Category: process

Seasonal Joy

personby Gillian Polack
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I was going to write you a 4 July post, but I remembered in time that in the US, it’s still 3 July. In Australia, we’d take the Monday off and make a long, long weekend. But not this week. Not any week until our next public holiday in fact, which, for Canberra, is in October.

Winter is different in Australia. Some people assume I’m referring to the cold or lack thereof (they think that all Australia is too hot, all the time), but in my part of Australia it’s cold. Not as cold as Alaska, but cold enough for big coats and snow. The main reason Canberra doesn’t get much snow is because it’s too dry. The best-known snowfield in the whole country (where there is snow even in summer… in places) is close.

Winter is different because we don’t have time out. We deal with the encroaching dark and we do not celebrate the incoming light. We have no public holidays and the only way to get time off work is if one has children. All my teacher friends are on holiday this week, and most of them are down the coast, where it’s less cold. Anyone not at school (as a student or a teacher) just has to deal.

I used to deal by experimenting with different recipes for mulled wine and mulled wine equivalents. Those recipes covered 700 years of spicing wine and were most excellent at keeping the cold at bay. Friends would visit to help me drink it. I can only drink a few sips these days and, because I’m COVID vulnerable few friends visit, so there will be no hypocras, no sangria, no mulled wine in July.

Instead, I’m making portable soup. Eighteenth century style portable soup, to be precise. The ancestral stock cube. A soup that you can cut with a knife and that has so much gelatin you could use it as a building block.

In fact, I do use the cubes as building blocks. I can make much healthier sausage rolls or meat pies with a much better flavour and at least as good a mouth feel as the same dishes made using suet or duck fat. I can chop up some vegies very finely and have a delightfully warming beef broth in minutes. I can build so many dishes with the portable soup.

This is appropriate, because I’m writing about building blocks this week. The building blocks I’m writing about are the building blocks of story, though, not of food.

The closest to the midwinter delights northern hemisphere folks talk about and what I actually experience is this particular harmony between what I cook and and what I write.

A few people celebrate what they call Christmas in July here. If friends asked me, I’d join them as I do for any other Christmas, but… I’m still Jewish. There is no reason for me to set up a Christmas celebration for myself. And the only Jewish holy days in July this year are fasts.

July in Canberra is a good month for work and a very bad month for most happiness. As I tell everyone every year, be nice to me, for my sarcasm is close to the surface throughout July. Also, be nice to me because I’m cold. We’re in the warm part of the day and it’s not a cold day and the temperature outside is hovering just above 50 degrees F. This is the weather for sarcasm, just as December in the Northern Hemisphere is the season for joy and mirth and gifts.

If anyone wants to give me gifts to make me merry, I’ll not say no. In the meantime, I will create building blocks and hone my sarcasm.

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.

Embedded Dislike

personby Gillian Polack
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I wrote this not-actually-academic piece for my Patreons about a year ago. This is how I play with a concept. It’s what I do in the very early stages of research, when I’m trying to understand what approaches are sensible and which are stupid. I’m giving it to you now, partly because the themes of Hogwarts’ Legacy apply to it and partly because, while I talk about things Jewish in this example, we need to understand embedded prejudice for so many things. I face embedded prejudice every day because of my physical restrictions and because I’m female and Jewish; transpeople are dealing with far too much facing of it right now (and without nearly enough support); and most minority cultures in face it every day (sometimes in horrific ways) while being dealt with by mainstream culture. Australian politics has just demonstrated how poverty brings forward such embedded attitudes, and in the UK ‘class’ shouts as an issue. No country has the same set of biases, but all of us have groups whose everyday is flavoured by how others simply accept stories and what lies embedded in them.

While I’m researching cultural embedding, I’m not on top of this part of the subject yet. That deep acceptance of stereotyping and hate that appears in literature is very difficult.

I really need to focus on more ways of discussing embedded prejudice in my research. I began experiencing how literature delivers wallops related to prejudice when Oliver! (and its source Oliver Twist) caused me many problems as a child, then, when a whole year level studied The Merchant of Venice, I had to deal with it again. The deeper bias in these works are led to by a shallow bias and some really stupid interpretations. Every time Fagin is given a European Jewish accent, for instance, I see the application of the Universal Jew prejudice. Fagin was based upon a real person, Ikey Solomon, who was probably Sephardi and who almost definitely had a London accent. Solomon was well-known for dressing nattily (and for being a high-level, well-connected fence for stolen goods), not for leading children astray. He ended up in Australia (before it was Australia, when it was a bunch of British colonies) and his personal story is so much more fascinating than  Dickens’ novel. There’s a modern novel about him, too, but I don’t recommend it because it gets the Jewish side very wrong, too and poses a very different set of problems.

