SandF #5.9 (Torture Cinema Meets Jason X) is Live!

I'll let the description for the new episode do all the talking:
You voted for it, so we have to watch it. Today is our super special Halloween edition of Torture Cinema...and we're watching Jason X, one of those awful science fiction horror flicks. Thanks, guys. We love you too. 
But to make things a little more interesting, we've decided to start including a little acting into this feature. Every Torture Cinema episode will feature a special one act play, in which we re-enact a scene from the movie in question. Granted, our acting is about as bad as the movies we have to watch, but at least we're funny, right? We hope you enjoy it!
If that sounds like something for you, then click through and download the episode!

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Promo Bits: Ashes of the Black Frost by Chris Evans


It's time for a little bit of love for someone's book.  This time it's for Ashes of the Black Frost by Chris Evans, which is one of those Iron Elves books.  If you've read his books before, leave a comment and let me know what you thought of them.

Here goes:

Title: Ashes of a Black Frost: Book Three of the Iron ElvesBy: Chris EvansISBN: 9781439180662Format: HCPrice: $25.99/$29.99 CANOn Sale: 10/18/11
Bones jutted from the sand at angles—not odd angles, though, for that would suggest that there were ways bones could protrude that made sense—and the eyes of those still living stared and saw nothing. 
Amidst a scene of carnage on a desert battlefield blanketed in metallic snow, Major Konowa Swift Dragon sees his future, and it is one drenched in shadow and blood. Never mind that he has won a grand victory for the Calahrian Empire. He came here in search of his lost regiment of elves, while the Imperial Prince came looking for the treasures of a mystical library, and both ventures have failed. But Konowa knows, as do the Iron Elves—both living and dead—that another, far more important battle now looms before them. The campaign in the desert was only the latest obstacle on the twisted, darkening path leading inexorably to the Hyntaland, and the final confrontation with the dreaded Shadow Monarch. 
In this third novel of musket and magic in Chris Evans's Iron Elves saga, Konowa's ultimate journey is fraught with escalating danger. A vast, black forest finds a new source of dark power, spawning creatures even more monstrous than the blood trees from which they evolve. The maniacally unstable former emissary of the Shadow Monarch hungers for revenge, leading an army of ravenous beasts bent on utterly destroying the Iron Elves. A reluctant hero, Private Alwyn Renwar, struggles to maintain his connection to this world and that of the loyalty of the shades of the dead. And in a maze of underground tunnels, Visyna Tekoy, whom Konowa counts among those he has loved and lost, fights for her life against the very elves he so desperately wants to find. 
And so Konowa sets off from this Canyon of Bones, pursuing his freedom from a curse that has cast his life in darkness. For though his long, violent trek may indeed lead him to his destiny, he is ill prepared for the discovery he will make . . . with the fate of the Iron Elves, and the world, hinging on the courage of one wrathful elf. 
To get caught up with the Series click here http://chrisevansauthor.com/or visit simonandschuster.com.

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SandF #5.8 (Interview w/ Diana Rowland) is Live!

Our latest author interview is up for your enjoyment.  This week, urban fantasy author Diana Rowland joins us to talk about some really bizarre stuff.  Such as:  morgues and their smells, substance abuse and zombies, etc.

Feel free to check out the episode here.


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Dear Rick Scott: Your (Anti)Education Plan Stinks

(You'll all have to excuse me while I rant about something political on this blog.)

If you haven't heard already, Rick Scott, the governor of Florida (where I live), announced his intention to change the Floridian university system by shifting funding away from the humanities towards "job creating" STEM majors.*  Plenty of folks have poked fun at him for singling out anthropologists (for having degrees in nifty fields, but which (apparently) do little for society).**  But I'd like to talk about a different problem:  Scott's assumption that STEM majors will create jobs or assure graduates that they will be able to find them.  I'll set aside, for the moment, that his program would likely affect me personally, since I am an English major in a field that would inevitably be cut.

To start things off, STEM majors don't produce jobs.  True, putting more funding into those majors will mean hiring more teachers, which would create some jobs, but this is counteracted by all those teachers in other fields who would likely get fired as a result of the budget shifts.  Scott's plan would do little more than produce more graduates in fields that are already overwhelmed with graduates.  There aren't enough jobs in the sciences to begin with.  When graduates in any field aren't able to get jobs in or relevant to their field, it's ridiculous to assume that producing more
majors in any particular field with result in more people going into the job market as STEM workers.  Roughly 42% of college graduates are either without jobs or working in jobs not related to their degrees.  That's not a number that can be ignored, since it shows how difficult the job market is for people who, in theory, are members of our professional and educated class.

