The Skiffy and Fanty Show hosted a women-centric (and non-binary friendly) theme throughout 2015.[note]If you count the works I assigned in my classes, the total comes out to roughly 55% in favor of women. The dramatic shift from 92% to 55% can be blamed on the relative absence of female writers during the periods in which my courses have focused, and so some of my courses swing in favor of men (though not by a massive margin; I didn’t actually read that much in 2015, so it’s not that hard to swing things in the other direction).[/note] In 2016, the numbers were less skewed, with 61% of works by women. Including my teaching numbers into this list is a bit too complicated, so I won't bother including it here.[note]Complicated primarily because one of the courses I taught focused on "Queer Autobiography," which includes numerous works by people with gender identities that are difficult to classify without making assumptions. If you count LGBTQ+ as a factor, at least 22% of the works I read were by people in that category. For all the numbers in this post, I went with easily accessible information about identity for what I hope are obvious reasons.[/note] Obviously, having a more "open" year for reading meant my numbers were more fluid. But even with that fluidity in place, there's a clear indication that my reading habits have changed. So, here's what I've learned from the past few years: Read More
wabbit89 on Twitter. Thanks![/note] To be fair, I almost deserve it. I will jump at the flip of a hat to defend that movie against almost any criticism, not because I believe it's high quality cinema but because there is a deeper connection to that movie for me, as there is for so many of the trashfire films that occupy my DVD rack. Read More
Twitter. Thanks, Jeff![/note] Read More
Twitter. Thanks, Joyce![/note] Earlier this year, Tor.com hosted a massive space opera extravaganza. Liz Bourke contributed a post on the politics of domesticity in space opera, with particular attention on what she somewhat half-heartedly called "domestic space opera." One of the important points Bourke makes is that the personal and the political are not necessarily separate entities. Bourke defends this claim by looking at several examples of space operas which place heavy focus on domestic spaces and by suggesting that perhaps it is the emotional dynamics of those spaces that make up the bulk of the operatic (or melodramatic) focus present in so much of space opera. It's an interesting post, and I suggest you read it. Read More
know me, I’m a sociologist and communications researcher who studies climate change, misinformation, and environmental attitudes. One of my research areas is climate fiction (“cli-fi”). More specifically, I study disaster films and how these films impact how we think about climate change. As a result, I’ve seen a lot of disaster films. I’ve given more hours of my life to this genre than is probably healthy, but even after all that I still love these movies, and not just as the subject of research. They have their own silly, adventurous appeal, and when approached with the right mind-set, they can give quite a few laughs and provide a fun distraction from the darkness in the world today. Disaster films overwhelmingly fall into two categories: big-budget blockbusters like The Day After Tomorrow and San Andreas and low-budget productions like Sharknado. Both types have their charms, but most people have heard of the major productions. This post is going to focus on some delightful examples that you might have overlooked. Read More
- Books will be taken to mean "narrative fiction at novel length" rather than the broader definition we use today. Comics and graphic novels deserve their own list anyway. That means no movies either.
- I'm using my personal definition of space opera. I'm happy to talk about that definition at another time, but for now, I just want to share some things I love!
I asked for input from folks interested in the online space opera course I planned to teach/run at some point during the summer. Many of you gave me some excellent feedback about the form the course should take, the readings, cost, and so on, and so I set out to try to put something together in time for summer 2017. Well, it's officially summer, and as should be obvious right now, things aren't exactly put together. And there's good reason for that. Read More
OASIS again! And let me tell you, I am super excited. Last year, I had the great pleasure of meeting A. Lee Martinez, who is both one of the nicest dudes that ever walked the Earth and also almost nearly as funny as me (not quite, but he gets like 9 points for being pretty cool :P; I don't know what these points are on about). OASIS is one of my local conventions, located in sunny Orlando. I'll be there for the full run of the convention -- May 19th to May 21st. This year, the Guest of Honor at OASIS is urban fantasy master Faith Hunter, author of the Rogue Mage series and the Jane Yellowrock series, among others. She has something like 9 million books published under one of her 9 identities (OK, so she's published around 32 books under three names, but 9 million is pretty close...). It should be a lot of fun to chat with her on panels in a couple weeks! And what am I up to? Boy howdy am I in for a busy weekend. This is my schedule: Read More
- Best Fancast
- The Skiffy and Fanty Show (Shaun Duke, Julia Rios, Paul Weimer, Mike Underwood, Rachael Acks, David Annandale, Jen Zink, and Trish Matson)
- Totally Pretentious (Shaun Duke and David Annandale)