Rather than posting here today, I’d like to direct you all to an article I wrote for Tor.com, on the intersections between magic and technology in urban fantasy and ecofantasy. It is called “Text me that hex, please? Kthxbai!”
The post is another tie-in to the Urban Fantasy spotlight going on at Tor.com this month. It gave me a chance to talk a little about the magical rules underlying Indigo Springs and to look at what some other authors are doing in a few new books, including M.K. Hobson’s incandescent The Native Star, whose book trailer is here:
Native Star Book Trailer
The Urban Fantasy spotlight, as I’ve mentioned, will also be hosting a novelette by me, “The Cage,” within the next week or so.
I feel unadulterated envy for Barb’s accomplishments in the realm of water droplet photography. She has taken images that are beyond stunning. My current fave is a field of your basic white daisy… in the foreground is one blossom covered in raindrops, and each drop has a prismatic, upside-down reflection of the flowers behind it. You’ll have to take my word for it: I’d link, but she doesn’t index.
Here’s my latest pale imitation, from the deck garden:
Cameras and photography have been a big topic of conversation among my relations this week; I’m going on a cruise to Alaska with all my Nevada-based loved ones, and it sounds at this point like we may have 1.5 cameras per capita. We seem to share a drive to document natural things: trees and rocks and water, as the Arrogant Worms put it. In this case, I’m hoping for seals and whales and ice floes.
Jay Lake ran with my earlier post about internet content that addresses the concerns–both artistic and commercial–of mid-career writers. My note, in turn, started with a germ from Jessica Reisman. What we’re really discussing is how writers talk to each other in these public forums, and what we say to beginners.
You can see what Jay and various respondents said here. Among other things, he points out that there are simply a lot more aspiring writers to talk to.
Me, making the pass..
And Jessica Reisman, kicking it all off.
On a completely unrelated note, if you ever want the Casino security peeps to get really really interested in you, pause in their awning with your great big zoom and photograph what you find there.
This is, essentially, a post about where I get my ideas.
In the months when I was gearing up to attend Clarion West in 1995, I spent most of my writing time on short mysteries, because I was hoarding my SF ideas. As a result, I got to Seattle with a healthy little clutch of index cards jammed with scribblings. One had notes on an image I’d had, of teenaged human girls caught in the midst of a fashion fad: they were wearing the four-armed coats made for members of a race of aliens, half a million of whom had come to live on Earth as refugees. I imagined one of those aliens, also female, watching them through a window, and trying to make sense of the behavior.
I wrote the story at Clarion. In various incarnations it was called “Voice of Reason,” and “Sotto Voce.” It was long and imperfect and dear to my heart; I think it was the first time it really occurred to me that even a nice fictional character might lie, might promise to do one thing and then go in an entirely different direction. It also had some thorny, autobiographical stuff. I’d never attempted that before either.
I never got “Sotto Voce” into anything approaching submission readiness–having gone to Clarion to experiment, I came home with a number of unviable mutants–but a passing reference in that story to a second alien race, the Nandieve, spawned “The Dark Hour.” Its main character is a young human pilot, Oriole. Like those girls with their four-armed winter coats, he’s embraced otherness; he sees the Nandi as a wiser, more sophisticated and more powerful culture than the one he was born into. When his ship gets hijacked, he ends up on the Nandi homeworld, which affords him a closer look at their best and worst qualities. Basically a rose-colored glasses go smush type of thing.
The story was initially published in Tesseracts 8, which was edited by John Clute and Candas Jane Dorsey. It came out in 2006 and I’d have sworn it was the first of the stories set in this universe to see print. (The Internet Speculative Fiction DB says otherwise.) It was definitely one of the earliest of the batch in terms of when I actually wrote them. Here’s a snip:
Days after she rescued Brother, a black ball of feathers flailing in wet leaves, Momma was killed by a white riot cop. Her son divorced his species, changing his name to Oriole and taking the crow as his only family. An orphanage run by Momma’s church took them in, and he lived there in silence for two years. He didn’t say a word to another human, black or white, until Contact, the day that emissaries of seven alien races came to Earth, transmitting messages of friendship from their fragile, exquisite spaceships.
The nuns found him outside that night, face tilted to the stars, mumbling alien words. His voice was hoarse from lack of use–like Brother, he croaked.
“Yah Kurar. Sky’s calling,” he said, as Sister Beverly carried him to bed.
