). I think this kind of category, based on the characteristics of the novelist, is very different from a subcategory based on the characteristics of the novels, eg, mystery novelists or science-fiction novelists."
Read her entire piece here.

Stuff of interest

First off, congratulations to Nicola Griffith! The Lambda Literary Foundation has announced that she is one of two writers being awarded the 2013 James Duggins Outstanding Mid-Career Novelist Prize. The judges commented: "Trebor Healey and Nicola Griffith are both writers who are unafraid to take risks in their writing, stretching the strictures of genre to ask bigger questions. They use the lens of their LGBT experience as a prism through which universal themes of love, society, and the meaning of life are refracted, disassembled and reassembled in ways that are at once challenging and rewarding to the reader. Their work deepens and enriches the tapestry of LGBT literature: worthy of a place in the modern canon of English literature while expanding the notions of what LGBT literature can be."

Also of interest:

--Over at Strange Horizons, Niall Harrison has produced his annual gender statistics fest for reviewing in the sf/f field. I'm sorry to say his results are pretty much what they were last year. Do check them out here.

--Ethan Robinson productively continues the conversation on Kim Stanley Robinson's 2312 with his thoughtful post, Proust on Mercury and other issues in coming to terms with 2312.

 --The Digital Public Library of America launched last week. Among other things, the site offers its Digital Library Digest, which collects annotated links to news about digital issues as well as about public libraries. The Digest for April 25, 2013, for instance, links to five items, including an announcement from the House Judiciary Panel that they'll be starting "a comprehensive review of copyright law" and an article on Simon & Schuster's pilot library ebook project. The DPLA has an interesting (to me) web address:  http://dp.la/.

--Over at The Guardian, Alison Flood discusses digital matters of concern for readers, authors, and publishers: Ebook anxieties increase as publishing revolution rolls on.

--And finally, also over at Strange Horizons this week, Julia Rios interviews Rose Lemberg in Noticing Language.

Saturday, April 20, 2013

The April 2013 issue of the CSZ is out

The April 2013 issue of The Cascadia Subduction Zone is now available at http://thecsz.com. I have a long essay in it myself, one prompted by a recent re-reading of Raccoona B. Sheldon's "Your Faces, O My Sister, Filled of Light" and the reflections on changing perceptions of sex and gender that it (inevitably, I think) provoked. I've written on this subject before, but obviously its not through with me yet. The issue has a second (shorter) essay, for our Grandmother Magma column, that was especially pleasurable to read: Karen Joy Fowler's piece on Sylvia Townsend Warner's classic feminist fantasy, Lolly Willowes (or the Loving Huntsman).

Here's the entire table of contents for the issue:




Current Issue
Vol. 3 No. 2 — April 2013

Essay
Asking the Wrong Questions: Alice Sheldon,
the Gender Learning Curve, and Me
  by L. Timmel Duchamp
Poem
1995
  by Kelly Rose Pflug-Back

Grandmother Magma
Lolly Willowes
(or the Loving Huntsman)

by Sylvia Townsend Warner
  reviewed by Karen Joy Fowler

Reviews
These Burning Streets
by Kelly Rose Pflug-Back
  reviewed by Evan Peterson

Sister Mine
by Nalo Hopkinson
  reviewed by Ama Patterson

Necessary Ill
by Deb Taber
  reviewed by Nic Clarke

A Stranger in Olondria
by Sofia Samata
  reviewed by Nisi Shawl

How to Greet Strangers
by Joyce Thompson
  reviewed by Daniel JosĂ© Older

Bio-Punk: Stories from the Far Side of Research

edited by Ra Page
  reviewed by Victoria Elisabeth Garcia

Featured Artist
Cheryl Richey

Monday, April 8, 2013

Gheorghe Sasarman's Squaring the Circle


Aqueduct Press has just taken delivery of Squaring the Circle: A Pseudotreatise of Urbogony, which collects 26 fantastic tales by Gheorghe Sasarman, selected and translated into English by Ursula K. Le Guin. The printed book is a small gem: Kath has outdone herself in designing this one, which includes graphics for every tale, provided by Mr Sasarman. We're selling both the printed book and the e-book editions now through Aqueduct's site (www.aqueductpress.com), and they'll shortly be available in the usual places.

