Cover: The Green Man’s Foe
This is the artwork that Ben Baldwin produced for Juliet E. McKenna’s latest novel, The Green Man’s Foe.
You can see what it looks like on the book below.
Cheryl Morgan's Fanzine
This is the artwork that Ben Baldwin produced for Juliet E. McKenna’s latest novel, The Green Man’s Foe.
You can see what it looks like on the book below.
OK, what’s all this then?
It goes like this. The stats issued after the 2019 Hugo Award ceremony showed a distinct lack of interest in the fanzine category. As a former fanzine editor, I found that sad. Nicholas Whyte felt that we were on the verge of having to drop the category for lack of interest. Aidan Moher opined on Twitter that all of the cool kids are booktubers these days, and perhaps they are. I certainly look forward to seeing one of them win a Hugo. But I also believe that different people have different skills. I know that I can’t do video. I’m terrible on camera. I think there should be room for people who want to just write.
Now obviously I have quite enough Hugos. I’m not looking to win another one. But perhaps by getting back in the game I will encourage more people to think about the fanzine category, and to vote in it. My vote would go to Rachel Cordasco’s wonderful Speculative Fiction in Translation.
As I had the Salon Futura website, and there seemed to be no possibility of re-launching it as a semiprozine, I decided to reinvent it as a fanzine. Its not that I haven’t been generating suitable material. I have put this issue together primarily by using material that I put on my blog, Cheryl’s Mewsings, during August. The only new material is the Worldcon report. In future any book reviews, con reports and audio that I produce will appear here rather than on the Mewsings.
It my intention to consolidate all of my reviews and interviews here, even when they aren’t part of official issues of the ‘zine. That will obviously take a little while.
I also need to do a bit of clean-up of the old material as it hasn’t always fitted well into the new look of the site. Sorry about that, but I did want to get this issue out in August.
Next issue will include fiction reviews of books by Aliette de Bodard, Yoon Ha Lee, and hopefully Tamsyn Muir. There will also be non-fiction reviews of books by Gareth L. Powell and Liz Gloyn. I will run the interview that I did with Heather Child on my radio show as that will be gone from the Ujima Listen Again service by then. And I will have a report on this year’s Eurocon, TitanCon in Belfast.
Looking forward I plan to feature articles on the future of Worldcon. I have some thoughts on improving the international nature of the convention, and Kevin has some views on how the governance of WSFS might evolve.
I’m not actively looking for other contributors, but if people do have ideas please get in touch. I’m particularly interested in material about fandom and fiction from outside of the English-speaking world.
It is a long time since I did one of these, but Worldcon has changed a lot in that time. There are many new people becoming part of the Worldcon community, and inevitably they don’t have much idea of how Worldcon works. Worldcons definitely do get things wrong, sometimes disastrously so, but if we want them to get better we need practical solutions that stand a chance of working. So I figured I should do a bit of explaining. Hopefully this will help.
Also, as I have been out of the loop for some time, I may have got stuff wrong. If I have, please tell me.
The Venue
Dublin is a lovely city, and the Convention Centre Dublin (CCD) is a beautiful building with gorgeous views over the city from the escalators (unless you have a phobia about heights, which people I know do—thank goodness for the elevators). A great setting can make an uncomfortable experience feel a lot better. Nevertheless, Dublin was right on the edge of the number of people it could handle, which is why they took the unusual decision to close membership purchase prior to the convention.
When they were bidding I heard people complaining that the convention would be a disaster because the venue only held 2000 people. That’s nonsense. Sharon Sbarsky told me that she and some other fans had been on a bus tour of the city after the 2014 Eurocon and the tour guide had quoted this figure. Perhaps that’s where the story came from.
The actual theoretical capacity is somewhere between 5000 and 6000, which is a typical Worldcon size. But close to capacity it becomes difficult to manage. Helsinki, which had similar capacity issues, had the option of simply renting more space in their huge convention centre. Dublin didn’t, hence the decision to take space in The Point, a newly built facility one stop down the Luas line from the convention centre.
Having two venues that are 10-15 minutes apart creates scheduling problems. The convention did a smart thing in staggering the schedules. Program items in the CCD started on the hour, and those in The Point started on the half hour. That way you had time to get from, say, an 11:00 item in the CCD (finishing at 11:50) to a 12:30 item in The Point. Even so, I think a lot of people took a decision to stay at one venue or the other. No matter how well you prepare, that’s inevitable.
Even with the split sites, queuing for program items became a problem. It took several days before the CCD had something that worked. I understand that a lot of volunteer time was spent on corralling and entertaining the crowds. Huge thanks are due to the people who did that difficult job.
The CCD staff were less good at crowd control. Some of them were lovely. Some were unnecessarily officious. The same was true of staff at The Point. At one point I tried to leave my jacket and (very heavy) rucksack at the cloakroom in the CCD. I was told that it was full, despite the fact that there was very obviously lots of room; and loads of unused coat hangers. I’m afraid I had a sobbing fit. It was a Very Heavy rucksack. Thankfully they relented, but that just proved the point that there was plenty of room. On the other hand, when I arrived with two heavy suitcases on the Monday, a CCD security guard helped me carry them into the building, despite the fact that I didn’t have my badge on at the time.
I found the Luas very simple to use and very frequent. Fortunately, my AirBnB was fairly close to a Luas stop. However, the Dublin experience reminded me of how essential it is for people doing a lot of work on the convention to have a convenient nearby hotel room. I had to carry a laptop around with me for 3 of the 5 days; and had my suitcases with me for a 4th because AirBnBs don’t have luggage storage facilities. Kevin had an even worse experience, having to be at the Business Meeting with a pile of equipment for 9:00am on 4 of the 5 days.
The other minor complaint that I have about the CCD is that there was a distinct lack of public seating space. That again seems to have been a building capacity issue, in that I could not see where you could have put more.
Martin’s
The one big area of public seating was the con bar, Martin’s. This was named after Martin Hoare, a British fan who died suddenly a couple of weeks before the convention. Martin was one of my oldest friends in fandom, and indeed the person who encouraged me to start attending conventions. I still can’t quite believe he’s gone. Naming the convention bar after him was exactly the sort of tribute he would have wanted.
Registration
My first and primary experience of queuing chaos was on Thursday when I went to register. I was told that I had to enter the building by a side door, but when I got there it was not obvious were the registration queue was. It looked like there were no queues. My apologies if anyone thought I was queue jumping.
Eventually I found out where to stand, and everything proceeded very smoothly. I think I spent more time trying to find the queue than actually queuing.