But what people also need to pay attention to is the fact that Rick Scott, who ran on the Republican brand of "jobs, jobs, jobs," has also refused numerous opportunities to take on projects that would employ STEM graduates.  A prime example is the $2.4 billion high speed rail project he rejected because he thought it would be too costly on taxpayers.  That project would have been funded almost entirely by federal dollars.  While federal money comes directly from taxpayers, Scott's political maneuvering makes it seem as though he is saving taxpayers from having to pay for the project.  The problem?  That money was going to be spent anyway.  Scott's rejection only meant the federal government could take the money elsewhere.  Florida taxpayers are paying for a $2.4 billion project in another State, while benefiting not a lick from the economic boom such a project might have had for Florida.

And that's the key:  while Scott plays at being a pro-jobs governor with rhetorical pleas against the job-destroying humanities, his policies have effectively created an environment that is hostile towards workers, particularly STEM graduates.  True, Florida has added many jobs to its economy, but that has come at the expense of government employees and Florida's taxpayers, who now have to contend with a health and employment market that is less inclined towards their well-being.  In fact, Rick Scott is so disliked by so many Floridians that it's hard to pat him on the back and say, "Good job creating all those jobs."***  After all, Scott has screwed over or pissed off the elderly, teachers (twice), police officers and other public workers, civil rights activists, at-risk women and mothers, and anyone in a labor union (which includes teachers, firefighters, police officers, and on and on down the list).****

But more strikingly are the statistics about those jobs:

The fields of leisure and hospitality had the largest growth, growing by 58,500 jobs between September 2010 and September 2011. The field has grown 46,600 jobs between August 2010 and August 2011. 
State, county and local governments lost 14,000 jobs in September after shedding 20,400 positions in August. Construction jobs fell by 12,900 in September, after 17,600 positions were eliminated in August. 
Doug Darling, director of the new Department of Economic Opportunity, noted that there remain 977,000 Floridians eligible for unemployment.
Rick Scott likes to think that Florida's economy will be open to STEM graduates.  That all those engineers and scientists will come out of their degree programs and jump right into a field glowing with opportunities.  But what he won't tell you is that one of the largest growing industries in Florida remains the tourist industry, which puts little attention into STEM-based development.  And yet, what we see are governments losing thousands of jobs, construction workers going out of work by the thousands, and so on.  They are people who build the things engineers come up with; people who need projects to work on; and people who are, sadly, losing their jobs.  The tax breaks he gave to his corporate buddies, sadly, haven't exactly panned out the way his narrative would suggest.*****

What this all comes down to is a problem of ethos:  Scott doesn't have any.  His claims of being a job creator are specious at best, and so too are his claims that shifting educational priorities will result in greater job opportunities for Floridians (or anyone wanting to live here).  There's no rationality behind his claims.  Effectively, Rick Scott is a walking talking point.  He peddles the familiar arguments while functionally decimating what he perceives to be the bastions of the left.  And perhaps he should be worried about the leftist fields, because despite burying our faces in books all day and learning about the depths of human history, humanities majors have an insight into our underlying problems that continue to plague humanity.  We all may not come to the same conclusions -- in fact, most of us don't -- but the training we receive allows us to see between the lines in a political system that needs us to be under educated so we will avoid challenging the status quo.

And that's the problem.  The less willing we become to put intelligent people into office who aren't interested in coming out of the game rich and plump, the more likely our system will continue to suck the life out of the middle class and the poor to feed the amorality of corporatism.******

Maybe one day we'll wake up and realize America isn't a zero-sum game.  It's a country full of people.

-----------------------------------------------
*STEM = Science, Technology, Engineering, and Maths.

**Anthropology, of course, is a valuable field.  Let's face it, almost all degree programs are valuable.  It's not like universities in the U.S. are offering degrees in Backpack Wearing or something ridiculous like that.  That's not to say it's impossible to have stupid degrees, just that they are rare or extremely unlikely.

***Scott, by the way, likes to take credit for job creation programs that began before he became governor.

****Full Disclosure:  I am a member of a public employee union.  Specifically, I am a member of Graduate Assistants United, which is itself a member of the National Education Association.  Not all unions are bad.  In fact, my union takes little money from me, negotiates on my behalf to make sure I get things like healthcare, uses my money to protect me (i.e., we get access to legal representation if we need it), and so on.  My union is everything but a "gang."  And I'd strongly suggest anyone who is against unions for public employees should actually spend some time in one.

*****Remember that the corporate/rich tax break narrative says that giving more money to the rich will resolve our economic woes.  Adherents to this model, of course, look towards Reagan as an example, despite the fact that Reagan was more liberal (relatively speaking) than most Republicans (and despite the fact that the economy didn't recover until the end of his presidential term, which, unlike Roosevelt, had nothing to do with a war or the ending thereof).

*****Corporations, after all, are neither moral, nor immoral.  They have only one function:  to make money.  And there's nothing wrong with that -- in principle.  But that means we have to regulate our economy so that "making money" doesn't come at the expense of the economic and social security of the rest of American society.

