SF/F Commentary

Why I Haven’t Babbled About the Hugo Awards…Yet

You’ll notice that I haven’t joined in on the discussion about the Hugos this year.  Granted, there hasn’t been nearly the level of intense debate as there was last year, though some folks have waded into the categories discussion, which has been going on for a while.  There’s a pretty good reason why I’ve been mostly silent:  I don’t have anything new to say. If you recall, Justin Landon basically ruined the Internet last year when he posted about what he perceived as the problems with the Hugo Awards.  I still tend to agree with most of his points, even many of those we both raised in these episodes on The Skiffy and Fanty Show.  But I sort of also agree with Justin’s later post on why the Hugos don’t really need to change…mostly.  As it stands, Justin argued, the awards function within a particular paradigm, and to try to insert another paradigm within that may be the wrong course of action.  The Hugos aren’t perfect as is; both of us have acknowledged that in one fashion or another.  I think there are some things that have to change about the award, but I’m also convinced that a lot of the things I want to change (category issues, etc.) may be resolved in time anyway.  Just…in time.  And in retrospect, I agree with Kevin Mudd’s assertion that the Hugos function so slowly because they are democratic (well, I agree that the process is slow because it contains procedures that appear democratic, not that the Hugos are themselves democratic)(I may be misremembering Mudd’s position because that was last year and it’s now 2014). But the thing is…I have nothing new to say about all of this.  I’m not angry this year.  I’m not irritated.  I’m indifferent.  Not to the Hugos as an idea, but rather to their operation or flaws.  I love the Hugos as an idea.  It’s an important award.  I’d like to see it changed for the better in time, too.  But I’m also not interested in having the debate…again.  I don’t see the point in saying what we’ve already said again.  If change is going to happen, it’ll happen because people on the inside will create those changes or the people outside of it who want changes band together and use their vote to alter what appears on the ballots. This is a debate that probably will continue for a while:  what do we do to keep the Hugos relevant?  Perhaps we can do what Landon suggested he might do — start new awards, leaving the Hugos alone to do “their thing.”  Or maybe we just have to accept that we have to be more proactive, not in trying to massively change it all in one fell swoop, but in a more measured approach, vote by vote, discussion by discussion.  But ultimately, I don’t feel like the debate matters that much this year.  The repetition feels flat, wasted.  It feels like it pales in comparison to the very real insurgency within our community, the fracturing of communities (as Jonathan McCalmont suggests here), and so on.  Those are things we have to solve now so we can have a better “future” for later. And that’s why I’m not really talking about the Hugos like I was last year.  Instead, I’ll talk about what I’m going to nominate, do my best to make it to Worldcon this year (more on that later), and generally enjoy what I can of this community. The End.

SF/F Commentary

Top 10 Blog Posts for January 2014

And here they are: The Vigilante in American Mythology (Brief Thoughts) #monthofjoy Movie Review: Riddick (2013) (or, I’m Going to Mega Rant Now) Guest Post: The Polarization of Genre Fiction by David Chandler Movie Review Rant : Catching Fire (2013) Silly Reader Questions: Super Powers, Magic, Bathrooms, and Poetry Top 10 Most Ridiculous Moments in Science Fiction and Fantasy Film in the 90s Self-Published Books vs. Literary Awards: In Response to Linda Nagata Star Trek: a Worf TV Show? (Some Thoughts) Gender Essentialism, Genre, and Me The Diversity Pledge: Crunching My Numbers for 2013 Interesting…

SF/F Commentary

Announcement: Comments Moderation Change

A while back, I changed my comments system to un-moderated w/o all the CAPTCHA and Google account requirements.  I did that as an experiment.  Overall, it’s been a good one, as folks have been able to comment without much difficulty.  However, the spambots have become a little more persistent and “clever” in recent weeks, which means some spam comments are getting through the spam system.  This requires me to go into the comments area and manually mark them as spam (the email notifications only sometimes let me mark them as spam from there). As such, I’m making a change to how I handle comments here.  As of now, all comments will be moderated.  CAPTCHA and other such requirements will remain off. I can’t imagine this will have any discernible impact here, as I tend to approve almost all messages anyway (unless you’re super creepy or a jackass).  But this way, the spam will never get through. Anywhoodles.