There's a story behind this book (no, actually at least two stories, first the author's, and then the translator's), which I'm happy to relate to y'all. And we have a lengthy, thoughtful blurb from Eleanor Arnason (which we couldn't use in its entirety on the back cover of the book) as well as two advanced reviews. So. Let me start with the stories behind the book. Mr. Sasarman writes in his postscript to the French edition of the book:
The idea of writing a book of brief descriptions of imaginary cities, condensing into it the grandeur and tragedy of five millennia of urban history, came to me by chance, while I was in charge of the Architecture and Urbanism section of the review Scanteia.  A writer had protested in an open letter against the demolition of an historic building, and the editors asked me to respond, which I did by writing the story “Musaeum.”  It was the autumn of 1969, a year after the Russian tanks invaded Prague, an invasion openly condemned by Ceausescu, a time when many people, not only in Bucharest, believed (what a mistake!) that Rumania was evolving towards democracy.
By the time Ursula saw the book, it had been published in French and Spanish translations. She first encountered the book in the Spanish edition, rendered by translator Mariano MartĂ­n RodrĂ­guez. As she writes in her introduction to Aqueduct's edition of the book:
A year or two ago I was sent a handsome little book titled La Quadratura del CĂ­rcolo. It was inscribed to me in English and a language that I thought was Rumanian. With it was a charming letter from Mariano MartĂ­n RodrĂ­guez, explaining that the book was his translation from the Rumanian original by Gheorghe Sasarman, and that both he and the authorhoped I would find it interesting and might have some idea how to go about finding someone to translate it into English.

The book was a set of brief stories, each about a different city—like Italo Calvino’s Invisible Cities, of which I’m very fond. That similarity was interesting, and the first couple of stories seemed promising, but I was busy, and my Spanish is slow. So after thanking the sender and author I did nothingabout the book for quite a while. But it kept on lying around in one place or another in my study. Maybe just because I liked the cover (a splendid Tower of Babel by an anonymous Fleming), or maybe because it was exerting the effect.

Some books, unread books, exert the effect. It’s not rational,not easy to explain. They don’t glow or vibrate, though that’s what they’d do in an animated movie. They just are in view, they’re there. There’s this book, on the shelf in a book store or the library or like this one in a pile on my desk, and it is visible, silently saying read me. And even if I have no idea what it is and what it’s about, I have to read it.

So, gradually, I obeyed.
The end result of Ursula's compulsion was the book Aqueduct published.

And then there was my own compulsion... Aqueduct Press exists to publish feminist science fiction. Squaring the Circle is by no stretch of the imagination feminist. (In fact, Publishers Weekly's review make an oblique point about this.) Nevertheless, these spare, dryly and mischievously humorous tales conjured such visions in my mind that I couldn't resist them and found myself agreeing with Ursula that they needed to be available to the part of the world that reads mostly English-language texts. In fact, sitting here at my desk, typing with the book before me, every time I stop to look something up in the book, a random sentence on a random page will catch my eye, and I'll just have to read the entire tale. (I've done this three times since I started writing this post.) The tales are short, of course. but I'm pretty sure that most people will end up reading them more than once.

Now, to Eleanor's praise for the book:
Squaring the Circle reminds me of some of my favorite books: Italo Calvino’s Invisible Cities, Angelica Gordodischer’s Kalpa Imperial and Ursula K Le Guin’s Changing Planes. I don’t know if there’s a name for this kind of fiction – Faux history? Fantastic geography? Imaginary anthropology? Whatever it is, I love it. Humans have always liked to hear about fabulous journeys and strange distant places. Othello told Desdemona, “of the Cannibals that each other eat, The Anthropophagi and men whose heads Do grow beneath their shoulders. This to hear Would Desdemona seriously incline.” Maybe books like this meet our need for amazing stories, now that the world is mostly mapped.
   
Squaring the Circle is highly readable. (I got it through in one sitting.) And it’s fun. There is a playfulness in this kind of fiction, a subversive undercutting of the 19th-century idea of the novel. It gives us all the pleasure of a travel guide, and the additional pleasure of being – in spite of the meticulous description -- unreal. As it turns out, a cityscape can be as interesting as a bildungsroman and as meaningful. The first section of Squaring the Circle, “Vavylon,” is a fine description of a class society that claims to be egalitarian. Anyone can climb to the top of ziggurat, except the ramps are greased. I thought of Stalinist Romania when I read it, but it could also apply to the US.
Here's the Publishers Weekly review:
These trippy, cutting 24 stories, chosen by SF/F grande dame Le Guin from a collection of 36 originally published in Romanian in 1975, inevitably draw comparisons to Italo Calvino’s Invisible Cities. Both explore society and human psyche through architectural descriptions of imaginary cities, but Sasarman’s masterfully crafted prose poems feel more immediate, serving as spellbinding descriptions of architectural impossibilities as well as slyly subversive social commentary. The equality of all citizens is an enshrining principle of the ziggurat Vavylon, with steep ramps oiled every day to prevent ascent, though descent is very rapid. The elite of Musaeum create immortal artworks that remain unknown, for they are too busy with their own works to look at one another’s. The intrepid explorers of Selenia vainly hunt for a building site uncontaminated by the psychic refuse of Earth’s poets, lovers, and dreamers, which litters most of the lunar surface. Perhaps the only area where Sasarman falls short is in his rare, dismissive portrayals of women (Le Guin’s introduction implies some of the untranslated stories are worse in this respect), all the more startling when contrasted with the extraordinary, timeless nature of his prose. (May) Reviewed on: 03/11/2013
And here's a bit of Rick Kleffel's review:
Any one of these stories will craft in the reader's mind an entire world, a society, a country and then slowly but surely transform that imaginary way station into a refracted aspect of what is happening here and now, and ever and forever. This is the sort of book that is well worth seeking out, as are the cities of the imagination it creates for us. —Rick Kleffel, The Agony Column, Jan 30, 2013 (read the whole review)

