Category: Books

Something new

personby Gillian Polack
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This Monday, today, October 31 (if I say it often enough, I’ll believe it – where I am it is a blowy November day and a famous horse race is in the offing) is the introduction to something new. Starting next week, as they come to hand, I’ll be posting long interviews with writers. By ‘long’ I mean that the first one will extend over four weeks.

My other Monday posts will appear in between interviews and interviews may follow each other rapidly or be months apart. But there will be interviews.

Why?

Around me, so many readers are asking “Why haven’t we heard of this writer?” One of the reasons is because fewer writers are given as much time by bloggers and podcasts and critics. I was looking at my own visibility in the US and realised how little of me is known to readers of Locus, which is the leading magazine for science fiction and fantasy – I don’t fit their profile for an author. Many, may writers don’t fit these profiles. Because so many of us are less visible, writers don’t develop as many profound loyalties to writers who fit the profile of important magazines and critics, or who are not on the right lists and win the right prizes. It’s harder to discover those unique voices and to seek out writers who are not in our own country or published by our favourite imprints. It’s harder, to be honest, to see writers. I want to see writers. Who they are, how they talk, and I want to enjoy time with them. That’s what these interviews are about: time. Time to argue, to be fascinated, to chase to find a book, to stop and think, to laugh. Time to see just how interesting writers can be.

Years ago I did group interviews for BiblioBuffet, a literary e-journal. These interviews among my most popular work from those days and are still discovered by new readers. Those readers occasionally report back to me about them. They tell me how good the interviews are, because of their length and their substance.  I looked at my early interviews again recently, to determine their persistent appeal. I think it’s because when a group of writers get together, we have conversations. We go in unexpected directions and give readers insights into work. There is no PR template.  It’s exciting to not know where an interview is headed, or how a writer responds to questions and how the whole thing can become immensely wise or devolve into silliness on the same page.

The first interview will appear, magically, throughout November and maybe into early December After that, it will be as they’re finished. I don’t restrict length, or push for a given novel to be publicised. This isn’t about publicity, after all. It’s about writers. These writers. About how fascinating writers can be and how not a single one of us thinks the way we expect they will.

The first interview is from Amy Sterling Casil (one of the members of this Treehouse) with Ron Collins and Mike Libling. It’s all ready to go, which means I can tell you with the power of advance knowledge… it’s so much fun! Such a good start to this new series.

The Downhill Path to Understanding

personby Gillian Polack
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I’m waiting for mail. I blame conversations. I also blame virtual and hybrid science fiction conventions. This last month, I’ve been to a couple, and one of them worked out how people could get that casual chat that’s such a part of face to face conventions. And all this is good… except…. Except… when one is sitting at one’s computer (notice how I distance myself from something I’ve done) it is the work of but an instant to buy that book that the group is talking about.

A group of prize-winning Korean writers talked about influences on their work, for instance, at VICFA (the Virtual meeting for the International Conference on the Fantastic in the Arts) and one of them threw casually into the conversation that the most important writer was finally in translation. Reader, I now own Kim Bo-Young’s I’m Waiting for You.

Most books are still heading my way.

Only one has arrived, and it’s related to me trying to understand why the popular view of Jewish history in central and eastern Europe is so very wrong (mostly) for anything prior to the 1770s. What happened in and around the 1770s, was the partitioning of Poland. A vast country (the whole of the Polish-Lithuanian Commonwealth) went, to describe it a bit simplistically, from being dominant, to being under the rule of others. Most of the sense of Jewish history we have came from places under Russian rule, which is currently very topical. So many lives were changed so profoundly and for such a long period, that we still think of Tevye the Milkman as being a kind of Universal Nice Jew and Anatevka as being the classic stetl and stetls being the only place Jews could live in all those vast regions.