The best thing about Registration was the badges. Names were clearly visible, and there was a little round space for a pronoun sticker. Those were available on tables around the foyer, and the Dublin folks had even thought to provide blank ones for folks who use neo-pronouns. I was very impressed.
Opening Ceremonies
I have to say that Dublin got off to an unimpressive start. Opening Ceremonies had a bunch of problems, including in the part that Kevin and I were responsible for. Thankfully, if you screw up this part of the convention, you have time to fix the issues before the really important stuff.
As with the last couple of years, Kevin and I, with the assistance of Susan de Guardiola, were planning to do live coverage of the Hugo Award ceremony via a text-based system. The one that we had been using, CoverItLive, has gone out of business, so we had to find an alternative. We elected to cover the Retro-Hugo ceremony, which was part of Opening Ceremonies, to give us a chance to get used to the new software. I’m so glad we did.
In Helsinki the issue we had was that no one was expecting us. I spent much of the convention tracking down Josh Beatty, the Hugo Ceremony Director, and negotiating a place for us to sit. An internet connection was no problem. I just had a quiet word with Otto Mäkelä and a connection was provided.
In San José Kevin was in a senior management position and able to secure everything we needed in advance, but in Dublin he wasn’t. Josh, bless him, remembered us and made sure we had a place to sit. In fact, he got us a booth at the back of the auditorium. It was a little cramped, but we had peace and quiet and did not need to worry about people seeing the results of the awards over our shoulders as we were working. However, the only Internet connection we had was the general CCD wifi, and it was painfully slow.
Thankfully we didn’t have many people online during the Retro-Hugo Ceremony, and those that were there were very understanding of the issues we were having. But we absolutely had to get something better for Sunday. More of that later.
Our own problems were matched by those of the ceremony itself. There were mix-ups with the order in which awards were announced, leading to the wrong slides being shown, and at one point the wrong presenter was announced. In addition the envelopes with the winners’ names in them were so tightly sealed that it took a minute or so to break into one. Thankfully the presenters soon took to making a joke of it, and Diane Duane produced a useful Swiss Army Knife. Order slips for the plaques on the trophies had been left in the envelopes, and this further confused the poor presenters. I sent up multiple prayers to the fannish ghods that things would not go so badly on Sunday.
I’m also a little concerned about the tone of the Opening Ceremonies. I know there are not many places to put a Retro-Hugo ceremony, or the Big Heart Award, or the First Fandom Awards (of which there are now several). But the end result is that Opening Ceremonies is almost entirely about old people and dead people. That doesn’t really get the convention off on the right footing. I don’t, as yet, have any solutions, but I think we need to find one.
Program
I missed most of the program because early on I took a policy decision not to go to anything that I wasn’t on panel for. The queues looked bad and there were lots of people at their first Worldcon. I wanted to give them a chance to have the Worldcon experience.
There were, however, plenty of interesting panels, many of which I wanted to see. My panels went well. Only one person said, “I don’t know why I’m on this panel”, and that was because they were a bit overawed by the credentials of the other panellists. They made some very valuable points during the panel.
I heard very few reports of panels going bad. Apparently, the CCD staff were rather heavy-handed with the LGBT meet-up session because it was over-subscribed. I also heard complaints from one panel that a male panellist repeatedly interrupted the women on the panel; and tried to make the whole thing his own personal comedy show. That one I was in a position to do something about. I had a quiet word with someone in programming, and the moderator of the otherwise-all-female panel he was scheduled for that day. As a result, the women on the first panel got an apology from the convention, and the second panel went smoothly. I can’t always make magic happen, but sometimes knowing a lot of people can be very useful.
I think, however, that a few things went awry prior to the convention. My friend Virginia Bergin was told that she wasn’t required for programming, despite being a recent winner of the Tiptree and there being several YA and gender panels scheduled. I understand that other authors were also turned down. And yet a few days before the con I got an email from Programming asking for volunteers to be on a bunch of program items that had insufficient members. That was weird.
One of the big changes since I was last a Worldcon regular is the use of the Grenadine software to schedule programming. This isn’t just a cool tool. I understand that Programming was keeping tabs on sign-ups through Grenadine and using the data to move program items to appropriately-sized rooms each morning. That’s a very useful thing to be able to do. Later in the convention they also got Grenadine to display room capacities, so attendees could make judgements as to what items they stood a chance of getting into. It is nice to see technology being well used.
One thing that was rather annoying was that access to the Green Rooms (one at each venue) was restricted to people with an upcoming panel. I’m assuming that this was due to lack of space, but I could have done with somewhere to sit quietly for a while. I did blag my way into the Green Room at The Point on Saturday because it was empty and all I wanted was a chair.
Dealers’ Room
This was my first Worldcon where I had significant numbers of books to sell. In Helsinki I went through my good friends at Rosebud as I only had Airship Shape & Bristol Fashion to sell. I think we sold 3 or 4. For Dublin I had Juliet McKenna’s Green Man books. One of them is an award finalist, the other was new at the convention, and Juliet is part-Irish. Francesco Verso of Future Fiction very kindly gave me some space on his table. I sold 50 books; and could probably have sold more if I’d had them. I was very pleased.
Francesco also did very well. His new anthology of translations sold out before I could buy one. Twelfth Planet only had 15 books left, which I know because Francesco and I took them to Belfast to sell at TitanCon. Other dealers seemed very happy as well.
There was plenty of room, and what seemed to be a good mix of different types of dealer. There was also a De Lorean parked at the entrance. All in all, it went very well.
Art Show
This was at The Point. If you didn’t head down there to look, you missed a treat. The space it was given was massive, and there was a lot of natural light which is just what an art show needs. Dublin had paid particular attention to artists and had got a lot of good people involved, including Jim FitzPatrick whose work I love. A bunch of UK artists had come over to exhibit, and even John Picacio managed a small entry despite the difficult of shipping art across the Atlantic.
In addition to the main art show, there was also a large Lego exhibition which was very impressive.
I have one small request for future art shows. Could you please have some carboard tubes for sale for the benefit of idiots like me who keep forgetting to bring one?
Masquerade
I missed this. I was just too tired by Saturday night and went back to my apartment to get some sleep. Kevin Roche and Andy Trembley were running it, so it should have gone very smoothly. They told me that they were full, which I think meant 40 entries. I’ve not heard any complaints.
Newsletter
This came out regularly and seemed to have good information in it. Attempts to provide information in Gaelic either didn’t go well, or there was a running joke about them not going well, I couldn’t work out which. It was called The Salmon of Knowledge, which is a smart reference to Irish mythology.