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Classtime: Your Genre Recommendations

Originally posted on Google+, but equally relevant here:

Need recommendations from you all. I'm teaching a course called Writing About Postcolonialism and Genre Fiction and I want to couple the postco genre text with a short, representative example of the literary tradition in a particular genre. So, I'm asking you for your recommendations and opinions. I've got a lot of things in mind, but I haven't read everything and it's possible there's a perfect story that I don't know about...which you have read.

This is what I'm looking for (short fiction, novelettes, novellas, but no novels if possible):

  • Golden Age or Pulp Era Space Opera (the high octane kind of stuff that best represents SF of the period) 
  • Medical Thriller 
  • General Thriller 
  • Crime or Detective Mystery 
  • Fairytale (perhaps a specific Western tradition, or specific tales) 
  • Dystopia 
  • Noir 

Right now, I'm considering things like Smith's Lensman Series, Arthur Conan Doyle's Sherlock Shorts, some of Poul Anderson's shorts, and selections from Grimm's fairytales (among other things).

That's a lot of genres, I know. I just want to saturate my head with as many possibilities so I can find the perfect combo for this class. Crowd sourcing literature classes FTW!

(A quick clarification: I'm not looking for contemporary examples, as much of the texts I'm using on the postco side are from the last 40ish years. I want to show how they arise from a solid literary genre tradition, if that makes sense.)

Thanks!

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I'm Not Disappeared (Updatery)

For the record, I haven't disappeared.  Nor have I quit doing all the stuff I like doing, such as reviewing books, writing, and so on.  Rather, I've been doing worrying or thinking intensely about the following:

  • My upcoming paper presentation for the English Graduate Organization Annual Conference (entitled "“Escaping Apartheid: The Speculative Renaissance in South Africa”).  I've got a week.  Yikes.
  • My paper and abstract for the International Conference on the Fantastic in the Arts, which is held in Orlando every year.  China Mieville will be guest of honor, though he likely won't attend any of my panels as I am not in his fields of interest.  But you never know.  The paper is on Kage Baker's The House of the Stag (a rewrite of a previous paper).
  • The class I am teaching next semester called "Writing About Postcolonialism and Genre Fiction," in which I will be teaching students about the rise of genres like science fiction and fantasy (and their connection to the formations of empire) and how writers from the postcolony use such genres (including mystery, magical realism, etc.) to interrogate empire.  I'm going to teach some Tobias S. Buckell, Nalo Hopkinson, Amos Tutuola, Amitav Ghosh, Salman Rushdie, Lauren Beukes, Nadine Gordimer, and many others.  It should be fun.
  • My oncology appointment on Monday.  I'm turning into a hypochondriac right now.  Every little change in my body makes me wonder whether I have some terrible new form of cancer, which is always a possibility for survivors of cancer.  It's stressing me out and all I want right now is for my cancer doctor to get some tests and tell me I'm a little overweight, have high natural cholesterol and asthma, but otherwise I'm a-OK.  Because paying for chemo, surgery, etc. etc. etc. is not something I can manage right now.  There's no way...
  • The 70 students I am currently teaching (two classes of "Intro to College Writing" and one class of "Professional Communication").  Over the next 8 weeks, I will be busy busy busy.  But if I keep on top of things, I'll do just fine.
  • The two papers I have to write this semester (one a short conference-length thing, and the other a full 20ish-page monster).  With all the work I'm doing, and all the personal stress, you can imagine what those papers look like on the other side of the hill:  a giant, paper-filled, ink-spewing monster!
I've got lots of other worries too, such as finishing WISB and some stories I've still got to write for the WISB project.  They're coming.  I'm drowning in work and having a hard time keeping it all together.  But I'll manage.

What's got you stressed or busy these days?

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SandF Episode 5.7 (Interview w/ Lavie Tidhar) is Live!

The latest episode is here.  Jen and I talk to Lavie Tidhar about his latest book, Osama from PS Publishing, and some difficult topics like terrorism, 9/11, and Osama Bin Laden.  You definitely don't want to miss this one, folks!

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The Magical Cylinder (of Doom) -- Plus a Free Book!

The first one to guess correctly what is inside this cylinder will win a book from me.  Something with science fiction and fantasy in it.  No joke.  Take a wild guess...

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The Arts Are Amazing -- And Here's Why

I thought I'd share a little something I posted on the Google+ page for The Skiffy and Fanty Show.  Why?  Because I love the arts and the impassioned mini-rant I posted sums up how I feel about literature and film and music and other art forms.  Before you read it, though, ask yourself why you think the arts are so important.  What about reading books or listening to music or watching movies (etc.) makes the experience more than simple consumption?