SF/F Commentary

Non-Binary SF/F and Message Fiction (or, “I don’t know what that is or why non-binary SF/F fits”)

(Note:  comments will be monitored on this post due to the nature of the debate surrounding this topic.  I hope I won’t have to remove anything, but I have a low tolerance for rude behavior right now.  If you can’t make your point without being a jackass, even if that point agrees with my own, then take it elsewhere.) You might have seen the response to Alex MacFarlane’s Tor.com post, “Post-Binary Gender in SF:  Introduction.”  If not, you can read the words of Jim C. Hines and Justin Landon, who both have things to say of their own.  I’m not going to address content of the primary response to MacFarlane (well, not the whole of it, anyway) or offer a line-by-line critique a la Hines.  Rather, I want to talk about a specific issue within this debate:  message fiction.  I would also be remiss to neglect to mention my post entitled “Gender Essentialism, Genre, and Me,” which is amusingly relevant to the larger discussion being had in the community right now. First, though I’m going to try to tease out the definition of message fiction in general by the end of this post, I should note that I’m not altogether clear on what certain individuals mean when they revile message fiction, except insofar as the politics are concerned.  Of the many references some in this debate have made to “the message”, none of them properly defines the term and most engage with a strawman version of MacFarlan’es argument.  MacFarlane’s column concerns the tendency to marginalize works which feature non-binary genders by exceptionalizing them.  Her primary example is The Left Hand of Darkness by Ursula K. Le Guin, which she says has been held up as the pinnacle of post-binary SF, while other equally important works have fallen away, such that we are constantly “re-discovering” them: It seems to me that there’s a similar process for post-binary texts: they exist, but each reader must discover them anew amid a narrative that says they are unusual, they are rare, they sit outside the standard set of stories. This, at least, has been my experience. I want to dismantle the sediment—to not only talk about post-binary texts and bring them to attention of more readers, but to do away with the default narrative. MacFarlane, in other words, is interested in this narrative, not quotas or checklists — the narrative which says “these texts about non-binary genders are not normal precisely because they are unusual.”  The problem with this narrative is in its ability to provide a rationale for ignorance, not on some political territory where these works must be ignored because they violate some central tenet of an “ism” — though this is true to an extent — but rather on the simple basis of cultural amnesia.  If we are not talking about works of a particular form, we are submitting to the possibility that those works will be forgotten, and along with them, the value they produce for the communities to which they might belong.  It is for this reason, I think, that she begins the post with the following:  “I want an end to the default of binary gender in science fiction stories” (emphasis mine).  The word “default” is not insignificant in the context of the entire post.[1]  The post isn’t calling for fiction to deliberately include non-binary genders for the sake of doing so (i.e., for an agenda); rather, it calls for SF/F to remove the default assumptions about gender in order to open up wider possibilities for inclusion (who does the including isn’t exactly relevant, since nobody has to do anything here).  I think this is a far too lofty goal, and deeply hyperbolic, but it seems like some have missed that careful nuance for one reason or another.  The idea that all SF/F must, by necessity, court the content of MacFarlane’s argument isn’t a notion supported by the argument itself.  In all of this, the question for me becomes:  do the works MacFarlane wishes to discuss in this series deserve to be remembered?  Personally, I think they do for various reasons, though the most relevant here, I think, is the fact that these works, even in their most obscure forms, are an example of SF/F’s remarkable imaginative, extrapolative, and critical potential.  And that potential is not isolated to “stuffy” works; rather, it is found in a whole sea of exceptional and memorable texts from before the codification of the genres to the present.  This is what SF/F does best!  Most of the time, it’s a lot of fun (in my entirely subjective opinion). All of this brings me back to the point about “message fiction.”  The entirety of discussion about this topic concerns a term which has no defined criteria by which we can discern message fiction from just fiction.  The only criteria, as far as I can tell, is that message fiction isn’t fun, but since “fun” is entirely subjective, it’s impossible to apply that in any significant way.  Some who attack message fiction provide an explanation for one of message fiction’s functions, which is to subvert the natural drive of a narrative by bogging down the whole with an agenda, but the best explanation on offer boils down to “here are some works which have messages.”  Even upon a deeper search into certain individuals’ posts revealed little useful material for understanding, at the very least, how they define the term.  There are numerous claims about liberals taking over Worldcon, making it impossible for conservative message stories (or books by conservatives, by extension) to appear on the ballots[3] and people avoiding SF because of messages.  At what point does fiction with political issues in them become “preachy” or “message-y”?  No idea.  The argument is never made; we’re simply supposed to accept it as accurate on the basis of someone’s word, which you’ll notice is quite difficult when so much of the discussion centers around political affiliations (liberals this, liberals that).  The claims are weirdly paranoid, like the Illuminati

SF/F Commentary

Announcement — 2010: A SFF Film Odyssey begins in February!

What is it? The SFF Film Odyssey (2010 edition) is the result of a twitter conversation I had last year, in which I remarked that it would be super cool if I could figure out a way to review every SF/F movie released since 2000 in one year.  Unfortunately, that’s nearly 1,000 films, and I have three jobs…so clearly that’s impossible.  Instead, throughout 2014, I will watch and review every science fiction and fantasy film released in 2010!  A more reasonable goal, and one that will give me a reason to go through the years of SF/F film one at a time! What will it entail? Reviews, discussions, and rants about SF/F movies from 2010.  I’m keeping away from a single format for these posts in order to add some variation, which will hopefully keep readers interested…and me. A couple caveats: When exactly will it start? It’s possible I’ll get things started next week, but since my laptop will need to go in for repairs on Monday, it may be a little while before I’m able to really dig in deep.  On a more realistic note, this thing will likely start around the first or second week of February. And that’s that.  So…time to get to work! —————————- *Thanks to Justin Landon for helping me with the name for this feature.  He gets three gold stars for his efforts.