There was also a one-off hoax newsletter called The Trout of Doubt which appeared on Monday afternoon. I thought it was pretty funny.
Business Meeting
Despite having so much business that they had to run into a fourth meeting on Monday, this year’s Business Meeting actually did very little. For detailed reports of what happened, please see Alex Acks, or the videos of the meeting which are now available on the WSFS YouTube channel.
Jesi Lipp presided over the meeting. It was their first time, and I’m delighted to see new people getting involved. Kevin tells me that there are a number of young, keen fans that he’s been working with. This is very good news. The comment in the hoax newsletter about Business Meeting attendees under the age of 50 having to be accompanied by an adult was funny for a good reason.
I’m told that Jesi did very well, but if there’s one thing they messed up on it was the order of the motions (which the BM staff gets to set). You should always try to get the controversial items early on the agenda. That gives the attendees plenty of opportunity to debate something important. If you don’t do that, they will start to debate things that should be non-controversial. So leave the non-controversial stuff to the end when hopefully the smart-asses are tired.
The result of this was that the BM spent an inordinate amount of time debating what should have been a simple change to bring the Constitution into line with GDPR requirements. Instead of it being nodded through, this got aggressively amended and, as I understand it, ended up making us even less GDPR-compliant.
Much of the business before the meeting got referred to committees. I know this is irritating to people who want to see change happen. Unfortunately, people who bring motions before the BM often don’t think them through very well, or discuss them in advance with people they will affect. It is much better to take the time to pass good legislation than to pass bad legislation in a hurry.
The one motion I was concerned about was the proposal to create a Best Translated Novel Hugo. Pretty much everyone I know in the translation business was against this, including Neil Clarke and Francesco Verso. We don’t want translated works to be shoved into a ghetto where there is only one Hugo available. We want them to keep competing, and winning, in the main fiction categories.
I am aware that many people are upset about the level of commitment required to participate in the governance of WSFS. I’m pretty sure that Kevin doesn’t want to be spending 4 mornings of the convention in meetings and 4 afternoons uploading video either. But this is much too big a subject for a con report. We’ll be addressing the issue in more detail in a future issue.
The Hugos – Getting Online
After the problems that we had during Closing Ceremonies, Kevin and I spent quite a bit of time over the next few days trying to ensure that we would have a better internet connection for Sunday night. We got there in the end, but it wasn’t easy.
After it was all over I discovered that part of the problem was split responsibility for IT. The main IT department was under facilities. Those people had access to a much better connection, but they refused to let us use it. (I’m guessing those responsible were Keith Smith and/or James Turner.) Fortunately, there was also an at-con IT group under Logistics, which was run by Rick Kovalcik. Rick knows us well, and so does the head of Logistics, Brian Nisbet. Much to our relief, Rick managed to secure a portable wifi router with a decent connection that we could use for the evening. We are very grateful to him.
This highlights a wider issue with the text-based coverage. It only works because of personal contacts. We got a room because I had made friends with Josh in Helsinki. We got a connection thanks to Otto in Helsinki and Rick in Dublin. If we don’t have those networks, we can’t do the job.
We get into these situations because Worldcons do not value what we do. There is an assumption that, because they have the live video streaming, what we do is not necessary. But the live streaming sometimes fails. There are people who don’t have the necessary bandwidth to watch it. And we provide an additional service in that we give commentary. We had over 450 people online on Sunday. Some of them were in the convention bar watching the streaming on the big screen, which I know because they told me.
Susan in particular has been a huge asset to us. While Kevin and I do the set-up, she goes around the pre-ceremony reception snapping photos of the finalists in their finery. She then does color commentary alongside Kevin’s factual reporting of what’s going on. It makes a huge difference, and it is the only chance most people get to see the unsuccessful finalists because they don’t get to appear on stage.
My job is moderating the chat window. The new software separates chat from the main flow of commentary, which is not ideal but it was the best we could find at the time. We will be looking for alternatives. Susan tells me that some of her friends were trying to participate in the chat but never saw their comments come up. I only deleted two comments: both for making unflattering comments about the physical appearance of finalists. So if comments did go missing that’s another issue with the software that we need to address before next year. Unfortunately there are not many such services, and even fewer that will let you try the software out to see if it does what you need before you have to pay lots of money for an account.
I know I am blowing my own trumpet here, but I think this is a valuable service and I think that future Worldcons should take it seriously. Despite all of the time and effort I have put in over the years, I have never once been recognised as staff, or even as a volunteer, and yet I am doing something that appears on the official Hugo Awards website. If it is me that is the problem I wish someone would tell me and put someone else in place to do the job, because it needs to be done.
The Hugos – The Ceremony
Much to my relief, the main Hugo Ceremony went mostly flawlessly. There were two main issues: the speech-to-text system, and pronunciation of names.
The failure of the speech-to-text system is entirely on the con committee’s senior management, and the one major mistake that they made. They were told beforehand that the cheap system they wanted to use was useless, and they went ahead anyway. A better system has been in use at the Business Meeting for some years. When Jesi Lipp heard that they were being forced to use the cheap system they refused to use it at all because they knew how bad it was. That should have rung alarm bells for the Hugos, though by then it might have been too late to change.
Future Worldcons should take note of this.
Pronunciation of finalist names is also a solved problem. When Neil Gaiman was toastmaster in 2004 he spent much of the pre-ceremony party checking with each finalist. I’m told that John Picacio did the same last year. When I was a presenter I did the same checks for the category I had been assigned. It is part of the job. There may be names that people can’t get right because the language is too unfamiliar, but you should at least make an effort.
The Hugos – Winners
I’m well aware that my tastes and those of the Hugo voters don’t massively overlap. This year I was astonished that I had read 4 of the 6 Novel finalists and 5 of the 6 Novellas. I’m delighted for Martha Wells and Murderbot. I am deeply disappointed for both Cat Valente and Janelle Monáe, but not surprised that neither of them won.
Nicholas Whyte has done an excellent post digging into the numbers. I don’t have much to add to it. Like him I am particularly sad for Dirty Computer, but it is really hard to win BDP: Short with anything other than a TV episode because all of the TV fans will give their preferences to other TV episodes.
I do want to give a mention to a number of friends who appeared on the long lists. I have hopes that we will see them as finalists one day. Emma Newman’s Before Mars made the Novel list and Planetfall was listed in Series. There were several great novellas that didn’t make the final ballot. GV Anderson’s “Waterbirds” did very well in Short Story. Anna Smith Spark was longlisted for the Campbell.
