About Alyx Dellamonica

Alyx Dellamonica lives in Toronto, Ontario, with their wife, author Kelly Robson. They write fiction, poetry, and sometimes plays, both as A.M. Dellamonica and L.X. Beckett. A long-time creative writing teacher and coach, they now work at the UofT writing science articles and other content for the Department of Chemistry. They identify as queer, nonbinary, autistic, Nerdfighter, and BTS Army.

You’re only prey once their jaws snap shut

Peter Watts has been thinking and writing about surveillance in society , about how governments have cameras everywhere and facial recognition software that works (if your haircut’s symmetrical), about how all of our e-mails and blog posts end up archived in big NSA spy computers. About how corporate entities like the iStore can track not only our movements (via our phones) but the number of times we watched our legally downloaded copies of Iron Man 3. (Answer – 3.25).
He’s talking about how our televisions may one day have the power to say, “Hey, there are four people in this room and only three of them are licensed to watch Game of Thrones, so I’m powering down until you kick that freeloading bastard outta here!”
He’s pointing out that all the information lovingly gathered by corporations can end up in ill-intentioned government hands any old time, or even just as a matter of routine if the companies in question are feeling generous.
In the midst of his latest article on this subject, he says:

“I was ranting to a friend the other day as she booted up her smart TV, ran down the usual list of grievances and suspicions and countermeasures. She listened patiently (as you know, I do tend to go on sometimes), and finally drawled “You know, your arguments all make sense, but I just don’t really care.”

So, first: I wasn’t listening patiently, Squid. That implies I was humoring you. I was interested in what you were saying, even if I was also rather amazed at your ability to finish sentences in the presence of CinZo. Because every thought either Kelly or I begins at home right now seems to end with “… blah blah blah the nuclear physics, and its impact on society… OMG, kids, you are cute! So cute! Photo op!”

Go ahead: start a big thought and then look at this:

Yeah, I said I didn’t care. It was a bit glib and yet in many ways true. More precisely, I don’t care enough. Not enough to spend cash on having a computer at home that’s not connected to the Internet. (Anything I truly didn’t want the world to know would never find its way onto a hard drive, or even a piece of paper.) Not enough to worry about whether Apple has a detailed map of my movements when I’m rabidly posting geo-tagged photos everywhere I go on Instagram. Frankly, I think of that stuff as my alibi cache:

“Actually, Detective, I’m pretty sure I can produce a picture of me and Richard Kimble in the Distillery District at the time when the crime took place.”

I certainly don’t care enough to torrent all my media instead of buying it from corporate providers, even if they do count my watch history–or to to eschew Netflix. Hell–if they could actually use my viewing habits to accurately predict what I’d love to watch, my daily half-hour of TV would be more effectively used.

(It used to be more TV. Again, kittens are so time consuming!)

