I read this courtesy of NetGalley.
As someone more au fait with anthologies than me pointed out, this anthology doesn’t have a introduction. So there’s no discussion of what speculative fiction is, let alone what African speculative fiction is. Which means that the answer to both of those questions is: These stories. All of them. These authors write that.
A few of these names – Sheree Renee Thomas, Tobias S Buckell – were familiar to me, but most were not. Part of this is that I don’t read a whole heap of short fiction these days, especially not the online magazines – it’s too hard – but it’s also partly about the speculative fiction scene that gets a lot of notice still being really white (I am not very wired into the whole scene these days anyway). Which makes an anthology like this excellent… because we’re a long way away from not needing such a thing, so don’t bring me the “but everyone’s work should be judged on merit” nonsense.
Anyway: the stories! This is a truly diverse set of fiction. There’s magic and there’s robots and there’s myths and there’s so-close-to-reality, and there’s horror (sometimes akin to the close-to-reality); there’s stories set in recognisable places and future places and past places and nowhere-places. Women and men and ungendered and who cares, families and not, hope and not,
I didn’t love every story, but I never do, with an anthology. And some of those were horror, which I pretty much always don’t enjoy. There was only one story that I got impatient with and skimmed over, which is a pretty good hit-rate in 360 pages.
This is great. I hope it’s the first in a long line of such volumes, as the cover page suggests.
For the centenary of the coining of the word ‘robot’, Jonathan Strahan has compiled an anthology of new work about those… beings? objects? creations? The word ‘robot’ is derived from the Czech word for slave, so perhaps it’s appropriate that a description of what they are is hard to come by. Strahan begins by putting robots into an even greater lineage and ancestry than a hundred years, though, pointing out that the Greek god Hephaestus has golden assistants, and the many stories of golems, and coming up to Frankenstein’s creation too. He goes on to touch lightly on the myriad ways robot-like beings have influenced fiction more recently (tripods to chat bots). I don’t always read introductions (sorry J), but this one is well worth the time and really sets the scene for the entire anthology.
I won’t go over every story, because that would be a bit tedious. Basically every story was great, which pleased me immensely!
Vina Jie-Min Prasad starts off the anthology with “A Guide for Working Breeds,” written as a series of chats between two bots. One is required to be the mentor for the other, who is pretty new to the whole work-scene; the slight boredom and irritation of the first is set off against the enthusiasm of the newb and feels all too real. The entire narrative is in chat; Prasad works in enough detail that by the end of it I felt like I had read far more narrative than was actually on the page. Very nice.
On the other hand, Peter Watts’ “Test 4 Echo” is not nice. It’s a great story, but it’s not nice. It’s got solar exploration and an intriguing design for a robot on Enceladus, but the way that the robot is treated is not nice. It’s got discussion of developing robot sentience, but the way it works out is not nice. I really enjoyed it… but it’s not nice.
“The Hurt Pattern,” from Tochi Onyebuchi, is a terrifying look at a very near, very plausible future that is more about the humans than the robots, because it’s about how humans teach robots and what we can unconsciously impart, and how that can be manipulated and used for profit, or nefarious purpose. I found this story distressing, actually, because it’s so very believable: how algorithms can be used to affect society. Including law enforcement.
In-built obsolesce crops up a few times, and perhaps nowhere as poignantly as in John Chu’s “Dancing with Death” which features a robot that should be on its way out and a mechanic who is more than he seems and also a really, really good mechanic. This one really is beautiful.
Sofia Samatar contributes probably my favourite story, in “Fairy Tales for Robots.” Onyebuchi presented a nightmare scenario for what might happen with the way humans teach algorithms; Samatar presents someone trying to teach a ‘robot'(ish) to think for itself, to consider how stories might guide decisions and attitudes. The way Samatar takes fairytales and myths – some familiar to my Anglo-Australian upbringing, others not so – and demonstrates how they can be seen as relevant to an artificial life is just breathtaking, it’s so imaginative. I really, really loved this piece.
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.
Octavia Butler once said, “There’s nothing new under the sun, but there are new suns.” And thus, New Suns: Original Speculative Fiction by People of Colour, edited by Nisi Shawl. It’s a remarkable set of stories: varieties in genre and tone and settings and characters. Some of the authors are people whose work I’ve come across a bit (E. Lily Yu, Andrea Hairston) while many others I was only vaguely familiar with – and several whom I’d not heard of before. Which is generally a good sign, in an anthology, for me anyway.
