Gerry Canavan wrote a fabulous essay in Luminescent Threads about ‘disrespecting Octavia’ – about whether or not work in Butler’s archives that remains unpublished ought to be published now, against her wishes. It’s a thoughtful essay that acknowledges it’s not an easy question to consider, and makes the unpublished work sound fascinating while admitting its flaws.
I knew Canavan was writing a biography of Butler when we asked him to write for us, and I’d been meaning to get hold of it… well, all year. I finally did and I finally read it and it is exactly as wonderful as I had hoped.
To call it a biography isn’t quite accurate. It is that, to an extent; you certainly learn the outlines of Butler’s life, and Canavan is quite explicit in looking at the struggles Butler faced in finding the time to write, how much re-writing she did because she wasn’t happy with work at various points, and other aspects of her life like receiving the MacArthur fellowship and so on. But this is also an extended critique of Butler’s work – both published and unpublished, because one of the amazing things about this book is that Canavan had access to the many hundreds of boxes of papers that Butler left when she died so suddenly. They’re stored at the Huntington, and their finding guide alone is over 500 pages in length.
Makes me want to start printing out and filing emails.
Each of the chapters is based around a particular creative period in Butler’s life, which I liked because it foregrounds that the creative output is the focus of the book but/and that it happens in tandem with the actual events in Butler’s life. Canavan traces themes across her work, as well as the ways in which so much of her fiction (12 published novels and 9 short stories!) can be seen as connected to one another: through early drafts and plot ideas as well as the motivating ideas. It makes me desperately want to read some of that unpublished work when I read about what she was trying to do in them… although Doro/Jesus sounds a bit weird even for me.
This is not a long book and it’s not a dense book. It’s not a nitty-gritty, every-day-at-a-time biography, and it’s not a highly technical literary analysis – it’s far more approachable and engaging than either of those would be. This is a book for people who love Butler’s work and want to know more about her and her work. It works brilliantly.
This book was sent to me by the publisher, Hachette, at no cost. RRP $32.99 trade paperback; it’s available now.
This is a great idea for a book, obviously; it’s similar in concept to Cranky Ladies of History although with a more pointed political stick, given the timing.
So… look. I have a few issues with it. Some of these are particularly my issues and may not be a problem for other people. So let me start with the good things.
- There are women in here I’ve never heard of. And that includes in the historical section, not just in the more modern sections. That’s awesome. And is largely because…
- The women aren’t just European. That is also awesome. The opening section on Wonderful Ancient Weirdos includes Seondeok of Silla (Korea), Khayzoun (Yemen/ Baghdada), and Subh (Basque/Cordoba), as well as Sappho and Hatshepsut and others.
- It acknowledges some of the problems with sources, and that info about women can be hard to come at. Too true.
But. Hmm. I’m actually writing this review before I finish reading it, for two reasons. It’s going to take me a long time to read because each entry is only a couple of pages long, and I find that exhausting… and I’m not sure I actually will read the whole thing. But since I got it to review, I wanted to write something about it close to publication.
The above points are absolutely reasons to buy and flick through this book. It’s got a bit of swearing so it’s not quite right for ten year olds, but 15 years olds? oh yes. Do it. Have it on the shelf ready to pull out to point out just a few examples of women being awesome scientists or what have you. However… like I said. Some things rub me the wrong way.
- The introduction includes this: “Where there are mistakes, forgive me. I have done the best I can, and it turns out there is a lot of history out there which I have shoved into my eye sockets. processed through the lukewarm innards of my brain, and squeezed through my fingers. It’s inevitable that some things will have gotten lost on that perilous, squidgy journey” (4). And… it really made me uncomfortable. Why is she disparaging her intelligence? Why is she blase about mistakes? By all means acknowledge there may be some, and I know she’s being humourous, but this way of presenting just irked me.
- The first chapter is “Wonderful ancient weirdos”. I guess she was going for alliteration but these are powerful women she’s discussing, and she’s calling them weirdos? That’s sending the wrong message, in my book.
- Also on this chapter: ancient? Uh, no. Hatshepsut, sure. Sappho, yes. But Margery Kempe, Hildegard von Bingen, and the others are all medieval, or at best early medieval. These terms matter, for me, because the context is important. Everything before the Industrial Revolution is not ancient.