I know more of the history of the region now, and understand both why the change happened, and why a lot of people take the position of Jews in the late Russian Empire as typical and push it back to the seventeenth and sixteenth centuries. I need to know more about how people actually lived. Polish SFF fandom is helping me in this endeavour, but I also have to help myself. I helped myself to much reading. Some I’ve borrowed, some I’ve read online, but very occasionally there is something I must buy because I live in a city with too small a Jewish population to obtain it locally. A book by Yohanan Petrovsky-Shtern is the most recent ‘must-buy.’ It’s called The Golden Age Shtetl. A New History of Jewish Life in East Europe.

My little library of Jewish history is slowly growing, as is my knowledge. This book covers the transition period, when Jewish life changed so dramatically. Before the book begins, there was the Polish-Lithuanian Commonwealth, where Jews could work in almost any trade and lived in cities and towns. At the end of it, we have that dream of a small town or even village Jew, being thrown out of their home by an uncaring Tsar.

The reality is complex, but if I can understand those changes, I’ll know my own heritage but I’ll also be able to write more about it, whether using it as a setting for fiction, or writing critical essays. The immediate reason I bought the book is partly because someone mentioned it and I checked it out, but mostly because I had a conference paper on Jewishness in a couple of works of fiction accepted and I need to know this book to write it. Right now, my subject knowledge is cumbersome. One day, learning about this subject will tip down the artificial mound of rubble made by ill-digested information. As I roll down that hill, everything will suddenly be clear.

And now I must watch for mail. I’m still missing eleven books. They’re all work-related, just as these two are, and every single one of them is likely to upend things I thought I knew and maybe, just maybe, push me off that hillside and start on the real learning.

Comfort and the Lack of It

personby Nancy Jane Moore
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The Mirro Crack'd book coverMy comfort books of choice are mysteries.

This is in part because a good mystery can engage your mind while being separate from the real troubles of your life. But it’s also because when I was around 10 or 11 I graduated from reading Nancy Drew to diving into my mother’s extensive pile of Agatha Christie books.

That is, I associate those books with the somewhat simpler time of childhood.

As a kid, I vastly preferred the Poirot novels to the ones featuring Miss Marple, and I continued in that preference until after my mother died and I ended up with a bunch of her books. I picked up a Marple and discovered I liked those stories much better than I had as a kid.

It might have been because I had reached the age that Jane Marple is in some of the early books. Christie wisely never quite specifies her age, but at a guess she’s in her late 50s in the early ones and maybe pushing 90 by the end. I was ready for stories about a smart old woman.

And Miss Marple is very smart, a reminder that the misogyny of the 20th century wrote off a large number of intelligent women with a lot to offer society. Christie’s plots are always absurd, but that doesn’t take away from Miss Marple’s powers of observation and detection.

I recently discovered that one of the ebook providers through my library has the Miss Marple books and, in need of some comfort reading, I’ve been going through them. Last week I finally decided to try The Mirror Crack’d From Side to Side, one of the later books, published in 1962 when Christie herself would have been in her 70s.

As a rule, when I re-read a mystery, I’ve forgotten who actually “done it,” though pieces of the story come back to me. (This rule does not apply to books I’ve read multiple times, such as Gaudy Night.) But in this case, I not only remembered who the murderer was, I also remembered that I really hadn’t liked the book when I was young. So I wasn’t sure what I’d think.

I did like it better this time, though I was also much more aware of the ableism, racism, and issues of social class that permeate the story.

On the other hand, it wasn’t ageist. One key subplot involves the companion who now lives with Miss Marple because of her health. This companion is the sort of person who talks to her charges as “we” and ignores their preferences because she doesn’t believe they are mentally competent. Since we see her from Miss Marple’s POV, we understand just how grating that behavior is for an old person, even one who needs some assistance.

But the real reason I’m writing about this book is that it slipped out of the comfort reading category because of a key element of the plot that feels all too relevant in a time of ongoing pandemic.

Discussing that requires a major spoiler for the book, which I might not do except for the fact that it was first published 60 years ago and I suspect that very few people who really want to read it and be surprised have not already read it.