Now here's my mini-rant:

Bear McCreary is one hell of a composer. I think his work on Battlestar Galactica is a masterpiece on par with Howard Shore's Lord of the Rings symphony (yes, I'm calling it a symphony).  
The song below, for example, guts me every freaking time. And I love it. I love how music (or literature) can make me feel things. That, to me, is what makes art amazing. If you open yourself up to it, the experience is rewarding. It reminds you why you're human. It reminds you why existence is so grand and wonderful and that we should wake up every day and say "I'm alive" as our first optimistic thought.  
So when people suggest cutting liberal arts programs, it always feels to me like they're trying to cut the soul out of humanity. Forget that English teachers are the glue of civilized society because they are the arbiters of language. Forget that liberal arts programs are incredibly dedicated to research, to cross-disciplinary practices, and so on. Forget that humanities professors take their teaching more seriously than most any other academic department.
What matters about the arts is what it does for and to us as human beings. Open yourself up to an experience. Feel it. Breathe it. And remember that every day someone tries to remove a book from a library or cut funding from liberal arts programs, etc. etc. etc...every day those things happen is a day finding your humanity or soul or whatever you want to call it is that much harder.  
The sciences are our gateway to the future, but the arts are our gateway to what makes us human. You can't live without both and still call yourself Homo Sapiens sapiens.

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Why Electronic Submissions Are Necessary

I asked on Google+ whether folks would be interested in this post.  A few people said they were, and so here I am telling you about why people like me (i.e., the poor) need electronic submissions.  For a different take on this issue, see Mari Ness' troubles with accessing a post office due to physical constraints.  My constraints are primarily financial.

I'm not going to pretend that I am the poorest person in the world.  Nor am I going to suggest that I cannot truly afford the occasional hard copy submission.  Anyone with the extra time can probably poke holes into my finances and find the money to pay for postage, whether by cutting out my social life (which isn't all that glorious to begin with) or making other kinds of sacrifices.  But it seems to me that poking holes doesn't really change the point, and it certainly doesn't change the fact that fewer and fewer markets refuse to accept electronic submissions.

In any case, here goes:


Not All Writers Have Mountains of Disposable Income

I'll use myself as an example.  I have a guaranteed income of around $12,600 annually for the next two years.  That is not an exact figure, and my income does increase if I get summer teaching and it will increase because I am taking up an adjunct position at a local community college (for which I am not paid terribly well).  But for now, let's only talk about the income I know I will have this academic year:  $12,600.

With that amount of money, I have to be able to afford the following:  rent, utilities, college fees, school books, food/various necessities (toilet paper, over-the-counter meds like vitamins, cold medicine, etc.), health costs (medication, doctor appts., etc. -- I'm an asthmatic and a cancer survivor), and career "maintenance" (making sure I have a working computer, conferences, etc).  You could also include the things I buy as a consumer and the little I get to spend towards maintaining a basic (and I do mean basic) social life.  I think a healthy social life is crucial to mental health (for me, that means occasionally having lunch with friends, not running off to binge drink in Vegas).  But I won't include that below.

If you've ever lived on $12,600 a year, then you know that buying all of those things is not easy.  Even taking a rough estimate from my own life (minus a few of the above categories) isn't exactly inspiring:

Rent:  $575 x 12 = $6,900
Utilities:  $156 x 12 = $1,872
(it should be noted that I have been reducing my consumption and hope to bring my utilities bill down considerably once the "year" switches out)
College Fees:  $630 x 2 = $1,260
School Books (rough estimate):  $200 x 3 (Fall, Spring, Summer) = $600
Food (Gainesville ain't cheap, and I don't consume endless amounts of garbage):  $150 x 12 = $1,800
Prescription Medicine:  $25 x 12 + $25 x 2 = $350

That by itself (dropping "various necessities," "career 'maintenance,'" and so on) adds up to $12,782, though it does not include other expenses which I can't yet anticipate (health complications, etc.).  That means I have less guaranteed income than what I have to spend on necessities, which also means I have to find ways to make up the difference in other ways (selling things, advertising revenue, praying I get summer teaching, etc.).  That also means that whatever extra I can get isn't going to be spent on shipping charges to F&SF (who seems to be the only relevant holdout) or Interzone, who I am desperate to submit to.  I'm going to save that extra dough for emergencies, such as if I get extremely ill, or for other necessities, or even for giving myself a day off somewhere other than in my apartment (i.e., doing something for my mental health).

Where in that lot am I supposed to "easily find" the $2-$3 per package shipping cost I have to pay in order to send my work to all those pro markets that don't take electronic submissions?  And if it's so hard for me to cook up the money, or justify spending it based on always being unsure what my actual income will be, just imagine how difficult it is for people living in other countries, where shipping to the U.S. can cost ten times as much (adjusted for local currency value)...

