March 2013

SF/F Commentary

Tolkien and Martin Don’t Have Much to Answer For (Or, Hey, Bad Arguments About Fantasy)

Apparently A.J. Dalton doesn’t care for J.R.R. Tolkien or George R.R. Martin.  Here’s the moment when I stopped reading: They have both come to dominate the genre in which I write, that’s what. All fantasy gets compared to them. They are the standard. They are the definition of fantasy. Anything too different to them doesn’t get recognised as fantasy, as it doesn’t contain enough of the required motifs and conventions. Anyone who can make that argument with any seriousness has no idea what they are talking about.  Really?  Anything that doesn’t look like Martin or Tolkien isn’t considered fantasy anymore?  Really?  So apparently N.K. Jemisin doesn’t write fantasy.  Good to know.  Diana Rowland doesn’t write fantasy.  Good to know.  In fact, all those authors who are shelved in the fantasy section who aren’t writing anything that directly mimics Martin or Tolkien are just magically shelved in the wrong place in some grand conspiracy to get people to mistakenly believe they are fantasy writers…Huh? All fantasy doesn’t get compared to Martin or Tolkien, fella.  That’s absurd.  A lot of fantasy does, but not all.  They are also not the definition of fantasy.  Only a moron thinks that Martin or Tolkien are all that fantasy has to offer (or that the fantasy market only demands derivative work). Meh. —————————————————- Alright, so it’s not true that I stopped reading there.  I decided to read a little more of his argument just so I could say I did so.  And that’s when I discovered this: A quick example. I published Empire of the Saviours, an epic fantasy, with Gollancz last year. The book starts modestly enough with a boy growing up in a village in a remote corner of the empire in question. Several influential online reviewers refused to read it, saying they’d heard it all before, no matter the book’s purported humour and contemporary social and religious considerations. Hadn’t I heard how Mr Feist’s Magician and Mr Paolini’s Eragon opened with the selfsame premise, and besides weren’t they just versions of Bilbo in his burrow at the start of The Hobbit? An Australian newspaper then reviewed the book with the statement that Tolkien had ‘a lot to answer for’. Sheesh. Now it’s all starting to make sense.  Dalton isn’t upset that Tolkien and Martin are the standards.  He’s upset because someone thought he sort of wrote like them, and then refused to read his work.  Author is sad or something.  Makes sense, right? Wait, no it doesn’t.  Dalton just said that you can’t write fantasy without writing like Martin and Tolkien.  That’s the only way to get recognition.  Now he’s saying that if you write like Martin and Tolkien, nobody will love you.  Signals crossed, I guess. I get it.  Tolkien and Martin do define much of the genre.  That’s bad for diversity, since much of what readers of fantasy want is stuff similar to what they’ve already read.  But let’s not pretend that fantasy is ONLY stuff that looks like Tolkien and Martin.  Let’s not pretend that nobody reads anything that is different, or that people don’t read things that are similar.  That’s absurd.  Derivative fantasy exists.  It sells.  Different fantasy exists too.  It sells too. This isn’t rocket science…

SF/F Commentary

Link of the Day: Liz Bourke on (Male) Rape in Epic Fantasy

I’ve got nothing to say about Liz Bourke’s recent post on the topic in the title — at least, not right now (maybe later).  However, I do think she’s raising a damned important question:  why aren’t more male writers dealing with the sexual abuse/rape of male characters in epic fantasies (especially when the sexual abuse/rape of female characters is somewhat common)? Head on over and read what she’s got to say.  That is all.

SF/F Commentary

Hugo Award: What I Nominated

First, I’d like to request that nobody shoot me for this list.  I know I left some stuff out.  I know I missed things.  Some of that is my fault, but I also blame it on a ridiculous work schedule (teaching five classes is insane).  So, you know, don’t shoot me — do leave a comment, if you are so inclined. And on that note, here’s the finalized list: Best Novel In the Lion’s Mouth by Michael Flynn Lost Everything by Brian Francis Slattery Arctic Rising by Tobias S. Buckell And Blue Skies From Pain by Stina Leicht Ink by Sabrina Vourvoulias Best Novella Nothing (I just didn’t read enough stuff to justify nominating anything in this category) Best Novelette Nothing (same as above) Best Short Story “The Magic of Dark and Hollow Places” by Adam Callaway “Scattered Along the River of Heaven” by Aliette de Bodard “Immersion” by Aliette de Bodard “The Bookmaking Habits of Selected Species” by Ken Liu “The Performance Artist” by Lettie Prell Best Related Work StarTalk Radio w/ Neil deGrasse Tyson LabLit.com Steampunk 3 edited by Ann and Jeff VanderMeer (correction:  Ann VanderMeer edited this on her own; my apologies for the mistake) Best Graphic Story Worm World Saga by Daniel Lieske Best Dramatic Presentation, Long Form Cloud Atlas The Avengers Chronicle Cabin in the Woods Skyfall Best Dramatic Presentation, Short Form “Blackwater” from Game of Thrones “The Ghost of Harrenhal” from Game of Thrones “Valar Morghulis” from Game of Thrones Best Editor, Short Form Andy Cox Sean Wallace Scott Andrews Best Editor, Long Form Liz Gorinsky Lee Harris Simon Spanton Best Professional Artist Stephan Martiniere Kekai Kotaki Daniel Dociu Min Yum Jonas Dero Best Fan Artist Pavel (artbypavel.com) Best Semi-Prozine Interzone Beneath Ceaseless Skies Shimmer Cross Genres Clarkesworld Best Fanzine The World SF Blog The Weird Fiction Review Best Fancast The Coode Street Podcast The Agony Column Best Fan Writer Liz Bourke Abigail Nussbaum N.K. Jemisin John H. Stevens Paul Weimer John W. Campbell Stina Leicht Myke Cole