Criticism alone is not an Assault, Witch Hunt, Lynch Mob, or Crucifixion


I try to draw a line between criticism and violence.

I do, actually, get online threats of actual violence. This isn't unusual for bloggers, especially ones who belong to oppressed groups. I tend to get mine because I'm a woman, a feminist and a Jew. If someone receives rape and/or death threats -- and people do, far too often, especially if they belong to marginalized groups -- I find that horrifying.

However, I also find it clearly distinct from criticism.

Criticism (especially in a social justice context) is often described as assault, a witch hunt, a lynch mob, or a crucifixion. (There are a couple other go-to metaphors, but those are the major ones.) Of these, "witch hunt" and "lynch mob" are the most upsetting. However, they are all attempts to silence criticism by comparing it to a violent, unacceptable act. It is unacceptable to assault someone, ever; therefore, it's implied, that the criticism is likewise by its very nature unacceptable.

The use of the terms witch hunts and lynch mobs (or mobs in general) also implies that the criticism is not being offered in good faith, and certainly not with thoughtfulness, deliberation or sincerity. Instead, it implies that the criticism is the result of a mass delusion. It implies that there is nothing to criticize at all--that the very nature of what is being criticized is superstition--since witches don't exist and lynched victims are innocent. It implies that the only goal of criticism is bloodletting, that it will only be satisfied by burning stakes, pressing stones, or hung corpses.

Now, I do not mean to imply that no one who offers criticism is ever an asshole. People are totally assholes. You can easily show me examples of someone criticizing someone else, even taking a position I broadly agree with, and acting like a flaming asshole. And I will look at that and say, "Wow, that person is acting like a flaming asshole." This happens--it is, in fact, inevitable. Groups of people contain assholes.

I'm down with criticizing assholes for being assholes. But the terms "witch hunt" etc assume that the grounds for criticism are vaporous. When applied to groups, it also implies that no one (or almost no one) in the group is offering good faith or meritorious arguments.

It is sometimes true that a person is, in fact, offering a critique that stems from delusional, bad faith bloodthirstiness. It is sometimes true that groups are doing the same. When a group of people bullies a trans person until they commit suicide, I am comfortable saying that this is the result of delusion (transphobia is based on delusional principles), bad faith (transphobia itself may be something an individual feels in good faith; bullying is not an activity pursued in good faith), and bloodthirstiness (as it ends in death). Bullying exists at an intersection where words can become assault. That intersection *does* exist.

But people are very free with the comparisons of criticism to violence. And I would counsel being, instead, very strict with them.

Be aware of (among other things):

*The stakes. Is physical safety actually on the line? With a bullied gay teenager, it may be. With an adult blogger being criticized by anti-racist bloggers, it's probably not.

*Whose history you are invoking. Are you defending a person who is (in this argument) privileged by comparing their situation to violence or death that was explicitly directed toward people who were (in the salient situations) oppressed? Are you comparing a person whose speech is being criticized for being racist to someone who was killed by a lynch mob?

*Are you legitimately comfortable saying that the people you're accusing of participating in a witch hunt would like to see their victims subjected to physical violence? Or, instead, when you fill in the abstraction of "people criticizing this person I'd like to defend" with "Blogger X," does the metaphor start to make you uncomfortable? When you fill in the actual implications of the metaphor by defamiliarizing the language (instead of "this person is engaged in a witch hunt," something like "this person experiencing a mass delusion that makes them want to see people die"), does that make the comparison seem apt or appalling?

