StarHenge

Sometimes in this business you meet someone and can see immediately that they have huge amounts of talent and are going to do very well for themselves. In my case one such person was Liam Sharp. I could see that he had a fine career as an artist in front of him, and I was right. He’s currently having a bumper year. He’s had a hugely successful Kickstarter campaign for an art book, and now he is starting that holy grail of all comics people, a creator-owned title.

Sharp’s art has gone from strength to strength over the past few years. He’s had a hugely successful collaboration with Grant Morrison on Green Lantern. He’s also done a The Brave and the Bold mini-series in which Batman and Wonder Woman team up to solve a murder in Tir Na Nog. He wrote the script for the latter as well as creating some of my favourite images of Diana.

Comics, unlike novels, are very much a team project. If you look at the credits on a standard superhero book, you’ll often see that one person does the pencils, another one inks them, a third adds the colour, someone else writes the script, and a fifth person just does the lettering. That can make doing a creator-owned title a little complicated. But not for Sharp. When he does a creator owned book, he does everything himself. Which is very impressive.

The book in question is called StarHenge, and it is Arthuriana. If you remember my review of Nicola Griffith’s Spear you will remember that it does Arthur on a very small stage. All of the action takes place in a small part of South Wales, and most of the familiar Arthurian saga is wrapped up in the space of a novella. StarHenge is exactly the opposite. It takes place on the biggest stage imaginable.

Part of the story takes place in the distant past, where the myth of Arthur has its origins, and where magic still works. Part of the story takes place in the distant future where humans fight a desperate war across the universe against a vicious alien species known as The Cast. The Ur-Queen sends her only son back in time to find the secret of magic, the only weapon that she thinks might be able to tip the war in humankind’s favour.

Meanwhile, in the present day, we meet a teenage girl from Brighton and her Black American boyfriend. Quite what role Amber and Daryn will play in the story is not yet clear. (I’ve only read issue #1 of the comic.) However, it is already clear that the story will take place on an epic scale and with the greatest possible odds at stake. I’m very much looking forward to what Sharp will do with the story. My guess is that it will read well with a heavy rock soundtrack.

In the meantime, you have art to feast your eyes upon. Sharp kindly let me use the image of one of the book’s villains, a Mor-Dreadnaught of The Cast, as the cover of this issue. There’s a lot more of that quality in the book. Issue #1 will be out in July (so yes, I got an ARC), so if you are into comics, or Arthuriana, why not give it a pre-order. Failing all else, how about giving Sharp a nod in the Best Professional Artist Hugo next year, because he absolutely deserves it.

Midnight Doorways

Midnight DoorwaysWhile the level of diversity in mainstream publishing has improved quite a bit of late, it is still hard for writers of colour who do not live in the Anglosphere to get their work considered. Often what they have to do is publish locally and hope that their book gets some attention, and is then picked up by a bigger publisher. Examples of this are Samit Basu’s Chosen Spirits, which will be re-published as The City Inside by Tot.com in June, and Lavanya Lakshminarayan’s Analog/Virtual, which will be republished as The Ten Percent Thief by Solaris next year. I am hoping that something similar will happen with Usman T Malik’s Midnight Doorways.

Malik is no stranger to the Anglosphere. Indeed, his fiction has already won both the Bram Stoker Award and the British Fantasy Award. He has twice been a finalist in the Nebulas, and once in the World Fantasy Awards. And yet his first collection was put out in 2021 by a small company called Kitab whom I think are based in Kathmandu, though the word means “book” so there could be many publishers of that name. Midnight Doorways has since been picked up by Hachette India (though with a terrible new cover) and there’s a kindle edition available from the Amazon India website. You can apparently get copies of the original edition via Malik’s website, though I guess they will go out of print soon.

Anyway, you should get a copy if you can.

My (electronic) copy came via the Crawford Award, as I’m one of the people whose opinions Gary Wolfe solicits when judging the award. The Crawford is for a first fantasy book, and is often won by collections. As you probably know, I’m not big on short fiction, and I’m not a great fan of horror, but other people involved with the Crawford were raving about this book so I asked for a copy. I immediately agreed that it should win. If a horror collection could win me over, it had to be really good.

I said that Midnight Doorways is horror, and Malik’s work is certainly marketed in that genre. However, this is not splatterpunk, or tentacled beings from beyond the stars, or even zombies. Malik’s stories are weird and creepy, and most definitely at least suggestive of the supernatural. In one story an ancient goddess eats rather a lot of people, but the story is being told to a police interrogator by an opium addict whose testimony may not be wholly reliable. A more common sort of horror is being a young girl in an orphanage coming to know that one day you will be too old and the staff will need to sell you to a husband in order to earn money to look after the next generation.

Malik makes no concessions to Anglo culture. His stories are set in Pakistan. The characters are mostly Muslim, with a scattering of Hindus and Christians. The issues that they face are very much the sort of issues that people living in places like Lahore face. And yet these people are entirely relatable. Malik is able to get us to understand them, to identify with them, and to feel for them. And some of them have very strange problems.

Despite the cover blurb, the book does not contain the British Fantasy Award winning novella, “The Pauper Prince and the Eucalyptus Jinn”. It does contain the Stoker-winning short story, “The Vaporization Enthalpy of a Peculiar Pakistani Family”, and the Stoker-finalist story, “Dead Lovers on Each Blade, Hung”. It is well worth a look if you can get hold of it. And if not, look out for Malik’s short fiction in magazines.

book cover
Title: Midnight Doorways
By: Usman T Malik
Publisher: Kitab
Purchase links:
See here for information about buying books though Salon Futura

The White Room

The White RoomIf you want to know the things we see
Then step inside our skins

– “The White Room”, The KLF

Back in Emerald City days, when I was starting to get interested in SF&F in translation, I was contacted by a Serbian writer called Zoran Živković. It was probably Jeff VanderMeer’s fault. Lots of things were. Živković was already hugely respected in his native land, and on the European literary scene, but he wanted his work to come to the attention of the English-speaking SF&F market. He might have been accepted as a literary writer, and have a post teaching creative writing at the University of Belgrade, but he had done his PhD on Arthur C Clarke so there was an itch left unscratched.

In those days, breaking into the English-speaking market was very hard, even more so than it is today. Živković used to do his own translations of his work and have small print runs done that he could send out to drum up interest. For published versions, Tamar Yellin or Alice Copple-Tošić would add a little polish to the prose.

As time went by, and with support from a whole bunch of great people, Živković established a reputation. His work wasn’t going to appeal to the general SF&F audience, but it fitted in well with the New Weird thing that was going on at the time. When my colleagues at SFSFC and I were running World Fantasy in 2009, and got ordered by the World Fantasy to bring in another guest (apparently we had too many members), we went for Živković rather than another anglophone horror writer. I hope that Steve Jones was suitably annoyed.

In 2017 Živković was recognised as a European Grand Master by ESFS at the Eurocon in Dortmund. His bio now lists this as his crowning achievement. Since then, and after 22 novels, he announced his retirement. That’s fair enough. He’s in his 70s these days and retired from work. His entire catalogue is available in beautiful new editions from Cadmus Press, with stunning covers by Youchan Ito. He has other things to do with his life. Which is why I was surprised to get email from him asking if I would like a copy of his new novel. Naturally I jumped at the chance.

The White Room will doubtless be seen as somewhat self-indulgent by some readers. It is, after all, a book in which the main writer is an elderly professor of creative writing from Belgrade, a man by the name of Zoran Živković. It is also a book that is very much the sort of thing that Živković fans have come to know and love. And, as we shall see, in part concerned with very modern issues.

The plot of the book can be summed up in the first line: “Ivana had gone missing.” The Professor Živković of the book is twice-divorced and now lives with a somewhat younger, though very much middle-aged, woman who had been a student in his writing classes. Ivana and the Professor have that “fond of each other but each have our own lives and histories” relationship that people who meet well into their lives tend to do. Živković thinks nothing of it when Ivana goes out one day without telling him where she is going. It isn’t until the evening, when she doesn’t come back to dinner, that he realises something is wrong.

Naturally the Professor phones the police, and then has the embarrassing experience of explaining that he doesn’t know where his girlfriend went, and can’t even remember what she was wearing when she left. The lady police inspector that he talks to is unimpressed. Fortunately the Belgrade police have an excellent CCTV system with coverage of most of the city, and they are soon on the track of the missing Ivana.

Why, then, has Ivana gone missing? Has she been kidnapped? Have she and the professor had a fight that he isn’t telling us about because he in an unreliable narrator of his own life? Has he just not noticed a cooling in her affections?

Then the emails start arriving. Each one contains a clickable link that is less a URL and more the activation code for some sophisticated malware that brings up short video showing Ivana doing various things that Živković knows she would not, or even cannot, do. Eventually it becomes obvious that these videos are sophisticated deep fakes, and the Serbian government’s cyber war team takes an interest. What began as a case of a missing girlfriend soon ramps up into a situation that could lead to Professor Živković being disappeared by his government’s counter-espionage operatives.

That’s enough from me. You’ll need to read the book to find out where this goes. It is only a couple of hundred pages, so you’ll get through it quickly. Enjoy.

I’ll wait in this place where the sun never shines;
Wait in this place where the shadows run from themselves.

– “The White Room”, Cream

book cover
Title: The White Room
By: Zoran Živković
Translator: Randall A Major
Publisher: Cadmus
Purchase links:
See here for information about buying books though Salon Futura

Rosebud

RosebudThis is another book that I can’t give a proper review of, because I did a brief bit of consultancy work on it. My name is right there in the acknowledgements. But I did love the book when I first read it, and consequently want to tell you about it.

The Rosebud is a prospecting vessel mining the rings of Saturn for minerals. She belongs to the Company, as indeed does pretty much everything else. The crew of five are in indentured servitude and have had a degree of loyalty programmed into them, though not so much as it would interfere with their functioning as sentient minds.

