Category: fantasy

Jewish Book Month

personby Gillian Polack
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This month I celebrate Jewish books. It’s Jewish Book Month in the US, after all, and Jewish writers in Australia are fighting to be heard.

Today I want to introduce two people who will help you find books by Jews and books about Jews.. in the world of science fiction and fantasy. My post will be short because today is already a bit frantic.

First, Valerie Estelle Frankel. She is an editor and scholar, who has written and edited books about Jewish science fiction and fantasy and related genres. I think of Valerie Frankel as the person who introduced Jewish speculative fiction to the English speaking world. I am co-writer of the chapter in one of these books. Bettina Burger and I wrote about Jewish speculative fiction in Australia And New Zealand. Here is a link! (I do like links.) Valerie Estelle Frankel: Bloomsbury Publishing (US) – Bloomsbury

Second, Steven H Silver. He is a writer, but he also maintains a list of works. Such a good list. If you want to find Jewish-themed short stories and novels that are in the science fictional world, his list is a very fine place to start. And now for another link, for I do indeed like links. Jewish Science Fiction

I would love to hear about your favourite Jewish science fiction and fantasy. Warning: I might share some recommendations on Facebook, so let me now if you want to remain anonymous on my page.

I also like lists. I have only 19 more tasks to finish today. Let me see how many I can cross off my list before lunchtime. Not many, because it’s almost 11 am on Tuesday where I am… but we’ll see.

Good luck with the midterms, US folks. We’re all watching with you and hoping things improve.

Treehouse Writers at World Fantasy

personby Crow, Editor
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Poster for World Fantasy ConventionDeborah J. Ross, Madeleine Robins, and Nancy Jane Moore are all participating in this year’s World Fantasy Convention, which is in Oakland, California.

The three will be doing a reading on Saturday at 5 pm along with two other friends of the Treehouse, Chaz Brenchley and Pat Murphy. Madeleine has her beadwork in the art show and all three show up on panels and will be available to sign books and converse at the autographing on Friday evening.

If you’re in the Bay Area and not attending the convention, but might want to find some great books, the dealer’s room will be open to the public on Sunday afternoon for a $5. charge. It’s all taking place at the Marriott City Center in downtown Oakland, right at the 12th Street/City Center BART stop.

You can expect some reports from your Treehouse correspondents after the convention.

Memories

personby Gillian Polack
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When my life is a bit too busy or the illnesses eat my energy, I’m going to share with you something about my books or something I wrote for another time in another place. Today it’s the latter, and I feel wildly historical, so here’s an article I wrote for BiblioBuffet in 2011. Why did I choose this? I’d love to know what books you’d use to illustrate some of the things you read for. I want to know what books I’d place, 15 years on and to find out if my reading has changed in nature, but for that I need energy. One day. Today is about the books I read one week, back in 2011, and why I enjoyed them.

 

 

I love lists. Today I have a list that’s ten items long. It could have been five, or a hundred, or even a thousand. I wanted to tell you ten things I love about books and illustrate them using some of my recent reading. Some of the recent reading is hot off the press, and some is less so. I’ve chosen books from the speculative fiction end of the reading spectrum. This might be because they reflect my reading recently. It’s just possible. Let me admit, up front, that I know some of these writers. I wish I knew them all, but I know just a couple. Once there is something in someone’s writing that you love, the likelihood is quite high that when you meet the person in question, that you will get on. I’ve only given examples from writers whose books struck me for these precise reasons before I ever met the writer in question.

My ten things:

1. I love exploring someone else’s politics through their fiction, especially when that fiction is very fine. My book for this is Ursula Le Guin’s The Dispossessed. It’s all about freedom and the life of the mind and the limitations that we humans place upon ourselves. A lot of political books written in the 1970s have dated, for life has changed since the seventies, but this one hasn’t dated at all. It’s still vibrant and forceful.

2. Lyrical writing couched secretly inside a genre novel. It takes me by surprise and gives me a sense of the world being right, every time. So many of my favourite writers have this flavour in their writing: Hope Mirrlees, Alma Alexander, Mervyn Peake. My example for today, however, is Daniel Fox’s Dragon in Chains because he manages to take a non-Western universe and make it feel particular and its own, while still maintaining that lyricism.

