“Jaime strikes a deal with his captors”
…HOLY FUCKING SHIT
I just sat down and threw up 2,000 words about Emily Croy Barker’s THE THINKING WOMAN’S GUIDE TO REAL MAGIC and blurb culture and sexism in publishing and, because I can’t shut up about it, the MAGICIANS trilogy, and I won’t let myself self-publish any of it because I haven’t read PRIDE AND PREJUDICE.
You’ll notice I didn’t say “again yet.” I meant “yet.” (I’m going to.) Another reason I freeze up when it comes to applying to jobs. I feel like such an asshole sometimes. It’s, like, beyond impostor syndrome. If this were impostor syndrome, the underlying premise would at least be that I am actually qualified.
Never fear! I will, apparently, read the canon when it will be ethically stupid for me to work on my speculative pop culture pieces not having done so. </quasi-joke>
Anyway, in case anyone else also likes their escapist keys to be coated with a certain flavor of neon cartoonery when they go down, this is my request for what a Raclin and Ilissa prequel would look like.
"So, er, for the non South Asians in the audience who perhaps didn’t understand why there was applause, the British built a really extensive railway system throughout India before they left, and it wasn’t so much for transportation for the Indian people, it was because it’s really hard to plunder on foot."
Hari Kondabolu’s joke about the British colonisation of India [x]
I think I’m allowed to tell you that Joseph Gordon-Levitt signed on as a producer for the ‘Sandman’ film, and I had a fantastic day spent with Joe talking ‘Sandman,’ and his knowledge and commitment to it impressed the hell out of me.
Get ‘em, boys.
Hunh. Joss Whedon won a 2006 Libertarian Futurist Society award for Serenity. Did not know that.
The LFS does take donations in order to fund their awards and prizes, up to the level of Benefactor. As for what light this shines on the historical relationship between libertarianism and benefaction, I am content to shut my mouth.
I read a lot of pulpy sci-fi in the last week. I was alone in the apartment, and I’ve been pretty dorky lately, so I figured I might just as well dive in head first. I tried to stick to the good stuff, but I would lie if I told you that I succeeded in that task.
I’m so delighted by the dated…
"On the other hand, I’ve now read like four straight books by well-regarded authors (LeGuin, Delaney, Banks, Vinge) with the shocking sci-fi hypothesis that "THOUSANDS OF YEARS INTO THE FUTURE, some people will be… TRANS!"
One thing Sci-Fi and Fantasy does so well is showcase the limits of the imagination against a backdrop of seemingly boundless exercise of the imagination. So much of speculative genre craft is about the mastery of world-building and the ability to develop the other craft elements (plot, character growth, how the political reality of the fictional world harmonizes with/upends a picture of actual political reality) that are bound to the world one built. It’s so disturbing, in a good, productive way, to feel like I can see the social world more clearly through the dissonances created by speculative world-building. Why is there even an attempt at a reverse racism storyline in THE SNOW QUEEN? Why is the conclusion to Kage Baker’s THE COMPANY series, all of a whomping sudden, turning into an apologetic rape apology? Why X, Y, and Z about the work of Bacigalupi, Grossman, Gavriel Kay, Whedon, et al? Wrong questions, I think—or, questions with easy answers. I think what’s harder is to look at received creativity, at narratives like The Hero’s Journey or narratives of self-actualization or narratives of who is a person and who is not a person, and look at where they take us in contrast to where they claimed they would take us. How far—or, not—such imaginative leaps actually did take us from where we started out before reading them. What, if anything, our escapism did allow us to escape from.
I really know I’m growing as a poet because two years ago I would have been hand-wringy and aesthetically mortified at the thought of using the word “vaj” in a poem and now all I’m doing is calling the word non-negotiable and settling in for a long wait time before a magazine ever again says that they would like to accept my work.