I say minds because the crew of the Rosebud is entirely digital. The ship is, after all, only about 1 mm across. It is, nevertheless, packed with technology, and five minds. Some of them may once have been human, but they now all exist in software only. They are as follows.

Haunt is the gothiest goth that ever gothed, and is currently manifesting as something like Ghost Rider but with a very big black horse instead of a motorbike. Huge if True is a friendly spherical fellow covered in masses of small hands. Bob is an arsehole, both personally and professionally, but he manifests as a red balloon. Diana is a scientist of sorts and appears as an elegant human woman. And Quin, their captain, is a swarm of insects.

All of them could, no doubt, appear in other forms, but these bodies are ones that they have picked for a reason, have gotten used to, and have honed over the past 300 years of service aboard the Rosebud. There’s not a lot else to do when you are not working, though of course that isn’t very often. Not a lot happens in the rings of Saturn. Until one day it does.

That something is a craft similar to their own. It is a little smaller, perfectly spherical, perfectly black, and suspiciously alien. This is the sort of encounter for which an independently intelligent crew exists. Decisions need to be made that are outside of the mission parameters. Correct decisions may result in plaudits from the Company. Incorrect decisions will certainly result in punishment. Not doing anything is also a decision.

On the cover Peter Watts describes Rosebud (the book, not the spaceship) as, “a scream disguised as a giggle.” He’s spot on. What Paul Cornell has done here is take all of his angst and frustration about the state of the world, fling it out into the solar system, and feed it back to us via a found family of ridiculous misfits with an impossible mission who need to succeed despite the trauma each has faced in their past life that has led them to their current state of employed imprisonment.

There’s a content warning at the start of the book, and I should note that it is not just trans people who have been appallingly treated in the world of the book. Nevertheless, this is a book with hope at the end of that dark tunnel of political despair, and I’m very pleased that Cornell has written it.

book cover
Title: Rosebud
By: Paul Cornell
Publisher: Tor.com
Purchase links:
Amazon UK
Amazon US
Bookshop.org UK
See here for information about buying books though Salon Futura

Eastercon 2022

As experiments go, this was one part encouraging and one part rather scary. Let’s start with the good stuff.

Reclamation (that being the name of this year’s Eastercon) wasn’t my first post-pandemic event; I have already done FantasyCon, BristolCon and World Fantasy. However, it was the first big one. FantasyCon and World Fantasy were both very small compared to their usual numbers, and BristolCon is never big. Eastercon was also relatively small in comparison to usual numbers, but it still attracted 659 people. Also it was in a busy Heathrow hotel, which made it feel busier than it actually was. It felt like a big convention, and thanks to the location I got to see a bunch of people from the USA and Europe that I haven’t seen in years.

The Radisson Hotel & Conference Centre, a.k.a. the Radisson Red, a.k.a. the Park Inn if you looked at some of the older signage, is a strange place. It is not as strange as the Radisson Non-Euclidian, but it is still odd as far as convention space goes. There are two main conference areas, which presumably can be let separately, and a corridor full of meeting rooms connecting them. We had the lot. Because this was Eastercon, and one of the three large spaces had to be dedicated to a real ale bar, the dealers ended up spread around various meeting rooms, including the aforementioned corridor. I ended up sharing a room with Dave Hutchinson’s wife, Bogna, who has a jewellery business.

A number of dealers were unhappy with this arrangement. They thought that footfall would have been much higher in a traditional dealers’ room. They may have been right, but I haven’t been to an Eastercon in ages and this was my first selling books. I was very pleased with the business I did. Not that I was going to recoup the cost of the hotel and travel, but I certainly made back the cost of the table and convention membership, which hasn’t been true of every con I have been to.

Thanks to Bogna and Dave offering to keep an eye on things for me, I was able to do a couple of panels. One was on publishing during the pandemic, and the other on reclaiming our bodies (and ourselves) as the pandemic drifts into a state of always having lived in existential fear. I moderated both, and both seemed to go very well. My thanks to my excellent panellists.

I didn’t get to attend any other panels, and I only briefly stuck my nose into the Art Show, so I can’t say much about the rest of the con. Other people seemed to have enjoyed it too. I did have someone come to my table and tell me that my business plan for Wizard’s Tower was terrible and I should publish him if I knew what was good for me, but that was more comedy than anything. Also I’m told that UK fandom’s lone anti-trans extremist turned up at a bid session to gripe about toilets, and was shouted down. As con issues go, those were very minor.

It is possible that the virtual membership had a less good time. I kept an eye on the Discord and saw regular complaints about people not getting the links they needed to watch panels, or streams not working. How much these were real issues and how much this was people still not used to the tech I do not know, but neither of my panels had any interaction from the online membership which was disappointing.

The highlight of the weekend was the British Science Fiction Association Awards. Juliet was up for the Best Novel award for the latest Green Man book. Neither she nor I were in the slightest bit surprised to see Adrian Tchaikovsky win for Shards of Earth. Despite being an award finalist, The Green Man’s Challenge didn’t sell in any great quantities. Frankly we were delighted with the recognition. Of the four books in the series, three have now been award finalists, which is an amazing achievement.

My other interest in the awards was in the Non-Fiction category where the latest Academia Lunare book was a finalist. Again I didn’t expect a win. There were people on the ballot far better known to the Eastercon community. But win we did. Francesca, bless her, was deliriously happy, as were her parents back in Italy whom I briefly met on a video call. She’s done amazing work with those books and absolutely deserves the success they have had. I’m very pleased to have been able to support the project with a few essays. This time the essay in question was the one about queer animals, which is a piece I’m rather fond of.

So all of that was very good. Everyone was wandering around saying how lovely it was to see old friends again. A couple of people reported testing positive for COVID during the con and promptly went into isolation. It seemed like things had gone well.

On Monday night I suddenly felt desperately tired and went to bed around 9:00pm. I didn’t sleep well and felt decidedly groggy in the morning. However, I tested negative and was well enough to load up the car and drive home, so I did. I tested negative again on Wednesday, though I still felt ill. Fortunately, my life is normally spent in isolation, and aside from two brief trips to Tesco and answering the door to the postperson I’ve had no human interaction since. Whatever was upsetting my body has since cleared up and I’m still testing negative. I have put it down to con crud.

Meanwhile reports of positive tests started to flood in on Discord. These included Jo & Roz, with whom I’d had breakfast on Monday, and Tej Turner, whom I’d chatted to on several occasions. The contact tracing channel on Discord counted a total of 74 positive cases. Some were only mildly affected, but some were seriously ill and at least one ended up in hospital.

I note that all these people had been vaccinated. We know this because the con required us to present evidence of vaccination at registration. This is an important lesson. Vaccination does not prevent you from catching COVID. It does (usually) prevent you from dying of it when you do.

People who are running other conventions will doubtless be viewing this with some degree of nervousness. Cons certainly have the potential to be super-spreader events. But I don’t think that the story is that simple.

To start with, this being the UK, a lot of people travelled to the con by train. And it being Easter those trains were probably packed full of maskless people. In addition, the hotel was full all weekend because lots of people were flying through Heathrow. While we might have been masked, other hotel guests, and a lot of the hotel staff, were not. These are risks that other cons may not face.

Where Eastercon may have fallen down was on traditional UK con culture. Having promised Kevin to be very careful, I stayed masked except when eating or in my hotel room. I did not socialise. Many of the con attendees spent the evening in the bar, where people would have been unmasked. I also saw a lot of people wandering around with a pint in one hand, which was apparently an excuse to go unmasked because you were drinking.

All this is worth bearing in mind as we slowly move back into convention culture. I think we are past the stage where a con can, on its own, keep attendees safe. There’s too much else going on, and too much of wider society has swallowed the political claim that the pandemic is “over”. We can, however, be aware of things that make us more or less safe, and act accordingly.

Next month I will be off to Finland for Åcon and an academic conference. I will be interested to see how different those experiences are.

Spiderman – No Way Home

Well that wasn’t as bad as I expected. I’d been all primed to absolutely hate this movie. Into the SpiderVerse is by far my favourite Spiderman movie, and I had heard that No Way Home steals much of the plot of that. To a certain extent it does, and of course it does it badly because all of the spiderpeople it brings in from across the multiverse are Peter Parker, which is very boring in comparison. However, there’s a reason why the new film is the way it is.

Unlike most of the MCU, Spiderman has a long history in the movies. Before Tom Holland there was Tobey Maguire, and before him there was Andrew Garfield. Crucially both sets of previous spidermovies were produced by Sony. An awful lot of backroom negotiating will have been required to bring Spidey into the MCU, and this film may have been part of that.

In the extras for No Way Home there is a lot of talk about it being the final Spiderman movie. I don’t think it will be, though the next one may have a new director and direction. I also expect Tom Holland to turn up in the next batch of Avengers movies, but this film does mark the end of an era, and it does it by looking back at the history of Spiderman movies in a very nostalgic way.

Spoilers Ahead (though not any that you won’t be able to guess from looking at the cast list).

The film begins with the ending of the previous film, in which Peter Parker’s secret identity is made known to the world by a delighted J Jonah Jameson. In desperation, Peter asks Doctor Strange to cast a spell that will cause everyone to forget this vital piece of knowledge, but the spell goes wrong and this leads to a rift in the space-time continuum. Sorry, wrong franchise. A breach in the multiverse, through which various people travel.

The clever bit is that the spell brings through a bunch of major villains, played by the same people who played them in the Sony movies. These are followed by Maguire and Garfield, two older and wiser Parkers, who have to help Tom Holland’s Peter defeat “their” opponents.

Jamie Foxx is good as Electro (and gets a much better costume). Alfred Molina is brilliant as always as Doc Ock. And both cheerfully admit to having been acted off the set by Willem Dafoe as the Green Goblin. Dafoe is right up there with Burgess Meredith’s Penguin as one of the finest super villains ever to grace the screen. He’s genuinely scary.