I can’t follow this research up right now – I am in the middle of a project that examines other facets of culture in fiction. This other project is helping me understand how to look at these things fairly. I need that fairness. Not everyone who depicts people using these biases does it intentionally. However, every single one of them hurts people. Since I’m terrified of the impact Hogwarts’ Legacy will have in this respect, I need to share some of my thoughts. These thoughts are neither serious nor complete, but they play with some very important concepts that I will return to, when I can. I’m writing a novel that addresses some of them and I will do old-fashioned research for the rest.

If you want to read something a bit more considered than a daft essay, you will find better discussions (but not of  vampires) in my book Story Matrices. I wanted to develop methods that would help writers and editors understand what they’re doing so that they can make active choices in these matters. Story Matrices is that book.

 

My entirely daft theory about Bram Stoker and his Jewish vampires.

There is one thing you need to know about Bram Stoker, before I can begin talking about his relationship to vampires and my new (totally untenable) daft theory: he didn’t like Jews. If he were brought forward to this century and put on a convention panel with me, he’d be very uncomfortable, even though I don’t match the Jewish stereotypes he carried. I’ve had Thoughts for a while about this, but the Problem of Garlic brought everything together. That’s as good a reason as any to begin with the problem of garlic. Except I can’t.

I’ve been trying to handle this for years. Behind his writing there is something significantly more than the various put-downs you see in other authors of his time and place: he genuinely didn’t like Jews. My current random theory is that this didn’t mean he knew nothing about Jewish culture. He probably didn’t know that he used Jewish culture and also the stuff used to describe Jews by bigots, but his own bias meant that his incorporation of these things together in his work was seamless and convincing and created our classic vampire story. Our classic vampire story, in order words, quietly reinforces antisemitism. Just like Dracula, it looks charming, but it hurts people.

My theory goes (in its wayward way) that he took some Jewish folk culture from Eastern Europe and applied it to vampires. Also, there were quite a few Jews in Transylvania in the nineteenth century. They spoke Hungarian, were classified ethnically as Hungarian, and were citizens. This is the by-product of the Austro-Hungarian Empire. None of them (as far as I can work out) were in any way related to any branch of my family. Jews in Ireland were not granted citizenship until 1846, while most other people were given citizenship in 1783. None of the eighteenth and nineteenth century Irish Jews were in any way related to any branch of my family, either. (This is another aspect of various Jewish cultures – the need to work out relationships to other people.)

And now we’re finally up to that garlic.

There is one very folkish and not at all religious part of Jewish culture that contains garlic as a repellent. Just one. But it’s a big one. In fact, it’s how some Jews handle Christmas.

It’s not been easy to be Jewish over the centuries and much folk culture has sprung up to help people deal with it and the violence towards Jews that can go alongside it. A lot of the folk culture was lost with the various mass murders that tend to be handed out to Jewish populations, but recently, I have been exploring one set of folk practices in particular. This aspect began about 1800 years ago, and it’s the Jewish stories (note the plural) of the life of Jesus. My favourite is, of course, from the Middle Ages and one of several lives of Jesus from that time.

Lives of famous people is such a Medieval thing: it includes the lives of saints, and the spectacular deeds of kings and princes and noble knights. The stories about Jesus don’t fit into those types of stories at all: in this set of Jewish folk cultural traditions Jesus was no saint, king, prince or noble knight. The stories of Jesus all fit into the category of lives about famous magicians, alongside people like Merlin.

All of the versions of the story of Jesus are entirely unacceptable and not-nice from a Christian perspective. My favourite includes flying and the pulling out of hair. Being a polite religion and this being considered fictional and part of folk culture, it was mostly kept hidden from Christians, out of respect. Also, of course, because it isn’t always safe to be Jewish and one doesn’t want to provoke more persecution.

That variant of the life was told on Christmas Eve, for hundreds and hundreds of years. We don’t know which Jewish cultures told it, nor how they did, nor how many knew it, but Christians being upset about the story have written about it over the centuries and scholars have checked what they’ve written against what they knew about Jewish cultural practices and… it really happened. It might still really happen. If it does, it’s not part of my family’s tradition at all.

The stories about Jesus seem to be a way of dealing with antisemitism and its accompanying violence. In far too many times and places it was unsafe to leave the house at Christmas, you see. Stones were thrown at Easter, so Christmas wasn’t the only time and place that it was safer to shut the doors and make home tight and safe and not leave it until the bigotry passed a bit.

This is all related to garlic. I’m getting to that.

When one shuts one’s doors and shutters windows and pretends one isn’t home because otherwise it was dangerous, one develops folkways to keep the evils out. Some European Jews had a tradition, over hundreds of years, of eating garlic on Christmas Eve to keep Jesus away. His rising from the dead, you see, was not interpreted the same way by Jews as by Christians. Garlic, in Eastern Europe from at least the 19th century, kept evil beings away… and while it’s deeply troubling that Jesus was seen as evil by some Jews (historically) when you consider what was done to Jews in his name, it’s very easy to see how this occurred. An undead magician who brought evil with him was kept away by garlic on Christmas Eve. And maybe also salt. I forgot the salt.