I understand that special congratulations are due to Simone Heller for being the first German-born person to be a Hugo finalist.
The Campbell Thing
One of the two major talking points of the convention was Jeannette Ng’s acceptance speech for the Campbell. Much outrage has been expressed by right-wing parts of the community, but given that Michael Moorcock described Campbell as a fascist back in 1971 I don’t think anyone can complain much about Jeannette doing so now. He was, by most accounts, a particularly nasty piece of work.
However, as I have pointed out elsewhere, the Campbell Award is not owned by WSFS. If we want it changed, the correct thing to do is to write to the management of Dell Magazines (who publish Asimov’s and Analog) and ask them to change it. Presumably some of you did so, because they have already announced that the name of the award will be changed. That should be an end to this issue, but I understand that a bunch of clowns are trying to insist that, because the award is called the Campbell in the WSFS Constitution, Dell has no right to change it; or if they do change it then the award must be excluded from the Hugos. The Business Meeting in Wellington could get quite interesting.
After the Hugos
The other major talking point of the convention was the chaos surrounding the Hugo Losers’ Party. Again I have written about this elsewhere. I don’t have much to add. I had hoped to get to talk to George or Parris at TitanCon, but Parris is recovering from surgery and George wasn’t around much.
To recap, it is only recently that George took over running the Loser’s Party. He did so in order to give awards to all of the people who had missed out because of the Puppies. Before that the party was a damp squib that no one who knew how bad it was would mind missing. Worldcon runners were doubtless delighted that George took the thing off their hands. However, the main lesson from this is that letting other people run your events is a hostage to fortune because they might do so badly and then you will be blamed for the disaster.
Of course, going back to having the Losers’ Party run by the upcoming Worldcon will go back to it being a poorly resourced event in a hotel room that is much too small. It will also mean going back to having entry controlled by SMOFs who may have an axe to grind. I think the best thing that Worldcon can do is allow George to carry on running the party but not take any part in organising or promoting it. It can become George Martin’s After-the-Hugos Party. Those of us who are not invited or, in the case of Kevin and I, can’t go because we have to update the Hugos website, can channel Groucho Marx and be happy we are not part of that club.
One thing I will say is that I don’t think there was anything personal in what happened. Some people were unlucky with timing, and the party organisers messed up on how many people they could take. Mary Robinette got in, not because of who she was, but because she was very late and lots of people had left. I say this because I have been deliberately and personally disrespected as a Hugo finalist at least twice. On the other hand, I just had people be rude to me (which I countered by winning the Hugo in both cases). I totally understand that having to stand outside in the rain in your party gear is a whole different level of pain.
I should note that Mary Robinette was very late because she stuck around at the CCG talking to fans and showing off her trophy rather than disappearing off to the swank party. I remember that she did this in London in 2014 as well. This, people, is how you build your legion of fans.
By the way, both the pre-ceremony reception and the Losers’ Party are being affected by the burgeoning number of Hugo categories. Both are hugely expensive to run, and both require a very large space that will be difficult for the convention to find. I think most people will agree that we don’t want the Hugos to be sponsored. If you think you have seen drama, I’m assured it was nothing compared to 1987 when the convention committee allowed the Scientologists to sponsor the Hugos. But if they are not sponsored then we can’t have flashy parties for the finalists, except by charging people more for memberships which would be bad.
The Verdict
So how did it go? Pretty much everyone I spoke to said that they had a great time in Dublin. I’m sure that there will have been individual issues, but the overall impression is of a job well done.
I certainly had a good time, despite not seeing much of the event and being exhausted for most of the time. My biggest complaint, apart from the weight I had to carry around, is that I didn’t get to see many of the people I knew were there, and wanted to see, but never ran across. All things considered, that is a very minor complaint.
So well done James, and Irish fandom in general. You have done us proud.
Where Next?
Next year Worldcon will be in Wellington, New Zealand. It will be much smaller, because many people will not be able to afford to go; or will have concerns about the environmental cost of flying. I have been saving up QANTAS points for 10 years in the expectation of needing to go to Wellington, so I’m OK on the cost and very much hope to be there.
Washington DC has won the right to stage the 2021 Worldcon. I am unlikely to be there because I see no possibility of my being allowed to travel to the USA ever again. Other people have different concerns about US travel. We have had a couple of great European Worldcons, and there is a Glasgow bid for 2024 that stands an excellent chance of winning, but the USA is still the country with the most experienced con-runners and the best facilities. It is going to host a lot more Worldcons in future because there will be no viable alternatives. It is my view that if we want to maintain the international nature of the convention we must find more ways for people to participate online. And that’s something I plan to write about in the next issue.
I read this one as part of my Hugo voting research (unusually I had read 4 of the 6 finalists before the ballot was announced, which I think makes this a Very Good Year). However, I held off reviewing it until voting closed because it seemed unfair to do just one, and because I have a particular take on the book.
The Calculating Stars tells the story of Elma York, who was a WASP pilot during WWII but is now having to adjust to a world in which little ladies are supposed to stay at home and keep house while their menfolk do all of the fun and money-making stuff. Fortunately for Elma, she is a genius mathematician, so job openings do exist.
Those openings suddenly get a lot more commonplace in 1952 when a Bigger-than-Chicxulub meteorite destroys most of the Eastern USA and ushers in what looks like being extinction-level climate change. It seems that humanity’s only hope is to escape Earth and make our home elsewhere. As a consequence, the space programme suddenly becomes an international top priority.
Elma’s husband, Nathaniel, being a genius engineer, gets one of the top jobs at the space agency and is soon in charge of the space flight programme. Elma wants to be an astronaut, but such jobs are reserved for men. Instead she has to content herself with working as a Computer, one of the many human mathematicians whose job it is do all the calculations that the engineers need doing, because the calculating machines that IBM have produced are frankly not up to the job. If you have seen or read Hidden Figures you’ll know what this is all about.
From there on the plot is very predictable. Elma keeps wanting to do astronaut stuff. The men, primarily the misogynist chief astronaut, Colonel Stetson Parker, keep getting in her way, but they cannot thwart the needs of the programme, nor the arc of history, forever. While the exact means of Elma’s triumph isn’t easily predicted, the fact that she will triumph is obvious.