We have Zendaya as well, and any movie with Zendaya in it is a good movie by definition.

So yes, much better than expected, though still not a patch on Into the SpiderVerse. Apparently Miles is getting a second movie, but it won’t be out until next year because animation of that quality takes a very long time to make.

MCU fans will, of course, be aware that the multiverse is very much a thing right now, and Doctor Strange will be traveling it once more very soon. Also there will be Wanda, and America Chavez. I might actually have to go to a movie theatre.

Story Matrices

Story MatricesThe full title of this book is Story Matrices: Cultural Encoding and Cultural Baggage in Science Fiction and Fantasy, because it is an academic work and therefore must have a colon somewhere. However, don’t let that put you off, because Gillian Polack tries hard to make her work accessible, and the book is published by Luna Press so it does not cost three years’ wages to buy.

The basic concept of the book is an extended metaphor about building novels with cultural bricks. That should be fairly obvious. With any story world that you build, you have a choice of cultural elements that you can include, or not. If that were all that the book was, it would be fairly trivial. But it isn’t.

Polack adds to her analytical tools by borrowing three terms from linguistics (idiolect, dialect and language). These she re-casts into idioculture, diaculture and culture. Broadly speaking these mean the writers own views, the writer’s relationships with others, and the writer’s broader relationship with their native culture. This is quite familiar to me because I use similar techniques to explain how people relate to gender.

Finally, Polack adds a layer of ethics, because not all uses of cultural brickwork are morally equivalent. For example, if your experience of colonisation is that of a person whose culture has been colonised, that is not the same as someone whose experience of colonisation is that of a coloniser, even though the diacultural relationship in question is the same.

All of this is useful from the points of view of both analysing and constructing a novel, and Polack’s book will therefore be of interest to both critics and writers. In particular it should help navigate contentious issues such as cultural appropriation. It may also help authors identify blind spots in their work. For example, I was disappointed, though not entirely surprised, to discover that most “mediaeval” fantasy does not contain any Jewish characters, or Jewish-analogue characters, even when the setting is clearly based on an historical milieu in which Jews played a significant role in society.

As for historical fiction, let’s just not mention Ivanhoe, please. That could go on for a long time.

While I found the book very interesting, I do have a few reservations. The first is mildly bizarre, in that Marion Zimmer Bradley’s name is mis-spelled in about half of the occasions it appears, including one instance where it is correct once and incorrect once in the same paragraph.

More seriously, some of Polack’s examples could have benefitted from more research. Her explanation of the issues that the LGBT+ community has with JK Rowling is a little muddled. She describes Karen Lord as a more literary writer than Nalo Hopkinson on the basis of The Best of All Possible Worlds being published by Penguin Random House. But Hopkinson comes from a literary family, is a teacher of creative writing, and had her first novel published by Warner Aspect, whereas Lord’s academic background is in science and sociology, and her first novel, Redemption in Indigo, was published by Small Beer Press. The distinction seems somewhat odd to me (and I adore both writers). Her analysis of Irish writers and their relation to Irish history does not include Ian McDonald whose novels Hearts, Hands and Voices, and Sacrifice of Fools, are both intimately connected to recent Northern Irish history.

Finally, while Polack’s style is succinct and conversational, there are times when it seemed to me that she expected us to know what she was writing about. Consequently, I would have liked a little more detailed explanation of her points, even if that made the book more academic in style.

Overall, however, this is definitely a book I valued reading, and whose insights I hope to use in my own work. I’m also very well disposed to any mediaeval historian who backs up my opinion that the world of Westeros is economically and politically unworkable. Sorry George.

book cover
Title: Story Matrices
By: Gillian Polack
Publisher: Luna Press Publishing
Purchase links:
Amazon UK
Amazon US
See here for information about buying books though Salon Futura

Star Trek: Discovery – Season 4

Season 4 of Star Trek: Discovery had a difficult time in the UK. First it was announced as streaming on Netflix. Then it was pulled the day before the first episode was due to drop. We were told we’d have to wait months for it to be available on Paramount +. There was a huge outcry, and mysteriously the series appeared on a live streaming TV platform called Pluto which I’d never heard of before.

I tried, I really did, but I cannot get used to this idea that a TV programme is screened live at a particular time on a particular day and if you miss it, well, bad luck. What do they think this is, the Twentieth Century? Also the early episodes of Season 4 were Not Good, and they were screened late on a Friday when I often had other things to distract me. After a few weeks I missed an episode and gave up.

And then, totally out of the blue, I discovered that the season was available for purchase on Amazon Prime. It didn’t cost a lot, so I went for it.

It gets better, sort of.

The season has an overall arc which is about an existential threat to the galaxy. A mysterious “Anomaly” (aka a rift in the space-time continuum) turns up and starts eating solar systems, starting with Book’s homeworld. So we have an epic piece of fridging that is intended to turn poor Book into a revenge-obsessed vigilante. Michael, it seems, can’t be allowed a relationship with the dishiest man in the galaxy. Something has to turn up to ruin it all.

Anyway, the Federation needs to get a handle on the Anomaly quickly, before it eats any more heavily populated worlds. This results in much handwavium on the part of Stamets & co., and a lot of politicking amongst the Federation and independent worlds. Eventually they track the thing down to an unknown species who live on the edge of the galaxy where no man has, you know. And we then have to decide whether the Anomaly, which is clearly massively superior technology, is a weapon of war, or a superior species accidentally stepping on an ants’ nest.

Along the way various cast character arcs are explored. Stamets and Culber get to be Gay Dads for Adira and Gray, which is charming. Tilly discovers a new vocation as an Academy lecturer, which may be a way off the series for Mary Wiseman. Then again I thought at the end of Season 3 that Saru would be gone now that Michael is Captain of the Discovery, but instead he’s back and having a very awkward love affair with the President of Vulcan. There are attempts to give other members of the Bridge Crew a place in the spotlight, but they are very awkward because those characters don’t have the personality of Chekov or Sulu.

There are good bits too. I liked the side story about the Discovery’s computer system becoming sentient. Jett Reno is brilliant, and has enough personality to make up for an entire Bridge Crew of non-entities. Stacey Abrams got to guest star as the President of Earth. And possibly my favourite bit was Tilly and Admiral Vance sharing a whisky as they waited alone for the Anomaly to destroy Earth. (Spoiler, it does not.)

Eventually we get to the end and discover that someone on the script-writing crew is a huge fan of Arrival and wants to re-create it in Star Trek without all that weird timeline stuff.

In many ways Discovery is better now that the ship and crew has been dumped into the far future rather than trying to ret-con the past. In other ways it is suffering from dodgy plotting. But it is still Star Trek, it still loves science fiction, and it still wants to annoy basement-dwelling dudebros, so I guess I shall keep watching. In any case, I will need Paramount + to watch the next season of Lower Decks, and so I might as well watch Discovery as well.

Editorial – April 2022

Hello again. We have a decent-sized issue this time, I think, though I am acutely aware that I am very behind on my reading, particularly with respect to a number of very big novels. Thank goodness for novellas.

There is one thing I promised for this issue that I’m holding over for another month. That’s the essay on reviewing. As some of you will know, Paul Kincaid has a lot going on at the moment, and I don’t want to do anything right now other than send him my very best wishes.

Also I haven’t done a piece on the Hugo finalists. Broadly speaking I’m very happy. There are an awful lot of good finalists.

The next issue is due out while I will be at Åcon, so technology might get in the way a bit, but I will do my best to get things sorted before I leave for Finland.

All that remains is for me to wish you a very happy Walpurgisnacht, especially those of you who will be spending a cold evening on a broomstick.

Issue #38

This is the March 2022 issue of Salon Futura. Here are the contents.


Age of Ash

If you were to ask people who their favourite writer of epic fantasy was, the chances are that they would not mention Daniel Abraham. If people know his name at all they probably do so because he is one half of the writing team known as James S A Corey, and therefore is part-responsible for The Expanse, which is a very fine piece of science fiction. However, he is also responsible for The Long Price Quartet, which I fangirled over shamelessly back in Emerald City days, and which I still believe is one of the finest epic fantasies ever produced. I managed to space on the Dagger and Coin series because I was not in a good place for reading long books when it came out, but Abraham is now back with the Kithamar Trilogy, starting with Age of Ash.

Kithamar is an ancient city with its roots in a peace treaty between two warring cultures. The extent to which that history influences the events of the trilogy are not yet clear, but I’m sure there will be much to be revealed in future volumes.

The story mostly involves characters from the district of Longhill. Most of the people who live there are engaged in petty criminality of some sort, because they are desperately poor and have no other option. Our central characters are two young women.

Alys is a smart, competent thief who is determined to make a decent life for herself. Certainly she wants a better future than her alcoholic and occasional sex worker mother. Her elder brother, Darro, is doing well for himself, though he can’t talk much about the jobs he is taking. When Darro is found dead, Alys vows to revenge him, and the best way to do that is to take his place in whatever lucrative scam he had got himself involved in.

Sammish is blessed with the remarkable talent of being utterly unremarkable. No one notices her. This makes her ideal to be the walk-away in a pull. That’s the person who ends up carrying the stolen goods after the mark has been distracted by the flea, and the goods removed by the cutter. If anything goes wrong, those two are much more likely to be suspects, but no one ever suspects Sammish.

As it turns out, Sammish is hopelessly in love with Alys. She wishes that she was clever and ambitious, but she’s just a nobody who is useful only for being a nobody. Alys, of course, doesn’t notice Sammish’s attempts at affection, and takes her entirely for granted.

So we have a central story of unrequited lesbian love, and two young women. One of them is brash and perhaps overconfident. The other utterly lacking in any confidence. There will be character arcs.

