Category: fiction

Frost and Games

personby Gillian Polack
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I want to complain about the cold again. When frost comes early, as it has this year, I want to complain until it goes away, which will probably be around August. It’s not that I dislike the cold, it’s that the cold frolics frivolously with my chronic illnesses. I used to go to work early purely to crunch the frost underfoot on my way in. That was my twenties, and this is my sixties and it’s as if I’m two different people.

My new self brings some surprises. Someone was respectful to me today. I kept looking around to see if they were talking to someone else, but there was no-one else there. I could get used to respectful.

The other thing I noticed today is that I didn’t instantly want to write a chapter of novel full of crunchy frost and chill air. I used to love taking the weather and telling it strictly to march alongside a novel, keeping my characters and their life struggles company. I used a very hot summer to bring magic ants into Elizabeth/Lizzie/Liz’s everyday in Ms Cellophane and also to make a memorable Christmas. I needed help to make a memorable Christmas because I’m not that good at Christmas.

I still bring weather into my fiction. I love weather and it’s fun to use it to shape moods. The opening of The Green Children Help Out has London weather. That rain isn’t critical to the story, but it helps me remember that most of the story is set in a wetter country than my own. It’s dry outside, and around zero degrees Celsius. We’ve been given a sheep graziers’ warning (spellcheck wants to change this to “a sheep braziers’ warning” or, alternately, to a “sheep grenadiers’ warning” – Spellcheck is quite obviously not Australian), which is a common weather alert up here in sheep country. Although, to be honest, the town I live in has more kangaroos than sheep.

All national capitals should have more kangaroos than sheep. Washington DC would be far more entertaining with mobs of ‘roos staring at the tourists and politicians and public servants. When a mob stares, every single one of them takes the same pose and only their heads move until you’re past. That’s my experience, anyhow.

One Christmas (since it’s cold it must be Christmas – I get this message from films set in the northern hemisphere) we had a work celebration at the restaurant next to the golf course with its full wall of floor to ceiling windows to bring the green into the dining room. We were all a bit drunk by dusk, because, of course, real Christmas is in midsummer. At dusk (again, of course, this is normal in civilised countries) all the kangaroos and wallabies came down and stared at us through the never-ending windows. One group of ‘roos did the mob stare. Drunk public servants wearing silly Christmas hats stared right back.

The older I get the more daft stories I collect. I tell my favourites over and over again. Sometimes I put them in my novels. My novels are littered with tellable moments.

For a full decade I asked readers to guess which moments in the contemporary novels were the real ones. They never guessed correctly.

I found myself blinking in stupid surprise when a reader told me, very seriously, that the real-life incident in Ms Cellophane was me swimming naked in the Murrumbidgee and getting arrested for it. I was wondering how to explain that I’m not very bold… and that I cannot swim. I blinked even more energetically when someone explained to me very sincerely that the series of events at Parliament House in The Wizardry of Jewish Women was obviously fabricated. I fictionalised it enough so that I wasn’t precisely representing the real people, but the events happened. As I love telling people, it’s just as well I fictionalised, given what happened to one of the people whose character I changed. Although I also love explaining to people that if you’re a politician and get a bit grumpy at lobbyists who want to talk, be very careful that none of them write fiction.

For those of you who haven’t played this game before and would like to guess a real incident from one of my novels, go for it. If you’re right, I’ll send you an unpublished short story so that you get something to read before it enters the big world.

Or you could tell me why I was happy to explain that yes, I once caused a Deputy Prime Minister to fall down a mountain (not at all intentionally, I assure you!) but am glad I rarely see politicians these days, because the original person I based a character on is not someone I really want to be introduced to with the words, “This is that writer who put you in that novel.” Guessing correctly who the politician is will also get you a look at the short story. I’ll give you a hint: you don’t need to know a great deal about Australian politics. You do have to occasionally read the news.

What I do in winter these days then is play mind-games. The first three correct answers this week get a sneak preview of a short story. If you don’t want people to see your answers, you can find me on social media and let me know privately. If anyone plays, then I’ll decide if the short story will contain weather.