3. Sometimes language and concept and personality infuse a writer’s work. Cordawiner Smith and Roger Zelazy are two writers who don’t seem to be able to write a word of fiction without that word somehow defining the universe anew. My example book is probably the least of all the writings of both authors: Roger Zelazny’s The Last Defender of Camelot. It is, however, the one I re-read most recently. When I get some time, I intend to re-read the whole Amber cycle, plus Smith’s Norstrilia books. Time is the limiting factor. Their worlds and their words haunt me even when I don’t go near the writing for years on end.

4. The historian deep inside me (well, maybe not so deep, in fact maybe just the one who shares the same skin as the rest of me) loves a book that explores another world that breaks with what we accept as normal reality and that does so in such a way that the reader accepts things that are unacceptable or understands things that are usually conceptually too difficult. Not that I want to accept the unacceptable, but that I really like writing that’s strong backing world building that’s even stronger. Aliette de Bodard’s Harbinger of the Storm is today’s example of that. An Aztec society, with gods and belief systems and treatment of women that are very uncomfortable for me, and yet I must read and continue reading for she makes it real. Lord of the Flies was the same but more so ‑ hate the world, but must believe it can exist.

5. There is happiness in small things. Grumpy fairy tales and twisted minds. When I was a child I read James Thurber’s The 13 Clocks and The Wonderful O. They rang truer for me than most other children’s literature at that time. The other book that I fell in love with (and have a lion’s head doorknocker right now, to prove that doorknockers are crucial to grumpy magical existence) is William Makepeace Thackeray’s The Rose and the Ring. The bizarre fairytale is still my favourite book by Thackeray, and this despite me having read Vanity Fair at least four times.

6. There are warped and twisted books for adults, also. There is Shriek. An Afterword by Jeff VanderMeer and there is almost anything by James Enge. I was reading Enge’s The Wolf Age and I finally realised that it’s not the sharpness of these books or even their views on society that make them so delightful, it’s their inventiveness. Enge’s imagination is always one step beyond my mind’s reasoning ‑ he manages to think of places I’ve never thought of and make fantasy worlds look fresh and new.

7. There are trilogies. There are sets of trilogies. What there are, too, are occasional authors who manage to write one big book that has been broken up into parts that make coherent narrative sense but that are nevertheless mere aspects of one big book. I always find one of these near my desk, for I have a weakness for them. Right now there are two books by Joe Abercrombie, and there is Ravensoul, part 4 of James Barclay’s Legends of the Raven.

8. I love it when the people of two worlds meet. There’s always a book in my vicinity that shows the clash of cultures or someone who was brought up in two worlds or is touched by two worlds and has difficult choices ahead. The most recent book that touched on this (and leaves it unresolved ‑ I must read the next book!) is Jon Sprunk’s Shadow’s Lure.

9. Steampunk! Right now, for me, steampunk is alone enough to make me look twice at something. From the reasonably standard romantic approach to machines and villains and changing worlds expressed in Andrew P Mayer’s The Falling Machine to the steampunk romance of Katie MacAlister, but the best encapsulation right now, for me, personally, is in the work of Cherie Priest.

10. New approaches to something that I thought I knew. Eye-opening and making the whole world new. This is the most exciting writing of all. My example is Kafakaesque, and I shall write about it properly in due course. Some books demand attention of their own, and this is one. The editors’ genius in placing Carol Emshwiller, Kate Wilhelm and Theodora Goss in the same volume make it something that shifts what thought I knew about short stories. This is my current reading, and it’s wonderful.

Books mentioned in this column:

The 13 Clocks, by James Thurber (NYR Children’s Collection, 2008) 978-1590172759

Changer of Days, Alma Alexander (HarperVoyager, 2005) 978-0060765750

The Dispossessed, by Ursula Le Guin (HarperVoyager, 1994) 978-0061054884

Dragon in Chains, by Daniel Fox (Del Rey, 2009) 978-0345503053

The Falling Machine, by Andrew P Mayer (Pyr, 2011) 978-1616143756

Harbinger of the Storm, by Aliette de Bodard (Angry Robot, 2011) 978-0857660763

Kafakaesque, John Kessel and James Patrick Kelly (ed) (Tachyon, 2011) 978 1 61696 049 0