- I don’t love the language. No, this isn’t a tone argument. This is definitely the most idisyncratic complaint, and your mileage may well vary. For instance, Hildegard’s regime described thus: “The strict regime of the convent demanded that each day the nuns have… eight hours of manual labour, which entailed, I dunno, putting up retaining walls and stuff” (26). That’s irksome for me.
- Verging on not caring about historical accuracy: “This is my book, and everyone gets laid” (10), on whether Hatshepsut and her chief advisor were lovers. Just nooo.
- Historical accuracy again: I skipped to the chapter on Alexandra Kollontai, and I can’t tell you how pleased I am that she got a chapter! but it says that International Women’s Day was February 7th by the Russian calendar, in 1917… but it was Feb 23. That’s just careless. Also? “Sorry, New Zealand, I know you gave women [the right to vote] in 1893, but you’re just so little and far away” (376). Far away from whom? Are only Americans going to read this?
- The end of Seondeok’s chapter: “Ugh, men” (18).
- Also, they’re not arranged in chronological order, within their thematic chapters, and that drives me batty.
- Also not in order, this time alphabetical, is the Old People Glossary, which in itself (despite my comments on the language) is quote amusing. I’m fine with using modern slang in these sorts of biographies; I think it can make them much more approachable. But why, why would you not put the words in alphabetical order??
So… there you go. Decide for yourself how annoying these issues are vs having a handy reference to Kollontai and Rosa Luxembourg, Mergery Kempe and Sappho, Queen Nanny of the Maroons and Sojourner Truth, Hypatia and Nana Asma’u and 92 other women on the shelf.
This book was sent to me by the publisher, Allen&Unwin, at no cost. RRP $19.99 and available now.
This book consists of two lectures given by Mary Beard, Roman history professor and all-round awesome person, for the London Review of Books in 2014 and then 2017. I had seen the film of the second one, which was neat because I really (ironically) like Beard’s voice and intonation so that was an added bonus.
The first chapter is “The Public Voice of Women”. Beard presents a number of examples of how women were silenced in the Greek and Roman worlds, and then uses those instances to illuminate how women are silenced in the modern Western World, as well as how women’s voices (literally and metaphorically) are portrayed. She does not suggest that everything about the modern West is founded on classical traditions – and is at pains to point that out – but her examples make it very clear how many expectations and perceptions can be traced back that far. The examples she gives from her life (being described as whining, for instance, or told to shut up) as well as examples of other women will be all too familiar to many women – and this has happened to women in classical texts since way back. This is important because those texts are used and studied still, and have been/still are seen as… if not imprimaturs, then still worthy of examination. And so they continue to pervade modern Western society.
Beard notes in the Afterword that she avoided making big changes when it came time for publication – this lecture was given in 2014, with Obama still president of the USA and Theresa May not yet PM on the UK. The afterword was written in September 2017… thus before the current spate of #metoo and sexual harassment/abuse accusations. So perhaps even more than she could have expected, this (and the second chapter) are necessarily of their times. Beard’s points still stand, though, of course. Beard doesn’t pretend to have all the answers; she’s pointing out the issues, making sure they’re not just accepted as ‘the way things are’ – and does suggest that we need to “think more fundamentally about the rules of our rhetorical operations… go back to first principles about the nature of spoken authority, about what constitutes it, and how we have learned to hear authority where we do” (40). Including women not thinking they need to deepen their voices to get more cred (guilty).
The second chapter on “Women in Power” was presented this year, which means it does deal with some of the depictions of May and Hilary Clinton… including some appalling versions of Clinton as Medusa (and Trump as Perseus??). Beard says insightful things about what power is, and how we think about it, and the language around it… and that when we talk about women ‘knocking on the door’ or ‘storming the citadel’ or ‘smashing the glass ceiling’, well: we “underline female exteriority” (57). Which horrified me when I realised its truth. Because she’s right, and while women are largely outside of power we need to write, and speak, ourselves in. But also: “if women are not perceived to be fully within the structures of power, surely it is power that we need to redefine rather than women?” (83). Yaaaasss.
This is a book I’ll be revisiting over and over, to remind myself of the reality I live in and to give myself encouragement to keep on. Things can change and it’s easier when we know where some of the problems lie.
Also, I need to read Herland and then re-read “Houston, Houston, Do You Read”?
This review first appeared in Crux, the magazine of the Astronomical Society of Victoria.