Charming Synchronies

personby Gillian Polack
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Yesterday I found my research self and my fiction-writing self in perfect synchrony.

My research self is looking at old tales newly told, from a number of angles. I’m focusing very closely on how writers build the world for their novel. One of my favourite techniques is to look at the various roles food and foodways play. There’s not enough work in this field for me to rest on the work of others, so I spend a lot of my time in an alert state, watching different kinds of narratives and checking the role food and foodways play so that I can deepen my research.

Over time, this alert state has given me a lot of questions that need answering. For instance, in K-drama, there are a number of ways people drink and they are connected to different drinks The most formal ‘proper’ way of drinking was easy to determine, but it wasn’t until I obtained flavoured soju and drank some that some of the more casual ways people drank became clearer. Flavour, mouthfeel, level of alcohol all play as much of a part in how characters drink on K-drama as tradition and courtesy.

For my fiction, I begin with recipes and the food itself. Then I start thinking about what the appropriate ways of presenting the food are. This approach was sparked 30+ years ago when a favourite writer had people throw food that would have been dripping with honey, in a social group that has given us no historical evidence for treating food that lightly. Several possible messes entered into my visualisation of the scene: honey everywhere, and the very important personages acting as ill-disciplined overgrown children. I talked to the writer about the scene and she had not considered either aspect. The throwing was in the modern American cultural sense of being light-hearted and the characters were demonstrating how close they were to each other.

This was the first time I discovered just how much of our own culture we place in our constructed worlds and how, unless we consider things really carefully, we echo what we think we know and it is our own way of doing things.

I started to do two things at that point.

The first was to find out what my own cultural nuancing is and where it comes from. How do I assume people eat and drink in various circumstances?

Just like almost every other fiction writer, I draw the worlds for my novels from places I’m always ready a bit familiar with and many of them echo my life and experience. The difference is that I do this while aware. That state of alert becomes increasingly handy. I watch television and go to movies partly to continue this dialogue with myself.

This helps inform the second thing I do, which is research and teach. My most recent research thingie (I hate the words “outcome’ and ‘output’; ‘research monograph’ doesn’t work when the book is available very cheaply to anyone who wants to read it and is written in ordinary English) is, of course, Story Matrices. (At this point I’m supposed to remind everyone that it’s Hugo eligible and to suggest that you think of nominating it. I normally don’t do this, but in the case of Story Matrices, I want people to read it and they can’t read it if they don’t find out about it and the Hugos are a really good way of letting people know a work exists and that it’s worth a look.)

So how did everything come together? The soju and my thoughts about it gave me an ‘aha!’ moment for my research. One of the writers I’m focusing on always gives precise cultural places for drink, another does but they’re historically incorrect, and the third doesn’t at all.

This ‘aha!’ moment made me realise I have not worked on drink for either of the novels that I’m slowly, slowly writing. The novels will be out way after the new research, because the new research takes priority, due to there being income attached. I do love it, though, when they talk to each other while I imbibe someone else’s foodways.

Asking the Wrong Questions

personby Nancy Jane Moore
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Maybe when it comes to the chat bots and art bots and other such creations, we’re asking the wrong questions.

I mean, if a chat bot can pass the bar exam, the question shouldn’t be “can a chat bot practice law” but rather “does the bar exam do a good job of determining whether someone would make a good lawyer.”

Having taken a bar exam, I can assure you it’s primarily a hazing ritual. I’m sure the chat bots do very well on the multistate multiple guess portion of the exam, which requires you to memorize vast amounts of information, much of which is not relevant to actual practice.

My experience with bar exams is out of date, but when I took it, we had to learn all the old common law (based on British law) definitions of criminal behavior. These were no longer in use in Texas (where I took the bar) or in any other state that had adopted a modern penal code.

I bet a chat bot is hell on wheels at stuff like that, but I suspect a bot lawyer would not know what to do in a situation where its client was before a judge for revocation of probation (on a felony drug charge) and the judge, in the middle of ranting at its client, gave it a huge wink.