The Last Defender of Camelot, Roger Zelazny (ibooks, 2007) 978-1596871076

Lord of the Flies, by William Golding (Perigee Trade, 2003) 978-0399529207

Lud-in-the-Mist, Hope Mirrlees (Cold Spring Press, 2005) 978-1593600419

Ravensoul, by James Barclay (Pyr, 2011) 978-1616143817

The Rose and the Ring, by WM Thackeray (Folio Society, 1964)

Shadow’s Lure, By Jon Sprunk (Pyr, 2011) 978-1616143718

Shriek. An Afterword, by Jeff VanderMeer (Tor, 2007) 978-0765314666

The Wolf Age, by James Enge (Pyr, 2010) 978-1616142438

The Wonderful O, by James Thurber (NYR Children’s Collection, 2009) 978-1590173091

The Broligarch Misreading of Science Fiction

personby Nancy Jane Moore
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I did a podcast last weekend that focused on how the broligarchs miss the point when it comes to most science fiction, including the stuff they cite as influencing them. This was BCube Press podcast hosted by Cliff Winnig with myself and Wendy Shaffer as guests. You can watch it here on YouTube.

We had a great discussion, but there’s so much to be said on this topic, plus right now I’m reading Gil Duran’s new book The Nerd Reich, so I’m thinking a lot about what these technofeudalists are doing to undermine democracy based on their half-baked philosophy and complete misunderstanding of both science and science fiction.

(I’ll write about The Nerd Reich when I finish the book, but I can already tell you it’s worth your time even if you, like me, are obsessed with the subject and already know a lot of this. Duran is a journalist by training, so he marshals his facts and writes with clarity.)

Back when I was in college – an absurdly long time ago – there were four SF/F books (or series of books) that pretty much everybody read: the Foundation trilogy, Stranger in a Strange Land, Dune, and the Lord of the Rings. Those books didn’t get me into SF/F – that came later when I discovered the great feminist SF of the 70s – but they were part of the overall 60s-70s culture.

What gets me is that the broligarch crowd pretty much read the same books – and clearly missed the point of most of them – even though the oldest of those tech-adjacent guys is probably a generation younger than I am and many of them are millennials. And of course, Foundation and Lord of the Rings had been around quite awhile before my generation found them.

Now I’m not dissing those books. I embroidered a quote from Foundation on the backpack I carried when I went hitch-hiking across the country (“Violence is the last refuge of the incompetent.”) I worked as a children’s book buyer for Grok Books (which didn’t have a great SF section, but did have that particular novel).

And I re-read the entire Lord of the Rings during law school finals every semester.

Dune was fun if you were smoking a lot of dope.

But you know, all those books were written before any of these guys were born. And there’s been a hell of a lot of good science fiction written since then. Yet these books still seem to attract their interest. Continue reading “The Broligarch Misreading of Science Fiction”…

Baycon 2026 report

personby Deborah J. Ross
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I don’t attend many science-fiction/fantasy conventions these days. Pre-pandemic, I often attended conventions on the West Coast, including Orycon in Portland, Oregon. I’d add a day or two on each end of the convention dates to get in a visit with my best friend from college and a dear writer friend. Ditto going south to Loscon in Los Angeles or Condor in San Diego, or larger conventions like World Fantasy or SFWA’s Nebula Awards weekend when they’re held on the West Coast. Sadly, both friends have died, so even before the pandemic, I found it harder to fly north. Orycon has closed, and I believe that Condo has, too. Nevertheless, I always try to make it to my local con, Baycon/Westercon. It’s within driving distance, although a bit far to commute, and it’s a vibrant, diverse community.

When I attend a convention, I do so as a professional author, so I almost always appear on panels, readings, and autographing sessions. Some conventions request that potential guests submit proposals for events. If panel topics are accepted, the guest then moderates them. This was the case for 3 of the 6 panels I appeared on (* = I proposed and moderated this panel). Here are descriptions, with a few notes on how the discussions unfolded. With only one exception, I have avoided using the names of panelists and audience members. All the opinions are my own!

 

The Reality of Fiction. We normally think of fiction as unreal, but quite a few authors talk regularly with their fictional characters about the story and where it should head. How does this work? How can knowing some of the psychology involved give us a livelier relationship with fictional characters? What wisdom for life might they impart when listened to?

