August 2009

World in the Satin Bag

Punking Everything in SF/F (Part One): The Present

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Cyberpunk, steampunk, biopunk, and now greenpunk? When will it end? Fans have been punkifying science fiction and fantasy for decades, and it doesn’t seem like it will let up any time soon. With each passing moment, new ideas spring into the collective consciousness of SF/F fans, who, in turn, impart their selective, subgenre-crazed minds on all of us by bringing to task the next stage in science fiction and fantasy’s evolutionary ride. But are we getting ahead of ourselves, and is this constant segmentation of SF/F pointless or, at least, premature? What flaws are inherent in the frequent punking of speculative fiction? Publishers have yet to grasp onto the punk genres, and neither have bookstores, independent or otherwise. Subgenres have little use outside of the relatively isolated, and sometimes rabid, fanbase. Realistically speaking, it would be impossible to incorporate even a pinch of the subgenres in existence today into bookstores, with logical exceptions to the Internet–after all, Amazon has been kind enough to narrow the science fiction and fantasy sections into nebulous, cross-pollinating subcategories. So what is our obsession with subgenres (and sub-subgenres)? Are we inherently segmentative, meaning do we have an innate desire to categorize? That might be true, because it is without hindrance that we can see the makings of our own segmentarian nature in the desire to isolate ourselves. But here we might consider the distance of prejudice, which exists only insofar as personal grudges permeate the subgenre sphere. How many of those sub-subgenres are created simply to get rid of an unwanted swath of books? None? Perhaps we can only see prejudice as it exists in the academic, the purist academic who longs for the demise of science fiction and fantasy with an unhindered gaze. You can see the joy in his eyes when he looks down upon those who so willingly accept Margaret Atwood into their ranks. Or maybe he is a she, and the bitterness is just as strong. Who knows? What we do know is that punk, in its newest, and historically disjointed (disconnected) form is science fiction and fantasy fans’ greatest tool. Isolate the good, the bad, and the ugly, put them in the little jar of context-less wonder, and consume them as readily as a meat pie (or a veggie pie, should your personal inclination be to the earth). Punk is dead, perhaps, but alive too, reborn as a suffix with a mysterious past. And all this, the thoughts presented here, the continued arrival of punkified sub-subgenres, makes me wonder if we need to educate ourselves as to what punk actually is, or was, to properly evaluate whether our suffix-obsessive punking nature is well served in a genre so clearly complicated by its weaving in and out of popular culture and literature itself. Yes, that is where we should go next. To the punk-mobile. Let’s take our Peabody-and-Sherman-style journey into the past to unravel the not-so-distant history of a forgotten genre (forgotten, at least, by those not steeped in the rather confusing realms of cultural criticism and literary theory). Expect that post soon. For now, consider, if you will, the nature of subgenres, the drive to create them, and the question of whether doing is has a purpose other than for our amusement. And if you have thoughts, share them here, because your thoughts are of interest to me. I must consume them, like candy. Creepiness aside, comments are welcome. ————————————— Continue to Part Two (Punk), Part Three (Cyberpunk A), Part Four (Cyberpunk B), and Part Five (Cyberpunk C).

World in the Satin Bag

Disney Buys Marvel For $4 Billion

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Matt Staggs brought this to my attention, but apparently Disney has purchased Marvel Comics for $4 billion USD. That’s right, the massive corporation that brought you Peter Pan and Hanna Montana now owns the rights to over 5,000 Marvel characters, or something of that nature. Might not sound like a big deal to all you reading this, but it’s certainly something to be surprised about. I certainly am surprised.