SF/F Commentary

Literary Explorations: What the hell is a “strong female character”?

(This is a ramble.  Expect ramble-ness.  Note:  there aren’t many comments on this blog (you can fix that if you like), but some of my Google+ followers opened the flood gates here.) No joke.  We hear about them all the time.  But what do we mean when we say “strong female character”?  I ask this because I’ve read so many different definitions, and none of them seem to offer a valid justification for inventing a special category to describe characters.  When you think about it, we almost never say “strong male character” — granted, there are so many male characters anyway, and I suspect I’m right when I attribute “strong female character” (SFC) to a community response against the relative shortage of, well, SFCs.  Implicitly, this is a binary.  There are “weak female characters” (WFC) too, but their weakness derives from their portrayal — a frequently sexist one — rather than any assessment of their “strength” (broadly defined).  Identifying a WFC means exposing the ways in which writers fall prey to gender stereotypes in a way that doesn’t challenge those stereotypes (or, in other words, at least exploring what it means to be a woman in a more powerless position)(I’m not convinced this is actually a good definition, though). Personally, I find the term SFC slightly offensive — and I’m not the only one.  In 2009, Anna at Genre Reviews opened her critique with the following: You know what’s a problem? Strong female characters. First of all, why do we have to specify “strong” when referring to “female characters?” Why is this not a given? The default for male is not “strong” or “wusstastic,” so why do we have to be so specific about the chicks? You can find similar stuff at the Geek Feminism wiki.  There are also plenty of posts about why some SFCs are not actually SFCs (such as this one from Stuff Geeks Love and this one from Over Thinking It). I pretty much agree with all of these folks.  There is something sinister about labeling certain “types” of female characters with the “strong” modifier.  It’s a buzzword that has the unfortunate effect of essentializing one type of female behavior as somehow different from the rest.  But women, in my experience, do not demonstrate their strength via some set of character standards.  It is possible to write a character in an inferior social position (such as someone living in a vastly more patriarchal culture than our own) as “strong,” just as it is possible to insert heroines who are complex, literally strong, determined and bold into our fantasy worlds.  These aren’t mutually exclusive, nor is it necessary to identify one or both as “strong” when we’re really just dealing with “female characters.”  Not stereotypes.  Not objects.  People who happen to be female.  People who respond to stress in a variety of ways.  There are no standards for how women deal with heroism, trauma, stress, love, exploration, discovery, etc. But a term like SFC implies that there are specific standards which only certain women meet for inclusion into a “better” category of woman.  That’s bullshit.  The problem with female characters isn’t that they’re not strong; the problem is that they are so frequently written (frequently by men, of course) as 2-dimensional objects.  They’re chairs.  And I mean that in the most offensive way.  The problem with so many female characters?  They’re not weak or strong — they’re just not characters.  They are set pieces (often of the pretty variety) put in place for plot convenience.  They are, and I’ll said it again, chairs. Personally, I think we should stop calling bad female characters WFCs and good ones SFCs.  We should stop calling fake SFCs by that name too.  We should just rip them for not being real characters and spend more time writing and discovering female characters who fit the bill. Anywhoodles.  That’s what I’ve got to say on that.  Feel free to rip me a new one in the comments. ———————————————————– P.S.:  Does Sam’s mother in Transformers count as a proper character?  I always liked her as a character, but she spends so little time on screen…

SF/F Commentary

Schedule Changes

If it’s not already obvious, I’ve dropped some of the stuff I planned to write each week, in part because of time constraints.  I figured something like that would happen, since I’m a PhD student who is supposed to doing PhD work.  I may come back to some of those topics again in the future (as regular columns or otherwise). Today, however, I’m going to change the schedule in a more public fashion.  Everything originally planning for Mondays and Wednesdays will now drop on Tuesdays and Thursdays.  The reason?  I’m now teaching from 9 AM to 6:30 PM, with additional time to travel to and from campus.  It’ll be easier for me to switch things around. So…consider things changed.  New “Literary Explorations” column coming tomorrow!

