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.
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.
The time has finally come.
I have finally finished Greg Egan’s Orthogonal trilogy.
There really ought to be a fanfare for such an announcement.
At the start of his one, Egan himself has written that you just won’t really get this book without the previous two. I don’t think I’ve ever come across the third book in a trilogy that said that so bluntly, and I really appreciate it. Because it is SO true: if you don’t understand how light and time work in this universe (and look, I don’t understand it, but I get how it’s different from ours), let alone the society and what the folks are doing on this mountain-turned-spaceship, you will be so lost you’ll end up in Antarctica instead of Bali.
As the second book was a few generations after the third, so here. The ship is sailing happily through the universe, and folks are still working on how to save the homeworld. Not that everyone especially wants to save the homeworld, from which they are now several generations distant – and will never see themselves anyway. So, classic generation ship angst, really. That’s one issue. Then, there’s what turns out to be a logical consequence of the bizarre universe Egan has set up where light travels at different speeds and some parts are orthogonal to others: that time is affected, too. Specifically, that it should be possible to set a receiver for messages from the future.
Because that couldn’t possibly turn out badly.
So now there are two issues dividing the crew of the Peerless. And just to add to the problems, while the earlier issue about children has been solved – the females no longer need to either die to become their children, or starve to prevent that from happening, and they’re not overpopulating – there are some people who aren’t happy with the solution: especially some brothers who don’t want to be compelled to care for their sister’s children. So life is definitely not rainbows (which they’ve never seen) and roses (which they don’t grow).
I love that Egan tackles such weighty topics as democracy, needs of the few vs needs of the many, the importance of choice, the place of parenthood, and so on – all in a book that literally has vector diagrams in it as it explores the outcomes of a thought experiment in physics.
From a narrative point of view, the most gripping part is when four people travel to an orthogonal world to see whether it would be habitable. Again, this is an exploration of the consequences of ‘orthogonality’; time is literally going in the opposite for this world from how it is experienced by the travellers, so what could that possibly look like? What does that, what can that, mean for free will? (A whole bunch of headaches is the answer. Mostly metaphorically.) This bit is also a deeper exploration of the characters, as they interact only with each other, in very trying circumstances.
As with the other two books, I admit that I skimmed bits of the physics explanations. Including the diagrams. I read it well enough to get the point Egan is making, but I would in no way attempt to explain it.
I have a couple of thoughts that are spoilers, so don’t read the rest if that’s a problem… but if you’ve read the first two, I think you definitely need to see how the story plays out.
As a rule, I really enjoy Strahan’s anthologies, and this one intrigued me: the stories of when things go wrong. These are small stories and large, set in our near space and a very long way away – in time as well as space – and stories where not everything ends up well. You already know something is going to go wrong.
I didn’t love every story in the book; it’s an anthology, so that’s no surprise. To my own surprise I did not love the Greg Egan story that starts it: it was fine, but it didn’t have quite the… flair… that I like from his work usually. Ah well. There were plenty of stories I did love. Linda Nagata’s was in the vein of AI-gone-wrong, and I really enjoyed the characterisation. Gregory Feeley’s is set on Mars, like Nagata’s, with a completely different set of problems and hints at a whole bunch of background issues that intrigued me. Possibly not one to read if you’re feeling sensitive about children in danger. Going way off into the distance, temporally and spatially, Tobias S Buckell sets up a really intriguing society and a problem that verges on a “Cold Equations” scenario. I loved the characters a lot, and would absolutely read a novel or three set in this place.
Despite what the Goodreads page says, this book does not have an Alastair Reynolds story. To my disappointment, as you can imagine. There is, however, a Yoon Ha Lee story, and these days that pretty nearly makes me as happy. And “The Empty Gun” absolutely delivers in cold hard explosive story that I could not hope to guess the ending of. Same goes for Peter F Hamilton’s story. I’ve read only a few things by him, and it’s been a bit hit and miss – I think because he often verges on, or is outright, horror – but this one, set in our solar system but many, many years away, is amazing: the changes to humanity necessary for survival, the uncomfortable conception of maternity, and the outrageous version of a bad roadtrip. The final story, by Peter Watts, is a fairly uncomfortable place to end the anthology – it absolutely works, but it’s a grim view of the future, and one that feels if not plausible then at least imaginable.
This is a highly enjoyable anthology with a good range of stories; I’ve only covered maybe half of them here. The theme is broad enough that you’d almost not know that the authors were writing to a theme, except for all the time things go wrong. Many of the stories are long enough that they get to develop their worlds and characters a bit more than in a short-short. Definitely one to read if you’re after some wide-ranging SF.