This is the problem.  It's not about being too lazy to take my work seriously enough to print it out and send it to publishers.  It has always been about the cost to me as a writer to send my work to a publisher.  That is not an investment I am willing to make, because it's not actually an investment.  Investments have reasonable guarantees, and that's not how writing works.  There is never a guarantee that you'll receive something in return, as well there shouldn't be.  I don't expect a critique of my story, nor do I expect an editor to publish my work simply because I sent it to them.  What I do expect is that the financial burden doesn't fall upon me when the technology is clearly available to make such burdens non-existent.

From that perspective, markets which do not allow electronic submissions have remained relatively invisible to me.  Because they must.  Their policies exclude people like me simply because I am not financially able to feed the post office in order to regularly send work to magazine publishers.  And they exclude plenty of other writers simply because they don't live in the United States.  I see that as detrimental to the genre.  How can you say that you represent the best of the genre when you have artificially excluded entire segments of the world's writing population?  The answer:  you can't (though some publishers make exceptions for foreign writers, which is kind of like a kick in the balls for us poor people).

I am fortunate, though.  My income will be increasing soon, because I will be teaching more.  But that also means I will have less time for writing, more stress, and ten times the work (I'll jump from teaching 19 students to teaching 70).  This says a lot about the state of graduate students in this country.  Well, it says a lot about graduate students in the humanities, who, by and large, do far more teaching than most other departments in the university, take their teaching far more seriously than other departments, and put in more time and effort into their teaching than other departments.  But that's for another time, I suppose...

Yet even with my income increase, I still won't have piles of money lying around.  I'll just have more than I had before, which I'll be saving so I don't get screwed over by unexpected circumstances -- which often results in me turning to my family for financial help (such as what happened last summer with unexpected vet bills).  I'll start using that money towards tests to make sure my cancer hasn't come back (a condition I didn't ask for).  And let me tell you...I'm terrified that my cancer will come back.  Not because I'll get sick, but because I have no idea how I'm going to afford to pay for the treatments even with the extra income of adjunct teaching.  And my future isn't looking too good, because my governor has put out a call to cut funding to humanities programs...

This is why electronic submissions are necessary.  Because it's a mercy.  Because it's fair.  Because it's right.  For those of us who don't have a lot of money.  For those of us who live elsewhere.  For those us who have something to say.

P.S.:  I'm sure people can poke holes in my finances.  That's fine.  But that doesn't really change the point.  Finding $20 here, $20 there doesn't change the fact that all my extra income goes towards keeping me sane, healthy, etc.  It doesn't change the fact that it makes more sense to spend $2-$3 buying a few servings of fruits or veggies than to send dead paper to a publisher (excluding the cost to print things out in the first place).  And it doesn't change the fact that shipping fiction to publishers is unnecessary.

P.S.S.:  I should note that I am also $30,000 in debt for my education, some of which I accrued while getting my M.A.  I'm trying not to take any more $$$ out for the next...ever.  Because I'll have to spend close to 20 years paying off 30K.

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Science Fiction Dreams: What do you dream?

I usually don't remember my dreams.  But when I do, they are weird.  Take, for example, one of my more recent dreams:

For some strange reason, I and a bunch of friends -- whose faces I can't remember -- were transported by an unknown party to a semi-real replica of Earth somewhere in the vicinity of Cassiopeia.  I say semi-real replica because parts of the world that I was able to explore looked exactly like the hill my grandma lives on.  In any case, somehow we were sent to this planet, in which strange, tattooed humanoid people -- who refused to speak to humans -- drove around in camper trucks and Winnebagos.  And then there was the crazy lady in the tiny white Nissan truck.  I managed to flag her down and ask her for help and she explained to me that we should all watch out for the Green Nothings, the apparent villains of the dream.  And then she got on a motorcycle, drove off a cliff, and landed on top of a Winnebago half-submerged in the ocean, where a boat full of Pops and Fruitloops (among other brands of cereal) floated.

Is that not a weird dream?  I also dream about zombies.  Specifically, the zombie apocalypse, in which I, for some odd reason, become a bit of a hero due to my mad skills in zombie killing.

In any case, dreams are a wonderful way to come up with ideas for stories -- or at least to explore your subconscious brain, where crazy happens to live.  But the one thing I've always had trouble with is trying to understand why my dreams happen.  That is:  what sparks these little details?  Why did I dream about Green Nothings and biker chicks and Winnebagos?  I haven't thought about a Winnebago in years, as far as I can remember.  And I don't want one either.  And why Cassiopeia and a semi-real replica of Earth?  What crazy thing is behind all of this?

I don't know, and I'm sure you don't know either, but it makes one wonder...

So here's the deal:  I want to know what kind of crazy dreams you have had.  Leave a comment.  And if you know what my dream is about, leave a comment about that too!