There are things that Mary Robinette does extremely well. She captures the misogyny, antisemitism and racism of 1950s America. She has conflict between those women who are happy to play the role of sex object, those who prefer to work behind the scenes, and those who are the public face of feminism. She has Elma confront her white privilege. She has black women who are prepared to trust her attempts to help, and those who unable to do so. There’s a lot of admirable politics in the book.
Another aspect to the book is a venture into Emma Newman territory. As the wife of the chief engineer, a pretty young woman, and a good communicator, Elma quickly becomes the public face of the space programme. But she is terrified of public speaking and suffers massive anxiety attacks. Her struggles with this, and the inevitable point at which it gets used against her, are a significant plot strand.
Finally, Mary Robinette has spent a lot of time hanging out with actual astronauts and NASA people. I have no actual idea whether there are any holes or short-cuts in her portrayal of the technical issues, but the science sure sounds very convincing. For all its intersectional feminist politics, this is a hard science fiction novel.
I should also add, from a personal point of view, that it is a pleasure to find a book that features a husband and wife team who are both very competent in their own fields, who love each other very much, and who work well together. It is kind of like how the MCU has been portraying Hank and Janet, although us long-time Marvel fans all know that Hank Pym couldn’t tie his shoelaces without Janet to show him where his feet are.
The Calculating Stars has already walked off with the Nebula, and with the Locus Award for Science Fiction Novel. I expect it to win the Hugo as well. Perhaps, in this year when we are celebrating the 50th anniversary of the first Moon Landing, and Carol Danvers is everyone’s favorite superhero, this is appropriate. But…
I’m not an engineer, I’m an environmental scientist, and an economist. When I see a scenario in which life on our planet is faced with extinction my immediate thought is, “How can we fix this?”, not “Let’s go live on the Moon”. The environmentalist in me thinks that it can be fixed, and the economist knows that any extra-terrestrial colonies will provide sanctuary only for the wealthy few, not the vast mass of humanity.
Obviously the point of the novel is to showcase Elma’s battle against misogyny, and to a lesser extent against antisemitism and racism. But in doing so it fixates almost entirely on the space programme and largely ignores debates that must be happening in world politics over whether this is the right thing for humanity to be pouring all our resources into. I know that the sequel is already out, and that Mary Robinette read from book 3 in London recently. I’ll be getting the sequels because this one was good, but I very much hope that they take a look at the wider issues.
One of the many reasons why it is good to have books written by people from different cultures is that they provide very different reading experiences. I loved Silvia Moreno-Garcia’s Signal to Noise because it was, on the one hand, a great story about teenagers and love of music, and on the other set in Mexico City, a place that the author knew well. Reading about other worlds is what us speculative fiction readers are supposed to enjoy, right?
Gods of Jade and Shadow is also set in Mexico, but it goes back in time to the Roaring Twenties. Mexico is in the process of recovering from La Revolución. Meanwhile the USA is suffering under Prohibition, which is proving a big money earner for Mexico because hordes of rich Americans are coming south of a weekend for a beer or two. The book, however, is not about Emiliano Zapata and Pancho Villa, nor is it about Al Capone and Eliot Ness. The story is both much more domestic, and much more epic in scale.
Casiopea Tun lives in a small town in Yucatán. When her beloved father — a keen amateur astronomer who named her — died young, she and her mother were thrown on the mercy of their rich relatives, the Leyvas. Grandpa Leyva is a selfish tyrant, and the rest of the family has learned from him. Casiopea and her mother are given a home, but are treated like servants. It is no life for an intelligent young girl, especially as Casiopea must share her new home with her cruel, stupid and arrogant cousin, Martín.
However, Grandpa Leyva has a secret. His source of wealth is not hard work, or good luck. Instead it is a consequence of a deal that he did in his youth; a deal with the God of Death.
We move now into the realm of the Mayan holy book, the Popol Vuh. This is a collection of mythological tales from the Kʼicheʼ people, one of the ethnic groups that made up the Mayan Empire. One of the greatest myths of the Kʼicheʼ is the tale of the Hero Twins, Hunahpú and Xbalanqué, who travel to the Mayan underworld, Xibalba, and take on its rulers, Hun-Kamé and Vucub-Kamé. It appears, to my admittedly untrained eye, to be a tale about how the people rebelled against the human sacrifice of Ballcourt players.
This story is, of course, not about the Hero Twins. It is about Casiopea and Martín. Moreno-Garcia creates a new story using the materials from the Popul Vuh. It is a story about a revolution in hell. Vucub-Kamé has grown fed up of having to play second fiddle to his elder brother, Hun-Kamé. Also he has ambitions to restore the Mayan Empire to its former glory, whereas Hun-Kamé is content to let history take its course. So Vucub-Kamé, through a bit of divine trickery, manages to cut off the head of his brother and usurp the throne. However, he can’t kill Hun-Kamé, so he has the god’s bones locked in a casket and given to a convenient human for safekeeping.
What are young girls for, if not opening forbidden caskets?
The bulk of the book, therefore, is about how Casiopea and Hun-Kamé go on a quest to reclaim the throne of Xibalba. Along the way they must deal with demons and sorcerers, against a beautifully drawn backdrop of 1920s Mexico. The inevitable conclusion takes place in Xibalba itself, and features characters such as the great Death Bat, Kamazotz.
The mythological shape of the story is predictable. What is different about this story is what it brings to Mayan mythology. The denizens of Xibalba are terrifying beings who revel in human sacrifice. However, during their quest the human girl and the death god must learn to work together. They cannot be unchanged by that experience.
You don’t get many fantasy novels that use the Popul Vuh as a setting. There are even fewer written by actual Mexicans. Gods of Jade and Shadow is a fascinating book simply for that reason. But what I love most about it is the myth-making that Moreno-Garcia engages in. This is a new story using characters from Mayan mythology, and one that changes the nature of the Mayan gods. It looks very much like neo-paganism in action. I’d love to know whether the author saw it that way.
One of the hardest things for a new writer to do is carve a niche for herself. There’s nothing new under the sun, right? How do you mark yourself out as someone different and interesting? Heather Child is, I think, making a good job of this by writing character-driven science fiction that is very much about how we live now.
Her first book, Everything About You, was a psychological thriller whose central premise was that “personal assistant” software on your phone would come to know you far better than you know yourself, and thereby learn to manipulate you. Her third book, she tells me, will be about narcissism and selfie culture. But we are here to talk about book two, The Undoing of Arlo Knott. The premise of this one is, “What if your life had an ‘undo’ button.”