I’ve heard of Tepper as one of the early-ish feminist SF authors who got quite a lot of attention. This came out in 1988, so not early at all, but nonetheless it’s one whose name seems to kinda float around in the ether as an example of feminist writing. It’s been sitting on my shelf for ages, so I figured I should give it a go.
Set some time in the future, on Earth, this is largely an exploration of a society through one character’s life. There are a few significant events, but most of them are daily-life-level, rather than world or even community-level: it’s intentionally small scale, I think, to explore the issues on Tepper’s mind rather than to present an epic narrative.
This is a very complicated book to think about. Firstly, although it’s only mentioned in passing this is a deeply homophobic book. I don’t think there’s any mention of female same-sex relationships, and male homosexuality is regarded as an illness that needs to be cured; men who want to sleep with other men are deeply suspect.
Secondly, it’s an example of that sub-genre where women and men live largely segregated lives. The women are mostly in towns, while many of the men live outside the town walls in a garrison. There are exceptions: the men who return to the towns, through ‘the gate to women’s country’, and why they choose this and how the other men regard them is one of the key aspects that’s explored through the story – eventually, anyway. I don’t think Tepper is advocating for this segregation as a real way to live, but it’s an interesting thought experiment.
Thirdly, the narrative structure isn’t linear. It largely follows Stavia, and her experiences both as a child and as woman; a large part of this is about how childhood experiences influence her as an adult (the child is the mother of the woman, etc etc). This isn’t too complicated, but it is occasionally confusing, since there’s no textual indication at the start of the chapter or whatever to indicate which time the chapter is in. It does become evident pretty quickly, but it’s still something to be aware of.
Fourthly, there’s the Iphigenia at Ilium aspect. This is probably the strangest bit. The book is set some centuries after some sort of disaster has killed a massive proportion of the population and devastated the environment. Lots has been lost, but somehow a variation of The Trojan Women has survived, and become so important that it’s staged every year. I can see some of the thematic similarities that Tepper is trying to convey – Achilles’ ghost is basically laughed at, and it seems to try and remind the women that there are problems with warriors and senseless violence, or something like that? Perhaps I missed something deeper, because overall it just didn’t make sense to me.
Lastly, one of the big revelations towards the end is a major spoiler, so if you don’t want that, look away now…
Some people I respect were raving about this, and I like both El-Mohtar and Gladstone’s work separately, so I thought I’d give it a go. Bought it on my day off (e-copies really are very useful) and made a start on it.
And then I finished it. In one sitting.
I think it’s a novella… but still. Yes. I inhaled it. It’s brilliant. It’s about time travel and two rival versions of human history.
Why are you still reading? Just go buy it already.
If you’re still reading and you’re not convinced: two very different views of how human history should play out are in competition across time, and across the multiverse – or strands, as our narrators call them, which means that you get all sorts of symbolism along the lines of braids and so on. Very clever; I like it a lot. Our people go upstream and downstream and across strands and they’re always looking to make their version come out on top, and thwart their opponents.
And then Red and Blue start to communicate. And then (I’m sorry) things start to unravel.
The story is fabulous, the ideas are enthralling and rich and wonderful. The characters are always somewhat opaque but honestly that fits so well with what’s going on and with who and what they are, that it was fine.
The one thing that some readers might find off-putting is the language: I saw someone describe it as ‘baroque’ and that’s probably fair; it’s extravagant and ornate and rich and luscious, sometimes whimsical and playful, full of symbolism, and occasionally meandering. I loved it; it’s the sort of prose that will definitely reward re-reading, and a slower read, in order to really mull over the weight of the words.
Straight to my ‘possible Hugos’ list for next year.
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.
I am a huge fan of the Machineries of Empire series, which apparently I haven’t reviewed here and that’s a terrible oversight. So I was very excited to finally get this, and dive into the back story of the empire in general and Jedao specifically, and Cheris too. Many of the stories are quite short snippets, which I found intriguing, and they definitely add to the overall character development.
And then I got to “Glass Cannon”, at the end. And then I realised that it was basically a continuation of the final novel. So then I had to stop, about 5 pages in, and go back to the start… so I’ve read the whole trilogy again in the last week. And it’s still amazing and breathtaking and heartwrenching.
(Massive spoilers below…) Continue reading →
I remember when the the Science in the Capital books came out; I was unconvinced about whether I could face a near-future story about climate change. So I did nothing about reading them. Then I recently discovered that the books had been released as an omnibus edition, and I figured – why not. And the introduction to this edition reveals that it’s a director’s cut – and not in the way that Raymond E Feist did his version of Magician: in this case Robinson has actually cut extraneous material, for a variety of reasons, and I’m quite impressed by that whole process.