I’m not going to go over every story, because that would be boring. I want to mention a few highlights to give a sense of the range of stories.
Minsoo Kang’s “The Virtue of Unfaithful Translations” hit my history-teacher heart right in the middle. I love way it’s told – as an historian or archivist finding out more and more information – and I love the story that’s told through that information, and I ADORE the ‘Marginal note’ at the end for the way it cuts through and kinda sums up a lot of what historians of marginal communities have been doing for several decades.
“Burn the Ships” by Alberto Yáñez also hit me in the heart, but for different reasons. When I read in his bio that he “draws on his Mexican and Jewish roots” to inform the story, I could absolutely see the parallels; it’s not a re-telling of a story from either of those cultures, or a combining, but… using their histories, of conflict with The Other especially, to come up with perhaps the most emotional of all the stories in the anthology. It’s just incredible.
Indrapramit Das’ “The Shadow We Cast Through Time” is a non-linear narrative that looks at the consequences of human settlement on alien planets, how societies shape themselves in response to danger – and vice versa – and the connections between people. It’s gorgeous.
“Harvest,” by Rebecca Roanhorse, is horrifying. I’ve now read a couple of stories that involve deer women, and I already know enough to never tangle with one willingly.
If you’re looking for a non-themed anthology and you want to know who’s hot right now in speculative fiction, you should pick this up.
Tansy, Rivqa: I hear you have an exciting new project coming up. Care to share what it is?
Hi, Alex! We’re about to launch a crowdfunding campaign for a new speculative fiction anthology of artificial intelligence stories: Mother of Invention.
So tell me about this title. Who came up with it, what’s the point, and so on?
Artificial intelligence stories, from the very beginning, have always been dominated by the idea of a male creator ‘giving birth’ to robots or intelligent computers. This in turn means that we end up with a lot of artificial intelligence narratives with a sexy female robot, or a disembodied voice played by Scarlett Johanssen. Starting with Frankenstein (though even going back to the Ancient Greek Pygmalion/Galatea myth) the stories so often centre around the idea of what happens (or what goes terribly wrong) when men create life. Is Susan Calvin the only iconic female creator of artificial life in our whole genre? We’re happy to be ‘well, actually’d on this one, but she’s definitely outnumbered by her male counterparts.
To be honest, the ‘isolated dude builds/interacts with sexy robot girlfriend/daughter and/or angry robot/computer son who wants to kill him’ tropes have become the SF equivalent of ‘middle-aged college professor has affair with younger female student’. And just because (some) women can have babies biologically doesn’t mean they can’t build robots or super-smart imaginary friends as well as, or instead of, creating life the squishy old fashioned way.
We wanted to challenge the gender dynamic of artificial intelligence stories, and rather than focus on the ‘why are all robot women sexy and adorable’ trope, we thought we’d let some fantastic writers explore the idea of what kind of artificial lifeforms women, and other under-represented genders, might create.
As for the title… it took us ages to find something that captured what we want, but ultimately the quote ‘necessity is the mother of invention’ gave us the answer. When it comes to artificial intelligence stories, the motivation is often just as interesting as the ‘how it all went terribly wrong’ part, and we’re interested to see how the gender of the creator in these stories will affect what they build, and who they make.
The anthology will be published by Twelfth Planet Press… why go with them?
Twelfth Planet Press have a reputation for smart, thought-provoking projects and for challenging the gender dynamic of SF publishing, so they were absolutely our first choice. We’ve both worked with them before, though mostly at the fiction writing end of things, so it’s exciting to be getting our teeth into an editing project this time around.
We want to follow in the footsteps of Kaleidoscope and Defying Doomsday, which were both fantastic, diverse anthologies with strong political concepts behind them.
Do you have a stash of money up your collective sleeves to pay the authors for the project, or do you have some other plan?
Crowdfunding is our plan! With a project like this, a crowdfunding campaign has a lot of benefits to it, particularly that you can create advanced buzz for the book, and also gauge the interest of the readers. If we can’t make our target, then we don’t have enough interest to make the book viable, and it’s better to know that up front. The best thing about crowdfunding is that we are able to comfortably pay the authors (and editors and designers and artists and everyone) professional rates, which is often a hard ask for an Aussie small press budget.
Twelfth Planet Press has run a couple of very successful crowdfunding campaigns for anthologies like this one, and each time that has helped to bring international awareness to the book which is hugely important. We may be working out of the Australian suburbs, but we want to get this book into the hands of readers all around the world.