Meanwhile all is not well in the richer parts of the city. The Prince of the City, one Bryn a Sal, is dead unexpectedly. His reign has been short and his heir, Elaine, is barely a woman. It is unclear how the former Prince died, but as the story unfolds we learn that there is much secrecy surrounding the royal family. There is a clandestine mystical organisation called the Daris Brotherhood, whose headquarters burned down in mysterious circumstances a few days before Bryn a Sal died. And all this, as we shall find out, is connected to the lucrative work that Darro was engaged in before he died.

Kithamar is an unforgiving city. The common wisdom states that it was founded on hatred, but this is a misunderstanding. In truth, it was founded on hunger, and there are many kinds of hunger at its heart.

One part of a trilogy is, of course, not enough to reveal all of the secrets of Kithamar and its history. It is enough to thoroughly set the scene and, with gorgeous prose, leave the reader eager to find out more. This is excellent fantasy, and I warmly recommend it.

book cover
Title: Age of Ash
By: Daniel Abraham
Publisher: Orbit
Purchase links:
Amazon UK
Amazon US
Bookshop.org UK
See here for information about buying books though Salon Futura

Dune

Now that was a movie. I do wish that I had been able to see it on a big screen as it deserves. Maybe someone (hello Glasgow Worldcon) will consider screening both parts back-to-back. Assuming Part Two lives up to the promise of Part One, of course.

So what did I like about it? To start with it is beautifully shot. This is space opera on a massive canvas, and it should be staged and lit to match. There are some sections that are very dark where I struggled to see what was going on, but there were good reasons for them to be dark and I think they would have looked better in a proper movie theatre. I should try watching again with my room blacked out.

Filming Dune has always come up against the problem of fitting a massive book (or trilogy of books) into a movie (or TV mini-series). Denis Villeneuve has gone for a pair of long-ish films which, if the second is of similar length, will total around 300 minutes of viewing time. That’s a fair chunk of the 420 minutes of the John Harrison TV series, and well in excess of the 138 minutes of David Lynch’s gonzo extravaganza. I worry a little that viewers not familiar with the source material will find Part One quite slow, because there is a lot of exposition, but it worked for me.

Casting was largely OK. Oscar Isaac was splendidly regal as Leto. Timothée Chalamet did a reasonable job, handling the awkward transition from gawky teenager to budding megalomaniac quite well. Rebecca Ferguson I thought was a little inconsistent, veering between terrified mother and lethal Bene Gesserit. Jason Momoa and John Brolin both have a whale of a time as Duncan Idaho and Gurney Halleck. Dave Bautista hardly has to act at all as Beast Rabban. And Charlotte Rampling was superb as the Reverend Mother, but then she’s Charlotte Rampling so what did you expect?

And then there was Zendaya as Chani. She doesn’t get much to say, and most of her screen time in Part One is in Paul’s dreams, but she steals every scene that she’s in. She even manages to steal the DVD extras by looking absolutely stunning in her few brief interviews. I don’t know were she got that jacket, but I Want It.

We haven’t seen Feyd-Rautha yet, but there are rumours online that Barry Keoghan has got the part and I think he could be very good.

One thing I found interesting was the brutal utility of the sets and the spacecraft. I get the fact that architecture on Arrakis has to withstand the local climate, but if you compare the spacecraft in Dune to the shiny chrome military aesthetic of Star Wars, or the extravagant beauty of Jupiter Ascending, you get a very different view of a galactic empire. One that is a gargantuan factory oppressing every planet that it touches.

The costumes I felt were one of the weak points. Everything had to be grey and dull to fit in with the overall utilitarian aesthetic. Jessica got a couple of opportunities to stand out as a beacon of colour, and the imperial delegation was interesting, but mostly whatever the crew did to distinguish between the various factions was hard to see because it was so dependent on detail. Also the stillsuits looked way too heavy and intricate for what they needed to do.

The soundtrack, on the other hand, was absolutely worth the two Oscars that it has just won (Best Original Score and Best Sound). There was no opting for popular rock songs, or sweeping John Williams orchestration. Hans Zimmer set out to create a soundscape for the film that was both otherworldy and absolutely evocative of the desert landscape. It is a soundtrack that you feel in your bones, and is constructed in part from the actual sounds of the wind and movement of dunes in a real desert. I wish that the little feature on the soundtrack that comes with the disc had been much longer because I wanted to hear more about how those sounds had been constructed.

Roll on, Part Two.

These Lifeless Things

I owe this one to the good folks at the Hugo Book Club. They were recommending novellas that people might nominate. This one sounded interesting, and it was.

Premee Mohamed is best known for cosmic horror, which for most of us means Lovecraft. These Lifeless Things is in a similar vein, but it is not explicityly Mythos-related. It is a post-Apocalyptic story, and the apocalypse was caused by the arrival of Them. They may be aliens, but They did not arrive in spacecraft. Perhaps They have come through from another dimension. Perhaps They are demons. No one knows. They are not saying. They have, however, killed huge numbers of humans.

Our viewpoint character is Emerson. She is part of a group of archaeologists sent to investigate the remains of a city that was attacked by Them. It appears to be somewhere in Eastern Europe. Possibly Poland or Western Ukraine, which is decidedly spookier now than when Mohamed wrote it. Most of the team are scientists making various measurements to try to understand what happened in the town. Emerson is more of a humanist, and she has found what she believes to be a diary written by someone during the invasion. The contents of the diary make up around half of the narrative.

The writer of the diary is a middle-aged woman. Her husband was killed by Them. Her two sons were conscripted into the army and taken off to fight the invaders. She has not heard of them since. She hasn’t heard from the army, or anyone in government either. The city is entirely under siege. She is currently living with a much younger man whom she has developed affection for, but she is afraid to express this in case he takes offence.

The number of survivors is very small. They seem to survive by keeping out of the way of Them. They are able to scavenge food from the remains of shops, and even grow vegetables. However, they have to be very careful. Some of the surviving humans are apparently Agents, people who have allowed themselves to be taken over in some way by Them, and who act as spies.

The rest of the investigatory team is dismissive of Emerson’s find. It is not scientific evidence. There is no proof that the diary is genuine. Even if it does date from the days of the invasion, it may be lies. Emerson tries to find some of the places mentioned in the diary, but the city is large and there are few explicit descriptions of locations. Also some of the things that the diarist mentions are strange. What are the Statues? Do they really come alive at night? Why has no one ever heard of them before.

But there is more. Who are Emerson and her colleagues? Where have they come from? Why do humans have control of Earth again? Where have They gone? Is some of the resistance to Emerson’s find because some of her colleagues are Agents? Is Mohamed going to tell us? I’m not going to tell you.

This is absolutely my sort of horror. It is creepy and weird, and doesn’t rely on extreme violence or fountains of blood for effect. It is also excellent use of the novella format. I’m not sure that it could have been sustained for a full novel. But I do hope that Mohamed writes more like this, and that other people put this book on their Hugo ballot.

book cover
Title: These Lifeless Things
By: Premee Mohamed
Publisher: Solaris
Purchase links:
Amazon UK
Amazon US
See here for information about buying books though Salon Futura

Dear Letter Writers…

It didn’t take long for the latest round of Worldcon Drama to start up. However, Chicago seems to have lucked out, because people are more angry (again, still) about Chengdu.

This particular outbreak took the form of an open letter signed by almost 100 authors complaining about the Chengdu convention. They have decent reason to do so. The Chinese government has a very bad reputation with regard to civil rights. One of their Guests of Honour, Liu Cixin, is allegedly supportive of the genocide of the Uyghur people. Another, Russian Sergei Lukianenko, has spoken out in favour of the invasion of Ukraine. It is not surprising that people are upset.

Inevitably, I found out about this because a journalist contacted the WSFS websites to ask for official comment on the situation. Naturally we were unable to say anything, because WSFS has no management who can make official statements.

The writers of the letter ask “Members of the WorldCon Site Selection, WorldCon Community and Voters” to “revoke” the grant of the 2023 Worldcon to Chengdu, but of course there is no mechanism for any of these people to do so. What does “Members of the WorldCon Site Selection” mean anyway? Were any of the letter writers members of DisCon III, and if so did they vote in Site Selection? Because they were all entitled to. My guess is that many of them had the right to vote, and most of them did not exercise it.

It has apparently been suggested that the management of Chicon 8 can somehow declare the Chengdu committee as having “failed” and take the convention away from them. There is no mechanism for this. Can you imagine what sort of a mess we would be in if one seated Worldcon could arbitrarily unseat its successor?

The only other opportunity for anyone who might claim to represent WSFS to take action would be for the Business Meeting in Chicago to try to over-turn last year’s Site Selection. Again there is no mechanism for this. The time to challenge Chengdu’s win was last year. Despite there being considerable concern about the conduct of the election, fandom at large was adamant that the result should be accepted.

After last year’s Worldcon there was a very smart thread on Twitter about the whole WSFS mess. I’m afraid I can’t remember who wrote it, but I think it was an American woman. Anyway, the writer made the point that the lack of any official structure for WSFS works in favour of SMOFdom because no one can be held responsible for anything. This is dead right, and it is the main reason why so many SMOFs are set against creating any sort of formal management structure for WSFS. Right now, the SMOFs can continue to enjoy their hobby of running Worldcons, and whenever there is any sort of upset they can simply say that it is not their fault because they are not responsible. There are some of us who want to do something, and to put structures in place that will allow decisions to be taken, but we are always going to be outvoted by those who don’t want that.

This is not good, but the same is true of letter writers. They should know by now that what they are doing is purely performative. There is no one who can take they actions that they are demanding. And by creating an illusion of a “them” who can take those actions they absolve themselves of the responsibility to do anything to help, even something as simple as voting in Site Selection. There is a term for this sort of thing, and that term is Virtue Signalling.

Now, virtue signalling isn’t always bad. Right now, a lot of people are very angry about what is going on in Ukraine. Most of us can’t help directly. Those of us in the UK are even being prevented by our government from providing homes for refugees. We can donate money to charities who are working in the region, but aside from that all we can do is vent our frustration by writing angry letters and tweets.