World in the Satin Bag

Animals and Empathy: Social Imperatives and the Future

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Disclaimer: No, this will not be a long diatribe about why we shouldn’t eat animals and other such animal rights topics. It’s a brief look at our attitudes towards animals and where the future will likely take us. It’s related to science fiction. Honest. We live in a curious world where humans clash with the remaining members of the animal kingdom on a regular basis. Disrespect for the animal is two-pronged, for on the one hand we must separate ourselves from them, because they are inferior beings, but on the other, we split the human species by defining those of us who do not fit a particular cultural norm as animal. Society is resistant to anything beyond these two extremes, because we have a culture that, in most parts of the world, relies on animals for everything from social interaction to sustenance. Imagine if we changed our ways and suddenly became like the extremists want us to be? We would have to rely so much on our own kind, and whether that is something possibility within the limits of human consciousness, I cannot say. What I am getting at here isn’t so much the need for a change in how we operate; I will always consume meat, because that is my personal preference. Rather, I am proposing an examination of human attitudes, an alteration of how we view our animal brethren, and even ourselves, and an acceptance of the social/cultural imperative to use animals as tools for our survival. Nothing is suspect about the necessity for emotional maturity. We are a complicated species, no less complex than the chimpanzee or the baboon, excempt insofar as our technology dictates complexity, and within us we have the ability to enjoy empathy. The future will, undoubtedly, involve a paradigm shift in our conscious acknowledgement of the animal; vegetarians, vegans, and others will influence how we perceive the other beings that inhabit this planet, and, I hope, for good reasons. Why should we not at least understand that a cow does not deserve to be treated poorly, even if we’re just going to eat it when it gets big and strong? I suspect our distance is one of necessity, because to love our fellow animals as much as we might love a pet dog would constitute the steady recurrence of the betrayal of a social trust. You would not, I presume, kill Benji the Dog after raising him from puppyhood to the adult dog he would become, unless his existence directly threatened your own–and even then, you would likely feel bad about it if you are part of the cultural norm that seems to revere these sorts of creatures, but loathes others. Perhaps emotional distance is absolutely necessary, but such distance does not mean we cannot punish people like Michael Vick and even the myriad employees of slaughterhouses everywhere who find it necessary to mistreat the animals they will eventually butcher to feed the nation. These individuals make conscious decisions to cause pain to animals. Animals feel, even if they do not contain within their minds the ability to properly examine those feelings. Is it too much to ask that these animals get at least the most basic of comforts? After all, we grant death row inmates a final meal, and even read them their final rights, or whatever you call those religious prayers offered up as final penance for a lifetime of mediocrity. But, then we are back at square one: our resistance to the animal, to, perhaps, the unknown. Otherness. That’s what we often call this human imperative for separation. Built into the genetic structure of our kind, we are always considering new ways to segment ourselves from those that don’t meet our personal, or even societal, norms. The nerd, now seemingly adored, was once a social pariah; so too were women and people of color, constantly ridiculed and made inferior because of the circumstances of their birth. One cannot forget the resistance to animality in human culture, this push to define ourselves by an arbitrary religious or personal idea as non-animal, as separate, always and forever, from our animal brethren. Damn science for telling us otherwise. The future, however, may breed new life into the social apparatus of humanity. Slaughterhouses will become a thing of the past as artificial methods for cultivating meat become not only possible, but effective at recreating what we love so much in cows, pigs, and other edible creatures. While now we may scoff at the idea, it is only a matter of time before the consumption of the animal ceases to run parallel to the enormous quantities of slaughter and abuse. I would argue, here, that artificial forms of food production are essential to the survival of our species, unless someone can develop a method that suits all nations, all governments, and all peoples which can adequately reduce our population. Artificial means of production are the only way for our species to continue to feed itself and reproduce at our current rate, and even to potentially feed those that haven’t the means to do so themselves. That is the future, the utopian ideal that exists on the horizon. We can embrace it, or we can reject it, but ultimately, there will be a change, and our future selves will have to deal with it as it occurs. We cannot be resistant to change if it means sacrificing our ability to feel, or our ability to be human, or even biological beings equally as important to this planet as the bee or the rat or the elephant. But the assumption, of course, is that we are important, that we are special, in some way. True, we are special for existing, but the universe is a vast and complicated place, constantly making us realize how insignificant this little blue planet really is.

World in the Satin Bag

SF/F Link: End of August Catchup!

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No need for introductions, except this one. It’s time to dive right in: The Independent lists the 100 favorite fictional characters, as chosen by literary luminaries. It’s an interesting list, if not a little flawed. Imagination Investigation gives us the Reader Contract. Ignore the bit at the end about God and what not, but the rest of it is really interesting. These are really what readers expect. Polenth talks about names in a multicultural world. Some interesting points and observations made there. Here’s a list of the 500 greatest books for teens. Huge list. I’ve read a few on it, but…it’s a huge list. And how about this? 50 resources that will improve your writing. Might be useful, right? There’s also a similar list for resources that will revolutionize your note-taking (or anything close to note-taking, at least). If you’re a Thomas Pynchon nut, like me (though I can’t explain why), then you might find this list of articles by, about, and of interest to him rather, well, interesting! According to the USA Today, one in four people read zero books last year. That’s not as bad as it could be. That’s technically an improvement! Dear Author lists ten online promotional don’ts for writers. Good stuff! Damsels in Regress talks about time travel. Informative and somewhat different than normal talks on this subject. Natania Barron has a few requests from the fantasy genre. Good requests too. Futurismic mentioned a long time ago that stem-cell contacts can restore eyesight. That’s right. Stem-cell research works. We should all dance now. And there we go! Enjoy!