*(As a complicating factor to the above, are you using the history of the oppressed group against them? Are you using the real, historical deaths of people of color to suggest that criticism from people of color is like murder?)

Just because speech is being criticized doesn't mean that the criticism is legitimate. People can offer good faith criticisms, even criticisms that are theoretically rooted in correct ideas such as anti-racism, that are still totally wrong. People can be unreasonable assholes, and groups can pursue unreasonable, assholish arguments. As noted, sometimes speech does actually rise to the level of actual assault when violence is involved, either directly (as in threats) or implicitly (as in bullying). But most of the time, even the people who are being unreasonable jerks aren't actually arguing in bad faith or lusting for blood. They are arguing stupid points and doing it stupidly. Rather than attempting to shut them down by calling their criticism assault (unacceptable in any circumstances) as if it's the fact of *criticism itself* that is the problem, the best response is usually to explain why their *particular* criticism sucks. Unless their criticism *really is* assault, in which case, please do call it out. Explain why. Be savvy and aware. But don't just use these terms as short-hand or rhetorical flourish when they're not really what you mean. They're silencing, inacccurate, and in some cases offensive.

Real people really died as a result of lynch mobs. It's particularly insensitive for white Americans to use that as a metaphor for someone being criticized. As a Jew who lost a lot of relatives in the Holocaust, I would be upset if the go-to metaphor was to imply that criticism was like pushing people onto trains that would take them to gas chambers. That's taking the deaths of my relatives experienced and making them something trivial.

If you find yourself wanting to argue that I'm taking metaphorical language too seriously, then I ask you to really stop and think about the things you care most about, the ones that pinch and hurt, and imagine them being used this way. Try to take it out of the abstract for yourself. Find the places where you are tender. Now really, and in good faith, imagine that everyone presses on those tender places all the time, that they see them as fodder for winning internet arguments, and not actual, painful things. If you've done that and you still feel that you want to argue abstractions about language, then all right. I won't agree with you, but I'll believe you've tried to take my position into account. But please, first go to the place that hurts, and then imagine that being used against you as a way to stop you from arguing the positions you are passionate about.

Wednesday, March 20, 2013

Conversation about 2312

If you've read Kim Stanley Robinson's 2312, which has gotten probably more attention than any other book published in our genre last year, I'm confident you'll be interested to read Vandana Singh's post reporting on her own reading of the book. I reviewed 2312 myself, for Strange Horizons. I knew at the time I turned it in that my review was in no way comprehensive, particularly that there were thorny difficulties that I thought of as resulting from the main characters' extraordinary privilege. In my private conversations with Vandana since then (which in turn prompted me to reflect further), it struck me that I'd been presuming that the characters' assumptions of privilege had been meant to be read critically, with irony. Ironic readings, I was compelled to acknowledge, are explicitly generous readings in which the reader adds a layer of interpretation that may or may not be explicitly invited by the text and that in any case a multitude of readers will not automatically lavish on the text. I believed the choice of Swan for the main character, and the critical depiction of her thinking, attitudes, and behavior, itself elicited an ironic reading. (Probably because I myself am in the habit of serving up horribly flawed main characters I expect readers to read against.) Arguably, I simply found the text I wanted to find.

But Vandana's reading resonates powerfully for me beyond her focus on the novel's main characters precisely because the book's structure and style would have allowed the emergence of other voices and perspectives. I also agree with her statement
The baldly stated notion that that humans are “meant to inscribe ourselves into the universe” is not that different from the kind of ideology that justified the British plunder of India, or the French and Dutch mangling of Africa — manifest destiny on a solar system scale.
This notion of human's inscribing themselves into the universe is not a new idea (or assumption) for Robinson. Some of his characters in the Mars Trilogy, for examples, believe this fervently. I've come to wonder if Robinson himself believe it-- or whether, again, its an idea he's implicitly critiquing.

After reading Vandana's post, you'll also want to check out Niall Harrison's post here: http://www.strangehorizons.com/blog/. This conversation, I'm sure, will (and needs to) continue.