I’m not even sure how a chat bot would know about the wink, but assuming a bot could see it, I suspect it wouldn’t know it was a signal that the judge wasn’t going to revoke probation.

The time it happened to me, I knew what it meant. In fact, I knew from the moment the judge started ranting that he wasn’t going to send my client to prison. He winked at me because I was a young lawyer and he wasn’t sure I understood yet that he was yelling at my client in lieu of revoking probation.

The real practice of law is about subtleties. I suspect algorithm-driven software fueled by large language models is very useful in plowing through reams of documents and will get better, but it’s going to be crap at the negotiating table or in the courtroom where you have to read people as well as put the right information before them at the right time.

Continue reading “Asking the Wrong Questions”…

If Sleeping Beauty Were Jewish

personby Gillian Polack
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I’m working on fairy tale retellings right now, and preparing for Pesach (Passover) and getting ready for Eastercon (the UK’s national science fiction convention which is hybrid, is called Conversation this year and has a spectacular programme) and so time to do things is rare and fleeting. Fortunately, I have insomnia tonight, so spent two hours in bed, thinking. I got out of bed because I remembered I needed to write something for all of you, here. Insomnia doesn’t lead to great amounts of intellectual capacity, so it was very lucky I remembered a little story I wrote many years ago. It explains why I have insomnia… and is a fairy tale retelling about Passover. I’ve given you a link to the original, just because.

If I can fit everything together neatly through something I wrote so very long ago … maybe I will be able to sleep? Also, my cleaning this year is less impossible this year because when my refrigerator died, it took a lot of the food I needed to finish with it. Such unexpected synchronicity.

Before I give you the story, let me share a link to that fabulous Eastercon programme. Only a few of the panels won’t be available virtually. https://guide.conversation2023.org.uk/ The timezone is (because I’m the kind of person who loves stating the obvious)_ UTC/GMT+1. Normally it would be UTC/GMT 0 (zero, nothing at all) but the UK is in daylight savings time, unlike me. I’m heading towards winter and we’ve lost summer time. I’m on panels and giving a reading, so, if you join us at Conversation, join me in conversation! (And that’s my bad joke of the day. Now everyone around me safe from my attempts at wit for hours.)

In the meantime, I might copy my character and sleep.

 

If Sleeping Beauty were Jewish


Sleeping Beauty was Jewish in a non-Jewish world. It was just over a week before Pesach (1). She had a thousand and one deadlines from the world outside, partly because April is a busy time of the year in the non-Jewish world and partly because if she didn’t clear the decks (2) then crucial things would fall into the mire while she commemorated Exodus (3).

She was tired of being exotic. Tired of being Jewish. Tired of being busy. Let me admit it, she was just plain tired.

Sleeping Beauty took another long look at the cupboard (4) and said “I’m going to take a nap.”

She was woken up a week before Pesach by a pretty standard handsome prince. Things were looking good. For one thing, there was the prince. For another, after a hundred years the food in her pantry was unbelievably past its use-by date. She simply threw everything away to start again. The easiest Pesach cleaning (5) she had ever done in her life. For a third thing, there was the prince.

There were no deadlines. They had all gone, long ago. So had her opportunities. So had her friends. But her prince was a nice chap. She could deal.

That next week she discovered what her new life would be like. She had hastily married her prince, which was fine. What was less good was that he didn’t even know what ‘Jewish’ meant and how her background shaped her life. She was beginning to discover the effect of cultural change on everyday life in other ways, too. For instance, she had her own castle still, but none of the servants quite understood her instructions. What was oddest of all was that the people around her kept telling her, ‘No-one hates Jews any more. Stop complaining.’ Yet she still couldn’t go to synagogue without security guards three thick.

The princess thought “At least my guard is because royalty needs security in this odd future of mine. It’s not because anyone threatens Jews with violence anymore. I know this because there was nothing about violence against Jews in the newspapers. That’s another good thing: I’ve slept through racism and it’s gone.”