So anyway, now I have read the trilogy-that’s-really-one-long-book. And it must be said that it’s rare for me to finish a book where I kinda loathe the main character.
The book opens in a style that suggests the story will be told through a variety of voices. Each chapter opens with some extended comment on science or politics or global events, and then the chapter proceeds with different characters going about their everyday lives – which frequently interact with each other, and with making science- and climate-related decisions. There’s Anna, a scientist at the National Science Foundation; Frank, a visiting scientist at the NSF; Charlie, Anna’s husband and advisor to a senator, who works from home and is mostly caring for his youngest son; Leo, a scientist in a small biotech startup lab; and a couple of others. As it went on, though, there was somewhat less of this multi-focused approach.
It was intriguing to read a book that paired the domestic, sometimes banal, frequently humdrum lives of its characters – in the office, or the home, or the lab – with important scientific discoveries or crucial policy decisions. Like in real life. The conversations often looked really odd on paper… until I listened to them properly in my head, and then they sounded like just normal conversations. Zagging in odd directions, incomplete sentences, and so on. Robinson has often captured actual life with true verisimilitude, and I mostly enjoyed it.
However, the character that I initially liked the least is the one who ends up having most of the narrative. This is Frank. He has what I regard as a poor attitude to science, and an even worse one towards women. If I had realised that this was going to be largely Frank’s narrative, I may not have kept going. In fact it’s possible that if I had been reading this as three separate books, I would not have picked up the second after the first.
Now, I have little objection to abandoning a book – I mean I hate doing it, but I will, because life is too short to read crap books. So why didn’t I abandon this book? Because I did want to know what would happen to the other characters. And because I was truly interested in where Robinson would go both in destroying the world through climate change, and suggesting possible ways of dealing with it.
Was it worth it? I still didn’t like Frank. In fact I got really impatient with him, and his whole personal storyline seemed pretty weird and actually beside the point for the overall story… and this sense is growing the more I think about it. However, as a way of thinking about how science might help the world deal with the repercussions of climate change, it’s certainly an intriguing novel. And like many of Robinson’s books, ultimately hopeful. (Perhaps too hopeful?) So I don’t regret reading it. For a reader who is interested in both politics and science, I expect this would hit a lot of buttons (unless you’re very over the ‘America saves the world’ narrative, which this leans into pretty heavily, so be warned).
Sadly, Robinson made yet another odd statement about an Australian animal (he implied there’s not that many black swans in Red Moon). This time, a character comes across an animal dead in the snow: it’s a wombat, and then there’s mention of warm-weather critters needing to be looked after.
From here; I’ve seen wombats in the snow a lot, so… nah. Not so much.
I am reminded, perhaps obviously, of Zombies vs Unicorns, the Justine Larbalestier and Holly Black anthology from several years ago. It’s the same sort of idea: which trope is better? Which sort of close-to-but-not-human species can authors have the most fun with, do most with, and so on? But more than zombies and unicorns, the authors in this anthology make powerful statements in their afterwords for why both robots and fairies can and do have such enduring power in our narratives. They are like us, but unlike. Robots are made by us; fairies live in parallel; both can be imagined to have legitimate grievances with humanity; both can potentially blend into humanity… and so on. Max Gladstone suggests robots are the future, and fairies are our roots.
So there’s a lot to explore in an anthology inviting authors to choose one of these archetypal features of our speculative fiction.
What surprised and amused me the most in this set of stories was the number of times authors decided to play with both. Seanan McGuire starts the ball rolling, and Catherynne M Valente finishes it; along the way, there are a couple of variations on Pinocchio that I didn’t always pick up – it’s not a significant story for me – as well as A Midsummer Night’s Dream; and other ruminations on how robots and fairies might be seen to fade into one another, one way or another. I really, really liked this aspect.
In fact, I liked this anthology in general. The stories are generally very well written, and there’s a marvellous balance of fun and heart-wrenching or somewhat horrifying, as well as often having significant points to make about humanity and how we interact with our world. McGuire’s views on theme parks were great fun to read; Ken Liu’s story on automation was chilling and brilliantly written (unsurprisingly). Sarah Gailey also contributed a supremely chilling story that I really wasn’t prepared for, and Madeline Ashby’s was haunting and lovely, and Maria Dahvana Headley got me with a rocknroll and fairies story that was always going to push my buttons.
Themed anthologies can be a fraught business. This one gets it right.