SLF Older Writers Grant

The Speculative Literature Foundation reports that The Older Writers Grant deadline is fast approaching: get your applications in by March 31! The Older Writers Grant ($750) is awarded annually to a writer who is fifty years of age or older at the time of grant application, and is intended to assist such writers who are just starting to work at a professional level. There is no entry fee. More information can be found at:

www.speculativeliterature.org/Grants/SLFOlderWriters.php

Sunday, March 17, 2013

Reading for a Sunday

When I publish a book, I can never be confident about any predictions I might hazard for its reception and sales. It's all guess work. Naturally I recognized, only a few chapters into my first of several reads of the ms, that Deb Taber's Necessary Ill was playing with fire. And by the time I'd finished that first read, I characterized it, in my own mind, as what used to be called "dangerous" fiction (which is how most of my own short fiction was characterized in the 90s). "Dangerous fiction," in case the term is new to you, raises uncomfortable questions about moral issues and assumptions (in the broadest sense of "moral") and makes it difficult to answer those questions in any comfortable way. Since Deb's reading on Tuesday, Library Journal has published a starred review of the novel, John Scalzi has featured the book on his blog, Whatever, and Paul di Filippo has reviewed the book at Locus Online. (Earlier, Liz Bourke reviewed the book for Tor.com: Killing and Ethics: Deb Taber’s Necessary Ill.) Here's the conclusion to Library Journal's review:
Taber's debut novel presents an all-too-credible dystopic future world and, in Jin, a complex character whose mind approaches the world and its priorities in a very different way. The characterization of truly genderless individuals—not androgynes or hermaphrodites—and the portrayal of an approach to the world that is both ruthless and compassionate make this an excellent candidate for book discussion groups and provide strong evidence for the availability of significant genre literature. Highly recommended.
Some of the comments at Whatever were, shall we say, precipitate, given that their authors hadn't yet read the book themselves.  I'll leave you to check out the other links yourself.

A few more links of interest:

--John H. Stevens makes a compelling argument for the vitality of short fiction: Signs of Life in Recent Short Fantastika from Elizabeth Hand, Kiiri Ibura Salaam, and Karin Tidbeck.

--At the Mumpsimus, Matt Cheney reports on a discussion of the 2013 VIDA count at the AWP: VIDA at AWP.

--Maria Tatar takes up the issue Elizabeth Hand recently addressed in the Boston Review, for the New Yorker: Sleeping Beauties vs. Gonzo Girls.Tatar, though, sees the gritty protagonists Hand examines as tricksters.
The female trickster has a long and distinguished lineage. For centuries, these heroines made use of veiled speech and disguise as they prowled around the margins of their worlds. There is Scheherazade, who rescues herself through storytelling, using the civilizing energy of narrative to end King Shahryar’s serial marriages and slayings. Then, there’s the younger and meeker Gretel, who sees her “moment in history,” as Anne Sexton tells it, and shoves the cannibalistic witch into the oven. In the end, she and Hansel are able to return home on the back of a duck, thanks to the poetry in her spells. Like the mythical Hermes, the two children become liars and thieves who traffic in enchantments.
--At the Nation, Michelle Dean takes up the cultural politics (and economics) of crowdsource funding: 'Veronica Mars', Amanda Palmer, 'The Atlantic' and the Depressing Economics of Cultural Production: Oh My!

Monday, March 11, 2013

Deb Taber event in Seattle

Tomorrow evening at 7 p.m., Deb Taber will be reading from and signing Necessary Ill at Seattle's University Bookstore ( 4326 University Way, N.E. – Seattle, Washington 98105). Necessary Ill has received starred reviews from both Publishers Weekly and Library Journal. Liz Bourke, reviewing the novel for Tor.com, writes:

“At its heart, Necessary Ill concerns itself with character and situation; with the social experience of marked vs. unmarked bodies, and the ethics of preservation of life. Is it better to kill many in order that the species might survive? Is it right to permit the human race to drive itself to extinction, if by one's actions one can prevent it? Is it ever possible to act ethically in taking choices away from other people? Necessary Ill doesn't answer the questions it raises, or at least not all of them. But it asks them thoughtfully, and with an eye for character that makes for an enjoyable read.” (You can read her entire review here.)

I'll be there myself, of course.

Sunday, March 10, 2013

Tis the season...

...for mating displays among ducks. Ducks are always so interesting at this time of year-- in their gorgeous nuptial plumage, in their behavior, even in their apparent inflation in body size. Yesterday when we were out doing the rounds of the Union Bay Fill, the Southwest Pond offered us the most interesting scene, where turtles were basking in the sun, some of them piled atop one another, two great blue herons were perching on different dead tree limbs positioned on the diagonal, one of them staring intently down into the water below, the other preening itself, and most ostentatiously, several male mallards continually reared up out of the water flapping their wings (sometimes it seemed more at one another than for the delectation of the females), occasionally taking flight in order to make showy landings in the water a few yards away. Meanwhile, the blue herons ignored them totally, and the lone pied-billed grebe quietly swam into a far corner of the pond where it spent more time under water than on the surface.