If you fall into that small class, don’t keep reading. Continue reading “Comfort and the Lack of It”…

Love and Death: Would You Like a Little Romance with Your Action?

personby Deborah J. Ross
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Crossing genres is hot business these days: science fiction mysteries, paranormal romance, romantic thrillers, Jane Austen with horror, steampunk love stories, you name it. A certain amount of this mixing-and-matching is marketing. Publishers are always looking for something that is both new and “just like the last bestseller.” An easy way to do this is to take standard elements from successful genres and combine them.

As a reader, I’ve always enjoyed a little tenderness and a tantalizing hint of erotic attraction in even the most technologically-based space fiction. For me, fantasy cries out for a love story, a meeting of hearts as well as passion. As a writer, however, it behooves me to understand why romance enhances the overall story so that I can use it to its best advantage.

By romance, I mean a plot thread that involves two (or sometimes more) characters coming to understand and care deeply about one another, usually but not necessarily with some degree of sexual attraction. This is in distinction to Romance, which (a) involves a structured formula of plot elements — attraction, misunderstanding and division, reconciliation; (b) must be the central element of the story; (c) has rules about gender, exclusivity, and, depending on the market, the necessity or limitations on sexual interactions. These expectations create a specific, consistent reader experience, which is a good thing in that it is reliable. However, the themes of love and connection, of affection and loyalty, of understanding, acceptance and sacrifice, are far bigger.

In my own reading and writing, I prefer the widest definition of “love story.” After all, people can love one another without sexual attraction and people can love more than one other person, usually in different ways and to different degrees. (For an example of what I’m talking about here, see my Darkover novels, Hastur Lord and The Alton Gift, which involve a three-way love triad in which each character must deal with the others with honesty and compassion.) With the addition of non-human characters — aliens, angels/demons/vampires/werewolves, faeries and other magical creatures, sentient computers, and the like — the possibilities multiply enormously.

I believe that action/adventure, regardless of the genre, is deepened and enhanced by romance, and also that love stories work better when the level of peril is intensified. For one thing, both adventures and falling in love (or growing in love, or discovering that love has always been there) both involve a character taking a risk. Whether the character goes after the evil Empire, battles a dragon, lands on an unexplored planet — or opens her own heart — there is always the possibility that something may go terribly wrong. All too often, safe stories are boring stories. Something must be at stake, and the higher the stakes, the more reasons we have to care about what happens.

I’ve never subscribed to the cliche of the hero and heroine falling into one another’s arms, consumed with lust, in the middle of a frenzied life-or-death conflict. (My libido certainly doesn’t work that way, which might be the explanation.) Such a moment might be the occasion for realizing how much one character cares for the other when at any moment the beloved might be killed/captured/brainwashed/turned into baby-alien fodder. That moment of inner honesty escalates the stakes for the character (and, hopefully, the reader). I like to see that realization played out and savored, not exposed and consummated in wham-bam-thank-you-ma’am style.

Love stories are not just about connecting with another person; they are about connecting with ourselves. In good love stories, the character struggles with internal obstacles — memories, ideologies, character flaws — as well as external ones. In romantic adventure, the two types of conflict mirror one another. Neither is resolvable without the other. The heroine cannot defeat the dragon until she masters herself. (Or, in a tragedy, the hero’s own nature becomes his undoing; for example, Orpheus.)

Both love and crisis can force a character to re-examine her priorities. What’s really important — the way her hair looks or the thousand Bug-Eyed Monsters about to invade her home town? Who does she want to be — the social butterfly or the executioner? Rambo or Mother Teresa? Miss Marple or Indiana Jones? Buffy or Albert Einstein?

Who does she love? What is she willing to do to protect those she loves? What will she do when faced with a choice between her own happiness and the fate of a stranger — or a planet — or a race of magical beings?