This will actually be the first time Twelfth Planet Press has worked with Kickstarter rather than the locally-based Pozible, so that’s an exciting adventure. It will be interesting to see whether it makes a difference to international reach.
Are there any authors associated with the project yet?
Yes, there are! We’ll also be opening for general submissions after crowdfunding closes, from July-August 2017.
Our core team of Mother of Invention authors are Seanan McGuire, John Chu, Kameron Hurley, Nisi Shawl, Sandra McDonald, E.C. Myers, Justina Robson, Bogi Takács, Rosaleen Love, Cat Sparks and Joanne Anderton. We also have an essay coming from Ambelin Kwaymullina, which we are very excited about.
Do you have dream plots or ideas you’d like to see reflected in your slush pile?
Tansy: I’m not gonna lie, I kind of want at least one super smart sexbot story and/or a gender-reversed Stepford Wives story. So many robot-as-person stories are about beauty and perfection and the unrealistic expectations on human/artificial female bodies, so I’d love something that turns that around to look at the potential sexuality/sensuality of artificial male bodies. I’d also love to see stories that look at how women socialise and connect to each other, and how intelligences that are created by women might reflect that. I’d definitely like a range of ages of the creators — a 96-year-old woman and a 15-year-old girl are going to create a different intelligent software, presumably. What would you get if they worked together?
I also really want stories that challenge our premise, challenge the gender binary, and allow for a wide, inclusive definition of what gender means anyway. Artificial intelligence is a theme that invites a complex exploration of gender (or an absence of gender) beyond just the creator themselves, so it would be fantastic to get stories that do this.
Rivqa: While I’m sure we’ll be including some ‘AI turns evil’ stories, I’m personally more excited to see stories that explore our creators’ creations in more subtle ways. In particular, autonomy interests me as a writer and a parent. At what point do we let go of our children, whatever their nature? What does it mean to make an autonomous AI, whether purposefully or accidentally?
Like Tansy, I’m excited to see how our authors use the theme to explore gender identity and expression. Would a female, genderqueer or agender creator necessarily invent something different to a cis male creator? Or is that just playing into the kyriarchy’s hands in a different way? I can’t wait to see how our submissions subvert the tired old trope of the cis male inventor, because I have no doubt that they’ll do so in a multitude of ways.
At a simpler level, I’m just looking forward to reading stories from people who love robots as much as I do, because I think they’re awesome.
What’s the timeline for all of this?
It all starts in June 2017, just a few weeks from now! We’ll be crowdfunding for the whole month. We’ll then have our open submission period and be reading, selecting and editing for the rest of this year. We’ll be delivering crowdfunding rewards from early 2018, with the book itself delivering to supporters in June 2018.
We also have a stretch goal planned for a companion series of gender and artificial intelligence essays which would, if we reach the target, extend beyond the original timeline.
Tansy Rayner Roberts is a writer, Hugo Award-winning podcaster and pop culture critic based in Tasmania. Her award-winning fiction includes the Creature Court trilogy and the Love & Romanpunk short story collection. Tansy has edited various magazines and books, most recently the Cranky Ladies of History anthology which was crowdfunded in 2014. She also regularly assesses manuscripts for the Tasmanian Writer’s Centre.
Rivqa Rafael is a writer and editor based in Sydney. Her speculative fiction has been published in Hear Me Roar (Ticonderoga Publications), Defying Doomsday, and elsewhere. In 2016, she won the Ditmar Award for Best New Talent. As an editor, she specialises in medical and science writing, both short and long form; she has also edited memoir, fiction and popular magazines.
I’ve been meaning to read this book for ages. And I do mean years. Finally got it this year because I was reminded of it by someone when I read a very poor version of the Snow Queen.
Many of the stories are excellent, although it’s not quite the anthology I was expecting. I wasn’t expecting there to be discrepancy in whether the stories were pretty faithful or quite different versions; I found it a bit disconcerting to bounce from one to the other, and then have completely made up (that is, not based on commonly told fairy tales) stories in there as well. I’m not saying any of those three options is bad but it felt jarring to have them all mixed together. But I think that’s mostly my expectations.
Lisa Goldstein’s use of Hansen and Gretel motifs to tell a story about a woman’s relationship with her daughters was a delight and a really intriguing way to end the anthology. I loved Patricia A McKillip’s take on the snow queen and Esther M Freisner’s “Puss” was deeply troubling. Actually a lot of them were deeply troubling, but that was kind of the point both because original fairy tales just were troubling and because this anthology was always intended to be about both the fantasy and the horror aspects of the stories. Hence the title. There were a lot of really great stories in this anthology and I can see why it keeps getting talked about. I guess I finally need to read Angela Carter now
A book that celebrates the marginalised throughout history. The women. The black. The brown. The queer. The trans. The freaks.