It’s true that I don’t actually *need* Netflix to recommend stuff. My friends do that–check out Gemma Files and her drive-by film and TV reviews–but Peter’s not wrong. We should take him seriously. It’s reasonable to want our TVs to be passive machines that deliver entertainment without reporting on our viewing habits, private conversations, sexual antics and political leanings. The fact that we’re not only living in the age of Big Brother but paying companies hundreds of dollars to give us the shiny surveillance devices they can potentially use to watch us is insulting and creepy.
And it’s a little sad, maybe, that I’m comfortable with letting someone mine my data if I can watch Youtube videos in a 36-inch format. There’s a vein of laziness and apathy there, and I know it’s not necessarily admirable.
The thing is, the hypothetical privacy ship has long since sailed, hasn’t it? Peter was halfway through breaking down the TV thing for me before it occurred to him to glance at my flatscreen and jokingly ask if it might be listening. Our phones were on. Heck, the window was open.
If you want to plan a (virtuously-motivated, civilly-disobedient non-violent) crime these days, and you want to be 100% sure Ominous They couldn’t get wind of it, could you put a working Cone of Silence together? Is that possible? Even if you pulled it off, and didn’t leave any kind of evidence trail, Peter himself points out that Ominous They don’t really care about the law. Innocent or guilty, alibi trail or not, evidence could be manufactured if they liked you for the deed.
Saying “I don’t care” was dismissive. It is, to some extent, untrue. The corporate info-gathering does, at times, annoy the crap out of me. When some peppy twenty-something from the drug store calls and starts to tell me when I last renewed my prescriptions, what follows does not result in their having a good day at work. (Those people mostly don’t call anymore.) Until we moved, I made a regular practice of doing most of my shopping on a cash basis, with an eye to limiting the bank’s total understanding of my consumer habits. By chance, that paid off for me once, when someone tried to phish my bank card–there was literally only one place where I’d used debit in the past month. I tell varying wild lies to the Internet services I sign up for about my age, genders and location. If there’s no reason for you to know where I live, your database probably has my dead grandparents’ postal code.
Peter talks about not liking the feeling of being prey.
My friend, we’ve never been anything else. I’ve never doubted it. I was in the closet until about 1989, and there was a definite feeling, at that time, that amounted to keep your head down or lose it. Back in my student activist days, it was generally assumed–I admit this was probably just twenty-something drama queenery–that CSIS kept files on us all. My Sixties-vintage parents had a touch of the same bug; they swore that because they had friends in the SDS, their phone in Utah was tapped.
I’m not saying that if you have nothing to hide, you have nothing to fear. That is, I know, bullshit. I’m saying that if you have something to fear, you’re probably already screwed. Which is maybe fatalistic, but governments have historically shown it to be the case time and again. And they didn’t need Facebook to help them. Facebook just makes it easier and inexpensive.
Which is why the essence of Peter’s argument is this: Ominous They can watch us, but we can make the system expensive, difficult, and buggy. We can sabotage!
(This presumably means obliging Them to use more of our tax dollars on keeping track of us. Because a higher price point won’t curb the attempt, will it.)
I’m not necessarily against making the surveillance society less effective. But here’s my thought: what you’re arguing for, really, is better anti-predator adaptations. Increasing our chances of dodging the hyena pack. To borrow the cats and mice metaphor, you’re telling us to be better mice. Or maybe to evolve out of rodentness altogether and become antelope, so there’s a big herd of protein ready to circle ’round when something comes at you, claws out.
So here’s one conundrum: being a better antelope, having a bigger herd, might mean embracing the Book of Face. That’s the virtual watering hole, ain’t it?
And that I’m down with. This may be about accepting your preyness, Peter, and deciding what kind of delicious edible thing-without-claws you want to be. Are you in truth a mouse, living in the house of Ominous They, snurching crumbs of delicious data from their cupboards, and pondering whether you can ease the cheese out of the basement mousetraps without falling afoul of Newton, the Maine Coone Death Machine? The tools of the successful prey species are hiding, camouflage, breeding in inextinguishable numbers, being too toxic to eat, and running like hell. Can we translate some or all of those to our gadget-abundant ecosystem?
What does a person who feels passionately about this do with the faintly-indifferent mass of Netflix-loving folk who are just hoping to crouch in the grass, unseen and uneaten? Is there a way to get us on board with being antelope?
Maybe. We live in a time where you can get people to do nearly anything if it’s easy, sexy, cheap and fun. Hiding your data would have to be as simple and more emotionally rewarding than having points cards and a map of everyplace on the planet where you’ve ever posted a photo. It would have to outcompete iTunes and Google in terms of joy delivery. Easy, right? Basically, all I’m asking for is a civil disobedience app.
Having said that, I will check out the e-mail shredder and the other stuff Peter posted. If it’s easy, the work of a few minutes to chop up my outgoing messages, I’ll do it. I figure I owe the herd that much.

Rather get horrortastic? “The Color of Paradox” is out!

imageBirthdays upon birthdays. Not only did Child of a Hidden Sea come out yesterday, to much whooping and some great reviews (I’ll post a round-up, possibly tomorrow) but I am so incredibly fortunate as to have a story out today.

It’s called “The Color of Paradox,” it was acquired by the marvelous Ellen Datlow for Tor.com, and unlike my brand new novel, it is emphatically not a rollicking adventure at sea.

I am proud to say it comes with a bit of an ick-factor warning: here’s the write-up:

“The Color of Paradox,” by A.M. Dellamonica, is a science fiction story about one of a series of time travelers sent back to the past in order to buy more time for the human race, which in the future is on the verge of extinction.

Like some other stories published on Tor.com, “The Color of Paradox” contains scenes and situations some readers will find upsetting and/or repellent.

Repellent! It is an odd thing to be delighted by, but I’m pleased.

Book Birthday and other things of thinginess…

image

imageMy book is out! You can buy it! Let me know if you need help working out how or where! (I’m not expecting many takers on that, honestly. You all know how to buy books.)

As I tweeted yesterday, Sarah at Bookworm Blues liked Child of a Hidden Sea, and says:

Sophie, our protagonist, is far from perfect. She’s a fairly flawed person, in most senses of the word. She’s no pillar of perfection, and many readers will instantly bond with her due to that. She’s a little lost, slightly stalker-ish, has a serious case of being overshadowed by her genius brother. She’s lost, and that sort of lost feeling is something that I instantly bonded with. So many authors fill their books with characters that don’t feel, well, human, and Sophie was incredibly human. She was flawed, and her flaws kept her believable and interesting.

On a related front, I’m still keen to answer questions, here or at the Goodreads Ask Me Anything area.

My Green is the New Violet post from last week has gotten a fair number of replies, generating a discussion about culture, our assumptions about beauty, and whether queer readers see themselves in SF/F. Feel free to chime in, if you’re interested.

And what post is complete without a kitten picture? This is what CinCin is doing right now. (Meaning 22.5 hours before this post went live, as I was writing it.)

Someone is curled up between my notebook and my portable workstation.