However, I would like to suggest that those people who write angry letters and tweets about Worldcon, especially if they are high profile authors, can do more than just vent. There are specific things that they can do.

Firstly, they can boycott Worldcon and the Hugos. It should be very simple to say that you will not attend Worldcon, or accept nomination for a Hugo, until such time as WSFS adopts a modern system of governance based on representative democracy.

Also, they can throw their weight behind alternatives. SFWA has recently renamed itself so that the ‘A’ stands for ‘Association’ rather than ‘of America’, and they are making a concerted effort to attract non-US members. They have also made their entry requirements much less stringent. So if you are angry at Worldcon you can get out there and promote SFWA and the Nebulas as an alternative.

In addition, World Fantasy does have a Board of Directors. They might not conduct themselves in ways that will make those people who are angry at Worldcon happy, but they do at least have the necessary structures. People could get involved, and encourage their fans to attend the World Fantasy Convention rather than Worldcon. (This would have the added bonus of absolutely infuriating the more conservative members of the World Fantasy Board, who really don’t like fans attending their convention except as workers.)

This won’t make me very happy. I have spent a lot of time and effort trying to make Worldcon better. But I have come to the sorry conclusion that there is no way this is going to happen because the existing structures have too much inertia. Only radical action of the type I have described above, by people whose opinions the SMOFs are likely to care a little about (by which I mean high profile professionals in the field) is likely to prompt any change.

So people, if you are really upset about Worldcon, then do something, because you can.

Bones and Stars

A new Gareth Powell novel is always a matter of interest in these here parts. Stars and Bones reads like a stand-alone, so it may be a good point for those of you who haven’t tried Gareth’s work before to dip in and find out what he’s about.

The book is set in a future in which humanity has been rescued from its own stupidity (and in particular from the stupidity of a bumbling British Prime Minister) by benevolent aliens, and now lives in a collection of giant space arks travelling through the galaxy. There’s a whole social thing out there that Powell could have explored, had he been so inclined. He has said he will come back to this world with other books, and that could be with completely different characters. But the arks are not really want this book is about.

The story opens with the crew of a scout vessel being brutally massacred on a world called Candidate-623. When the ship doesn’t return, a mission to find out what happened to it is assembled, and that mission happens to include Captain Eryn King, whose sister was on the lost ship.

Powell obligingly provides us with another interesting spaceship character. This one has the delightful name of Furious Ocelot, which is perfect for a ship that is both small and mighty. He also has, as part of the crew, a rather snarky talking cat, whom he doesn’t make as much use of as I’d hoped. Powell owns cats, and he has their character down pat.

Mostly, however, Stars and Bones is a book about loss. It is a book in which Eryn has to come to terms with the loss of her sister, despite her enemy’s habit of resurrecting those it has killed as weapons. It is about how Eryn’s teenage niece, Madison, has to come to terms with the loss of her mother, and not blame Aunt Eryn for being unable to miraculously bring her back. It is about humanity coming to terms with the loss of Earth. And it is about the enemy, though to say any more about that would be a massive spoiler.

I sped through this one fairly rapidly, and concur wholeheartedly with the general sentiment of the cover blurbs. Here’s a sample of the comments: “propulsive read”, “keeps the pressure on and doesn’t let go”, “gripping and fast-paced”, “drops you into the action from the start and then Just. Keeps. Going.” You get the idea. Powell writes superb page turners. (You are welcome to use that, Gareth.)

I’m still a little less happy with his plots. I think it is still the case that things happen because the plot needs them to, not because it was inevitable from the action that they would turn out this way. But plotting is a skill you can work on, and if you produce books that are as readable as this then you are going to have a long enough career to do that work.

book cover
Title: Stars and Bones
By: Gareth L Powell
Publisher: Titan
Purchase links:
Amazon UK
Amazon US
Bookshop.org UK
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The Cuckoo Cage

Those of you with a fondness for interesting short fiction will doubtless already know of Comma Press. They have published two collections by M John Harrison. They have also done three anthologies of translated SF, one by Palestinian authors, one by Iraqis, and one by Kurds. I think the way they first came to my attention was with a book called When It Changed. Edited by Geoff Ryman, this pulled together a number of top-class science fiction writers paired with bleeding edge scientists. The idea was for the scientists to provide ideas for the writers to explore.

I am reminded by that thanks to their latest foray into speculative fiction, The Cuckoo Cage, which pairs historians with writers who have an interest in social justice. The idea is to take social justice movements from the past, and to use them as inspiration for creating modern day superheroes.

The historical examples tend to be people who are protesting against unfair taxes, against illegal enclosure of common land, and against loss of traditional working patterns to industrialisation. Thus we get people like Lady Skimmington, the Luddites and Captain Swing, though there is also a story based on the ancient British leader, Cassivellaunus, who led the resistance to Julius Caesar’s invasion. And there’s one about the crew of a British Navy ship who mutinied against a tyrannical captain.

The writers are mostly non-white, which is somewhat inevitable when addressing issues of social justice in modern Britain. The two I am familiar with are Bidisha, a feminist journalist and film-maker; and Courttia Newland, a Black writer who produced the science fiction novel, A River Called Time, but is these days better known for having been one of the scriptwriters on the TV series, Small Axe. Newland’s story is set in Bristol and is about a superhero who destroys racist statues, which is entirely appropriate.

What is, perhaps, somewhat missing, is knowledge of the superhero genre. Editor Ra Page’s introduction exemplifies this by stating that, “the American superhero props up a reactionary, pro-capitalist view of the world.” While that might be true of Bruce Wayne and Tony Stark, it is a rather sweeping statement that ignores a lot of what comics writers have tried, if not always succeeded, in doing over the years.

The writers have been asked to produce origin stories for their creation, that being a traditional part of the superhero oeuvre. Some of them get it, others have produced stories that are interesting and fit well with the historical inspiration, but don’t quite seem like superhero stories to me.

Nevertheless, these are all good stories, and if you haven’t spent your life immersed in the Marvel Universe you will be less sensitive to such issues. If you are a fan of short fiction, interested in social history, or keen on experimental anthologies, this book will definitely appeal to you. If nothing else you will learn some history. I had no idea that there was a protest movement whose adherents signed themselves, The Servants of the Queen of Faerie. I was vaguely aware that there was a small town in England called Gotham. I did not know that it is near Nottingham and that they rebelled against King John by feigning madness. And I certainly didn’t know that there is a 1540 book collecting tales of their actions called The Merry Tales of the Mad Men of Gotham.

American friends, the correct pronunciation of the name of the town is Goat-Ham. I think we should all use that from now on.

book cover
Title: The Cuckoo Cage
By: Ra Page (Ed.)
Publisher: Comma Press
Purchase links:
Amazon UK
Amazon US
Bookshop.org UK
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Alia Terra

This is a book that I did a small sensitivity reading job on, so I can’t do much in the way of a review, but I want to mention the book because what Atthis Arts are doing with it is very interesting.

First of all they champion people like Ava Kelly who want to write uplifting stories that feature gender and sexual minorities. Their author bio says that they aim, “to bring into the world more tales of friendship and compassion, dedicated to trope subversion, stories that give the void a voice.” Given the way that the world is going, we need that sort of thing right now.

Secondly, these stories are a collection of folk tales; Romanian folk tales. Kelly is Romanian but living in Norway. Each of the stories are presented both in English and in Romanian in parallel. Translations are all very well, but it is great to see a publisher both catering to the large English-speaking market and presenting the stories in their original form.

Finally, the entire book is sumptuously illustrated by Matt Spencer. His style is very well suited to the fairy-tale atmosphere of the book and the end product looks lovely.

So yes, I did have a small part in bringing this book to the public, but there are many aspects to it that I had nothing to do with, and I love them. Hopefully the book will do well.

book cover
Title: Alia Terra
By: Ava Kelly
Publisher: Atthis Arts
Purchase links:
Amazon UK
Amazon US
See here for information about buying books though Salon Futura

Lower Decks – Season 2

There is a lot of Star Trek on TV right now, and Lower Decks continues to be among the best of it.

I suspect that there were no plans for a second season, because Season 2 starts by necessarily undoing parts of the first season finale. If you’ve seen that you will know that Ensign Boimler managed to get transferred to serve under Captain Ryker on the Titan. Clearly Lower Decks can’t continue without him, so they had to find some way to bring him back. Also Lieutenant Shaxs, the Bajoran Head of Security, died in Season 1. He’s back in Season 2, and everyone just mutters mysteriously about how that always happens with Bridge Officers.

This highlights that fact that, while Lower Decks is clearly made by people who love Star Trek and its history, they don’t take it at all seriously at times. Indeed, half the point of Lower Decks is to poke fun at the weird and silly things about the franchise that fans have come to accept and love. They haven’t had an episode about holographic lungs yet, but they did do an episode featuring Tom Paris, including salamander jokes. If you’ve managed to squirm your way through watching Voyager you will know what I’m talking about.

They are also having lots of fun in other ways. The Tom Paris episode also includes a fabulous section in which Tendi and Mariner have collect an old family heirloom for Dr. T’Ana, the feline ship’s doctor. That had me laugh out loud at the end. There’s also an episode in which the crew of the Doritos Cerritos are sent to guard an endangered species, and save them by explaining to the Ferengi poachers that it would be much more profitable to open a wildlife park.

This does bring us to one of the less savoury aspects of Star Trek, its tendency to include thinly veiled racist jokes. Lower Decks has a particular obsession with the Pakleds, whom I didn’t know much about before. They are a “dumb and ugly but dangerous because slightly smarter than they look” race of aliens who seem very much an exercise in comedy by punching down. I guess that, being a comedy show, Lower Decks was going to make use of them. I’m still waiting for them to do something interesting.