Early in his life, Arlo Knott is involved in a very unfortunate accident. It is, to a large extent, his fault. The guilt will haunt him for the rest of his life. However, shortly after this happens he discovers that he has the ability to turn back time, to undo events and re-do them in a different way. He can’t change The Thing That Happened, of course. That’s now a long way in the past. But any recent action is fair game.
Now imagine that you got this power when you were 14. What might you have done with it? Kick the school bully in the nuts and undo it? Talk back to a teacher and undo it? Kiss a girl you fancy and undo it? All these things that you want to do, but suspect the consequences of doing them will be very bad, you can try out and then erase.
Power, as they say, corrupts. As he grows older, Arlo discovers that his powers are useful in other ways. At the casino, put all your money on black, and if red comes up undo it and try again. If a chat-up line doesn’t work on a girl you fancy, undo it and try something else until you have found what works with her.
As the novel progresses, Arlo discovers that unearned success doesn’t bring happiness. He tries to grow up, but how can he when he need never face the consequences of his actions? He throws himself into more and more dangerous situations, desperate to be seen as a hero, but knowing all the while that he’s cheating.
As to where that leads him, well, you will have to read the book to find out. Suffice it to say that I found this book more polished than Everything About You, and quite griping towards the end as Arlo finally finds himself in a position that tests his abilities to the utmost.
Heather and I have had a couple of interesting conversations about this book. She very kindly asked me to interview her for the book launch, and I had her on my radio show a few days later. Our most interesting discussions have focused on the issue of regret.
Regret is certainly an obsession of the modern world. There was no difficulty finding music choices to go with the interview. Popular music is full of songs, the story of which is basically, “I done wrong and my girl has left me.” Arlo, of course, need never regret anything, at least not anything simple. But why are we obsessed with regret, and should we be? I know I’m not.
I, of course, happen to be a member of a group of people who are constantly being told that we should regret our life choices. How could we possibly not do so, given the awful things we have done to ourselves? And yet, the overwhelming majority of trans people do not regret transitioning. If we can avoid the social opprobrium that comes with it, we are almost always much happier afterwards. Maybe I’m an unusual case. Maybe most cis people are consumed with regret.
Maybe it is because I’m old. After a life full of choices, many of which don’t go well, and some of which turn sour even though they seemed absolutely right at the time, perhaps we know that you can’t predict what will happen and should just chill.
Maybe it is a cultural thing. Perhaps, because society is becoming more and more focused on ideas of personal choice, we are becoming more and more obsessed with making the right choices. Maybe the fact that I’m older simply means that I grew up in a time when making the correct life choices was less of a critical issue than it is to young people today.
I’m not sure that this has much to do with Heather’s book. However, the fact that is has sparked such conversations, and meditations, is surely evidence that it touches on some deep and important issues. If you like a book that gets you thinking, The Undoing of Arlo Knott is probably for you.
How do you write a review of a convention at which you were a Guest of Honour? I mean, it wasn’t perfect. No convention, not even a Finnish one, is ever perfect. Here, however, I will be turning a blind eye to whatever small things went wrong, for it would be churlish to point them out when I had such a good time. You may therefore see this as more of a report than a review. That’s OK by me.
I should probably begin a few days before the convention. My friends Otto & Paula, who live in Helsinki, had offered to drive me up to Jyväskylä, where the convention would take place. They also offered a little tourism along the way. That began with a side-trip to the Estonian capital, Tallin.
Being a rather small country, Estonia makes money as best it can. One of the wheezes it has come up with is to lower alcohol taxes significantly so as to lure day trippers from around the Baltic. The Finns, most of whom have never met an offer of cheap booze that they didn’t like, are all in favour of this. So the ferry from Helsinki is very busy and has even more impressive on board shopping than the one to Åland.
We, however, were more interested in being actual tourists. This is how I discovered that in the 13th Century the Christian nations of the Baltic, finding it inconvenient to head for the Holy Land, opted to serve God instead by launching Crusades against their heathen neighbours. This year saw the 700 anniversary of the conquest of Estonia by a Danish Crusader army. The anniversary gave us the opportunity to spend much of the day exploring the ruins of Tallin’s walls and castle, and generally keeping out of the way of the sun and the swarms of Chinese tourists.
If ever you happen to be in Tallin, I warmly recommend a restaurant called Farm. Don’t be put off by the cheesy taxidermy in the window, the food is superb. Indeed, it is so good that Ellen Datlow remembers it from her trip which I suspect would have been in 2017.
Then it was off up north. Otto proudly showed me his company’s Cray computer, which lives in a data centre in a midlands town. I also got my first introduction to 3D VR gaming, which I got to quite like once I understood that it was really a dance game, not a sword-fighting game. (I’m a fencer, I abhor sword-fighting games that encourage extravagant movements.)
That evening I got to stay in the Golden Dome Hotel in Iisalmi which used to be part of the local Orthodox Church. That would have originally been the Russian Orthodox Church, but it is now the Finnish Orthodox Church because the Winter War is a thing that happened. There cannot be many hotels in the world that have a dining room with a massive stained glass window and walls covered with religious paintings. I’m very pleased to have got to stay there.
On then to Jyväskylä and the convention proper starting, as is traditional with sauna. This was mainly for the Guests of Honour so it was a small event, and the convention managed to secure hire of a wood-fired sauna for us. This is the gold standard as far as sauna is concerned. Kersti Juva, one of the Finnish guests, told me that she wasn’t going to bother coming until she heard the location. Sauna is not a rare thing for Finns, but wood-fired sauna very much is.
The lake was a bit cold. I very much doubt that I’ll ever re-capture the magic of the last night in Tampere with Cat Valente where we had warm water and a superb sunset, but any evening of good sauna and skinny-dipping in a beautiful lake is something to be treasured. I only got one mosquito bite. It seems like the Finnish Air Force prefers the taste of Scottish persons to Welsh women. Poor Feòrag was covered in bites.
The convention put us up in the Hotel Alba, which GoHs at previous Jyväskylä Finncons will remember well. It is just down the hill from the University, where the con takes place, and on the side of a lake. (Jyväskylä, like Madison, is built on a strip of land between two huge lakes). Sadly the weather wasn’t great over the weekend and there wasn’t much call for breakfasting outside and midnight swims.
As is my wont, I attended the academic conference that takes place before the convention. We had some great papers, and I got introduced to a fabulous café which, sadly, I didn’t have time to revisit. That was Friday morning. In the afternoon us GoHs did a panel item where we were interviewed about our writing. Or, more correctly, Charlie Stross got interviewed about writing, Kersti got interviewed about translating, and I got interviewed about editing. Given the complexity of her subjects, Kisu did a great job of grilling us.