SF/F Commentary

Adventures in …Cancer?: If Only You’d Been Bad Asthma (Or, Leading to Up to Diagnosis — Part Two)

(You can find the first part here.) Where were we?  Oh, right.  The last time I talked about my cancer diagnosis, I had covered all the symptoms leading up to my hospitalization and getting over my fear of needles.  A fast heart rate, asthma symptoms, and some weird crap in my x-rays pretty much made that mandatory. Here’s the run-down of what happened after hospitalization: Something must be said for the fact that my mother pretty much stuck by my side in the hospital, sleeping in what I can only describe as the most uncomfortable chairs and “beds” the hospital torture division could come up with.  She stayed there with me while I proceeded to freak out internally over the fact that things were going terribly wrong.  There I was, thinking I had asthma and that some nice drugs and high quality breathing treatments would put it all to rest and I could go back to my silly life.  But the x-rays made that impossible, and the subsequent CT scans pretty much confirmed what the doctors must have assumed:  there  was some really nasty shit in my body. I don’t think the doctors ever said “tumor” directly to me.  They might have said as much to my mother.  Honestly, I’ve never asked her if there were things she learned from my medical records that she kept from me.  I was 19 and not at all ready for the world — immature, still living at home, directionless, jobless, and feeling rather pissed on (losing a job over something that wasn’t your fault and totaling your car in the same year doesn’t help one’s confidence).  So it’s likely she learned a lot of scary things that nobody dared say to my face at the time.  That’s not to say that I didn’t know what was going on, of course, but being able to watch TV and read lots of Alan Gardner books in the hospital certainly helped me escape just a little. In any case, eventually the doctors had to tell me that they’d found growths around my aorta, trachea, and lungs, each of which were contributing to my various symptoms.  They didn’t have to say “it’s cancer,” but I pretty much knew by that point (this after a few days in the hospital, with lots of blood tests, bad food, and medicine).  You don’t have to tell a 19-year-old kid that he has cancer for him to figure out that he probably has cancer.  And being as immature as I was, I didn’t really know what that meant.  Cancer = death.  Little did I know… It was at that point that my general practitioner had to tell me that in order to figure out what was eating away at my insides, they might have to do exploratory surgery.  In other words:  they were going to have to crack my chest, dig around in there, and hopefully pull out a sample while trying not to kill me.  And this wasn’t a normal procedure.  My doctor more or less indicated that most surgeons wouldn’t even try it.  If thinking I might have cancer didn’t scare the shit out of me (it did), then imagining myself as a giant game of Operation did.  Up until that point, I hadn’t had anything approaching major surgery.  Jumping from “I hate needles” to “I hate them, but you can stick them in me because I don’t want to die” to “holy fuck, you’re going to crack me open and dig around inside me” in a matter of days is understandably terrifying.  I remember breaking down at some point and having a total freak-out.  You know the type.  You just start blubbering and saying things that sound like intelligent words, but really you’re just crying and saying shit that doesn’t make any sense to whoever will listen because you don’t want to die, etc. etc. etc.  Somewhere in all this, a male nurse came in and comforted me.  I have no idea what he said (probably something like, “be strong, this isn’t the end, you’ll survive, you’re strong, etc. etc. etc.”).  All I know is that he did calm me down a bit, which is why I will forever love nurses (and those few male nurses out there — Paul Genesse is the only one I know personally). I’m wandering a bit here.  The following day, the surgeon who had agreed to crack me open like a Christmas present came in to check me out and go over the details.  In my imagination, he stood seven feet tall with the build of a White Walker, though I suspect he was only a little over six feet and probably pretty average in real life.  When he arrived, he started feeling around my chest and neck and discovered that the lymph nodes in my neck had magically grown to the size of golf balls overnight.  Relief + terror = conflict.  On the one hand, that meant he wouldn’t have to chop into me like a kid dissecting a frog for science class; on the other, that meant whatever was wreaking havoc on my body was moving at a rapid pace, like genetic rabbits in heat.  But that meant having a far less dangerous surgery to get some actual material to work with for testing. Of course, I was still terrified out of my freaking mind.  Even a less dangerous surgery sounded like a horror film to little 19-year-old me.  When the day came to put me under, I probably shook like crazy while my mother sat there telling me it was going to be okay.  And then they took me into the room, someone asked me what kind of music I’d like to listen to (I have no idea what I said — probably classical), and then I did that whole countdown thing where they tell you to start from 100, but you know you’re not going to make it further than 96, and so you count anyway because it distracts

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