She arrived at shul (6) and discovered they wouldn’t let her in unless they knew her. There were security guards 5 thick and barbed wire to boot.

“The schoolground was fire-bombed yesterday,” explained one of them, apologetically.

“No-one told me. It wasn’t in the news.”

“It happened to the Jewish community. Why should it reach the news? It wasn’t terrorism, after all. It wasn’t even important,” said that non-Jewish guard.

The princess had a very private morning service, just herself and her prayer-book, in the tower she had hidden in a hundred years ago. Then she went right back to sleep again.

(1) Passover. Not to be confused with Easter with which it sometimes coincides. It’s the time of great family feasts, much alcohol (for 1 or 2 nights) and becoming very bored with eating unleavened bread. There are no Easter eggs, no Easter bunny and there is absolutely no Good Friday.

(2) Enough cleaning to generate great angst in even the tidiest neatest human being on the planet. One part of it is to get rid of any chametz (food not suitable for Passover).

(3) Moses and his Merry Men (and Women). Or the second book of the Bible, which contains the story of Moses. Or both. Take your pick.

(4) Or the pantry. Anywhere where food is kept. They all have to be emptied and cleaned for Passover and it’s one of things that sounds simple, but necessitates many long looks and much tearing of hair. This process is the single biggest argument for never becoming Jewish.

(5) Pesach cleaning – ritual cleaning for Passover. See (4).

(6) Shul is another word for synagogue, the place of prayer for Judaism. After all that cleaning, one needs a prayer or two, though maybe not the three hours that’s traditional in Orthodox Judaism on first day Passover.

Who Counts as a Person?

personby Nancy Jane Moore
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Back in 2002 I wrote a story about an upper-middle-class young man who got arrested in Louisiana because his physical appearance contradicted his sex genotype: he looked male, but his genotype was XX. He ended up in a jail cell with several transwomen, some drag queens, a lesbian, and a woman who was his opposite: she appeared female but had an XY sex genotype.

This story was set in 2023.

I believed in this story, so I sent it out to every magazine and anthology I could think of. Nobody wanted it. I don’t know why they didn’t like it, but perhaps it was because it seemed too unlikely at the time. Or maybe I was just ahead of the curve in gender stories.

Fast forward to the actual 2023, where Tennessee just adopted a law restricting drag shows and many other states are in the process of following suit. My made-up Louisiana law prohibiting people from dressing or appearing in a way that contradicts their sex genotype no longer looks like science fiction.

It’s almost enough to make me send the story out again, except that these days I bet magazines would turn it down because it’s too much like the real world of today.

Thinking about it reminded me of another story of mine, one I wrote back in the 1990s. It turned on whether clones were people or property under the U.S. Constitution.

That one, called “Passing,” did get published. In fact, it won a contest sponsored by the National Law Journal. Continue reading “Who Counts as a Person?”…

Australia Reads

personby Gillian Polack
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Today’s title is not a description of the unexpected (Australians are literate!) but of an annual event. We’ve been heading towards it for weeks. it’s this week, on 9 March. Schools and libraries specially have whole programs, and Young Adult writers are in particular demand. My big Australia reads function this year was talking about fantasy novels with Wendy Orr and Rik Lagarto for Libraries ACT. It will be put up the Libraries’ Facebook page on the day, and then readers in Canberra will be able to compare note and argue and chat about the books we talk about. We will probably join in the discussion. Of course we will. That’s what book discussions are for.

Australia Reads/Australian Reading Hour is an annual event where a lot of Australians read for a single hour on the same day. We’re not told what to read. We do, however, talk about books a lot in the lead-up. Some people buy a book they’ve been dreaming of, specially to read that day. I’ve done that, this year. A lot of the fun is in comparing notes and suggesting titles and worrying if we will get hold of our dream book in time or if we should find an alternate book, just in case. I always emerge from This lead-up period and from the day itself with a long list of books I need to take a look at. This is such a good feeling.

There are Ambassadors for Reading to encourage Australians to read something that day. I am one. Let me show you. https://australiareads.org.au/authors/gillian-polack/ It’s not my best quote ever. Every year I want to improve it and change it and every year I say to myself, “It’s probably better to spend the time reading.” And so I do. I’m very proud to be an Ambassador.