At this point I should say a few words about Kersti. I’d not heard of her before the convention, and I’m now very ashamed of that. Many years ago, as a young woman just learning her craft, she made the first Finnish translation of a book that was causing waves throughout the English-speaking world. That book was called The Lord of the Rings. Her translation was a huge hit, and Tolkien fandom is still a big thing in Finland today. In a very real sense, Finnish fandom would not exist in the way it does now had it not been for those brilliant translations that inspired a whole generation of fantasy readers.
Kersti has since gone on to a stellar career as a translator of mainstream literature. She has won the Finlandia Prize. She could easily turn her nose up at her youthful exploits, but she doesn’t. She seems to love fandom, and Finnish fandom absolutely adores her. For me the convention was like being a special guest at a party being thrown for someone who is the beloved grandmother of thousands of fans.
I had a fairly light programming load. There was a panel about sexbots which was a lot of fun. And there was a panel on Lovecraft which I got to moderate and which featured Charlie Stross and Hannu Rajaniemi. But my big GoH event was a solo talk which, to fit in with the AI theme of the convention, I titled “Robots before RUR: The Prehistory of Robotics”. It seemed to go down very well. If you’d like to see it, the Dublin Worldcon has invited me to do it for them. I’ll be on at around 15:30 on Saturday afternoon.
I did get to do the masquerade judging thing again. That’s become something of a tradition at Finncon. As a bribe us GoHs got treated to dinner at the local branch of Harald. So I got to introduce Charlie and Feòrag to the delights of cinnamon beer, tar ice cream and silly horned helmets. They loved it.
I should say a word as well about our other Finnish GoH. Professor Raine Koskimaa was the academic GoH and spent much of his time in the academic track. I only got to see him at dinner. He is an expert in games. That is, he works at a university and gets paid to play games for a living and write about them. How cool is that?
As I was a GoH I also got given a Kaffeklatsch. It was very kind of them, but really there is no need. I don’t have fans the way authors do. No one is keen to get to meet me and ask where I get my ideas from, or what will be in my next book. A few friends will doubtless turn up to one, for which I am very grateful, but overall it is a bit embarrassing for all concerned.
I didn’t go to much programming, but I did make a point of dropping in on the academic track to see Sylvia Spruck-Wrigley present the latest iteration of her research on older women in SF&F. It is a fabulous and much-needed project. Sylvia, bless her, kindly presented me with a little knitted Spawn of Cthulhu at the Lovecraft panel. For a cosmic horror it is remarkably cute.
All too soon it was Dead Dog time, and inevitably sauna. I did the traditional thing of plying the Finns with whisky to say thank you for having me. As always it went down well. Then it was time to rush back to Helsinki and head off to London. But it is not farewell. Next year’s Finncon will be in Tampere, and Mike Carey will be one of the GoHs. I cannot resist temptation like that. Finland, it seems, cannot get rid of me.
I should end by saying a huge THANK YOU to the convention committee, especially Irma who is the best friend anyone could wish for. Also thanks to Saija, Anne, Otto and everyone else who conspired to give me such a wonderful time.
The interview is with Farah Mendlesohn and Cathy Butler. It is about an conference that took place in Bristol at the start of August. I recorded the interview at BristolCon in 2018, but only published it in the run-up to the event.
Farah and Cathy are always good value for a chat, but there is no better subject to set them off on than Diana Wynne Jones. I hope you enjoy the interview.
There is a new episode available on our podcast feed. In it, Cheryl Morgan talks to Graham Sleight about the newly launched Third Edition of the Science Fiction Encyclopedia, which was launched yesterday around the same time that iTunes was processing the podcast. Graham is the business manager for the enterprise. The encyclopedia is being written primarily by John Clute, David Langford and Peter Nicholls, with a large number of guest specialist contributors.
The official website of the new encyclopedia is here. There is also a working website here with sample entries and the contact form by which the editors can be contacted.
The encyclopedia blog, which Graham mentions in the interview, can be found here.
The new encyclopedia is part of the Gollancz SF Gateway project, which is online here.
The podcast is also available here, or you can download the mp3 from this link.
This is issue #9 of Salon Futura. As noted last month, this will be our last issue for a while as we need to secure new funding if we are to stay in business. The website will remain up in the meantime. See the Editorial for more details.
In the meantime we have plenty of good material for you. Alex Preston looks at Joe Abercrombie’s The Heroes in the light of the recent “nihilism” controversy. Sam Jordison examines one of this year’s Orange Prize nominees, from Serbian writer Téa Obreht. Our podcast looks at the often controversial subject of book covers.
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Cheryl Morgan looks at the opening volumes of two new fantasy series, and a postscript to an old SF series.
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This month on The Salon Cheryl Morgan and her guests discuss how book covers are designed. With Cheryl in The Salon are artist, John Picacio, art director Irene Gallo, and former Barnes & Noble buyer, Joe Monti.
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Cheryl Morgan talks to author Liz Williams during the 2011 Eastercon in Birmingham.
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Cheryl Morgan talks to critic John Clute at his home in North London.
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Let’s start with the good news. Working on Salon Futura appears to be good for fertility. When we launched Anne had just given birth to her daughter, Rosie. A couple of months ago Karen announced that she was pregnant. And last week Jonathan’s wife, Kati, gave birth to a son. Congratulations to all. The world needs new book readers, and we appear to be doing our part to supply them. This makes me very happy.
The prognosis for the magazine is rather less hopeful. As I said last month, the downturn in the global economy means that I am no longer able to subsidize Salon Futura, and so we are going to have to close, at least for a while. I do not intend to keep going by turning the magazine into a fanzine. I firmly believe that good writers deserve to be paid for what they do, and if I can’t afford to pay them then they should go and write for someone who can.
The website will stay online for the foreseeable future. There may also be the occasional podcast going out through the Salon Futura iTunes feed. Kevin and I are planning to do another Hugo Award rules podcast soon. If I can get the funds to do occasional issues I shall do so.
In the meantime I’m planning to do some redesign work on the Salon Futura and bookstore websites. I have learned quite a lot over the past few months and now have a much better idea of what is required.