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Book Review: Down the Mysterly River by Bill Willingham (and Mark Buckingham)

Fantasies for young readers are almost always a joy to read.  I'm no sure what it is about such books.  Maybe it's to do with the whimsical style -- of which Down the Mysterly River has plenty -- or the adventures -- ditto.  Or maybe there's something else I haven't discovered yet.  In any case, Willingham's children's fantasy, Down the Mysterly River, is an exciting adventure story with a wonderful mixture of fairy tale and detective mystery.  Too bad I don't have kids to read this book to...

Expert boy scout Max "the Wolf" wakes up in a forest without any idea how he got there -- or any idea where "there" happens to be...  Soon Max discovers that this forest is part of a new world, inside of which a group of violent hunters known as the Blue Cutters seek out new lives to trim and prune into their "proper forms."  With his new (mysteriously talking) companions -- Banderbrock the warrior badger, Walden the less-than-spectacular-sheriff bear, and McTavish the monstrous
cat -- Max sets off on a journey to meet a mysterious wizard and discover why he and his companions have been whisked away to such dangerous world.
Down the Mysterly River channels a number of interesting genres.  The most obvious is fantasy, which is an unavoidable fact both for the reader and for Max, who has to come to grips with the reality of the world around him.  The second is the young detective story, which Willingham brings out through Max via a methodical set of steps of detection.  These detective elements are interesting, though I have to admit that they sometimes felt forced.  That is until you get to the big reveal, which immediately draws into focus Max as a character and the old-time-children's-story feel he evokes.  The same thing can be said about the dialogue, which sometimes seemed too advanced or perfect for a character as young as Max; but once you realize what has been happening throughout the book, you start to understand why Willingham writes dialogue in the way that he does.  To be perfectly honesty, young folks are probably not going to notice these issues.  With or without the ending, however, the mixture of elements works, in part because it gives Max an enhanced sense of agency in a story that could reduce him to the victim trying to escape an evil that wants to kill him.  Having Max attempt to discover "why" things are happening, to put it another way, makes for a story that does more for its reader than provide an extended chase.

That said, Willingham's plot and pacing is expertly crafted.  The story moves at a good clip and the twists in the story are sure to amuse or shock readers (there are two major twists or revelations, plus a fair deal of minor ones; the ending, however, will blow your mind).  Willingham makes a good effort to introduce the genre mixture and Max's character traits without damaging the flow of the adventure story; in many respects, he succeeds.  One issue I had with the plot's construction, however, was Willingham's use of non-central POVs to show things the main characters couldn't see.  These are fairly minor, and are perhaps more common in literature for young readers than I am I aware, but they can pull you out of the suspense.  Regardless, the journey of the main characters is rarely disrupted, moving forward with an even dose of revelation and action.

Willingham also succeeds at constructing a cast of sympathetic (or terrifying) characters.  Max is a clever young boy who refuses to let the situation get the best of him, but also a boy who has a strong sense of morality -- he's easy to sympathize with as a result.  Banderbrock is a warrior with a soft heart who serves as a wonderful companion, and the interactions between the badger and McTavish -- which translate roughly to an animal kingdom version of "I'm tougher than you" -- are amusing.  Walden, who is the only actual member of law enforcement in the group (though a bad one), is also lovable as a character, which seems perfect for a bear. And the more you learn about him and watch him try to adopt Max's detection skills, the more you love him.  How can you fault a big, hug-able bear for being a less-than-stellar sheriff?  Even the Blue Cutters, who are the story's villains, are interesting characters -- and it's because of them that I want to see more stories set in this world.  They are pure villains, but there is a hint of complexity in Down the Mysterly River that I think Willingham needs to explore -- either through additional Max stories or via some other character.  There's a lot left to be told about this world.

Overall, Down the Mysterly River is a fantastic book.  The characters are amusing, the young detective storyline is compelling, and the fantastic elements are enjoyable and exciting.  I had trouble putting this book down, in part because I wanted to know why Max ended up in the world and in part because the mixture of genres and the characters seemed to beckon me through the cover.  Hopefully others will feel the same way.

If you want to know more about Down the Mysterly River, check out the publisher's website.  You can find the book just about anywhere books are sold (except, perhaps, the Moon).

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Discussion Dept. Vol 3: Military SF + Politics and Publishing Privileges the West

I've decided to rename the Complaint Dept. feature to Discussion Dept.  Why?  Because half the time I'm not really complaining about anything, and it seems silly to label something so negatively when really all I'm trying to do is open a bunch of topics to discussion.  So, from now on, this feature will be knowing as Discussion Dept., to which I hope you all will contribute.

The two discussion points begin below:

Discussion #1 -- Political:  What does it mean?
Jason Sanford recently had a column posted at SF Signal about the political controversy associated with Military SF.  Some of what he talks about is old news, but if you're unfamiliar with Military SF and its history, the article is well worth reading.