The mallards' performances was the most striking thing we saw. (No, the ducks at the right aren't mallards. I think they're probably American Wigeons.) But probably the most peculiar was seeing two crows fishing on the lake. They fished the way eagles and osprey do--flying over, then circling and swooping in and ascending with fish in their bills. After they'd caught some prey, the crows flew up to the upper branches of a tree on the bank, presumably to dine in style.

In my backyard, in the meantime, the robins have been singing their heads off and the northern flicker and stellar's jay have been making a racket. I feel quite sure they all think winter's a thing of the past.


In short, it feels as though spring is almost here in Seattle, even if my hellebore plants are at their peak. Daffodils and crocus are in evidence, & going onto Daylight Savings Time, while difficult for those routinely short of sleep, confirms that sense.

25th Lambda Literary Awards finalists

In case you haven't heard, the Lambda Literary Foundation has announced the finalists for this year's Lambda Literary Awards. I'm posting the part of the list of finalists of most interest for f/sf readers, but the entire list is always interesting; you can find it here. It includes, for instance, in its "Transgender Fiction" category Roz Kaveney's  Dialectic of the Flesh (A Midsummer Night’s Press).


LGBT Science Fiction/Fantasy/Horror

1.      Beyond Binary: Genderqueer and Sexually Fluid Speculative Fiction, Brit Mandelo, Lethe Press

2.      Chocolatiers of the High Winds: A Gay Steampunk Romance, H.B. Kurtzwilde, Clasp Editions; An Imprint of Circlet Press

3.      Green Thumb, Tom Cardamone, Lethe Press

4.      Heiresses of Russ 2012: the Year’s Best Lesbian Speculative Fiction, Connie Wilkins and Steve Berman, Lethe Press

5.      In the Now, Kelly Sinclair, Blue Feather Books

6.      Night Shadows: Queer Horror, Greg Herren and J.M. Redmann, eds., Bold Strokes Books
7.      The Survivors, Sean Eads, Lethe Press

Friday, March 8, 2013

Sheree Thomas judging speculative fiction contest

Heads up! This notice just arrived in my mailbox:

Ragazine.CC is offering a $1,000.00 prize for the best piece of speculative fiction completed by a person of color in 2013. We will begin accepting electronic (e-mail) entries dated on or after March 20, 2013, and on or before June 20th. The winner will be announced in September; the prize includes publication in Ragazine.CC. Second and third place selections also will be published in the same or subsequent issues of Ragazine.CC.

The final judge for the contest is Sheree Renée Thomas, a well-known fiction writer and editor of the Dark Matter series and author of Shotgun Lullabies (a CP volume).

Editor Joe Weil writes: "I conceived of the contest as a way to bring attention to both an under-served genre of writing (serious, artistic speculative fiction) and an under-served population of writers weilgardenrelated to that genre: speculative writers of color. Many contests are far broader, but this is meant  to highlight  a type of writing and writers who may not be at all that well known to our readers and who deserve recognition."

You can find the contest rules here: http://ragazine.cc/2013/03/contest/. (Note, there is an entry fee.)

Tuesday, March 5, 2013

2012 Tiptree Awards

The James Tiptree Awards have just been announced, and Wow! Aqueduct has another winner! Joyous congratulations to Aqueductistas Kiini Ibura Salaam (co-winner) and Lesley Wheeler (Honor List)! But I'm getting ahead of myself. Here's the complete skinny:

The Tiptree Award for 2012 goes to two books. The Drowning Girl by Caitlin R. Kiernan and Ancient, Ancient by Kiini Ibura Salaam.


Caitlin R. Kiernan’s The Drowning Girl probably couldn’t have been written without its multifaceted consideration of gender roles and its extraordinary management of an unreliable narrator who doesn’t even trust herself. For India Morgan Phelps (aka Imp), the act of telling the story parallels the act of choosing a path or an identity as she makes her way through a maze of false memories and blurred realities. Using myth, art, and mental illness, this beautifully written novel explores the boundaries between reality and fantasy, sanity and insanity, and art and dream.  It’s complex in its plot, metaphor, and style as well as in its thinking about one’s role as a woman and a daughter. In its characters, lesbian, straight, and transgender, old and young, this novel also recognizes the complexity of human beings.

 In Ancient, Ancient, Kiini Ibura Salaam’s startling stories combine science fiction, fantasy, and mythology in a sensuous exploration of what it means to live while struggling to define self and other. Salaam’s language is poetic and sensuous — a unique and original voice. The stories are ambitious and challenging, demonstrating excellent range in both storytelling style and imagery, from the mundane to the fully fantastical. Salaam is particularly interested in agency in oppressive social realities and explores how oppression works on our gendered bodies.