Before we go, I have a whole lot of thanks to make. Without help from Karina Meléndez creating the websites we would never have got launched on time. Our regular contributors: Sam, Karen, Jonathan and Alvaro, have done a great job in providing Salon Futura with the sort of high quality material. I should also thank all of our guest contributors, and our cover artists. I’m particularly grateful to people such as John Coulthart and John Picacio who can sell their work elsewhere for much more money, but were happy to find something I could use. Thanks are also due to those who helped behind the scenes: Anne and Kevin. And of course huge thanks to everyone who donated money, bought ebooks and otherwise helped keep us in business. People in Finland and at the Bay Area Science Fiction Association have been exceptionally generous. Finally thanks to everyone who has read the magazine. Hopefully we will be able to bring you some more of them soon.
Cheryl
This is issue #8 of Salon Futura. As usual we have a variety of content for you. Gary Westfahl celebrates a major anniversary in the history of science fiction. Raz Greenberg provides our first ever video game review. Alvaro goes looking for the legendary literary essay, and Jonathan follows this month’s Japanese writer to the British Museum.
Please do read the Editorial this month as there is some important information in it.
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Cheryl Morgan looks at two books that are being tipped as future award winners.
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This month on The Salon Cheryl Morgan and her guests discuss writing science fiction for young people. With Cheryl in The Salon are David D. Levine, Imogen Russell Williams and Ben Jeapes.
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Cheryl Morgan talks to author Nick Harkaway at his home in North London. Our apologies for Nick being an odd shade of blue early on. It took a while for the camera to adjust to the lighting. He looks a lot better later on, we promise.
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Cheryl Morgan talks to author R.F. (Ruth) Long at the P-Con convention in Dublin, Ireland.
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Well, this is an editorial I hoped I wouldn’t have to write for a while.
As you probably all know, this is not the best of times to be starting a new business. With all of the economic uncertainty, people are buying less, and that includes books. Fortunately Wizard’s Tower was planned to require little in the way of operating expenses. We will be able to keep publishing books (indeed we have two more coming out this month), and running the bookstore. However, Salon Futura is not so cheap to run, primarily because we pay our contributors. I had been subsidizing the magazine because I knew it would take time to build a reputation, but the economic crisis has just hit my other business rather badly and I can no longer afford to do so.
There is enough money in the bank for one more issue, but unless there is some sort of miracle in the coming month then issue #9 will be our last. I’m not going to run a “Save Salon Futura” campaign, because what the magazine needs is regular income, not one small injection of cash. But I will keep looking for sources of funding.
I’ll do a proper thanks editorial next month, as there are a lot of people to thank, but in particular I’m very grateful that we did have a small number of regular and supportive readers.
Cheryl
Irish fan, Pádraig Ó Méalóid, is an expert on the works of Alan Moore. The two talk often, and the results of their latest chat can be found online here. Moore talks about his new magazine, Dodgem Logic and various other new projects.
This is issue #7 of Salon Futura. We are delighted to welcome two new guest contributors this month. Ken MacLeod should be known to all of you, and he brings us a fascinating article about how academics use science fiction in the study of international politics. David Barnett is a British writer and journalist whose columns can often be seen in The Guardian.
Also please check out the Editorial for news of our new subscription offer.
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Cheryl Morgan looks at some current SF&F novels that have policemen and private eyes as central characters.
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This month on The Salon Cheryl Morgan and her guests discuss writing science fiction, fantasy and horror novels that are also crime novels. With Cheryl in The Salon are Jon Courtenay Grimwood, Aliette de Bodard and Mike Carey.
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Cheryl Morgan talks to author C.E. Murphy at the P-Con convention in the Central Hotel, Dublin, Ireland. The conversation touches on topics such as crowd-funding for short fiction and the status of urban fantasy within the SF&F community. Our apologies for the background noise from fellow convention attendees.
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Cheryl Morgan talks to author Ian McDonald at the P-Con convention in the Central Hotel, Dublin, Ireland. They are both on black coffee after the superb Irish hospitality the night before. Ian talks about his current hit novel, The Dervish House, and his plans for future books.
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One of the biggest challenges of being an online business is promoting yourself. And I don’t mean by that the act of getting the word out. That just takes time. The real challenge is to get the word out in such a way as to not irritate the very people that you want to buy from you.
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Over on her personal blog, Spiral Galaxy, Karen Burnham has been talking about the short fiction she has been reading recently. Being an engineer by inclination, she has been keeping data, which you may find interesting.
In addition Karen lists the various short fiction magazines that she is reading. If your magazine isn’t listed, please let her know.
Also we forgot to mention Sam Jordison’s latest foray into the back catalog of the Hugo Awards: this time he looks at Sir Arthur C. Clarke’s Rendezvous with Rama.
This is issue #6 of Salon Futura. This being the Valentine’s Day issue, Jonathan Clements has a fine Japanese love story for us, but there’s plenty of non-romantic material too. We have two more new small presses to welcome to the bookstore. Also the Queensland Flood Relief book is only on sale until February 15th, so if you don’t have a copy please check it out now.
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Cheryl Morgan ponders different barriers to suspension of disbelief.
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This month on The Salon we welcome three people who run their own science fiction and fantasy publishing businesses. To find out just what it takes to do this sort of thing, and what the various changes affected the publishing business will mean for a small press, listen to L. Timmel Duchamp (Aqueduct Press), Alisa Krasnostein (Twelfth Planet Press) and Sean Wallace (Prime Books).
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Cheryl Morgan talks to critic Gary K. Wolfe at the London home of fellow critic, John Clute. A certain amount of red wine is involved.
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Cheryl Morgan talks to editor, Ann VanderMeer, about Weird Tales and some of the projects she is working on with her husband, Jeff. Our apologies for the lack of video. As we are living in the future you can, of course, get free video phone calls to anywhere in the world, but the quality is not yet up to publishing standards. Ann is at home in Florida, Cheryl at home in England, the recording is voice only.
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I’m delighted to be able to report that two more small presses have decided to sell through the Wizard’s Tower bookstore.
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It is a cliché for a magazine editor to say that things are busy, because things are always busy when you are on a monthly schedule. Yet busy I am. Here’s a brief run-down of what is going on.
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Those of you who enjoyed Sam Jordison’s exploration of Johanna Sinisalo’s Birdbrain and its relationship to Conrad’s Heart of Darkness might be interested in this review of the Conrad story by Larry Nolen.
Jonathan Strahan has posted the Table of Contents for the fourth volume of his critically acclaimed Eclipse anthology series. You can find the list of stories at his website.
NESFA Press has announced the publication of a fourth volume in its continuing series collecting the short fiction of Poul Anderson. It is named Admiralty after the lead story. The book has 508 pages and contains 23 stories. It is edited by Rick Katze, has an introduction by David G. Hartwell and a cover by John Picacio. For further details click here.