I arrived a bit early, as is my custom, to find the panelists wondering who the moderator was and expressing their unwillingness to do it. “Okay,” sez I, “I’ll do it.” Therein followed a fascinating divergence between the tired, perennial question, “What to do when your characters won’t behave the way you want them to?” and how much your characters reflect yourself—is this a good thing or a bad thing?–versus my personal focus, “Where is the energy in the story? Character (Hamlet), plot (thrillers), ideas (mysteries)…and how difficulties with characters arise from mismatches between different elements.

 

*Writing our Nightmares. What horror, dark fantasy, and related genres can teach us about surviving personal and political catastrophes.

The idea for this panel arose from two incidents: Octavia Butler told me that she took the things that really scared her and put them on paper; in a horror panel many years ago, when I said I had enough nightmares in my life, the other panelists showed me how horror can shine a light in the darkest places. As writers, we have agency; as readers, we trust that the protagonist, no matter how vulnerable, has or gains power over their fate.

We talked about having lost many traditional methods of dealing with trauma, so horror as a genre offers catharsis via the story journey; the end is different from the setup. “Horror is safer than memories.”

Finally, the zinger trope: “Play nice or I’ll put you in my novel” (and you won’t come out unscathed)!

 

*Finding Our Tribe. Writers, readers, and fans share how storytelling creates communities of understanding, acceptance, and celebration of differences. From fandom as family to writing as a way of healing, stories transcend the fear and prejudice of our times.

My thought in proposing it was to celebrate how the science fiction/fandom community welcomes and celebrates those who feel they don’t fit in anywhere else. This could be folks “on the spectrum” (of autism), sexual and gender minorities, racial and ethnic minorities, geeks of all flavors, and so forth. Everyone in the room had a version of a “finding my home here” story.

The second aspect was ethnic or ancestral communities. I was fortunate to run into one of my favorite co-panelists, an Indigenous elder, and invite him to participate in the panel. He brought the perspective of tribal membership being integral to identity, the history of near-extermination, and the separation he experiences between his role as elder and teacher, and his love for science fiction not shared with fellow members of his tribe. He helped us to understand the difference between tribal and tribalism. Tribal affiliation nourishes community and deep understanding of collective history. Tribalism creates a distinct “in-group” (those we identify with) and an “out-group” (everyone else).

Three of us were Jewish, and the only thing we agreed on was that we don’t agree on anything except being Jewish (“two Jews, three opinions,” more like “twenty-five opinions with footnotes and appendices spanning 2,000 years of commentary.” You can join if you’re willing to study hard for a year and pass a board examination. Otherwise, “Are you nuts?”) Much laughter ensued.

 

*Escapism is Not a Dirty Word! Panelists and participants share their favorite comfort reading and how it informs, sustains, and gives us hope. Continue reading “Baycon 2026 report”…

Decisions, decisions

personby Gillian Polack
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It’s really hard to decide on what I should post about today. I have diversions.

The first is that I’m in the final throes of revising my thesis to meet the examiners’ comments. I thought it would be a much bigger task than it was. I’ve sent my revisions and comments to my supervisors and then I send the final in and, hopefully, by the end of the week it will be done and dusted save for graduation. I submitted the thesis over a year ago – even for Australia this is slow. I don’t know why it was so slow, but career-wise it doesn’t matter to me (this is not my first PhD and I’m in my sixties) so it’s better the admin slowness doesn’t apply to young students than it does apply to me. Also, between submission and graduation, my first PhD took 3 years. It was not my fault, but it cost me my first career. By me a drink and I’ll tell you the story.

It’s rather nice that lateness doesn’t always carry such costs.

The second is that the submission period for the Royal Commission into Antisemitism and Social Cohesion closed yesterday. Many of us are a bit overwhelmed. On 4 June (10 days before submissions closed) there were over 14,000 submissions, which was a record for Royal Commissions. No-one knows the final number yet.

The staff serving the Royal Commissioner is obligated to read every single one of them. And those of us keeping track are wondering what this means. That Jewish Australia matters? That haters have put in many thoughts? We know that haters have oput in some thoughts. We also know that Palestinian Australia put in a 259 page submission. I’ve seen the outline and need to read it because I cannot make sense of it. Or rather, I can make sense of it in and of itself, but not how it helps Australia handle antisemitism. It seems to be arguing that we’re making things up. This is why I have to check. I’ve been told by quite a few people this last week that antisemitism is fictional, but there are so many incidents right now that this is not a claim so much as a misdirection. I need to know why APAN feels the need to spend 259 pages backing that misdirection if that is, indeed what they’re doing.