Amazing things happened at the Harvard Observatory around the turn of the twentieth century. Draper provided funding for photography of stellar spectra, while Bruce gave $50,000 towards a new 24-inch astrophotographic telescope. Pickering found the first spectroscopic binary, and Maury found the second; Fleming classified stellar spectra and discovered novae. Cannon worked on variable stars and explored the relationship between spectral type and magnitude; Leavitt also worked on variables and proposed the period-luminosity relation. Ames and Payne were Harvard’s first graduate students in astronomy.
Anna Draper, that is. Catherine Bruce. Edward Pickering and Antonia Maury. Williamina Fleming. Annie Cannon and Henrietta Leavitt. Adelaide Ames and Cecelia Payne. As Dava Sobel makes beautifully clear in The Glass Universe, women were fundamental to the astronomical work and discoveries at Harvard Observatory in its early years. This is a book in love with astronomy and its history that wants to ensure everyone who contributed—not just the now-big names like Hubble—is recognised.
Sobel points out three groups of women who contributed to astronomy. She opens her book by demonstrating how women contributed financially to astronomical work. Anna Draper provided money and telescopes so that stellar spectra could be investigated at Harvard, and endowed the Henry Draper Medal. This was done in honour of her late husband, but also reflected her own interests: she had observed with Henry, and helped with the photography; part of their honeymoon involved shopping for a glass disk for a 28-inch telescope, which the pair then ground and polished over years to transform into a mirror. At 73, Catherine Bruce’s vague interest in the stars was encouraged by Edward Pickering and by her death in 1900 her gifts totalled $175,000 (over $4 million today). Other women endowed telescopes, awards, and scholarships.
The second group, appropriately taking up most of the book, are the individual researchers at the Observatory. Most of them started as computers: examining glass plates, calculating visible magnitudes, cataloguing spectra. Some of the women worked on this for decades. Some undertook further work as their curiosity was sparked by the spectra they investigated, or the magnitudes they calculated, or they noticed interesting relationships between period and luminosity. These women published papers, and contributed to the papers of other astronomers, especially Pickering and Harlow; some of them were awarded annual medals, although not many; some were honorary membership to societies such as the Royal Astronomical Society, while Cannon was the treasurer of the American Astronomical Society. The work these women undertook was thanks in no small part to the unusual willingness of Edward Pickering and Harlow Shapley (yes, that Shapley), directors at the Harvard Observatory between 1877 and 1952 (Solon Bailey had two years as interim director), to not only work with women but encourage their independent work and acknowledge them in publication. Their work is therefore also acknowledged and discussed, since it would be impossible to separate it from that of the computers in particular.
The third group of women consists of the wives and other family members of acknowledged astronomers. Solon Bailey’s wife, Ruth, contributed to his observatons for the Harvard station in Peru, while Pickering’s and Shapley’s wives played crucial roles at the Observatory in making the whole place work. The third director’s daughter, Anna, became a computer. They are the least well served by the book; it is presumably difficult to uncover contributions if they weren’t acknowledged at the time.
Dava Sobel has not only written a compelling history of Harvard Observatory, and not only conducted a remarkable survey of the contribution of women to astronomy, but has also written an intensely readable book. There’s some wonderful scientific discussions included, about Cepheid variables and their importance to figuring out the size of the universe and the like—but these do not dominate. If you are looking for a book about the history of astrophysics, this is not it and does not want to be it. No understanding of astrophysics is required to read it. Rather, this is a history of the people involved; it has a little about their relationships with one another, but it’s mostly about the work; it sounds like most of them put their work first anyway, so that’s appropriate. It demonstrates just how much computing power was required a century ago to understand the heavens—when that computing power could be jokingly measured in “girl hours”, and sometimes “kilo-girl hours”. The women who worked at the Harvard Observatory were a crucial part of the astronomical community.
I received a review copy of this because, well, I asked my good friend Tansy if I could read it early and she said yes… it’s coming from Book Smugglers in December and you can pre-order it right now.
I have described this as a distillation of Tansy, and I stand by that. If you listen to Galactic Suburbia, or probably Verity! as well, you’ll find as you read this book that you recognise a lot of things. Not the characters, as such, nor the plot beats, but the themes. It’s superheroes and feminism, yes, which Tansy is definitely obsessed with. But more than that, it’s got romance (she’s been reading a lot of them), motherhood (there’s been a few essays on the topic in the last few years), queer representation and ethnic diversity (she’s a champion for those things). It’s got people discussing ‘old’ media vs ‘new’ media, and speculation about new new media; millennials doing excellent things and not taking crap from their elders; and a whole bucketload of snark and banter. And given her obsession with Press Gang and Lynda Day, it was only a matter of time before that came out in her fiction. Also, it’s sooo Australian.