Romance allows us to “ratchet up the stakes” in these decisions, pitting personal concerns against altruism, what is right against what is self-serving. Adventure allows us to play out the journeys of the heart in the outer world, exploring more deeply the transformative and healing nature of love itself.

The Pleasant Art of Finding the Right Reading

personby Gillian Polack
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I’ve vast lists of books to read, because I keep going to science fiction conferences and academic conferences and I always end up with loads of exciting reading. I ought to dissect these lists and ell you all the best reading in them, but I can’t, because I still have to read the books myself. Also, most of them are still in the mail.

That got me thinking abut how we decide what to read when there are too many choices. I’m the sort of person who can’t deal with choices. Give me too many choices and I will walk away in frustration rather than buying the thing I came into the shop for. Except with books. It’s much easier to know which book to read at any given time. This is because, for me, each book is surrounded by information that helps me choose.

When I travel to Sydney, for instance, and go to one of my favourite bookshops there, the folks behind the counter are always knowledgeable. Every time I visit, I buy a book specially for the bus trip home. It has to be something special, I tell them, and something new. It has to be something that’s not being seen quite enough and that I absolutely need to know about. We talk about my favourite writers and they always, always find me something. I’ve only ever given one of those books away, too. Booksellers know books. It’s as simple as that. If I am in a bookshop where the bookseller doesn’t know more than me about the books in their shop, then I walk straight out. This is why I have favourite bookshops: because the people who run them choose with care and thought and understand their work so very wonderfully.

Another route I take is to think carefully about the genre and even sub-genre of the book I want to read. I fit the type of book to my mood, in other words. To do this successfully, I need a vast TBR (to be read) pile. Choice helps me where usually it perplexes me. It’s so much fun finding the perfect book through this method, because I take each book out, one by one, and hold a kind of inner conversation with it.

Other days I need comfort reading. I have maybe 3 dozen authors I turn to for this and which writer I turn to depends so much on what my comfort needs are. When I need much comfort over a few weeks, I’ll haul down a series by a favourite author. By ‘haul down’ I mean that I actually climb onto a chair and take a whole pile of books down. Series of comfort reading are on my high shelf, you see, and reach to the ceiling.

Sometimes I am a butterfly, and stand in my library reading a bit of this book here or that there until I find the one I want. Sometimes I’m a carnivore and eat the content of cookbooks except, these days, all my cookbooks are finally in my kitchen or loungeroom, so I stand by the kitchen counter or sit in a chair near the door. I’ll make a stack of books I want to use recipes from, and read bits and pieces from half a dozen more. It takes several days for the books to all be returned to their place. Sometimes I cook all the recipes. Sometimes I don’t. Sometimes I sit down and read a whole book (or two) but mostly I use the books in my food collection as a trampoline for research and for thinking about what I will be eating.

Speaking about research, finding the right book for researching (whether for scholarly purposes or for a novel) is another method entirely, and even thinking about it makes me tired. I think I might stop this piece right here and go to bed. Time to dream of books.

Books and business and a weekend in Ireland

personby Gillian Polack
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I’m still in my impossibly-busy time. I wanted to write you a proper post, but I also need to sleep. I’ve spent all my spare money on books this week. Four I have already, and the rest are to come. What I might do until I have the book or can reclaim real time (whichever comes first) is introduce you to some of the new volumes in my library. Two each week, I think, so that you’re not overwhelmed.

I caught up with the authors of this week’s books in my first face-to-face science fiction convention since August 2019. One I saw briefly and she was wearing a t-shirt for the world science fiction in Glasgow in 2024, which made the world feel less big than it has recently. The other dropped in and we had a couple of hours to catch up. By ‘dropped in’ I mean he was willing to take a RAT to see me. We all have different names for the quick COVID tests and Australians call the RATs. This is, of course, because it opens up the potential for very silly jokes. Especially since at least two of my friends have pet rats. I will save you from the jokes and return you to the new books.