What I'm curious about, however, is Aliette de Bodard's response to Sanford's use of the term "political":

I’ve seen it before, to refer to diverse other things, such as people’s positions on QUILTBAG relationships, abortion, women’s rights… The thing is, for me, those are not political problems. My position on war and abortion isn’t politics: it’s a matter of pure ethics, of how I put things in the context of my personal morals, rather than where my chosen political party stands on the issue (in fact, if anything, it would be a matter of where my religion stands on the issue).
I certainly see where Aliette is coming from, but I take issue with the separation of ethics from politics.  It seems to me -- and perhaps this comes from living in the U.S., which she sees as the central (or partial) problem for defining "politics" -- that you can't separate, in most cases, the political from the ethical.  At least, not in a democracy.  The government is constantly trying to solve or address ethical problems, which is precisely why we associate ethical problems with political motivations.  We can argue over whether it is unethical to turn ethical problems into political talking points (i.e., things people say to get elected), but that doesn't mean we can separate the two.  Things like healthcare, civil rights, and so on are ethical issues, but they are only dealt with on ethical grounds within the political sphere.  You do not have civil rights without government, for example; without the government creating, voting in, and enforcing laws, offering "civil rights" to the public is like offering little more than lip-service to the ethical quandary.

What do you think?


Discussion #2 -- The West Loves Itself (in Publishing)
This is less a complaint/rant than me saying "you need to read what Charles Tan has to say about how publishing and access to 'written' material is disproportionately geared towards Western audiences."  Tan has written about these topics before (read his blog), but his latest discussion has a great section on ebooks and why it is so difficult for people outside of the West (i.e., the Philippines, etc.) to participate in the literary community.  The kinds of things we get pissed off about in the West -- hidden costs, low wages, etc. -- are things Tan just has to deal with because that's the way things are.

A quote:
Even if the author and publisher wanted to sell me books, they can't, unless it's an App. Because Apple won't allow it. At least not without the workaround of obtaining a valid US billing address, credit card, and using prepaid iTunes cards to make purchases. 
But readers should rejoice right? I mean previously, only the US, UK, France, Germany, Australia, and Canada had access to Books. Last week, Apple opened it to 26 new countries in Europe. The world has an estimated 196 countries.  
Amazon has different kind of problems. As a consumer, I have to deal with the ambiguous $1.99 international Whispernet surcharge (you're still paying it if you download it from your computer). Granted, this doesn't apply to each and every country outside of the US (Australia isn't affected by this anymore for example), but it's there.
Go read the article here.

I know some of my readers are not from the U.S.  As such, I am curious about your ability to access print and electronic books.  Is it expensive for you?  Difficult?  Let me know in the comments.

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And the Winner of Awakenings is...

Mike Maski

You'll get a message from me soon!  Actually, since you don't have an email in your profile, I have no way to contact you.  So you've got 48 hours to send me an email to arconna[at]yahoo[dot]com with your address!

Thanks to all those who entered.  Better luck next time!

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SandF #5.6 (The Hero's Journey w/ Jason Sanford) is Live!

I think the description on The Skiffy and Fanty Show explains things better than I could reiterate here:

Jason Sanford, who may be the greatest man with a southern accent to grace the Internet, joins us for an extensive discussion about heroes. Why do we love them? How have they changed in our lifetimes? What is a heroic act? We answer those questions and more, touching on everything from District 9 to Milk. The big question for all of you: Why do you love heroes and what is a heroic act to you?
If that sounds like something up your alley, go over and download the episode.  Anywho!

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Upcoming Projects: South African Science Fiction and Kage Baker

I said at the beginning of this semester that I wasn't going to do any more academic conferences.  Part of that is because I don't want to spend any more money for travel expenses and the other part is because I want to start focusing on publications.

Well...so much for that idea.

In a few weeks, I will be presenting an essay on South African genre fiction at a local conference.  The essay focuses on contemporary SA SF, such as written work by Lauren Beukes and S. L. Grey and films like Neil Blomkamp's District 9.  Specifically, I am interested in the problem of interpretation.  One of the issues I see with how people read SA SF is that such readings are often overly simplistic.  It's too easy to read District 9 as a thinly-veiled allegory of Apartheid.  But doing so, in my mind, is reductive; it ignores the contemporary position of South Africa:  that is that SA is not an Apartheid State anymore; rather, it is a post-Apartheid State, and discussing contemporary literature should take that into account.  Every reference to racial tensions are, in my mind, more accurately applied to SA now than to SA as it was in a worse time.  That's not to say that talking about Apartheid is not relevant to interpretation or reading, just that reducing our reading experience to historical sensationalism presents problems for reception.

That's the first...