In addition to selecting the winner, the jury chooses a Tiptree Award Honor List. The Honor List is a strong part of the award’s identity and is used by many readers as a recommended reading list for the rest of the year. This year’s Honor List is:

 §     Elizabeth Bear, Range of Ghosts (Tor 2012) — A rip-roaring tale with imaginative worldbuilding, convincing exploration of gender, power, and possibility, and an intriguing juxtaposition of procreative energy, wizardly magic, and necromancy. The first book in the Eternal Sky trilogy.

 §       Roz Kaveney, Rituals (Plus One Press 2012) — Tremendous fun while dealing with serious issues around power, gender, class, economics.  Genre-savvy while subverting conventions and tropes. This is the first book in Rhapsody of Blood, a four-part series.

 §       M.J. Locke, Up Against It (Tor 2011) — On an asteroid world, characters struggle with the social implications of altered biology. The control and betrayal of innocent AI’s are particularly fascinating.

 §       Kim Stanley Robinson, 2312 (Orbit 2012) — A rare and honest effort to examine gender multiplicity in pure hard-SF terms. This vision of freedom from gender assignment could help revise the standard hard-SF future in much the same way that Robinson’s Mars trilogy revised the portrayal of Mars in science fiction.
§         Karin Tidbeck, Jagannath (Cheeky Frawg Books, 2012) — A beautifully written collection of short stories using Norse myth; the ones that involve gender identities present figures not easily forgotten, from the Aunts to the Great Mother to the characters mooning over an airship and a steam engine.

 §       Ankaret Wells, Firebrand (Epicon Press 2012) — Set in the steampunk era, this fun read shows women dealing with the restrictions of society on their way to gaining political and economic power and considers how definitions of “proper” behavior worked across cultural, class, and species’ boundaries.

 §        Lesley Wheeler, “The Receptionist” (in The Receptionist and Other Tales, Aqueduct Press 2012) — An overt exploration of gender and power in narrative poetry with splendidly drawn characters and pitch-perfect language.

The Tiptree Award winners will be honored during Memorial Day weekend at WisCon in Madison, Wisconsin. Each winner will receive $1000 in prize money, a specially commissioned piece of original artwork, and (as always) chocolate.  

Each year, a panel of five jurors selects the Tiptree Award winner. The 2012 jurors were Joan Gordon (chair), Andrea Hairston, Lesley Hall, Karen Lord, and Gary K. Wolfe.

I lifted the above whole from the Tiptree website. Congratulations, of course, to both winners and everyone on the Honor List (and also, of course, to the jury). And happy reading to all of us!

Monday, March 4, 2013

Reading for a Monday

This week's column at Strange Horizons, by Rochita Loenen-Ruiz, Woman's Work and Woman of Color at Work, grapples with the trickiness of certain aspects of identity issues for women in general and women of color in particular. She notes

In the chapter on aesthetics, Joanna Russ writes:
The re-evaluation and rediscovery of minority art (including the cultural minority of women) is often conceived as a matter of remedying injustice and exclusiveness through doing justice to individual artists by allowing their work into the canon, which will thereby be more complete, but fundamentally unchanged.
I have sometimes been told that the reason my work is accepted or published is because I am a woman of color. I stand out because I am from a third-world country and the field wants to be diverse and inclusive. If there were small boxes to fill in, I would fill in a lot of them.

I remember feeling quite taken aback the first time I heard this spoken out by someone whom I had thought of as a friend. My response at that time was to say that anything that got me published was certainly a plus.

For a while, I became even more critical of my own work, feeling that nothing I wrote was really good enough or worthy enough. It was only later, in looking back, that I recognized that criticism for what it was.

As a non-native English speaker, I find these remarks echoed in subtler ways: a) when people praise me for my command of the language and my ability to express myself well in English and b) when people tell me that as a non-native English speaker I miss the nuances of the language (the implication being that the work will never really measure up).
This is how complex it becomes when we speak of the work of women and the work of women who come from outside of the US or the UK. If the work of women is pressed into the margins, how much more pressed into the margins are the works of women of color? How much more pressed into the margins are the works of women who do not come from within the native English-speaking hegemony?

You'll want to read the whole piece, of course. 

Thursday, February 28, 2013

Deb Taber's Necessary Ill


 It's the last day of February, and a second shipment of the two books scheduled for March release has arrived here. So it's my pleasure to announce today the release of Deb Taber's debut novel from Aqueduct Press, Necessary Ill. This intriguing and enthralling tale has already garnered a starred review from Publishers Weekly (which also ran an interview with Deb about the novel) and blurbs from Suzy McKee Charnas and Rebecca Ore. As you may have noticed, Aqueduct doesn't publish all that many novels, so you can probably guess at our excitement to be launching this one. Both the print and e-book editions are available now at www.aqueductpress.com. They'll be available elsewhere some time in March.