So yeh. This is a very Tansy book.
But wait! You don’t know who Tansy is? That’s ok! You’ll still enjoy this novella if you’re interested in superheroes, and especially if you’re interested in superheroes beyond them just punching villains and swooshing in capes. This is set in the universe of “Cookie Cutter Superhero” from Kaleidoscope and “Kid Dark Against the Machine” – and if you liked those, you’ll be super excited to know that some of the characters recur here (you can definitely enjoy this cold but it’s so worth reading those other two stories anyway). It’s a world where machines mysteriously appeared, many years ago all over the world, which turn ordinary people into superheroes with different powers (and outfits) – and return them to normal again too. The stories are set in Australia, and while the first two deal with superheroes themselves this one is specifically focussed on Friday Valentina, a vlogger with a famous mother and a variety of baggage. Her vlogging focus is superheroes and they do end up being very… involved… in the story.
It’s a hugely enjoyable story that also says some sharp things about a variety of relationships, and about Australian politics in passing too. I’m rather hoping there might be more stories in this world to come…
I’ve had this book on my shelf to read for a good few years now. I didn’t read it at first because I hadn’t read enough Russ, and then I put it off because I thought the book itself was going to be scary. The other day I finally decided it was Time, and I’m so glad that I did. Because this book is fantastic.
It’s not a book to read if you are completely unfamiliar with Russ, in my opinion. There are a few of her works that I haven’t read and when they were discussed, I was definitely a bit less engaged and a bit left out of the conversation (my fault, not that of the writers). So you really want to have read “When it Changed” and The Female Man, and The Two Of Us and We Who are About To… before coming to this. That said, that’s not exactly a hardship. Well, The Female Man might be; it’s not linear, it’s very 70s-second-wave-feminism in its attitude towards trans women (ie not very positive), and it’s playing rough with a lot of literary conventions. BUT it’s still worth reading and then you can read THIS set of essays and that’s great!
The first five essays deal with Russ in her context, and I found this deeply amazing and exciting to read. Russ as reviewer, Russ in community, Russ being all edgy and spiky and much as I wish I could have met her I think she would have intimidated me! I also loved this section for helping me get deeper into an appreciation of what it was like to be a feminist and a female SF fan in the 60s and 70s. Things are still not always great today but things have, largely, improved – at least in my experience. These essays are all beautifully written, too, and use such a fabulous array of sources from the period that it makes me want to tell everyone to keep their ephemera! Store it safely! Print your emails!
The second, bulkier section includes essays on Russ’ fiction. Some of these go deeply into literary criticism territory – like Tess Williams using Mikhail Bakhtin’s carnival theory – and I haven’t read much lit crit in… quite a few years. So there were definitely a few bits where I did not get as much out of the essays as I might have when I was still studying and had practise. Nonetheless, the ideas that the essayists present are fascinating and intriguing and gave me new ways of thinking about the different stories. They also made me want to go and read Kittatinny, for instance, which I had thought I didn’t really need to. The essays use a range of devices and theory and ideas to get at the meat of Russ’ stories, to look at what they’re saying about society and gender and people and literature. It was actually really exciting to read.
The other thing this book gave me was a love of my feminist foremothers, Russ and the others that she was bouncing off/working with/ inspiring later. It made me really, really appreciative and fiercely grateful and amazed, too.
I’m so glad I got around to reading this book.
The short version is that Muriel Matters was an Australian actress and acclaimed elocutionist who went to Britain and ended up participating in the suffrage movement in the early 1900s, and went on to work with underprivileged children, among other things. She was also one of the first women in a flying machine, and was – as far as we can tell – the first person to engage in aerial leafletting: she tossed Votes for Women pamphlets over the side of the airship basket. She was amazing and this biography captures her wonderfully.
The longer version… is basically going on about some of the other, remarkable parts of Matters’ life. Like chaining herself to the Grille, part of the screen that stopped MPs from seeing the women who were in the tiny little room where they could watch parliament. Or the things that she endured while on her endless speaking tours, such as constant heckling and having eggs – and other things – thrown at her. The stays in prison. And her magnificent speeches about suffrage – which was not an end in itself, for Matters, but merely the beginning of women coming to full participation in social life and the fabulous consequences that would have for society. At the moment, it’s all too tragic to read some of Matters’ hopes and dreams for how women would be able to participate once they had the vote. Because yes, there were some positive changes made in SA, for example, once women were voting, around labour laws and the like. But we still see the ways in which women are hampered from full participation and the consequences of women’s voices not being taken seriously.