Stories that give the marginalised agency, even when they’re oppressed; purpose, even when they’re condemned; existence, even when they’re ignored.
I loved this anthology. I at least liked, if not loved, every single story.
Every story is set in a historical time and place: parts of the Americas, Asia, Africa, Europe. They deal with real instances of marginalisation and oppression: sometimes minorities within hostile communities, sometimes systemic social oppression. In each story the characters are those whose stories have tended not to be told in Official History – at least not until the last few decades, and still slowly at that. In some cases the stories are triumphant; in some cases the stories tell of loss and woe. But almost always there’s an element of optimism, or hope. That through oppression, defiant humanity shines through. That despite others trying to remove that humanity, the marginalised know that they are human, and deserving of dignity. Even if in this instance, they’re not accorded it. I found it an unexpectedly uplifting anthology.
It reminded me of Cranky Ladies of History, for its agenda of shining light into often unlit areas of history. But the difference is that this is consciously speculative fiction about the margins. Most often that’s expressed as magical ability of various kinds, rooted in real religious systems or within individual humans; or there’s the occasional science fictional element. Sometimes it’s zombies or shape-changing, or magical/otherworldly creatures. Sometimes the speculative element is central to the story, and sometimes it’s just there, part of the world. It’s always done well.
Everyone should read this anthology.
This book was sent to me by the editor, at no cost.
I have loved the Infinity series so far. I like that the focus is on science fiction, that it’s often a focus on the engineering side of the future but that that doesn’t preclude fascinating characters and intriguing worlds. I am consistently impressed by the variety of worlds presented and the writing talent included.
The anthology opens with a series of stories focused on the solar system. Alastair Reynolds gives us a problem with the sun where the narrative jumps tantalisingly between now and later, while Pat Cadigan provides what might be a prequel story for her “The Girl-Thing who went out for Sushi” in a story set on Earth but focused on colonising near Jupiter. Stephen Baxter goes to Venus with a sweeping story about human hubris and the problem of families. Charlie Jane Anders totally mocks the whole idea of going to space in a hilarious story of being, like, an adolescent in space? Tobias S Buckell and Karen Lord also take the long view, temporally speaking, about what it might mean to undertake engineering projects within the asteroid belt and elsewhere, given the distances (and therefore time) involved. Plus Calypso.
Naturally, there are some stories in the anthology that confront climate change – it’s understandably becoming a go-to theme. Cadigan’s story references the issues in passing; stories by Pamela Sargent, and Pat Murphy & Paul Doherty, suggest possible ways of dealing with the problem – the latter is one of my favourites, being both optimistic and pessimistic, and largely set in the Arctic. Ken Liu writes over an extremely long period of time in posing the idea that the coming of the singularity might solve climate change in a rather radical manner. And Thoraiya Dyer posits a rather intriguing solution to the loss of island real estate while also dealing with the problems of family.
There are also several stories with extra-solar settings. Kristine Kathryn Rusch combines desert urban planning on alien planets with a devastating mystery to great effect; Robert Reed writes a Great Ship story about how the materials you use (and the tools) can impact on the thing you’re making. Allen M Steele’s story sounds like it might be from a pre-existing set of stories, like the Great Ship suite, in that it’s focused on a group of wanderers in what is effectively a Dyson sphere called Hex. It’s less focused on the engineering and more focused on human exploration of alien tech.
A few stories didn’t especially work for me. Karin Lowachee’s story of a contractor alone on a supply depot installation didn’t have enough character development for me to get my teeth into, while Gregory Benford and Larry Niven made my teeth ache with their extra-heavy serves of techno speak and missing out on character or plot. An Owomoyela’s narrative didn’t quite seem to go anywhere… which given the narrative itself is kind of funny, but it still didn’t work for me.
Highly recommending this anthology for lovers of science fiction.
I supported this book through its Kickstarter campaign and I am so excited that it is finally here. You can pre-order now and get your own copy on May 30.