The show also buys into Trek racial stereotyping in an episode that features lower deck crews on Klingon and Vulcan ships. This is much better, and is a hint of things to come because there is actually serious plot happening. It sows some seeds that appear to flower right at the end of the finale when there is a massive shock plot twist. Lower Decks has suddenly got serious, and I’m now very much looking forward to Season 3 to see how the crew of the Cerritos deals with this.

Prime Deceptions

This is the second volume in Valerie Valdes’s series about Captain Eva Innocente and her crew of semi-illegal misfits. Much of it is very much the same fare as book 1. Indeed, the main plot is remarkably similar, only it is another one of the crew’s siblings that needs rescuing. How things work around that is rather different.

You very quickly get the impression that Prime Deceptions is massively meta, in that it is one long sequence of in-jokes about geekdom. The very first chapter is called “Kick the Puppies”, which I’m sure is not entirely an innocent(e) coincidence. There’s also a chapter called “Throne of Games”.

There’s more. Early on in the book the crew get to visit Evercon, a continuously running geek convention being held on Charon, the moon of Pluto. There they have to get to grips with the local politics, which involves rivalry between various sub-fandoms. Apparently the fantasy furries hate the sci-fi furries, and the mediaevalist re-enactors are having a big row over whether elves are authentic, and so on.

Later on they get to visit a planet famous for its version of Robot Wars. Naturally the crew ends up having to enter the competition. This segment also sees the return of the infuriating Miles fucking Erck, the man who begins every sentence with the words, “well, actually”. I’m assuming that Valdes brought him back because she hadn’t managed to do enough bad things to him in book 1. Quite right too, he deserves it.

The majority of the book is spent on a planet called Garilia where Eva has some unfortunate history. This allows the plot to get fairly serious for a while. The crew get involved in some decidedly dodgy local politics, and in a plot to conquer the galaxy through the use of what are clearly Pocket Monsters, though for obvious reasons Valdes can’t actually use the word Pokémon.

Finally there is a massive space opera set piece involving a star gate which I won’t say too much about because it would be spoilery.

All in all, these books are great fun. They are very much fan service, but not every book has to be deeply philosophical and you can still make important points while cramming in as many geek references as you possibly can.

Oh, and the psychic cats have a somewhat expanded role in this book, which is obviously good.

book cover
Title: Prime Deceptions
By: Valerie Valdes
Publisher: Orbit
Purchase links:
Amazon UK
Amazon US
Bookshop.org UK
See here for information about buying books though Salon Futura

Editorial – March 2022

And we’re back, after the February break. I almost said, “traditional February break,” but I think I need to get through a few more years before that is justified.

Anyway, the purpose of the February break is to allow me to get on with LGBT History Month (which is in February in the UK) without having to panic about getting enough books read for an issue of Salon Futura. But that doesn’t mean I haven’t read anything, so I have a few things already lined up for next issue.

Also next issue there should be an essay from me about the process of literary criticism. There’s been some good stuff written about this recently both in Strange Horizons and by Paul Kincaid. I figured I should make a proper response.

Next issue should also include a report from Eastercon, because in-person conventions seem to be a happening thing again.

But before we get there we have this issue, and I’m delighted to report that we have a guest article. This is a fanzine, so we don’t pay. However, JB Toner offered me an article anyway, and I’m happy to publish it. As was the case with Emerald City, if people want to write for me, do get in touch. All I ask is that you don’t mind being edited.

The Witcher – Season 2

Season 2 of The Witcher was much more of a conventional story arc. Personally I didn’t have any difficulty with the multiple timelines of season 1, but then again I have read an awful lot of speculative fiction. It was disorienting in Iain Banks’ Use of Weapons, now it is just normal.

Rather more disorienting was the sudden change of Ciri’s look from frightened child to confident and sexy young princess. How she managed it overnight without access to make-up is a bit of a mystery, but then this is a fantasy series.

But while there is a story arc of sorts here, this season felt a lot like the middle book of a trilogy. There was a lot to be explained, a lot of character background filling to do, but not a lot happening. Even the “Yennifer loses her magic” thing didn’t seem to have much point to it. It was nice to have a thinly disguised version of Baba Yaga as the big bad of the season, especially as we got an actual hut with chicken legs, but again it felt that this was something inserted to provide conflict, not something central to the storyline.

Rather more interesting was the Jaskier’s reinvention of himself from Witcher Sidekick to Social Justice Warrior. He’s involved in some sort of underground railroad helping elves escape Redania. This is especially poignant now as the series is based on fiction written in Polish, and one of my Polish friends is currently involved in a project to help marginalised people escape Ukraine. Anyway, it was good to have Jaskier back.

It was odd to have Jaskier do the “first they came for the elves, but I was not an elf…” thing, but little political moments like this are increasingly common in TV (see also Star Trek). Hopefully it pisses off the Puppies.

The real plot, however, revolves around Ciri, her uncontrollable magic, and her role in the destiny of the Continent. This is the point when it becomes useful to have a geek like Istredd involved, because someone has to do some actual research. I confess to having been highly amused by the scene in which Geralt and Istredd finally meet up and have a pissing contest about whose pet name for Yennifer is correct.

The season ends with a massive shock reveal and the hope that season 3 will be more focussed on the main plotline. We might event get a classic fantasy trilogy plot structure rather than an aimless “more stories set in the world of” thing. For that they are sensibly doing spin-offs. So yes, next on my list to watch will be Nightmare of the Wolf.

Issue #37

This is the January 2022 issue of Salon Futura. Here are the contents.


  • Cover: Astronaut Moon: This issue's cover is Astronaut Moon by pizar_kestrap

  • She Who Became the Sun: A book based on real history with strong gender themes? What's not to like?

  • Cyber Mage: Uh oh, those crazy Djinn are up to no good again. But do they understand the internet?

  • The Faerie Queene: It is over 400 years old, but does Spenser's epic poem have anything to say to modern fantasy?

  • Elder Race: Adrian Tchaikovsky channels Gene Wolfe in this clever novella

  • Servant Mage: In which Kate Elliott takes aim at some of the tropes of epic fantasy

  • Eternals: Is Marvel's latest super team as dull as everyone is making out?

  • The Witcher – Season 1: Cheryl finally gets to toss a coin to the Netflix serial that everyone is talking about

  • Editorial – January 2022: A new year, or just 2020 on repeat?

She Who Became the Sun

It has taken me a while to get to this book, which has been widely praised elsewhere. I’m very pleased I read it, though not for the reasons I expected.

To start with, She Who Became the Sun is a very readable book. You can get through it nice and quickly, which is important when you have as much to read as I do. Somewhat relatedly, it feels a little lightweight at times. There’s not the intensity of emotion that might leave you wanting to take a break to let your heart stop racing. But I certainly wouldn’t characterise it as YA. There are far too many serious themes for that.

Another reason that I enjoyed the book is that it engages strongly with actual history. Shelley Parker-Chan says in her introduction that it is based loosely on the events surrounding the end of the Mongol-led Yuan Dynasty and the founding of the Ming Dynasty. This is very clearly the case, and many of the characters in the book have the names of real people from history. However, this is not a Guy Gavriel Kay novel. Parker-Chan appears to be happy to re-purpose these real people as she needs them.

The central character of the book is based on Zhu Yuanzhang, the founder of the Ming Dynasty, who was indeed born a peasant, was the only survivor in his family of a terrible famine, and who became a monk before becoming the leader of the Red Turban revolutionaries. Other characters from the book, including Chen Youliang, Xu Da, Chaghan Temur and Chang Yuchun all appear in history. However, some of the events of the book appear to be based on the life of Li Zicheng, a rebel leader whose activities helped lead to the downfall of the Ming Dynasty almost 300 years later.

Where Parker-Chan deviates most from history is that it is not a determined young man who survives the terrible famine that kills his family, it is a girl. We never learn her birth name, but she takes the name and identity of her brother, Zhu Chongba. This was the original name of the first Ming Emperor, and it is apparently a name that denotes great fortune. Having assumed her dead brother’s life, our heroine goes on to achieve the greatness that had been foretold for him. And that brings us to the other interesting aspect of the book: the discussion of gender.

Books that have women characters masquerading as men often gloss over the practical and psychological complexities involved in such a life. Parker-Chan does just about enough to make it work. Zhu’s true identity is discovered by a few people, but they end up being loyal friends and supporters happy to keep the secret. Excuses are found to get Zhu out of awkward situations such as the communal bathing in the monastery, and other issues, such as menstruation, are mentioned often enough for the reader to feel that the problems have been addressed. Some of these excuses are wildly unbelievable, but Zhu is supposed to be incredibly lucky.

What we don’t have here, it a trans narrative as Westerners would understand it. Zhu does not believe that she is a man. She has no great desire to be one, other than for the power that would be available to her as a man, but not as a woman. However, she desperately wants to be seen as a man, partly because that is her route to power, and partly because she believes that only by assuming her dead brother’s identity will she also inherit his good fortune and glorious future.

In doing so, Parker-Chan has located Zhu’s identity firmly within the cultural expectations of the time. Zhu lives in a world where emperors are believed to rule by the Mandate of Heaven. She believes that her dead brother was owed a glorious fate, and that if Heaven notices that she’s not really that lucky boy then she may no longer get to inherit that fate. This causes significant anxiety, and it is not until later in the book that she comes to understand that people make their own luck.

“Women can’t govern. The Son of Heaven rules the empire, as men govern cities, and fathers head the family. That’s the pattern of the world. Who dares break it by putting a substance in a place contrary to its nature? It’s in men’s nature to take risks and lead. Now women’s.”

It is also worth noting that, while Zhu’s eventual triumph would not have been remotely possible had she not taken the role of a man, many of her successes are portrayed as being a result of the fact that she is a woman. As such, she’s less stupid than the men around her, and she understands things that the men, who despise all feminine knowledge, will never see.