Wainwright, who also wrote Sheila, has done a remarkable amount of research here. Matters has never had a biography written before – and I’ve read quite a few books about English women’s fight for suffrage and she has never featured significantly in any of them. Matters died a widow, and with no children, and most of her family gone and overseas, so most of her own papers have been lost. So there’s a huge amount of reconstruction from newspapers, from early accounts of the suffrage movement, and other such sources to find out what can be found out. There are gaps, of course – in particular around Matters’ personal relationships – and Wainwright offers speculation but is clear that that’s what it is.
As to her politics and passions, those seem quite clear from her speeches and from where she devoted her energies. After becoming disillusioned with parts of the suffrage movement, Matters works with striking workers and then eventually becomes one of the first Montessori-trained teachers in Britain, working with children in slum areas. Knowledge of her later life is sketchy because she disappears from public view, which is such a shame because surely this woman didn’t sit at home fuming, after her actions earlier on? It makes me want to encourage everyone to print their emails and keep them in secure vaults so that historians can find them later.
This is an engaging, thoughtful, and generally lovely look at a fascinating and important woman who was part of a historical struggle that most people know far too little about.
WHAT’S NEW ON THE INTERNET/WHAT DO WE CARE ABOUT THIS WEEK?
No more Writer and the Critic: announcement
Feminist Poltergeist podcast, from Ellenbutnotdegeneres:
Carmilla movie out
OUR DISCUSSION: Leisure, freelancing/part-time hours and guilt.
Alisa: Otherlife; Stranger Things S2; The Trauma Cleaner, Sarah Krasnostein; Pop Culture Happy Hour; Friends Like These
Tansy: Podcasts: Uncanny 14b (To Budapest with Love by Theodora Goss & Some Cupids Kill with Arrows by Tansy; Kameron Hurley’s Get To Work Hurley #6 (how to write when overwhelmed by the world); Fangirl Happy Hour #100 (On Brand) & #101 (Howl’s Moving Castle); Thor Ragnarok – ABC Radio interview
Alex: Nexus, Scott Westerfeld, Margo Lanagan, Deborah Biancotti; Bold as Love sequence, Gwyneth Jones; Lord of the Rings; Glitch season 2
Please send feedback to us at firstname.lastname@example.org, follow us on Twitter at @galacticsuburbs, check out Galactic Suburbia Podcast on Facebook, support us at Patreon – which now includes access to the ever so exclusive GS Slack – and don’t forget to leave a review on iTunes if you love us!
In which we launch new projects and Discover a new/old love for Star Trek. Bet you didn’t know how much we love Star Trek. You can find us on iTunes or at Galactic Suburbia.
What’s new on the internet?
Nebula Weekend means awards and other announcements!
Tansy announces the impending Kickstarter for Mother of Invention: A speculative fiction anthology of diverse, challenging stories about gender & artificial intelligence.
Alex reveals the cover of Luminescent Threads, the new book about Octavia Butler coming soon from Twelfth Planet Press.
Continuum Preview! Check out the program, because we’re all over it. The whole GalSub team will be at Melbourne for this year’s Continuum — if you’re planning to be there, block off three hours for our Galactic Suburbia-and-Twelfth Planet Press extravaganza including a fundraising bake sale and a pre-launch party for Luminescent Threads. (It’s like a baby shower but for a book, and you don’t have to bring gifts)
Alisa: Santa Clarita Diet S1; Anne with an E; Luminescent Threads edited by Alexandra Pierce and Mimi Mondal, Twin Peaks.
Alex: Moana; Doctor Strange; Arrow; For the Love of Spock; Silent Invasion, James Bradley
Tansy: Percy Jackson & the Lightning Thief; The Murderbot Diaries, Martha Wells; The Sarah Jane Adventures (check out Tansy’s appearance on the Sarah Jane themed Splendid Chaps here)
All of us: Star Trek Discovery Trailer! We have a lot of feels.
Please send feedback to us at email@example.com, follow us on Twitter at @galacticsuburbs, check out Galactic Suburbia Podcast on Facebook, support us at Patreon – which now includes access to the ever so exclusive GS Slack – and don’t forget to leave a review on iTunes if you love us!
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.