Jason Franks’ new volume is X-Dimensional Assassin Zai. Through the Folded Earth. Cross-dimensional assassination…

The other is Thoraiya Dyer’s Tides of the Titans. It’s been a long while since I read a new novel by Thoraiya – they simply have not come my way.

I’m looking forward to both these books so much. I have to wait before I can read them, however. Until the middle of November, my life is on fast forward. The northern hemisphere is in peak conference time and I’m in my silly season and handling health issues. This opens an opportunity. If any of you buy one of the books and wants to read and discuss it with me, you have time. Much time. We could have a discussion here, in the Treehouse. Or not. Maybe you’re as impossibly busy as I am.

If my life were quieter I could read them both next weekend, but next weekend I’m online in Ireland. In fact, I’m staying up late every night this week to get the most Irish day possible during the Australian night. I go to Irish conventions whenever I possibly can (which is about a fifth as often as I’d like to, which is the sad truth for me and most of the conferences and the conventions I love), but this year is special: I’m one of the guests of the Irish National Convention. I’m giving talks, am on panels, and giving a reading. I’m also spending as much time as I can chatting with people – Octocon attracts fascinating folks. It’s a lovely place to meet people and does the virtual side of things with much care and thought, which means even from the other side of the world (while ill – this is like dancing backwards in heels) Dublin is a good place to visit.

If you also join in the virtual side of Octocon, find me and we can chat about books, about writing, about overwork, about the odd shape of our current world…

Books and food and science fiction/fantasy

personby Gillian Polack
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My mind is buzzing with food stories again. I’m on a panel in a few minutes, you see. The panel is described in my last post, and is the final one for me for this convention. I’ve been battling my heath these last few days, so I haven’t done all the exciting social things and watching the many panels I had intended to do. But still, I got to catch up with some friends and to talk about subjects I love.

Given I have just a few minutes to write, and given I want to talk about books, and given… all the things, why don’t I introduce you to the stash of books I have by my side to keep me company during the panel?

The first book is a volume I’m suing for my research. It’s Michael Owen Jones’ Frankenstein was a Vegetarian: Essays on Food Choice, Identity, and Symbolism. I love it that there’s now enough research on related subjects so that when I analyse food in fiction, I don’t have to throw my hands up in despair and wail. This book is actually part of my non-convention work this week, so, right now, it’s filling three functions.

The CSFG Gastronomicon ed Stuart Barrow. This is a science fiction anthology with recipes. My story was sent to Stu to test the system, and was not the one I intended to suggest for it. On the front cover there is a dinner table, created by the inimitable Les Petersen. Every time I see this art, since it first appeared in 2005, I have wondered about my picture. Les made us look real, but from fantasy stories. I need to ponder why I never see myself the way artists and photographers see me.

The next book is by me, but has wonderful line drawings by Kathleen Jennings on the cover. It’s the book of the banquets (Five Historical Feasts: The Banquets of Conflux). I tell the story of the years we created these events, and how we researched the food history and added a few extras. There are stories by some very well known authors, and an article on Richard III’s coronation feast. There is also a record of the committee meeting where we tested all the drinks for the Prohibition dinner. This fits nicely in with Anne McCaffrey’s Cooking Out of this World.

Nanny Ogg’s Cookbook, Dining on Babylon 5 (Human Edition), and two quite different versions of the Doctor Who cookbook represent my (very small) collection of books representing science fiction and fantasy worlds. Cooking with Asterix also (sorta) fits into this and is mostly in the pile for the cartoons.

The second last book in my pile is the book I recommend to anyone who wants to cook English food from the Middle Ages. Pleyn Delit: Medieval Cookery for Modern Cooks is so handy as a springboard into talking about food in fantasy fiction, because it helps even those who don’t know what a medieval kitchen looked like understand what sort of cooking is possible.

The final book is the place where the fantastical meets the historical meets the foodie: it’s a translation of Nostradamus recipe book.