The second project I'm working on is not a sure thing -- yet.  A friend semi-invited me to contribute to a panel she is working on with another friend for the International Conference on the Fantastic in the Arts (ICFA) -- where China Mieville is Guest of Honor.  Their panel is focused on experiences of trauma and the "monster within," and I happen to have a paper that I've been meaning to rework that deals with those issues.  And the text in question?  Kage Baker's The House of the Stag.  In the original paper, I focused on the reconstruction of history and its impact on subjectivity in Baker's novel and Amitav Ghosh's In an Antique Land.  For this paper, I'm reconstructing the sections on Baker's novel in order to talk about how colonial trauma and exile lead to a different kind of internal acceptance -- if you've read the book, then you know that Gard adopts the narrative of the Dark Lord in order to find a "space" to exist within an extensive system of colonial exclusions.  Hopefully the paper will turn out well.  We'll see.

And there you go.  What are you working on (academic or otherwise)?

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Book Review: Kangazang! by Terry Cooper (Audiobook)

(I must first apologize for the lateness of this review.  A series of personal disasters prevented me from writing this review.)

Doctor Who fans will be happy to know that Terry Cooper's Kangazang! is read by none other than Colin Baker -- the Sixth Doctor.  That alone made me excited to listen.  And boy did I have a lot of fun!  Kangazang! is a hilarious British scifi comedy with a wide range of amusing characters, hilarious jokes, and plenty of adventure.  To put it bluntly:  it would be a crime to ignore this book.

Kangazang! follows Jeff Spooner, an everyday British man who is down on his luck.  His life is dull, his girlfriend disrespectful, and his barber...an alien?  That's right.  Jeff discovers one day that Ray Scump, his eccentric and not-so-great businessman / barber, is an alien.  When Ray offers to take
him on an interstellar journey, Jeff agrees, and the two of them set off on a grand adventure involving aliens, robots, evil galactic empires, and the fabled Universal Remote.
I had a blast listening to Kangazang!  While I knew from the start that my mind would make comparisons between Cooper's tale and Douglas Adams' Hitchhiker's Guide to the Galaxy, I intentionally set out to let myself have fun with it.  And I wasn't disappointed.  Cooper's humor is unmistakably British and, quite frankly, hilarious.  I found myself chuckling out loud a number of times, an act that does not come to me easily when I am alone.*  The situations and the jokes are sometimes too ridiculous to avoid laughing at.  What's not to love about the wimpy child of a deceased evil warlord being forced to take over and run a galactic empire, despite knowing nothing about running empires?  The fact that he turns out to be too good at it makes for an amusing story.

The characters, if the above is any indication, are perhaps the most fascinating aspect of the novel.  Each of them is distinct, not simply because they have a different voice, but more accurately because they have distinct personalities, quirks and all.  Jeff and Ray are as different from one another as any other two characters.  This makes for a cast of characters who are as compelling as they are amusing.  Even the villain of the story is given plenty of "air time," the result of which, as mentioned, is a hilarious play on evil galactic warlords and their less-than-evil kin (there are, of course, many villains, some of whom drag up Ray's less-than-reputable family history).  The mishmash of characters are really what makes Kangazang! work, because the situational comedy that arises from their interactions is precisely what makes this book so amusing.

If I have to criticize Kangazang! for anything, it is that certain parts of the novel are predictable or move too swiftly.  One of the romantic plotlines, for example, develops too fast, in part because Cooper has a character "grow" suddenly in order to facilitate the romance.  While that plotline turns out to be quite cute -- in a mushy way -- I do think more attention could have been paid to the development of the characters as they embarked on a romantic journey (or as they came close to embarking on that journey).  The same is true of other aspects of the story.  But it could be that Cooper has left a lot of things out in order to leave plenty to discover in future volumes.  If so, I will certainly follow along.

The last thing worth mentioning is Colin Baker and the production quality.  Cooper's tale is narrated using multiple voices, voice effects, sound effects, and more.  It's like listening to one of those old radio dramas with all the actors reading out their lines and banging things to make sounds.  And it really works.  The way Baker reads (the inflections, etc.) and the voices he creates improve the overall product ten fold.  I can't imagine reading Kangazang!  It seems right to have Baker read it for me.  It seems natural.  That's not to say that reading the book the old-fashioned way would make for a less enjoyable experience.  Rather, I think the fact that I was first exposed to the book as an audiobook of such quality gave me an experience that a traditional book cannot reproduce.

Despite the minor flaws, Kangazang! is a wonderful listening experience and well worth buying.  If you're a fan of British comedies -- Doctor Who, Red Dwarf, Spaced, The Hitchhiker's Guide to the Galaxy, etc. -- then this is a book for you.  Cooper has a knack for humor and I hope there will be more books in the future.

If you've never heard of Kangazang!, then you need to check out the website and get a copy right away.  For 7.99 (in British pounds), the audiobook is really a steal (or 5.99 for the paperback, which is also a steal).  You can't get them that cheap in the U.S. unless they're on sale or old!  All I'm hoping for right now is that Cooper and Baker team up again for some more scifi comedy gold.

---------------------------------------------------

*(Liar Liar holds the record for hardest lonely laugh for me)

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