Salt has some big baggage. Salt was used in the Polish-Lithuanian Commonwealth when someone was investigating a case. It was blessed according to Christian rite and put in the mouth of Jewish witnesses to force them to tell the truth. And now I can’t remember if salt was used in Stoker* or in other vampire stories. One day I will check, I promise.

Stoker used folk material from Wallachia and Moldavia for his vampire background. It’s really as simple as that. There was a significant Jewish population (some cultural overlap here with me, because Romania did, at times, include what is now known as Moldova and my mother’s maternal grandparents were from there) and Stoker simply included the whole. His main source was An Account of the Principalities of Wallachia and Moldavia, and was written by the British diplomat in that region, William Wilkinson. Stoker used other sources, but this one is freely available on the web and I can give you a link to it, so it’s the one I’m citing. https://books.google.com.au/books?id=RogMAQAAMAAJ&printsec=frontcover#v=onepage&q&f=false

Really, this is not about Stoker being antisemitic (though he was, and Wilkinson himself describes Jews as of “obscure race” and an “inglorious nation” so he would not have liked me, either) it’s about how cultural practices develop and what happens when an Irish writer doesn’t stop to think about whose culture he’s borrowing and how. It’s about the damage done by inconsidered cultural appropriation.

The vampiric traditions in the various cultures of Europe have little to do with most English vampire stories. My favourite European vampire tradition is that you can handle vampires by strewing seeds and grain on the ground, because they will be forced to collect them and count them and that gives the victim time to escape.

The burial of possible vampires, though, is just as interesting. It has been verified by archaeologists, which is where I found out about bricks. Potential vampires might be buried upside down, or decapitated, or buried with sharp objects to prevent them from doing harm. Some people were buried with bricks in their mouths, to prevent them rising (in Scotland and in Italy as well as in Romania). This is all evidence that European belief in a vampire rising and causing damage is something many cultures share. The vampire as sexy and pale, however, that’s the stuff of novels. (Also, there was a vampire craze in the eighteenth century, and I need to explore this one day. We call all kinds of things vampiric these days, when they were far more clearly demonic possession, and I need to find out where the eighteenth century assigned it.)

The thing is, there was a “Jews are dangerous because they are sexy and pale and lead good Christians astray” cultural construct in the nineteenth century. Also, not everyone considered us full human beings. The impurity of blood notion the Inquisition spread had consequences. And blood drinking is a libel that has been used to attack Jews from the Middle Ages. Invented, and has not a thing to do with either the Jewish religion or any Jewish folkways and debunked so very many times… but Jews are still being accused of it and murdered with it as an excuse and… near-humans who are pale and sexy and find the cross really uncomfortable and drink blood and won’t disappear when you want them gone so you have to resort to violence and awful means? Sounds like vampires to me. The garlic is an extra, a bit of appropriation to make the thing real.

Stoker’s vampire doesn’t fit the folk tradition, but it’s a good literary metaphor for Jews by antisemites. I don’t think it’s that any more, for most people, but the moment I saw the nature of the folkways and bigotry inherent in the first century of vampire tales told to the general public in English (and French, to be honest, and possibly German) I started realising that many of these stories underpin antisemitism and violence.

This is why, when I use vampires, I use them a bit differently. But that’s a different story.

*You need an endnote. Most of what Stoker wrote was borrowed, however, he invented vampires not being visible in mirrors for Dracula. In Judaism, mirrors can be portals for the soul at certain times. I doubt Stoker knew this and I can’t see any evidence of him knowing it, unless he’s describing evidence of vampires not having souls.

 

 

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.

Reading (and Writing) Warily

personby Madeleine Robins
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Somewhere fairly recently I was in a conversation with someone (can you tell I cannot for the life of me remember when, or with whom, the conversation occurred?) about the why of writing. The person I was talking with spoke pretty definitively about why writers write, and while her points (I can remember it was a woman I was speaking with, maybe by the time I finish this post I’ll remember her name) were valid, I thought they were also limited. As if she could not imagine reasons to write that were not hers. Which is the crux of why I write. I’m trying to figure out why people do what they do. It’s why I read, too: to understand.

I am the daughter of an alcoholic, which comes (at least for me) with a certain number of good and bad sequelae. One of those is a certain wariness, and the ability to zig and zag given immediate circumstances. Another, for good or ill, is to set up a series of actions, and create a story that explains why my characters complete those actions. Continue reading “Reading (and Writing) Warily”…

I Did Not Write This in Longhand, But …

personby Nancy Jane Moore
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I don’t usually read John McWhorter. Over the years, I’ve seen enough work by him to know I find him annoying, possibly because he strikes me as one of those people who have carved out a career as a contrarian.