World in the Satin Bag

Interview w/ Kage Baker

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Kage Baker is the author of The House of the Stag and many other books. You can find my review of The House of the Stag here. Special thanks to Ms. Baker for agreeing to do this interview. Here goes: Thank you for agreeing to this interview. First, can you tell us briefly about yourself? What led you down the path of authorhood and why fantasy and science fiction? You’re welcome. About myself… I’m a middle-aged spinster aunt living in Pismo Beach, California, with my parrot Harry. I was frequently ill as a child and my mother saw to it that I had plenty of books to read, early and often. She also wanted me to become a writer, which for many years I resolutely refused to do– publicly, anyway. Privately I filled several volumes with stuff, mostly set in a fantasy world I’d invented. What I did publicly was join the Living History Center, who put on the original Renaissance Faire, which was nothing like the plastic models now in circulation. It was an educational extravaganza, painfully authentic and absolutely magical. I taught Elizabethan English as a Second Language for them for close to thirty years, and worked as an actress, stage manager and occasional dramaturge as well. This gave me a lot of what you could call unique life experience, so by the time I finally gave in and began to sell what I wrote, I had a lot of material with which to work. Why fantasy and science fiction? Fantasy because I was inclined that way, and science fiction as an offering to my mother’s ghost. She loved science fiction. Who have been some of your influences, whether in writing or some other hobby or profession? What are some of your favorite books? Oh, gosh… Shakespeare, especially A Midsummer Night’s Dream, and it’s affected me in so many ways: wanting to escape to the Wood Near Athens as a child, watching the filmed versions, reading it and savoring the words, watching it being staged Elizabethan-style on a crude wooden stage in an oak forest… All the works of Robert Louis Stevenson, but most especially Treasure Island. C.S. Lewis and Edward Eager and Elizabeth Enright. L. Frank Baum. All their books. Patrick O’Brian’s Aubrey-Maturin series takes my breath away. I’ll read anything Terry Pratchett writes, and his books for kids are even better than his books for adults. The Asterix the Gaul comics. The Flashman novels. Thorne Smith’s supernatural comedies. Peter S. Beagle! Way too many others to mention. The House of the Stag is the second book set in this particular world. What drew you to return to this world? And what about the fantasy genre made you want to return? Actually, The House of the Stag is drawn directly from the huge fantasy world about which I’d been writing from the age of nine or so. Gard’s story is the oldest part. When I was trying to earn money at my craft as an adult, I adapted a minor incident concerning one of Gard’s sons into a short story and sent it out to test the waters, as it were. The story was favorably received, so I went ahead and wrote the first part of the triptych that became The Anvil of the World, my first published fantasy book. Tor was interested in a second fantasy novel, so I went back to my original source material and revised it, and rewrote it (because you may think you know everything when you’re fourteen, but by the time you’re fifty-three your perspective has changed somewhat). Et voila! The House of the Stag. One of the powerful features of this book is how it takes an otherwise cliché plot and twists it on its head. Your novel seems keenly aware of the past of its genre (fantasy), including delving into aspects of myth and fairytale. What do you see as the connection between modern (contemporary) fantasy and the stories of our past? Do you see The House of the Stag as a novel that breaks convention (in a good way)? I hope it breaks convention in a good way, certainly… Here’s the other disadvantage of writing from a fourteen-year-old’s perspective, especially at a time when Tolkien was God and trilogies set in immense detailed universes were what every aspiring young writer set out to create: you don’t realize you’re not being terribly original. But by the time you’re older and you’ve read your Joseph Campbell and you’ve seen all the really cheesy Tolkien knockoffs that make millions at the cost of their muses, and you’ve read a bit of the sort of things Tolkien’s contemporaries were writing, you see the field in a new light. My story involved a foundling coming of age and discovering who he was and what his heritage entailed, which is one o’ them there Universal Themes, and it helps that he discovers that his destiny is to be the world’s Bad Guy, but even so– it seemed to me it was wiser to pare it down to its essential myth, and tell it not as an Oxford don would tell it, but as people would tell it. And just incidentally using that incident in which Gard becomes an actor to comment on the larger Epic Fantasy tradition… sort of getting a dig in. The House of the Stag also deals with issues of identity, slavery, and colonialism, in particularly powerful ways. Can you talk about what drew you to these themes and any other thoughts you might have in how they played a role in your novel? Well, they were in the original version, begun in my childhood, and I suppose that came from the fact that my father was of Native American descent. We grew up keenly aware that there was another side entirely to the story of how Pioneers Conquered America Because God Gave it to Them. When my dad was in school he frequently had to fight to defend himself.