Throughout the book, Zhu is contrasted with other characters who challenge the strict gender hierarchy of mediaeval Chinese society in various ways. Ma Xiuying is the daughter of a highly competent rebel general who is betrayed and allowed to die by the paranoid rebel leader because he’s obviously too smart. Ma inherits her father’s brains, but none of the rebel leaders will listen to her because she’s a girl. Also she’s much too soft-hearted to be successful at politics.

Madame Zhang is ruthless enough to achieve success. She’s the brains behind the highly successful Zhang mercantile empire, but she rules from the shadows, allowing her useless oaf of a husband to take all the credit, and making considerable use of feminine wiles to keep the men around her under control. Zhu doesn’t interact with her much, but you get the impression that she’d despise Madame Zhang for ruling in a feminine way rather than asserting her own power.

The most significant foil for Zhu, however, is General Ouyang, a native Chinese eunuch who is the leader of the Yuan army. Ouyang’s family were massacred by the Mongols, and he escaped only by begging for his life and submitting to being made a eunuch. From there on he plots revenge.

While Ouyang is an excellent swordsman and a highly respected military leader – in extreme contrast to Zhu who is small, scrawny and reliant on tricks and luck for her victories – he is painfully aware that he will never be recognised for his abilities because he is not a man. Zhu, while she is seen as a man by the people around her, gets more praise and recognition that Ouyang does.

The basic message of the book is that most men are useless braggarts who get that way because, to quote John Scalzi, they play life on the lowest difficulty setting. If you never have to try, you never get good at anything. The most obvious example is the Yuan emperor’s heir who progresses to the finals of a tournament because all his opponents let him win, until Ouyang, who doesn’t care about offending the emperor, knocks him over in a matter of seconds.

A man could want anything the world offered and still have a chance, no matter how small, of achieving it. For all he had acknowledged her of being capable of desire, he hadn’t seen her reality: that she was a woman, trapped within the narrow confines of a woman’s life, and everything that could be wanted was all equally impossible.

So no, this is not a trans book. Parker-Chan signals as much by having the authorial voice always refer to Zhu with female pronouns, even though all the characters, even most of those in the know, use male pronouns for her. This is a book about women taking power. Because of the society they live in, they often have to do so in a variety of somewhat underhand ways, but take it they can, if they want it badly enough. Which can be as true now as it was then.

book cover
Title: She Who Became the Sun
By: Shelley Parker-Chan
Publisher: Pan Macmillan
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Cyber Mage

I loved Saad Z. Hossain’s novella, The Ghurkha and the Lord of Tuesday, and was naturally keen to see what he could do with a longer form. I’m pleased to say that Cyber Mage did not disappoint.

The mage of the title is one Marzuk Dotrozi Khan Rahman, and he is a teenage hacker. He lives with his parents (naturally) in the Tri-State Corporation, which is an incorporated region in what was once the city of Dhaka in Bangladesh. Marzuk is wealthy, thanks to his skill with computers, and in particular in the highly popular online game, Final Fantasy 9000. His parents don’t quite understand what he does, or how internationally famous he is. But Marzuk is about to have a rude awakening, because his family is not alone in not understanding the significance of the online world.

The trouble is that Marzuk is a teenage boy, and when he’s not online in his famous Goblin King persona he reacts pretty much like any other teenage boy does. Which is how he has ended up falling head over heels in love with Amina, who knows nothing about the online world. In order to win her heart, he might have to do the unthinkable and actually attend school.

As you can see, there is a comedy element to the book. Poor Marzuk doesn’t quite realise that his sedentary lifestyle hasn’t best equipped him for wooing the most beautiful girl in his age group, but this is not how Cyber Mage starts. There is something much more serious going on.

The book has a prologue, and in it an artificer called The Dragon is called upon by a powerful Djinn called Bahamut to make a magic sword and a golem. Bahamut’s purpose is unknown, but a former street thug called Djibrel is soon spreading fear in the less salubrious parts of Dhaka, having acquired a rather impressive sword and taken to assassinating members of the city’s underworld.

“What the hell are djinn?”
“Spirits, sir. Like fairies, but more litigious. Allegedly.”

Naturally these two storylines will come together at some point. When they do, the stakes will be much higher than a mere fantasy realm, and yet a significant proportion of the action will be played out inside Final Fantasy 9000. Hossain dedicates the book, “This one is for my gamers,” and I can see why.

There’s not a huge amount more than I can tell you without undue spoilers. If you like cyberpunk, you are going to love this book. If you don’t understand computer stuff then you will probably hate it in pretty much the same way that the jocks and their girlfriends at Marzuk’s school hate him.

Reality, unfortunately, is about more than just winning at sport, or whose selfies get the most likes, or even who has the most powerful character in an online fantasy world. Reality also involves swords and mecha-armour and drones and rogue AIs and the ability to call down a precise missile strike from orbit. Reality also involves Djinn, and there is a reason why they often resemble the gods of the ancient world. It is not the sort of thing that a 15-year-old boy is supposed to have to deal with, but just possibly the cunning and ruthlessness required to get to the top of the heap in Final Fantasy 9000 has equipped Marzuk with just the education he needs to survive.

And that would be all there was, save for the small matter of the world that Hossain has created. It is, in a way, a paradise.

This was universal healthcare all rolled into one. The PMD [a personal medical device that all humans were required to have implanted] had a secondary role producing beneficial nanotech, invisible spores released into the air, the duty of every human to keep up the good fight.

Forget the Matrix. Humans have no great value for their computing power. They have some value, however, as biological factories. Corporations need a large human population in order to produce the nanotech devices that they need to keep the Earth habitable. It is a lovely, if rather horrific, idea, and I want to read more of Hossain’s books to see what else he does with it.

And for the Djinn, of course. Always the Djinn.

book cover
Title: Cyber Mage
By: Saad Z Hossain
Publisher: The Unnamed Press
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The Faerie Queene

I should start by noting that this is by no means a full review. The Faerie Queene, by Edmund Spenser, is an epic poem written in Elizabethan English. It is one of the most studied works in the English language. Someone has probably written a book about the books that have been written about it. I couldn’t do a proper review without taking in at least some of the scholarship that has been produced about it over the intervening 400+ years since it was written.

However, I have been dipping into it recently because I need to understand something about Elizabethan attitudes to sexuality and gender for a talk I will be giving in February. What I found was interesting to me, and I thought that you might find it interesting too.

It doesn’t help, with regard to understanding the text, that the story is deeply allegorical on several levels. It may well be that the text is deliberately confusing because Spenser wanted to criticise Elizabeth for some things (most obviously her lack of an heir) whilst retaining his head.

Book 1 features a chap called the Red Cross Knight, who very obviously represents England but is also the Knight of Holiness. In his story he is required to choose between Una, his One True Love, and Duessa, an Evil Sorceress. Very obviously Una represents Protestantism while Duessa is Catholicism. Whereas Una is genuinely beautiful, Duessa’s beauty is revealed to be an illusion and she is “really” an ugly hag with dry, saggy breasts and deformed genitals. It reminds me a lot of the way that anti-trans extremists talk about the bodies of trans women. They too like to think of the people they hate, not just as wrong, but as duplicitous, ugly and deformed.

Of course there is another level to this. The rival women represent, not just rival churches, but actual women: Elizabeth and Mary Queen of Scots. It is probably just as well that Spenser died before Elizabeth. King James VI of Scotland was unimpressed with this unflattering portrait of his mother, and had the book banned.

The gender content ramps up in Book 3 when we are introduced to Britomart, the Knight of Chastity. Unlike the other knights in the story, she is a woman. And yet she strides through the narrative in full armour doing knightly things, including winning a tournament. While she is a warrior and a princess, she does not have a Gabrielle to be her companion and conscience. Instead she is in love with a male knight called Artegal whom she is destined to marry, because that is the fate of all women, right?

Those of you who have seen me talk about ancient robots may remember that Artegal has a companion, an Iron Man called Tony Talus. Artegal is the Knight of Justice, and Talus has a habit of dishing it out in a manner reminiscent of Judge Dredd.

Through Books 3 and 4, Britomart and Artegal are separated, as must befall lovers in epic poetry. Eventually Britomart discovers that her beloved has been defeated and captured, not by an enemy knight, but by Radigund, the Queen of the Amazons. Clearly a rescue is required.

My guess is that Spenser knew a bit about ancient Athens and was therefore aware that a) the Amazons almost succeeded in sacking the city; and b) that Athenian women were forced to stay at home spinning and weaving while their menfolk lounged around the Agora having Great Thoughts. Why do I think this? Because Radigund has captured many knights, has dressed them in women’s clothing, and has put them to work spinning and weaving. It is, I like to think, what Antiope would have done to Theseus and his thugs had her army been able to storm the Acropolis.

Unfortunately for the Amazons, they are not the heroes of this story. Britomart turns up, kills Radigund, and frees the knights, after having expressed due disgust that her man and his mates have allowed themselves to be so debased. Allowing themselves to be ruled by a woman, how could they?

Because in Elizabethan England there can be only one, Britomart takes a dim view of Amazons. Having become their Queen by virtue of conquest, she orders them to lay down their arms and get back to their spinning and weaving as God has ordained. The hypocrisy of her position seems entirely lost upon her.

In researching this I discovered that the Wikipedia entry (viewed Jan 30th) for The Faerie Queene is a hugely embarrassing example of male fragility. While the first four books have extensive synopses, Book V, which features the rescue, gets a single line which doesn’t mention the plot. Radigund is described, not as Queen of the Amazons, but as an “evil slave-mistress”. Someone who knows more about the book than I do needs to update that.

My main take-away from this is that gender politics was very much an issue in Elizabethan England, which is hardly surprising seeing that having a Queen is something that the country had a lot of trouble getting used to. And if you see any dudebros complaining that their fantasy fiction has been ruined by people adding kick-ass women warriors, you can blame Spenser. (Or Homer, but that’s another story.)

book cover
Title: The Faerie Queene
By: Edmund Spenser
Publisher: Penguin
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Elder Race

While I’m waiting for the sequel to Shards of Earth, I figured that I should catch up on what else Adrian Tchaikovsky is up to. Elder Race is a novella from Tor.com. It is edited by Lee Harris, which I mention because he placed 7th in nominations for both Editor Hugos last year and y’all need to get to and vote for him this year. The title suggests something from Lovecraft or Warhammer, but the story is anything but.