The man slices Jin’s shirt open with his pocketknife, then stops, staring at the blank, bare chest.
“Never thought it would make such a difference,” says the second man, twisting Jin’s arm at a painful angle so that he, too, can see the smooth skin, unbroken by anything so unnecessary as a nipple.
A woman runs up hollering, waving a shotgun in the air as the first man claws at Jin’s belt. The rest of the street is suddenly empty.
“Get off of her you perverts! If you lay one finger…”
She sees Jin and stops…
Jin,the neuter protagonist of Necessary Ill, begins the novel as a designer of plagues intended to set the world back into balance—a balance of population and resources, creation and destruction, choice and certainty—a balance more important to it than any individual life, including its own. Sandy, a young woman thrust violently out of her farm life into the dispassionate science of neuters like Jin, discovers her own need for balance—a balance of safety and adventure, art and science, self-protection and love. But Jin and Sandy find that human life is full of change, and as the world is thrown off balance for all, each questions their ruling assumptions and must learn to see in new ways for the survival of friends and enemies alike.


"Necessary Ill offers hopeful glimpses of alternatives to the current cultural barrage of post-Apocalyptic savagery and regression to warlordism, writes Suzy McKee Charnas. "Along the way, the reader finds an in-depth exploration of what a human society minus sex hormones might be like. It’s also a startlingly inward look at a character that is basically a serial mass murderer and also a hero capable of change. A stimulating read with a refreshing slant on the core problems of the modern world; and if you want to know what Mr. Spock's interior life might really be like, you really should meet the protagonist, Jin.”

Rebecca Ore writes:

Like M. J. Engh's Arslan, in Necessary Ill we identify with what in other books would be the antagonist: an abused child now grown up, neither male nor female, with the harsh amorality of a child and a beyond-human intelligence, whose whole energies are calculations about resources, about how those of us who are female or male reproduce, and reproduce, and reproduce until the world wears out. Who's the hero in a world where humans outbreed their resources?"

"Skillful pacing, unpredictable twists, nail-bitingingly tense moments, and an adroit resolution make this an unusual and engrossing addition to the post-apocalyptic genre."
  —Publishers Weekly, Jan 28,2013 (starred review)

"The author speculates about how individuals and society might evolve if sex wasn't such a potent part of the human personality. Some readers may find the sometimes dispassionate discussion of mass murder a bit unsettling but no one should find fault with the prose. Not the cheeriest book I've read this year but one of the more thought provoking."
  — Donald D'Ammassa, Critical Mass, Jan 12,2013 (read the whole review)

 Asked by her Publishers Weekly interviewer about inspirations for her invention of her society of neuters, Deb writes:

The first inspiration was the fact that there are, in reality, human beings born without specific male or female sex characteristics, although I took several fictional leaps with the science of the neuts’ anatomy, biology, and abilities. In Western culture, these people are surgically and chemically turned into females, usually as early as possible, and may never be told that they were born as anything other than female. Basically, our gender is defined as “male” or “not male,” based on the presence or absence of one specific sex organ, a perspective that is based in culture, not biology. A part of the neuter society in the book is a rebellion against that, a separate place where the neuters can be who and what they are, according to their biology rather than social constructs.

I also drew upon the interactions between the introverts and extroverts I’ve observed and interacted with all my life. As a highly introverted person, I wanted to try to show the beauty of the experience of aloneness in the Home Cavern world and the comfort that it has for its inhabitants. But the artist’s cavern enclave is there to balance that with the warmth of a much more affable community. It’s the balance of the contradicting aspects of human nature that drew me to explore both worlds.

Finally, the underground societies of both the artists and the scientists are based on my love of caves. I first went to Carlsbad Caverns when I was eleven years old, and I spent the whole walk through the caverns in awe of this huge, fantastical world, where there is so much more that is hidden than is revealed. I imagined undiscovered creatures living just beyond the cavern walls and through the tunnels that were closed off to the public. Once I had the idea for the neuter society, I knew I had to set it there. As I researched the book, I went back and took a wild cavern tour so I could experience firsthand the type of journey Jin and the others make every time they leave or come home, or move from one part of the cavern system to another. I’ll be talking more about this aspect on Mary Robinette Kowal’s “My Favorite Bit” blog feature on March 5, 2013 (http://www.maryrobinettekowal.com/category/journal/my-favorite-bit/).