What I’m supposed to be doing is writing fiction. I lay in bed last night working out things that needed working out, but today have only written a couple of hundred words. We’re in a weather trap and my bones hurt and I keep procrastinating and worrying about Jewish Australia and other groups being confined by wagon trains circling hate.

Let me leave you and go back to my big writing decision for this week: Lincoln or London in the twelfth century for a section of the novel. I want both, but I don’t think both will fit. I also want Cologne and Speyer. Both! Actually, writing this out has made me think: people travelled in the Middle Ages. Why don’t I have someone travelling to Cologne from Speyer? That would give me the words for Lincoln and London. I just need to check concepts and characters and plot and… all the things… except the history. I have most of the research for that at my fingertips because of the non-fiction I was working on recently and that still has no home. All this research pays.

Pocket universes and super heroes

personby Gillian Polack
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Eight years ago I spent ten days in Amiens. I had great aims and ambitions. I wanted to explore how World War I changed the people and the landscape. I did a lot of research in Australia early on, which was just as well, because my body was beginning to ache at the seams and I could only do half the research. I did that half, and I also did the related research for a novel. That novel is timely now, for all the wrong reasons.

It’s about the Green Children. There are medieval tales of the Green Children of Woolwich, and they are oddly consistent. I wanted to add a pocket universe to the story and turn it into fantasy with a little bit of scientific underlay. The best place to do this wasn’t in England, where the story came from. It was in the Zone Rouge in France.

I wanted to understand how Jewish superheroes would create themselves if they weren’t strangers in a world full of hate, but refugees in a tiny universe where they were the majority. I wanted to see the stupidity that comes with confidence and being the centre of things, and to put a non-Jewish superhero at the heart of the story, showing how she saw the world around her and how she dealt with some really bad cards. In other words, I wanted to reverse some of our assumptions.

Part of this was asking, “What would our world be like with magic?” I’m an historian and for me there is not one simple type of magic, but complex systems that interact and that change over time. In my novel I used some historical systems and some less historical, and added a couple that only belong in that other world. If there are many systems and if they’re not simplified for ease of tale-telling then they leave more chaos in their wake when they’re abused. Also, how would magic be regulated? I used the UK for the regulation of magic, because I could bring important and old families into the story. Also because it means I could play in the wonderful sandpit of alternate history in London. Imagine a history of England where Jews were brought back in the 15th century? I wrote a short story to explain a part of this, and it was a finalist in the Sidewise Awards, which means… it’s Alternate History, even though it has magic. I rather like this. The story is in Other Covenants.

I lived in London and I lived in Paris for a little, many years ago, and, historically, London is a lot more fun for the type of story I wanted to tell. Pop-up history, small churches with pits to hell… I needed to know that terrain. I know the church in question (and its history) and I know the streets in question. This is not just due to having lived there for a little, many years ago.  It’s because I used to teach students about medieval London at the Australian National University, and because I spent a whole day walking the whole of Cheapside because the maps of it showing it in the Middle Ages did not fit the modern maps. I took photos that document how and why Cheapside changed and can explain what this means to the wider City of London. I looked at the difference between Old Jewry, the newer Jewry where my family came from, and Golders’ Green. I walked all these places an took pictures, at various times.

A small US imprint published my novel as their first book. I never got to do a slide show of all the places and explain how the Somme and how London and Paris came together and how I used my historian-self to furnish the novel. Before the novel came out, I talked with a writers’ group about the layers of history in landscape and how war changed everything, using the Somme as a case study. Then COVID hit. Most novels published in the first two years of COVID are lesser-known. This doesn’t change the fact that my world-building for The Green Children Help Out was amazing fun.

What book should I introduce next week? Time-travel, magic in Canberra, non-fiction? I’m open to suggestions.

Introducing my books: Wizardry

personby Gillian Polack
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I promised to introduce my work, then got bowled over by my own urgent need to understand one small aspect of our current world. That aspect has changed my life in some important ways, and I suddenly realise that not many people know much about everyday life in Jewish Australia. This is not the first time I have suddenly realised this thing. Last time, I wrote a novel with magic and feminism and much discovery of lost culture and foodways. It also contains prophecy. In fact, I wrote The Wizardry of Jewish Women.