And now that you know what is on one side of me (on the other is washing, drying on an airer) I shall go be part of this panel!

Interesting times again

personby Gillian Polack
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I’m late today. I’m so late today that it’s lunchtime tomorrow in my part of Australia.

My excuse is a very interesting 24 hours. How can so many things go wrong in that time? I shall save you from a list, but the most visually dramatic was when I shattered half a dozen glasses, a small stack of bowls, and maybe a couple of other things. The count is approximate, because dealing with a lounge room full of shattered glass was more important than seeing what was left. Only two things I really cared about are gone. That’s the good news.

The bad news is that this post is short because I still have to pick up pieces from most of the things that went wrong. I’ve sorted two, and the glass is almost cleared into a bag, waiting for someone to help me farewell it. The rubbish bins in my block of flats are not made for someone with my particular incapacities. At times like this, I feel aggrieved about it!

I will read something to improve my day, but it won’t be a calming book. I am re-reading Peadar Ó Guilín’s duology (The Call, The Invasion). They’re such good books that I would re-read them even if it wasn’t work-related. I’m in the happy position that doing a close re-read will advance my research and remind me that the last 24 hours has been interesting, but is nothing on children being kidnapped by otherworldly beings and, if they survive, returning… changed. Nothing like apocalyptic YA books for reminding me that life is really not that bad.

The scent of books is the scent of toffied candied peel

personby Gillian Polack
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Today I had a rather fun cooking accident. I’m making candied peel, and the doorbell rang. This candied peel has a bit of alcohol in, and the water hadn’t boiled out of it and… it boiled over onto the stovetop while I answered the door. I cleaned up some of it immediately, because dinner was impossible without any cooking elements for my frypan (my frypan is greedy that way – it won’t heat without help), and left the rest until later. ‘Later’ was just now for some of it. It had crystallised and could be cleaned off with an egg-lifter. When wet, it took so much more work to clear away.

While I was creatively using my egg-lifter (and is egg-lifter even a word in US English?), I thought about what book I should tell you about today.

Given that the other thing I did today was clean out all my herbs and spices and check their use-by date, the obvious book is to do with herbs. Just one book? Perish the thought. The only thing perished today were some very, very, very old herbs…

Let me introduce you to my perennial favourite herbals: Culpeper’s Complete Herbal and Mrs Grieve’s A Modern Herbal. I’ve had my Culpeper since high school. The powers-that-were made the mistake of letting us choose our own books for school prizes, you see. My Culpeper is much-used, and it still has a little bookplate explaining why I have it. I was awarded it for the Year 12 English prize, at Camberwell High School, in 1978. My copy of Mrs Grieves wasn’t acquired until at least two years later.

I might throw the Culpeper a fiftieth birthday party in 2028. It’s earned it. Both books have. They’ve been handy to me as an historian, as a writer, as someone who loves cooking, and as someone who’s curious about how we change the way we describe things. Thee two books were part of the stack I used to refer to as ‘my external memory.’ Much of my library is borrowable, but these two books do not leave my side. They’re always in the room I work. Always. This is despite the fact that I actually use e-versions when I want to look something up.

They’re too close to me to make introductions easy. They’re not my oldest books, nor even my earliest. This doesn’t make them less part of my life. I have other books that are equally important. When I was told I was going blind, one of the first things I did was decide that 200 books needed to stay with me, even when I can’t see them. Handling them will be grounding. I’m not blind yet, and my library has 7000 books – I’d own more, but many were stolen and my flat is full. I say this to make it clear how critical to my existence is any book in that ‘must keep even if I can’t see them’ stack.

I think we all have books like this. As of today, because of the candied peel and its wonderful interaction with my stovetop, I will forever think of the smell of citrus toffee (with a faint overtone of fine liqueur) when I think of these books. If you have a moment, I’d love to know if you have books you treasure the way I treasure these.

