in Current Fantasy and Science Fiction.
I picked up this little anthology at Helsinki’s WorldCon, from Luna Press. I’d not heard of them before but I was and remain intrigued by their doing these non-fiction anthologies.
Yes, Helsinki was two years ago. Yes, I just got around to reading it.
As the name suggests, the essays deal with both issues of gender and of sexuality, primarily in fiction but also – and I loved it – in an analysis by Juliet E McKenna on the place of female-identifying authors across time in the publishing world. “The Myth of Meritocracy and the Reality of the Leaky Pipe and other obstacles in Science Fiction and Fantasy” made me think of Joanna Russ (as do so many of these sorts of conversations) and is well researched, persuasively argued, and did not – surprise! – leave me feeling completely hopeless. It’s a fascinating way to open the anthology.
Some of the essays meant more to me than others because in some I am familiar with the material, and with others less so. Kim Lakin-Smith’s “Doll Parts: Reflections of the Feminine Grotesque in France Hardinge’s Cuckoo Song and Neil Gaiman’s Coraline,” for instance, was truly fascinating but I couldn’t feel it as deeply as I might because I’ve not read either of the works (the Hardinge exactly because it’s billed as being horror). And it turns out I am even less up to date with fantasy than I thought, because AJ Dalton’s “Gender-identity and sexuality in current sub-genres of British fantasy literature: do we have a problem?” referenced sub-genres and authors I’ve not heard of. The essay itself was very interesting, don’t get me wrong, but I was unable to reflect on it meaningfully.
Of course, some essays I had little problem accessing. Both Jyrki Korea’s “What about Tauriel? From divine mothers to active heroines – the female roles in JRR Tolkien’s Legendarium and Peter Jackson’s movie adaptations” and Alina Hadîmbu’s “Newly added female chapters to blockbuster franchises: gender balancing in otherwise male-dominated fictional worlds or a greater purpose?” hit on issues and franchises very dear to my heart, and I greatly enjoyed reading the explorations of Tauriel and Arwen and Rey.
Let us not forget that this anthology includes an essay about Magic: The Gathering! Which is not something I would have thought was very interesting a year ago, but now I do! Rostislav Kurka (their name is meant to have a circle above the ‘u’ but my symbols don’t seem to include that one…) has helped me realise just how much more is going on in the fiction about M:TG than I realised, and how the cards’ art reflects and helps that too. So I also love that Luna Press saw M:TG as a legitimate topic for inclusion here; the essay absolutely fits the theme, and of course both the game and the fiction are a part of the speculative fiction world.
Other essays, I should point out, are more interested in a broad summary, rather than focusing on one genre or set of texts. Cheryl Morgan’s “Tipping the Fantastic: How the Transgender Tipping Point has influenced Science Fiction” was (as expected) a throughout examination of how trans characters have been presented in various stories, and what that means both for trans and cis readers and general diversity/understanding. Anna Milon’s “Bikini armour: women characters, readers and writers in male narratives” also made me think of Joanna Russ, and made me cranky, as you may imagine some of what is discussed from the title (it’s a good essay; it’s a frustrating topic).
Overall I think this is a great little anthology – and it is little, at 236 pages in about an A5 package. Obviously there is plenty more to be said, and part of me hopes that Luna does another one… although of course there are lots of other topics to cover, and they’ve got one on Evil and one on African fantasy and science fiction, so those are both excellent topics, too.
This is so utterly Peak History Nerd it makes even me laugh.
Many, many years ago – back in undergrad – I was walking through the building I spent way too much time in and there, on a shelf, was a pile of books that were free to good homes.
Reader, I have rarely been able to walk past a free book. I know, it’s adorable.
So I looked through the books, and I grabbed a couple. Just a couple, honest. And they’ve sat on my bookshelf, unread, ever since.
Authorized Pasts is one of those books, and the other day I decided it was finally time to read it. And… it was better than I expected!
The idea behind the essays is the idea of ‘official history’: what does official history look like, function as, in different times and in different places? It’s not something I’ve had much to do with in my own studies, but I am intrigued by official remembering and the uses history gets put to, so I was already coming from a place of interest.
Probably the best thing overall about this anthology is its breadth. It’s not broad spatially; it’s basically all European with a couple of diversions to the USA (I assume this reflects the fact that most contributors were from the same university, which when this was published – 1995 – leaned strongly in those directions). But it’s broad temporally, with the first essay being Ronald Ridley writing about ‘official history in the ancient Western world from he third millennium BC to the third century AD’, and the last being Alison Patrick reflecting on French Revolution history on its bicentennial. In between, there’s discussion about Carolingian history and celebrating the Reformation and how the remembrance of Captain Cook and Christopher Columbus are similar and different.
As a complete book one intriguing aspect is that almost every essay begins with a discussion of what makes something official history, or not. This was fascinating partly because the definitions seem to be different depending on what era is being discussed, as well as the personal definitions of the historians writing the essay. It also included some discussion of what even ‘history’ is, in the context of the time and place being discussed. And I love that stuff.
It must be said that the line-editing of some of these essays is somewhat poor; there are some grammar and punctuation issues that annoyed me, although they didn’t get in the way of understanding.
I don’t think this book is easy to get hold of, and let’s be honest it’s very niche. But I don’t regret picking it up that fine day lo these many years ago.
I knew nothing for sure about this book, going in.
Actually, that’s not quite true. I knew it was by Claire G Coleman, so having read Terra Nullius I had a reasonable assumption that it would involve something very clever and probably heart-wrenching as a commentary on Indigenous Australians.
(If you haven’t read Terra Nullius yet, and you’re Australian, you really really really should.)
I also assumed that it would be a really awesome story, because it was her.
The other main assumption I made was from the title. I’m not the world’s greatest poetry reader, but I did study war poetry in Year 12 (our teacher gave us the choice of what themes to look at: we chose war and death. We were 16, what did you expect?). So I can recognise a Wilfred Owen allusion when it’s waved in my face.
Putting those two things together and I could hazard a guess at the general ideas Coleman would be broaching. And if you’ve read Terra Nullius you can guess what sort of clever things Coleman is going to do with the ideas of war, and Indigenous soldiers. If not… look, both of these are the sort of books that really reward the reader having faith in the author, and going in with as few spoilers as possible. It is incredibly worthwhile. So go away, read it (them), then come back, because there are spoilers below.
Basically, Claire Coleman has written another brilliant book for today’s Australia and compels non-Indigenous Australians to think about the past and present realities for our Indigenous sisters and brothers. Also, it’s bloody brilliant story that’s going to work as a story whether you know the history behind it all or not.