But he had a column about whether kids should be taught cursive this week and, given his usual defense of the old-fashioned, I thought this might be one place where he and I aligned.

Nope. Turned out he thinks it’s great that kids aren’t learning cursive anymore. Our ongoing record of disagreement continues, because I do think learning cursive — or, as I call it, longhand — is useful.

Now I should tell you that the only subject I struggled with in elementary school was handwriting. That includes learning to print as well as learning to write longhand.

It’s not that I couldn’t recognize the letters — I was reading before I started school — nor that I didn’t know how to make them.

It’s that the way I made them was always messy. They were readable. They were “right.” But they didn’t look very good.

Longhand was no harder for me than printing, which is to say that I could easily do both, but never do either to my teachers’ satisfaction.

The end result? Judging by my handwriting, you’d assume I was destined to be a doctor. (I wonder if the old joke about doctors’ handwriting still applies in the modern world in which prescriptions are sent electronically.)

My handwriting has not improved with age. At one point in my life, I took an aptitude test in which I discovered that I had multiple aptitudes — an explanation for my multiplicity of interests — except in one area: fine motor coordination.

I test at 5 percentile on fine motor. The funny thing is, I kind of enjoyed the test for that. I was just very, very slow and clumsy at it.

I took typing in summer school when I was in high school and even though I was never a great typist — I am apparently not good at any skill where you are supposed to be very accurate with your fingers — I immediately starting typing everything.

Long before personal computers were a thing, I was writing on a typewriter rather than by hand. I should probably note that I was raised by journalists, and being able not just to type but to write directly on a keyboard was considered a basic skill.

I thought correcting typewriters were a gift of the gods and I got my first computer in 1983 (which is about to be 40 years ago). Typing on something where I could correct my errors and go back and revise without having to retype was the most wonderful thing I could imagine.

I compose almost everything I write by resting my fingers on a keyboard and thinking. (I do not like keyboards that are so responsive that you can’t touch a key without it registering.)

So why, you reasonably ask, do I think it’s good to learn longhand? Continue reading “I Did Not Write This in Longhand, But …”…

Story Matrices, History and Fiction, and why I wrote them

personby Gillian Polack
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There is a constant buzz around concerning new books, old books, favourite books.

I’m part of that buzz. I write about books all the time. I analyse story and describe narrative. If I were someone who was confident about her work, I’d tell everyone my list of things to consider for prizes, but I’m not, and my big work this year is a little book, Story Matrices, looking at story and how we transmit culture through it. For me, its big achievement is that I’ve finally managed to find a way of explaining important things so that writers and editors can work with some terribly important concepts. Too many have (in my presence) said “I can’t handle this” about these ideas. Some still will say that they can’t handle things.” But writers are now coming up to me and saying, “I think I understand.” They understand how culture can be more safely tackled in fiction. They understand how to weave culture into their writing, just as people who read History and Fiction could see how history is used and what research for story is all about and…

I spend so much of my life trying to understand and then explain, that these two books are very important to me. What I want is people to read them and to argue with them and to annotate them and to find their own understanding of story. I want readers and critics to take what I’ve described and say “But” and “I can do better than this” and “Wait, I have an idea!”

Awards help people find the book they want to read next (so nominate the books you want seen), but the biggest reward of all is someone reading my books. Intelligently, Argumentatively. Not arguing with me, but with what I’ve written. Finding their own path through this argument.

All my books are meant to be read actively. Maybe not all with argument – that’s the academic books – but with criticism and thought and feeling. And…

Maybe it’s time to do a blog series that introduces all my books. Today you’ve had Story Matrices and History and Fiction. Short academic works that people tell me are surprisingly readable. Over and over again I am told this. Every time, I hope that this means that the person telling me has frowned over one page and laughed at a comment and taken notes to find a book I mentioned and said, at some point, “Yes, this is what I needed to read right now.” And then they put the book down and think about what it says and how that applies to their favourite writers. And to their least favourite. And to the book they’re reading because the book club says to. And to the book they got from the library by mistake. And to the book their favourite bookseller says “You really need to read this.”

I love readers who think for themselves and have their own opinions. I won’t agree with all their opinions, just as they won’t agree with all of mine, but it’s such a joy to hear them. Of all my books, the two that were written to provoke interesting discussions are Story Matrices and History and Fiction. They’re short on character and plot, and long on research, but that’s fine, other kinds of books have character and plot.

I love it that some books are read because they’re like others and are comfortable, and we read others because they pull us into new worlds and light up our minds with concepts and humour. I’m not sure whether authors are the right people to describe their own books, but … I’m going to try. This post is the first in a series that may well last right up until the next author interview.