I took to calling this series “The Slow Invasion” because in this universe, Earth’s economy gets bound up, to humankind’s detriment, in the trade of bigger and more advanced cultures. Eventually, we’re no longer self-sufficient. There were four of them published, and a few false starts–“Sotto Voce,” of course, and at least one fragment I workshopped at Turkey City but never finished. Each was written as a stand-alone, and they aren’t as tightly interlaced as the squid stories. They’re unified by that idea of a well-established intergalactic community, with its treaties and alliances and a well-established economy, and how Earth might fare if we enter it as a latecomer.
“Ruby, in the Storm,” started with an image not unlike the one that led to “Sotto Voce.” This time, it was a human watching an alien, again through a window. The frame this time was a recurring visual from my childhood: a heavy, windless Alberta snowfall, a blizzard of irregular, pea-sized clusters of snowflakes, falling in impenetrable curtains. In these storms, the flakes stream down so slowly it seems possible they might hover, or even reverse direction. Air just below freezing, sound deadened by the sheer density of the gently falling precipitation… the world is hidden in a glow of amber from the street lights as the snow piles and piles and piles.
The inspiration for “A Slow Day at the Gallery,” meanwhile, came from a CBC Radio story I heard, about a B.C. First Nations tribe that was having to jump through hoops to get a museum in Europe to repatriate a stolen totem pole.
I wrote “The Spear Carrier” just after I’d joined a choir. I was in the process of learning the names of all sorts of exciting new people who’d just come into my life. Something about that experience got me to thinking about coming-of-age rites and naming and reinvention and, well, nametags. I’d discovered that I remember names better if I see them written down or, better yet, if I write them down myself. That led to my creating another offworld race, one with peculiar dueling laws and a complex naming ritual that ends with the celebrant getting a piece of ornate name-related jewelry that is their legal ID and their badge of adulthood.
I’ve been mostly wrapped up with novels in recent years, and a good deal of my short fiction energy lately has elsewhere. The squid stories fed off the Slow Invasion energy: I couldn’t quite imagine the Nandi and the Yeti and the rest getting involved in that particular civil war. (I sometimes think of the squid stories as the Fast invasion.) But I like these stories, and I’ve always had the idea that I’ll return to this universe again.
I just finished Darrin Hagin’s tenth anniversary edition of The Edmonton Queen: The Final Voyage, a slice of queer Canadian history that just barely intersects with my life: I was living in Edmonton at the time Hagin writes about, and Kelly went to high school with one of its queens, Cleo; we saw hir in a Fringe show last year.
I never went to the legendary Flashback club. I am so not a club person. In my entire life I haven’t once partied until I dropped. By the time the queens in this book were getting up for the day, I tend to be ready for my nap. A single glass of cheap wine will give me a next-day headache. The world of The Edmonton Queen was as much an alien landscape as any I’ve created in my fiction, or I’ve read about. And yet I shared weather, and terrain with these exotic beings. I could have visited, had I been inclined. Say that for Planet Vuvula!
I picked it off our bookshelf partly out of interest (of course!), in part because of that little intersection with our past, and because I am contemplating whether the next mystery novel, The Rain Garden, might include someone from that scene. Or, rather, it does–I just haven’t decided how she fits into the picture.
Hagin’s style flows nicely, I found myself comparing him favorably with John Barrowman’s autobiography, whose prose and content weren’t nearly as colorful. There’s delicious humor and wit. This hit my funnybone especially hard:
12:45 a.m. Meet in the ladies’ can at the pre-arranged time, in the handicapped cubicle. Squeeze everyone in. Sit on the floor, screaming with laughter at absolutely anything. Drop the acid. Pass around the hairspray. Stay until some dyke kicks you all out for reinforcing negative stereotypes of women. Leave in a huff.
What resonated most with me, not surprisingly, was the stuff about growing up queer in smalltown Alberta. As with these queens, that experience created in me a great need to get away, to reinvent, to find and nurture a truer self. The construction of alternate family, its evolution into something as complex and sometimes dysfunctional as any biopham, was familiar, too. As for the slow terrible parade of death that struck Hagin’s Family… well, I have been to a fair number of funerals these past few years.
One of the most interesting things about this anniversary edition, though, is that it has a long and fascinating coda. Hagin chased down the survivors of the Flashback days, and gave them a chance to offer their perspectives on his version of their shared history. He talks about what it was like to have published and then revisited a story that so many people had such a deep emotional stake in. In the process, he reveals the writer-as-Spiderman once again; his afterword is a textbook illustration of that Spidey saying, “with great power comes great responsibility.”
He told the stories, and he got some things wrong. He saw other things very differently from people who were present beside him in the very same moment. Watching him wrestle with that, and with balancing good storytelling against fairness, provides a deeply interesting behind-the-scenes look at what writing is and how it interacts with the real.
It is also genuinely affecting. You will laugh and cry. Don’t say you weren’t warned.