I don’t know if there are Reading Hours in other countries, but if you don’t have one and would like to join us, please do! Any book, the hour of your choice (or 4 lots of 15 minutes if life is simply impossible, though an hour is best, it gives time away from a fractious everyday). People often ask me if there’s a book of mine I suggest for Australia Reads. This year it’s The Green Children Help Out, because we really need a bunch of cheerfully quirky superheroes to help us deal with destructive fools. Me, I’m reading The Tangled Lands, a new novel by Glenda Larke.

What book will you choose?

Author Interview: Joyce Reynolds-Ward

personby Deborah J. Ross
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I love chatting with other writers!

Joyce Reynolds-Ward and I met in the pre-pandemic days when I regularly traveled to conventions in the Pacific Northwest. She’s warm, funny, endlessly curious, and a fantastic writer. And a knowledgeable and enthusiastic horse person. So when I heard she’d just put out a new book, I couldn’t wait to find out about it.

Deborah J. Ross: Tell us a little about yourself.  How did you come to be a writer?

Joyce Reynolds-Ward: I’ve been making up stories to entertain myself since I was little. At first, they were about books I’d read or TV shows I watched. Then I started writing stories off and on, starting with my junior high literary magazine continuing through the present day. I’ve gotten somewhat serious about writing since the late ’00s, however, and have been writing regularly since 2008 or so.

 DJR: What inspired your book?

JRW: My most recently published book, A Different Life: Now. Always. Forever. was an attempt to write something light. Um. Well. Maybe. It’s set in what I call the Martiniere Multiverse, a spinoff from my main series, The Martiniere Legacy and the People of the Martiniere Legacy.

When writing A Different Life: What If?, I half-toyed with the idea of writing about my main characters, Ruby and Gabe, from the perspective of Ruby’s best friend in college, Linda Coates, who Ruby hires to be her executive assistant. The more I thought about it, the more I liked the idea, and I figured that it would make a nice, light little story, which was what I needed to think about after several years of Covid and my worries about the 2022 election.

Things kinda happened from there. The book took a more political tone after the reversal of Roe v. Wade, with Linda’s brother-in-law becoming a rising reactionary political leader who has nefarious designs involving Linda. But there are still light moments, and we have a bit of biobot action where Ruby and Linda release the latest version of Ruby’s bots that are intended to counter climate change by helping plants absorb and retain moisture better. Plus–Linda’s reaction to living in an Art Nouveau palace in Paris, France. That was fun to visualize.

DJR: What authors have most influenced your writing?  What about them do you find inspiring?

JRW: My influences come from several very odd and unusual places, especially for a writer in the speculative fiction genre. One of my earliest influences was Mary O’Hara, of My Friend Flicka fame. If you have only read the first book, especially in an abridged edition considered suitable for children, you miss a LOT of the deeper undercurrents of O’Hara’s writing. The other two books in the trilogy, Thunderhead and Green Grass of Wyoming, delve into spirituality (O’Hara had become involved with early versions of Eastern mysticism) and conflicted, difficult marital relationships. Writing this, I suddenly realize that my character Gabriel Martiniere owes a little bit to O’Hara’s Rob McLaughlin. Not a lot–but there’s a little bit of Rob in Gabe.

One thing to consider, though, about O’Hara, is that she was one of the original script doctors in Hollywood during the silent film era. While she only cites a few instances where she got called in to work on scripts gone wrong, it’s enough to make me wish that she had written a memoir about that Hollywood experience. Nonetheless, her life story (as related in Flicka’s Friend) is quite fascinating.

John Steinbeck is another literary influence that I frequently cite from my early days of writing. One of my high school English teachers used his Travels with Charley as a textbook for her advanced writing class. From Charley, I moved on to his Journal of a Novel, drafted while he was writing East of Eden. Then I went on to read all of his books. Steinbeck, along with O’Hara, taught me a lot about the use of settings in my work that I think really still shows up.