World in the Satin Bag

Interview w/ Nicole Kimberling

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Nicole is the author of Turnskin, an interesting tale that I reviewed not too long ago. Additional thanks goes to her for taking the time out of her day to do this interview. Thanks for doing this interview. First, can you tell us a bit about yourself? What drew you into authorhood and why fantasy? I started writing stories to impress this girl I was into. It worked a little too well since once I got the girl I had to continue to produce more and better stories. As for fantasy, I’ve just always liked it. I was one of those kids who had a lightsaber and a first edition box of Dungeons & Dragons. What have been some of your influences as a writer? What are some of your favorite books, whether fantasy or otherwise? When I like a piece of fiction I read it compulsively, the same book over and over again for about six months. So, in order of appearance, here are a few books and novellas I’ve read like that: The Borrowers by Mary NortonDragonsinger by Anne McCaffreyVampirella #4: Blood Wedding by Ron GoulartDirk Gently’s Hollistic Detective Agency by Douglas AdamsComfort and Joy by Jim GrimsleySnowball in Hell by Josh Lanyon I also love art and comics so I’ll add a few comic titles: As for Western comics, I was a fan of Red Sonja and Wonder Woman when I was a kid. Then when I was about 29 years old manga started to be translated into English. I really like manga a lot. A few of my favorites: Black and White (Tekkonkinkreet) by Taiyo MatsumotoKusatta Kyoushi no Houteshiki by Kodaka KazumaIchigenme by Fumi Yoshinaga (I can’t wait for Kinou Nani Tabeta? to be translated into English. I’m reading Ooku: the Inner Chambers right now. It’s an AU story that presupposes a gender inversion in medieval Japan that would have put women in charge of society.)Future Lovers by Saika Kunieda Turnskin is a curious love story that crosses multiple forbidden boundaries: non-human/human, Romeo/Juliet, etc. What do you think is so captivating for readers when it comes to forbidden love stories? Beats me. Really I never thought of Turnskin as a forbidden love story so much as a coming of age story. Because the love of Tom & Cloud isn’t really forbidden so much as it’s a bad idea for both of them. I think that’s different than being something like a societal taboo. Where did you come up with the idea for the shifters? Will we find out anything more about Tom’s genetic past, or is this the last we will hear from him and the other characters? I came up with the shifters during a conversation with Ginn Hale. It’s actually impossible for a writer to have a conversation with her for more than five minutes without coming up with an idea. She’s like a force for creativity and it rubs off if you stand close to her for very long. I have no plans to revisit Tom’s world at present. It was invented specifically to tell this story so I don’t really know what else I would write about it. Is Turnskin set anywhere we might know (as in an alternate version of a place that might be familiar to readers) or is this a completely separate world? It’s a completely separate world, based directly on nowhere. Lesbian and gay speculative fiction seem to be taking off in the last few years, and while Turnskin turns the lesbian/gay theme on its head using “alien” figures, it is still, ultimately, a story about people struggling with their identities. Where do you see LGBT speculative fiction going in the relatively near future? I don’t really know if lesbian spec fic could be described as “taking off” but gay spec fic sales have definitely increased, fueled by the rise of the m/m romance reader. As for the future of the whole genre, there is really no way to know. What are some advantages, in your opinion, of being published with a small press? Personal care and attention from the editor and from the publisher. What other projects do you have coming up and can you tell us a little about them? Samhain has just released a short novel of mine called Ghost Star Night. I think I just have to give the blurb, because it’s really hard to sum up. “Thomas Myrdin has been used and betrayed by his king. But his heartbreak troubles him less than the apocalyptic visions that have begun to haunt him; the world burns in ruins and at the center of the destruction is the king’s newborn daughter. As vengeance and visions waken a power deep within him, not even Thomas knows if he’s becoming the kingdom’s salvation or its destruction. Lord Adam Wexley harbors a secret longing for Thomas, but his duty is to protect the newborn princess. When a sudden threat arises Adam must procure the services of the Magician, Edwin Drake, even if it means sacrificing his own body and soul. Drake had seen the worst of kings and courtiers; as a child he witnessed his father’s soul stripped away to leave behind a stumbling slave. Now, Drake protects himself with powerful sorcery and the adamant refusal to affiliate with any of the Four Courts. But the Grand Magician isn’t without weaknesses and Adam may be the one enticement that can draw him to ruin.” Ghost Star Night is a lot more action-packed than Turnskin. It’s the piece I wrote directly after. I think I wanted to write something with more doing and less feeling. And, of course, I am part of the Hell Cop anthology series with Astrid Amara and Ginn Hale. Hell Cop is set in the shared world of Parmas City and it’s kind of an urban fantasy. Hell Cop 2 was released by Loose Id in June. In December I’ll release another, longer book with Samhain called Happy Snak. This is not an LGBT

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