SF/F Commentary

Gender Essentialism, Genre, and Me

I’m late to the party.  The first major SF/F controversy party.  And while this post won’t be about Kemp’s argument specifically, it does come out of the discussions about his post — most particularly the criticisms.[1] Part of the problem I have with traditional gender roles is the way they assume what manhood (or womanhood) is based on behaviors which are definitively not gendered.  There’s nothing explicitly masculine about aggression or nobility.  There’s nothing explicitly feminine about child rearing, except insofar as it is currently required for women to be the carriers of unborn children.  Gender essentalism, however, assumes there are definitely gendered behaviors, such that chivalry is read as “male/masculine” and cowardice is read as “female/feminine.”  If this association sounds negative, that’s because the construction of male/female or masculine/feminine is frequently a negative.  These associations are also oriented around agency, where masculine behaviors are active and feminine behaviors are passive.  There are all manner of gendered constructions, and each is based on arbitrary, culturally-determined factors. The impact of gender essentialism in this particular context is often unintended, but, by the nature of a culture’s ability to transmit its behavioral modes, it is also pervasive.  We are all coded by our gender without ever having a say in the matter.  My culture tells me I should behave in certain ways because that is what men do; it tells me there is a true form of manhood; and it tells me that I am deviant, even in an innocuous sense, if I do not conform to these standards.  It’s that absence of agency which should make all of us pause.  In effect, I am, as Louis Althusser might argue, interpellated by/into my culture’s gender paradigms as it codes my identify for me and I, as all children do, react by internalizing these values.[2]  As I grew older, it became clear how pervasive and abusive these standards and values were.  When I was told as a young man that I was not masculine (i.e., male enough) because I did not engage in feats of strength, it was implied that I must acquire that masculine behavior to properly assert my manhood.  If I wasn’t into sports, I was naturally feminine.  If I shared my emotions, I was more woman than man.  In other words, my youth was a process of cultural assault, by which my behaviors had to be coded along gender lines, interpreted, and then rejected if they did not conform to the norm.  This is not exactly a unique experience, either, though my examples above are certainly reductive. Women are told all manner of similar things, too, so I imagine I’m not wrong in asserting that the psychological impact of gender essentialism is rarely positive for any gender.  It reinforces gender roles as fixed, when in fact they are anything but, and it shames those who do not conform by implicitly stripping them of their gender and assigning a new one.  Thus, women who are aggressive are “manly.”  A great genre example is Grace Jones’ performance of Zula in Conan the Destroyer (1984). Here, we’re presented with a woman who is every bit as aggressive and noble (or not) as Conan (Schwarzenegger).  She wields spears and screams warcries as she cuts into enemies.  She doesn’t shy from battle or give in to injury or the intimacy of others.[3]  But she is definitively a woman, and expresses that behavior in ways particular to herself, not to her gender.[4]  That she is the female opposite of Conan is not insignificant:  she isn’t an enigma, but the embodiment of an anti-essentialist stance on gender (incomplete though that stance may be).  Women can be warriors without becoming “men.”  Women can be brutal and limited in their emotional expression without sacrificing their gender association. In other words, this idea that there are “gendered behaviors” in any pure or stable sense should seem absurd to all of us.  We can easily point to examples whereat someone behaves contrary to their assigned gender, and yet in doing so, they do not cease to be whatever gender they so choose.[5]  That’s the point I think more of us need to grasp in the SF/F/H community.  If you want to write characters who behave like chivalrous knights, then do so.  But there’s no reason to assume those characters must be male, or that their behaviors are masculine by nature.  We can do without thinking in those terms.  We’d certainly be better without it… ————————————————— [1]:  Based on my interactions with Mr. Kemp, I think I am correct in saying that his post was ill-considered in certain respects.  I understand what he is trying to say, but his methods for making that point were unintentionally sexist.  Instead of saying “I like writing masculine stories because men,” he might have said “I like writing stories that feature these virtues and behaviors.”  He might even have said he is most comfortable writing men, which is hardly an offense in my opinion.  I, for example, am only semi-comfortable writing men, which might explain why many of my protagonists (in written, not published fiction) are women (or sometimes something other than straight white guys); whether my writing is good is a whole different question.  In any case, it’s the fact that his post reinforces traditional gender roles and applies certain virtuous actions specifically to male behavior which poses the problem for most. [2]:  This is a horrible reduction of Althusser’s work.  I hope you’ll forgive me. [3]:  In all fairness, she is perhaps naturally distrustful of others because she is treated quite poorly by the people of her world.  I wish she had appeared in more Conan films, though.  Zula is such a fascinating character, and easily one of my favorites. [4]:  I should note that Zula was actually a man in the comic books.  She may not be the best example to make my point, but I love her, so I’m sticking to it… [5]:  I realize that there is some slipperiness in the

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