Otherwise, there are many writers who have influenced my work and made me think more about the process of writing and what I was doing while writing. Obviously, I read widely and well beyond the genre. Recent influences include C.J. Cherryh, Beverly Jenkins, Aliette de Bodard, Kate Elliott (especially her so-underestimated Jaran books), Craig Johnson, N. K. Jemisin, Mary Robinette Kowal, and many, many more. I am always eager to discover a new writer and new works. My ebook library card gets a LOT of use these days.


DJR: Why do you write what you do, and how does your work differ from others in your genre?

JRW: Originally, I started writing what I do because I wasn’t finding the books I wanted to read. I wanted to read about more strong women, but I also wanted to read fantasy in settings that weren’t quasi-medieval Europe, as well as science fiction that wasn’t set in Southern California or New York. I wanted to see more work that included the things I was interested in, including realistic horses, the inland West as a setting, examination of political power that didn’t make me want to throw the book across the room, and other things.

 I write politics from my training in political science and the nearly two decades I spent as a political organizer. Some writers in genre have that knowledge and understanding, but many don’t. While my understanding is more on the state and local level, it’s enough to extrapolate for larger settings. Additionally, because I spent many years as a corporate wife at the middle management level in sales, I know somewhat more about some of the stuff that goes on in that realm than most people. The ins and outs of management fads, the degree to which certain things get done, the internal politics…all of that. I focus on multigenerational privately-held corporate entities rather than larger publicly-held companies because that’s easier to control in a story.

The inland West as a setting as opposed to the Southwest is also a way that I’m different from many writers who might set stories in the North American West. I have always been drawn to the juxtaposition of mountains and prairies, such as you find around the foothills of the Rockies, both the east side and the west side. The western prairies get much less awareness than the eastern prairies, because they’re smaller. But the land of the Palouse, both in Oregon and Washington, is just chock-full of story potential. While I grew up in Western Oregon and have some work set in Willamette Valley-esque settings, including the Cascades, the Plateau country of eastern Oregon holds a fascination for me. The Blues and the Wallowas are considered to be the westernmost extensions of the Rockies in the Northwest.

DJR: How does your writing process work? Continue reading “Author Interview: Joyce Reynolds-Ward”…

The Lost Past and the SF Writer

personby Gillian Polack
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I wrote about lost culture for The History Girls  last week, and I’d like to continue the conversation with myself today, here.

Our lost past is often the past as experienced by cultural and religious minorities in lands ruled by someone else. My personal quest for lost pasts is currently the European Jewish past. I want to know what my ancestors ceded, culturally and religiously, in order to survive. I want to find out what’s missing. I also want to write more novels that use it.

The vast majority of English-language novels are informed (often very quietly) by Christianity. If writers depart too much from this, then most readers won’t have an expected set of understanding to start from and will have to work much harder to get into the novel. The cultural and religious minorities do the heavy lifting to make multiculturalism work. For the whole of my life I’ve had to do cultural outreach because most people can’t or won’t. This is not a wonderful thing for the everyday, and it also has an uncomfortable effect on our fiction. If the vast, vast majority of readers expect to see an historical world that refers to Christian heritage, then they need to be given a clear path into anything different. Creating that clear path while avoiding tropes and racist constructs can be … difficult.

I’ve got a bit of a history of looking into these things. My academic research examines what we do as writers to construct the worlds for our novels and to narrate the stories set in those worlds. I look into what we see when we build that novel… and what we don’t see. When I started publishing my research, I started with examining how writers use history in fiction, and moved onto cultural encoding. Right now, I’m beginning to have a much more precise understanding of how important genre is as a pathway that readers travel into story.

The novel I’m currently (slowly) working on is set on Earth but in the same universe as Poison and Light and after that same catastrophic war. It’s about lost culture.