There are three different sets of Jewish life in the novel.

One is like quite a few friends in my Jewish circles, with a mild religious sensitivity and a vast desire for community and understanding and service. Belinda in Canberra could easily have been part of my Jewish community, twenty years ago, before I was too ill to do everything. I asked permission from a friend to use her garden in the novel. She had a spectacular garden. We knew each other through dancing and through a women’s group, mainly. Belinda has the gardening and the cooking and the care. She’s someone everyone should meet.

The second drew on the knowledge and experience of a group of Jewish (but not practising) friends who I did women’s stuff with. Judith in Sydney is my readers’ favourite character. Her politics and the deep wish to improve the world were core to my life 25 years ago, though she’s a bit more left than I was. I can’t do these things now because, simply, most of the women who used to love working with me have dumped me for being too Jewish.

It’s all post October 7. They would have dumped Judith, too. She would have failed their purity test by being too Jewish. Judith would have waxed delightfully sarcastic and been very upset. She would have been especially upset because no-one would have asked her what her views were. She would simply have been left out of everything. Now is not then, and Judith is way political in Wizardry.

The third is what happens to an Australian with Jewish ancestry who has retained key aspects of the culture but not the religion or the family. What does Rhonda share with me? She’s an historian.

Each of the three women inherit something that was considered very standard for Jewish women in medieval France: magic. Each of them does quite different things with this inheritance. I wrote their stories because I wanted to meet them. I still do.

Baggage

personby Gillian Polack
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I’m about to embark on a big essay. As a prequel to it, however, I want to introduce you to a book.

A-many years ago, when I was young and charming, I edited an Australian anthology called Baggage. It’s still in print, published by Wildside in the US. The Australian original was taken out of print when the collapse of Borders in Australia imploded the publisher. Every piece Eneit Press published was special (maybe excepting my novel – I cannot judge my own writing) and the loss of the press shut many doors for readers.

Why is Baggage so important to me today? I asked writers for stories of science fiction or fantasy that discussed the cultural baggage we all carry. I had an initial list of the perfect people to make the best anthology. It had two parts, since I couldn’t ask everyone at once. I emailed the writers on the first part of my initial first (obviously) and all but one of them agreed. The rest of the wonderful authors I had on my list don’t even know they were on my list, which I find sad. I still want to read stories by them. Every single story I was given by those writers is a treasure and thought-provoking and none of them overlap and they created such a fine anthology that I’ve been nervous about trying another.

These are not Jewish stories. For those most part, these are not Jewish writers. Yet the collection is one that will help anyone trying to understand about the current wave of antisemitism. How? It demonstrates, through story, some of the massive differences in the cultural baggage we each bear. What we carry, how we carry it, how much of a burden it can be and how different people see it quite, quite differently. It achieves all this through very well told story. Which means, if you don’t want to jump straight into theory and definitions and cultural analysis, you don’t have to. You can read some of the best short stories I’ve ever edited.

Then I’ll bring in the heavy stuff, either here or on my own blog. In this difficult few years, however, we don’t always need to confront. Sometimes we can simply read and enjoy and find our own paths from what we read. This is why I’m giving you a prologue, which is Baggage.

 

Things Happen

personby Gillian Polack
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I’m late!

This is because Australia is antisemitism central again and I’ve been dealing. You don’t need yet another post on Australia’s problems, so let me tell you the story of a book.

Some years ago, I wrote a novel. A publisher signed it up but said “This should be a duology.” I rewrote the first book and added the sequel. Then they went bust.

Shortly after, another publisher fell in love with the duology but said, “I want the rest of the story.” I did the rewrite and the last volume and it became a trilogy. The COVID hit and the publisher ran into so much trouble. I’m still with them for other books, but we agreed I should find a new publisher for the trilogy.

A US publisher has taken on the first volume. If it sells well, then the trilogy will finally emerge. I so hope it sells well. I’ve been quiet about it because this book was having so much bad luck. Not as much bad luck as my cursed novel, but still, much bad luck.

However, we are finally in a “Watch this space” moment. The cover artist has Ideas and the editor is getting back to me very soon.

When there is an official announcement, I promise to share it. In the meantime, it’s about time I talked about my other published work. I might do a series of posts, to remind myself of novels written and books published.

That gives you two reasons to watch this space.