“People with disability already live in a post-apocalyptic world,” says Robert Hoge in his Introduction to this volume. The central character of every story in this anthology has some sort of disability or chronic illness – but the point of the story is not that. The point is people getting on with surviving the apocalypse. Some do it with more grace than others; some do it with a lot more swearing and crankiness (I’m not saying that’s bad; looking at you, Jane, by KL Evangelista). Some do it almost alone, others with a few people, still others with lots of people around (which can be good and bad). The apocalypses (apocalypi?) they face are also incredibly varied, from comets hitting the planet to various climate-related problems to aliens to disease to we-have-no-idea; the settings include Australia, New Zealand, the Netherlands, the moon, space, and indeterminate.
The first four stories give an excellent indication of what the anthology as a whole is like. Corinne Duyvis opens the anthology brilliantly with a story that includes a comet, refugees, spina bifida, food intolerances, teen stardom and adult condescension. “And The Rest of Us Wait” sets a really high bar. Next, Stephanie Gunn throws in “To Take into the Air My Quiet Breath” which combines cystic fibrosis, sisterhood, influenza, and taking desperate chances. Seanan McGuire serves up a story that somehow manages to combine being really quite cold and practical with moments of warmth; the protagonist has mild schizophrenia and autism, and not only does she have to deal with surviving a seriously bizarre problem with the rain but also one of the girls who used to tease her. No. Fair. And then Tansy Rayner Roberts does banter and romance with “Did We Break the End of the World”? Roberts somehow makes looting not seem quite so bad and THEN she does something REALLY unexpected at the end to actually explain her apocalypse which I should have seen it coming and totally did not.
So that’s the opening. A focus on teenagers, and I guess this could count as YA? But some of the protagonists in other stories are adults, so I don’t know what that does to the classification. At any rate I’d be happy to give it to mid-teens with an understanding that yes, there is some swearing, but as if that’s a problem. They should maybe skip “Spider-Silk, Strong as Steel” if arachnophobia is a problem, though.
Tsana Dolichva and Holly Kench have created an excellent anthology here. The fact that each protagonist has a disability or chronic illness isn’t quite beside the point, but it kind of is: that is, most of the time while reading the stories I wasn’t thinking “oh, poor blind/deaf/handless/whatever person!” I was thinking “I want to be with that person when doomsday comes down because they’ve got this survival thing down like nothing else.” Of course I’m not suggesting that these stories could or should have been written with able-bodied protags, or that the disabilities have been added in to be PC (which, remember, isn’t actually a bad thing). Instead what this anthology shows is that being diverse and inclusive isn’t bad for fiction. In fact it’s great for fiction. It’s an important reminder to (currently, mostly) able-bodied types like me that HELLO you are not the only people; and for people living with disability and illness this is of enormous importance, because it reminds them that (unlike what we see in many other books and films) they’re not automatically destined to die in the opening scenes of an apocalypse. They have stories and they’re important, like everybody else who’s not a straight white (able-bodied) man.
Soooo this anthology came out in 2013 aaaand I’ve only just got around to reading it. Um. Oops. I have no excuse for this. It just didn’t happen.
The subtitle is “An Anthology of Discoveries” and what’s really interesting is that this is such a broad anthology but yes, the theme of discovery – of place, or self, or strangers – is the unifying factor. Sometimes it’s obvious and sometimes it’s subtle; sometimes there are world-shattering consequences and sometimes not so much.
The other superbly interesting thing about this anthology is that it’s all women. From memory of Tehani discussing the process, pretty much accidentally so. And it’s not all just dresses and kissing! (Sorry; /sarcasm.) It’s basically a who’s who of established and emerging Australian writers, too, which is a total delight.
Some of these stories really, really worked for me. Michelle Marquardt’s “Always Greener” is a lovely SF story that ended up being simultaneously darker and more hopeful thanI expected (yes that’s a contradiction, too bad). And then to have it contrasted with the fantasy of Lisa Hannett and Angela Slatter’s “By Blood and Incantation” – which is not my favourite HannSlatt but is still quite good – neatly skewered expectations that it was going to be an SF anthology, pointing out that ‘discovery’ is a mighty broad concept. And then “Indigo Gold” by Deborah Biancotti! Detective Palmer!!! and !!! The Cat Sparks story is awesome (it feels like ages since I read a Cat Sparks story), Penelope Love is quietly sinister in “Original,” Faith Mudge does fairy tale things beautifully in “Winter’s Heart.” And the final story, “Morning Star” by DK Mok, is a magnificent SF bookend to match Marquardt but on a much grander, more extravagant scale.
This is a really fun anthology and I’m sorry it took me more than a year to read it. You can get it right here.