The trick will be to welcome readers into a very strange land and to make them want to stay a while. The town at the centre of the story, where everything happens, is almost all Jewish. This was not historically so very odd, the capital city of seventeenth century Lithuania was at least 40% Jewish, for example, and many of the nearby towns were almost 100% Jewish. The history was destroyed when almost all the Jews in these towns were murdered and the English language world was left with some really odd views of that time and place. Christianity informs those views, and so does antisemitism. Moreover, since the Holocaust, most people have forgotten that there were wholly Jewish towns in Europe, that being Jewish was perfectly normative for millions and millions of people. It’s easier, storywise, to describe us as perpetual outcasts.

A Jewish strange land where Jews are safe, however well I can back it up historically, is surprisingly difficult to write. It’s not that Jewish history is lachrymose, it’s that we focus (in popular culture) on the hate and the loss and the tears. It’s easy to do. It’s easier to focus on tears than to to discover lost people and their interesting lives.

What’s important right now is that I think I’ve found a way of building the town so that it contains actual Jewish history (reconstructed with some glaring errors 300 years from now, since future historians and world makers are human, too, and will have their own preconceived notions) while keeping it interesting to the reader. It all comes down, as so many things do in fiction, to the opening.

I could spend another 300 words explaining my theories and how I apply them to create the first words of the novel. Or I could simply give you my draft first words and you can ask yourself, “Would I read this novel?” All the explanations in the world don’t make an opening tempting. Let me give you the words:

Space and boundaries fascinate me. Take, for example, the street I walked through this morning. To most people, it was just a street. A very wide street. Once upon a time it was set up for horse and carriage. In the old, old, old world. Then it was used by motor cars and grew wider. That was the old, old world. It became so wide that, in the difficult days of the old world, there were wooden houses down the middle. They lacked plumbing and almost any other amenity. They became the place where refuse was thrown. The people that society couldn’t accept. Wouldn’t accept. Hated for no good reason. That time didn’t last long. It wasn’t because the bad attitude towards other humans failed. It was because someone in power noticed the value of wide streets. They bought it up, turned it into a market zone and all the rickety houses were knocked down.

It’s ironic, isn’t it, that half the people who live in this town are descended from the poor souls who were thrown out of their homes, like dirty dishwater. Their work brings the tourists in. Their work creates my work. Even walking down this street feels insolent.

Publication in the time of COVID – another anecdote

personby Gillian Polack
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I want to introduce you to Poison and Light, but I have no idea how to do this. It was released during the first year of COVID and so most bookshops have not been interested in it: it’s available from online stores, mainly. It was a finalist for an award, but there was no ceremony for that award, so no-one noticed it there, either.

This is all ironic, because it’s the book I wrote for people who wanted this history with the panoply and the danger. It has a Code Duello, and costume drama, and hot air balloons, and tentacled aliens, and secretive printers, and evil conspiracies, and the main protagonist is the last refugee from old Earth.

There’s one special character in it who was going to get their own novel if this took off, because they are just so very cool. I say ‘they,’ because even though they publicly identified as male, they didn’t always privately identify as male. It’s their idealism and their amazing clothes’ sense and their even more amazing rapier skills that made me want to know more.

I’m not the only person to want more of Fabian. Instead of summarising my novel, then, I’m going to send you to a review of it. That way you can see what both the novel and Fabian look like to someone other than me: https://performativeutterance.wordpress.com/2021/03/03/poison-and-light-gillian-polack-shooting-star-press-2020/

Me, I wrote Poison and Light because I wanted to explore a world that wanted to hide its head in the sand by pretending it was in the eighteenth century. Some residents of New Ceres thought they were in a world where nobles ruled, gloriously. Others thought they were in a world with decadence they could enjoy. Still others are planning a revolution. You get some of all of this in the novel, but it was going to be a series if it sold well enough, and there was far more excitement in store in those later volumes that will now never happen. There are issues that would have emerged concerning failed terraforming, for instance (we need more novels about failed terraforming, given what we’re doing to our own planet right now), and of slavery, and of how much New Ceres could remain its independent and dangerous quirky self when the rest of the galaxy had recovered from the war. How does the dream of history hold up against reality?