Another manic lunedi

Miriam Williams at Inky Realms liked Child of a Hidden Sea to the tune of 4.5 out of five stars, praising it for having a racially diverse cast and gay characters, and even shipping Parrish/Bram. (Pramwell? Brammish?) She also felt the book needed a map, while acknowledging my earlier note about why this was challenging. (Short answer: too much ocean, not enough land.)

The review gave a nice lift to a peculiar weekend; I had an anaphylactic reaction at immunotherapy Friday. While it wasn’t serious, it wasn’t fun either. I was at the clinic for hours, in what turned out to be a real hip-wrecker of a chair, and was left creaky and wheezy all weekend. On Saturday we took the kitties in for their second round of immunizations–they are in perfect health, and have put on another half-pound or so each.

Though CinCin has a feather allergy–did I tell you this? I feel extra smug about having plucked her out of the wild given that she’d have sneezed constantly whenever hunting or eating birdkind.

July is busy time at K’s office, so we both worked a fair amount on Sunday.

Good things abounded: we made it to the edge of Pride in time for a Stonewall reenactment and the obligatory sighting of a well-built guy dancing in sandals and a posing pouch, the Met in HD rebroadcast of Mozart’s Cosi Fan Tutte was delightful, and we followed that up with delicious, delicious sandwiches at Corned Beef House. We watched Austenland and I liked it–which wouldn’t have stopped me from rewriting it significantly if I was in charge of the universe–and tried out The West Wing on Netflix.

How was your weekend?

Green is the new Violet

full_wildthingsBack when I begged you all to throw me some blog topics, the ever-hilarious Lorraine Valestuk said: “Why does practically every lead in a fantasy novel have to have green eyes?”

The query was a bit tongue-in-cheek, obviously, and since the question originated on Facebook, it generated chatter in a similar vein. Some laid the blame at Marion Zimmer Bradley’s doormat; I assume that means Mists of Avalon is overrun with green-eyed girls, boys and dragons, but I’m not about to reread it to confirm this guess.

This is the kind of question that showcases how completely I am not a doctor of literature, fantastic or otherwise. But the conversation did spark some thoughts.

First, and perhaps uncharitably: at least it’s not frickin’ violet. As a teacher who works with a lot of new writers, I’m here to tell you that it hasn’t been that long since every quarter brought me a manuscript whose heroine had violet eyes and, sometimes, sparkly diamond eyelashes. Maybe a memo went out, though, because this particular means of making the hero tres exotique seems to have died down.

Second: Describing your characters in an interesting and vivid fashion can be deceptively tough. A lot of writers look for that quick shot, the combo of words that will sketch body size, hair/eye color, and skin tone onto the reader’s imagination. Looks aren’t important, right, as long as we know she’s not only a super-amazing nuclear physicist (slash ninja) but also hot? And so we figure we’re done.

A problem with giving a mug shot is that it can get repetitive in a novel with a dozen or more characters.

We have eyes everywhere! Compounding this challenge is the fact that we want to drag the eyes into the narrative a lot… especially during character interaction.

Tears clustered at the ends of Mary’s diamond lashes, framing her violet irises magnificently. “How can you say that?”

“Try me!” Joey’s emerald eyes flashed a challenge.

Burt gave them both a sidewise glance, rolled his eyes, and then looked skyward, beseeching the author to stop with the cheesy examples already.

Pro tip: try using a metaphor. Even “Harry was a rhinocerous of a man,” will give us something specific to imagine, far more easily than, “Harry was tan, burly, blue-eyed and had a truly epic nose.”

Thought four: our default assumptions about beauty are, among other things, racist.

One of those leaps of logic we make without thinking about it, when writing, tends to be that our main characters are physically attractive, especially if they’re women. If you’ve already already decided that your good guys are pretty–even though there is, perhaps, no good reason to drag a person’s looks into the story–it’s easy, so terribly easy, to not even question whether they might be a person of pallor.

Green and blue eyes, unless you specify otherwise, are going to default in a reader’s mind to white-skinned and possibly blonde, just as surely as the phrase ‘my moustache’ is going to lead us to think ‘dude’ or ‘itchy fangs’ is gonna take us to ‘creepy, diseased vampire in need of a dentist’.

Do an image search for green-eyed actresses and you get people like Drew Barrymore. They’re white, their yellow hair is straight, they tend to be tall and–lest we forget–they’re also thin.

This isn’t a new insight, I know. And I’m not saying every writer who pops a pair of sparkling emerald orbs in their protagonist’s skull, rounding out the chiseled cheekbones and flawless complexion–no, make that a light dusting of freckles!–is being racist. But writers should at least examine where these impulses are coming from. Why is your resourceful, brilliant and downright saintly hero also naturally gorgeous? Is that necessary?

If it is, how narrowly are you defining gorgeous?

When you cast your mind ahead to the blockbuster film that will be made from your book–when you imagine casting the cinematic extravaganza that will win you an Oscar and make you richer than… well, richer than at least twelve other people… how diverse is the actor palette you’re imagining? This may be a question worth examining.

If the answer makes you uneasy, maybe you should take a breath, go read James Alan Gardner’s Expendable, and rethink those green eyes.