Thinking about lost culture again

personby Gillian Polack
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Lost culture is exciting. How can something be exciting when we have lost it? Most times when we talk about loss, it’s in terms of the events that caused the loss. The political pressure, the murders – dire events that add up to big cultural losses. Yet, when a culture is lost because of irrepressible cruelty, it leaves traces. For years, I’ve been watching for such traces, to see how much we can know when remnants of a population have been forced away from their homes and when their lives have to be rebuilt from scratch. I don’t want to hear about horror. I want to find out what we can know about what was destroyed. I don’t look for the names of people: I want to know how they lived.

The first and most obvious relic is, in many cases, linguistic. I was just reading a study of eighteenth and nineteenth century Yiddish in Europe. It traced loan words from cultural areas such as food. Those loan words matched with a bunch of trade records and showed that there was a dynamic and strong Jewish butchers’ industry in the Polish-Lithuanain Commonwealth in the seventeenth century. These days most of the surviving descendants are in the US and may not even eat kosher, but some of the Yiddish has snuck into US English and so, in parts of the US, there is a memory of a life that people once led.

Other records come from the persecutors themselves. The records of the Inquisition have vast repositories of cultural information about Spanish Jews. They used it to technically prove that people were reverting to Judaism or had not dropped Judaism. While conversion to Christianity is by a claim of faith, the Inquisition demanded complete cultural change. Those who held religious power in the empire Spain led was key to maintaining that Jews were impure and that impurity carried down the line to children and to children’s children so people with Jewish ancestry had to be watched forever in case they shifted back to their ancestral religion.

The “convert, leave or die” ultimatum in Spain in 1492 left a lot of people, then, having to forsake family traditions and local customs. It was not safe to wash and wear nice clothes on a Friday, or to send for sweets made by your favourite Jewish confectioner, or even to eat salad on Saturday afternoons. It was possible to be burned alive if any of these small things informed the Inquisition that you were secretly Jewish. Because the Inquisition documented their research into what they regarded as lapsed converts, we know more about everyday life before 1492 as well as after it.

Another hidden aspect of culture is what happens when a whole cultural/religious group is suddenly missing: local culture changes to fill the biggest and most gaping holes. For example, in some places where Jews were sent into exile or mass murdered, the remaining Christian population would suddenly eat more pork. Why? I assume because it proved they were not Jewish and were therefore safe. Big cultural shifts have reasons. This is only one of them, but it’s a deeply-distressing one.

Let me finish on a less distressing note. Superstitions. Some superstitions are folk beliefs that have walked alongside popular culture and religious culture for a while. Others are what’s left when the framework and history for that belief or action is lost. I can imagine that, when we all have flying cars, people will still look both ways before crossing the road, because a hundred years of watching for regular cars instilled a habit so strong we mostly don’t notice we’re doing it.

What look like irregularities in a contemporary culture can tell us a lot about where that culture has been, historically. It’s not the core of my research right now. It’s something I keep an eye on. A lot of the lost elements of culture are the aspects that will bring a novel to life for readers. Understanding how they fit together and create living spaces for real people in our past also helps us write history into fiction more accurately.

 

 

Someone sent me to a story the other day because they knew I was interested in alternate Jewish history (because my most recent novel, The Green Children Help Out, has superheroes and alternate Jewish history) and that story rested all of its research on Christian views of history. The concept was a terrific one: what would happen if the relationship between Christianity and Judaism were inverted, with Christianity the minor religion. Making Judaism more Christian both culturally and religiously meant the story didn’t even come close to exploring the concept. The major players were changed, but the everyday culture was not.

It’ll be a while before I can write a novel using these historical explorations, unless I want to follow the path of the story I so dislike. Before I can bring my imagination to play and tell stories based upon hidden and lost history, I need to find as much as I can about the hidden and lost histories. It’s a marvellously fun trail, but the research is happening now. Old and trusty studies aren’t nearly as useful as conferences and conversations with those doing the research.