The novel I’m working on now is set in that same universe, but back on Earth. Only one character overlaps. I’m sorry, but that character is not Fabian.

I used actual 18th century texts and ideas and stories to build the world of the novel. That novel was part of the research project into how fiction writers use history, and testing the concepts other fiction writers presented me with gave me far more insight into what they did than if I’d simply collated my interview notes. It doesn’t come up in History and Fiction, and nor should it. When I use novels to test ideas, those ideas become part of the novel. I still have to check those ideas against my research for my academic side.

This means you can read Poison and Light without caring a jot about Gillian-the-researcher. You can enter it for the strange future world and for the people. In a perfect world, my readers do this. They look at my characters and pick the actors they would love to be playing them. Which leaves my second last thought as, “I have no idea who would play Fabian.”

My last thought is that I need to write more about Poison and Light. It deserves to be seen.

Revisiting Nightmares: Fantasy/Horror Crossovers and Trauma Recovery

personby Deborah J. Ross
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Fantasy and horror have a natural affinity, one that goes back to the pre-literate times when people sat around the campfire, terrifying each other with stories of ghosts and skin-walkers and things-that-go-bump-in-the-night or that-are-not-quite-dead. Supernatural elements infused these tales with delightful spine-tingling shivers. One might speculate that way back then, the entire world must have seemed a perilous place, filled with phenomena beyond human understanding. I think that does a discredit to peoples who might have a much lower level of technology than we do but were nonetheless extremely sophisticated in their conceptualization and emotional understanding of the world around them. For all our computers and skyscrapers, we are just as enthralled by the uncanny and that jolt of adrenaline.

Of course, as individuals we vary in what is pleasurable to us. One person’s fun may be the trigger that causes months of terrifying nightmares for another person. This is especially true for people who have themselves been the victims of trauma, whether the assault has come in the form of physical violence or from psychological or emotional abuse. Reading horror or dark fantasy is not an approved method of psychotherapy, but encountering these stories mindfully can shift our perspective. Good fiction of any kind does not “stay on the page” but has the power to change the way we see ourselves and our lives. Horror, by its focus on frightening elements, carries a particular emotional punch.

Like so much genre literature today, the distinctions between fantasy and horror are often driven by the requirements of marketing, with blurry overlapping areas like dark fantasy. One might otherwise lump them all together as “literature of the macabre,” today’s incarnation of the 19th Century Gothic novel. I doubt that Edgar Allan Poe would have thought of his work as either fantasy or horror, although he might have been quite delighted with macabre.

Horror, with the exception of purely psychological horror, represents a subset of fantasy. This subset is of course a spectrum, from fantasy with slightly “dark” aspects to horror that includes or relies upon fantastical elements. I would go even further in arguing that shadows –elements that partake of the spookier side of the supernatural, or inversions of everyday expectations – are what give good fantasy much of its appeal. For every Hobbiton, there is a Mordor, and not even Lothlorien with its Mirror of Galadriel is without danger. Shadows give shape to light, and risk heightens the value of the hero’s journey. After all, what is more dangerous and suspenseful than a journey into lands and times when the dead can walk (and wreak revenge), humans can take the form of animals (and vice versa), and malevolence is a real and present force.

Some stories have no point other than to horrify; they are unrelentingly gruesome and bleak. The portrayal of – adulation of — futility against overwhelming evil is not limited to the horror genre. Existentialist despair, as well as depictions of the depth of human pain and the height of human malice, have their place in the canon of literature. Fiction allows us to view and explore frightening events and to grapple with appalling things in the company of trusted companions.

Horror not only delivers a certain emotional palette but a resolution that is satisfying for the neutral reader and can be helpful to the person wrestling with their own experience of fear. Here the overlap with fantasy plays a special role, for fantasy by its very nature alters the rules of ordinary reality. The “contract with the reader” includes the premise that impossible things can and will happen, both horrible and wonderful. Fantasy is also particularly suited to the use of symbol and archetype to deepen emotional resonances. Continue reading “Revisiting Nightmares: Fantasy/Horror Crossovers and Trauma Recovery”…