Things get off to a great start when Tchaikovsky dedicates the book to Gene Wolfe. The short story, “Trip, Trap” was apparently the inspiration for Tchaikovsky’s work. I’ve not read the Wolfe piece, but the similarities are very obvious. Here’s the set-up.

Lynesse Fourth Daughter is unlikely to ever inherit the throne of Lannesite, there being three other daughters ahead of her. This is just as well, because her mother, the Queen, despairs of her. Lynesse is far too interested in ancient tales of glory and adventure, and not interested enough in matters of economics, diplomacy and statecraft. She would make a terrible Queen.

Then comes news that a far-off province is being menaced by a terrible demon. For Lynesse this is finally a chance to prove her worth. She must emulate the deeds of her great-grandmother, Atresse Once Regent, and make her way to the tower of the great sorcerer, Nyrgoth Elder. If there is a demon to be fought, an adventuresome princess and an ageless sorcerer are surely the queendom’s only hope.

Nyr Illim Tevitch is not ageless, though he is very heavily augmented and spends much of his time in cryosleep. Nor is he a sorcerer, though he does have access to have technology far beyond the understanding of the people of Sophos 4. His actual job is anthropology. He and his colleagues were sent here to study how the society of the lost colonists had evolved in the long centuries that they were out of contact with Earth. They were, of course, firmly forbidden from interfering with the local culture.

However, contact with Earth became irregular and Nyr’s companions headed for home, leaving him to hold the fort. It has been a long time, and Nyr has been tempted. Most specifically by the beautiful and charismatic Queen Regent, Atresse, who came to beg his help against the evil sorcerer, Ulmoth, and his monsters. Ulmoth had found a cache of ancient technology and figured out how to command some of it. Given that this was already interference, Nyr agreed to ride out with Atresse and do battle with the enemy. Job done, he reluctantly went back to sleep again.

Now a new visitor has come to Nyr’s tower. She looks so much like the one true love of his life, and she wants his help on a similar quest. But this new threat sounds nothing like technology that Nyr understands. Should he agree to help her? Will be able to? Therein lies our story.

As you can see, it is very Gene Wolfe. However, Tchaikovsky makes the concept his own. I can’t imagine Wolfe ever writing something like this:

I’ve never cared about religion, aside from as a subject of study in others, but in my blackest pits of despair I always find God and call out for help, because only an omnipotent outside force could possibly move the stone that is pressing me down. And God walks away, single footsteps off into the collective unconscious. He doesn’t care. Why should he? I wouldn’t.

Elder Race is in part a science fiction mystery. What is the demon, and can Nyr defeat it? But it is also a story about a man who is very old, very alone, and starting to believe that he is the last of his race. He has also been persuaded to abandon the basic tenets of his profession. He could live for millennia more, if he chose to do so, but what does he have to live for?

Mashed together, these two themes make for a very satisfying short book. While Wolfe might not have approved of Nyr’s take on religion, I think he would have liked the solution that he comes up with for defeating the demon. I really enjoyed this book. I suspect that some of you will too.

book cover
Title: Elder Race
By: Adrian Tchaikovsky
Publisher: Tor.com
Purchase links:
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Amazon US
Bookshop.org UK
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Servant Mage

Why yes, this is another Tor.com novella, also edited by Lee Harris. This one is a 2022 release though, so it doesn’t count towards Lee’s Hugo eligibility.

Kate Elliott has made her reputation in the field of epic fantasy, and Servant Mage is an interesting examination of some of the more problematic elements of that genre. Our hero, Fellian, is a fire mage. As such she was placed in an asylum as a child and trained to control the demon inside her that gives her magical abilities. As an adult she has become an indentured servant, required to prove her worth to society.

That society is relatively new. Within living memory, the last Dragon Queen was overthrown by the armies of the Liberationists. The country is now ruled by the August Protector and by adherence to the Eight Virtues of Humility, Obedience, Gratitude, Fortitude, Patience, Thrift, Restraint and Industry. The August Protector is somewhat reminiscent of Oliver Cromwell, and rather more humourless. Meet the new gods, same as the old gods.

Early in the book, Fellian is kidnapped by a group of Monarchist rebels. They need a fire mage for a specific job. They know that her parents were executed by the Liberationists and they assume that she’ll be willing to help them. They do seem to know a lot about magic, and are horrified about how Fellian’s abilities have been hobbled in the asylum.

I should note here that Fellian is not entirely an admirable person. She’s obviously deeply suspicious of her new friends, but she’s also socially awkward. She keeps asking them rude questions, often at inopportune moments. It is possible that she’s supposed to be neurodivergent in some way, though there’s no mention of that and we are left to assume that she’s just clueless.

Anyway, there are Monarchists, and they have a job for Fellian, so she’ll get to be a Hero of the Revolution. Except that Monarchists are, well, Monarchists. They are in favour of Queens and Nobility and all that. They are, of course, what is so problematic about so much epic fantasy. Elliott knows this and does her best to work her way around the issues.

It is not an easy task, and I suspect that when it comes to reviews this book may fall between two stools. Fans of traditional fantasy will side with one faction, while those who despise monarchies will side with the other. I would have liked Elliott to go into the issues in a little more depth, but I am reminded that I could just read Laurie Marks’ Elemental Magic series instead. Having said that, I’m very pleased that Elliott is exploring these issues, and I’m looking forward to finding out what other people make of her attempt.

book cover
Title: Servant Mage
By: Kate Elliott
Publisher: Tor.com
Purchase links:
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Eternals

I suspect that it was a surprise to more people than me that the MCU team decided to make use of the Eternals, but they do have a track record of making unusual choices and making them work. This one has got a very mixed reception on Twitter, and I can see why, but I think this new direction for the MCU has promise.

The first thing to note is that I watched Eternals on the same day that the Hunga volcano erupted. Anyone who has watched the movie will know why that made the experience somewhat weird. Having watched many documentaries about Pompeii, I have to say that the sequences in the movie during the eruption were horribly unrealistic, but it is a comic book movie so I guess we should cut it a little slack.

The film also had a bunch of flash-back sequences in ancient Mesopotamia. That too was mostly terrible, though not as terrible as a Ray Harryhausen film. On the other hand, they did make Babylon look beautiful in full colour. The whole city was painted blue and gold to match the Ishtar Gate, which made me very happy.

There were no hanging gardens in Babylon. How many times do I have to remind people?

The representation of Tenochtitlan is even worse, and of course the whole Eternals concept comes from the deeply offensive “brown people couldn’t have invented civilisation on their own” trope from the “Ancient Aliens” crowd. However, the Marvel universe is so chock full of god-like super-power aliens (Asgard, anyone?) that it is hard to avoid putting them in.

But who are the Eternals anyway? They are a group of near-immortal super-powered beings created long ago by god-like creatures called Celestials to guard the universe against evil creatures called Deviants. A group of Eternals was sent to Earth millennia ago and they have given rise to various myths. They were created by Jack Kirby in 1976 when his stock was very high and he could do pretty much what he wanted. Integrating them into the rest of the Marvel universe has been problematic.

To start with, standard Marvel cosmology has it that the gods of both Asgard and Olympus are real people from alien worlds. Bringing in a group of people who are supposedly the truth behind the myths of mankind immediately upsets this. Then there’s the fact that Marvel already had a group of super-powered beings based on Greek goods, the Titans, of whom our old friend Thanos is one. The Titans, who live on Titan, were created by Jim Starlin and Mike Friedrich in 1973, and were later retconned to be a group of Eternals.

I’m assuming that Kevin Feige and his team wanted to try to make sense of this mess. Certainly they have taken a lot of liberties. Ajak, Makkari and Sprite have all been gender-flipped. Kingo is now Indian rather than Japanese. Sersi’s relationship is now with Ikaris rather than Makkari. Phastos is brand new, Black and gay. Only Thena seems relatively untouched. Neil Gaiman had a short run on an Eternals comic in 2006 (a 7-issue mini-series) and some ideas from this appear to have been used in the film, particularly those involving Sprite.

However, possibly the biggest change (and this is something of a spoiler, sorry) is that the Eternals are no longer natural beings. They are androids. This explains why, of all the various species in the galaxy, the Celestials create them to look like humans. Obviously they can be made to look like any type of creatures, and for Earth they were made to look human. It has other implications too, of which more later. And it makes very little sense when you remember that Thanos is an Eternal.

The basic plot of the film is about how the group of Eternals based on Earth discover the truth of their mission and have to decide what to do about it. At the start of the film we are encouraged to see the Eternals as superheroes, but by the end it is clear that they are not. They are soldiers, created and employed by the Celestials to carry out missions. Eternals is a film about colonisation, presented from the point of view of members of the colonising army who come to understand their true purpose.

As such, Eternals differs significantly from other superhero movies. The closest thing to it is Captain America: Civil War, where the Avengers fall out over the Sokovia Accords and start to fight each other. In Eternals the stakes are much higher.

Something else that Eternals tries to do is bring diversity to the MCU. In additional to Black and Indian characters, Sersi is Asian, Makkari is also Black and is played as deaf by a deaf actor. Phastos is gay. Gilgamesh, for some inexplicable reason, is also Asian. Ajak is Latina. Druig is Irish and Ikaris Scottish. Sprite and Thena are the only white American characters on the team.

The problem with this is, as we saw with Sense-8, Hollywood isn’t aways very good at doing representation. The stereotypes tend to bleed through. I don’t’ know what folks in India made of Kingo, who is portrayed as a Bollywood star, complete with a comedy valet whose job it is to film everything he does. Harish Patel is brilliant in the role of Karun the valet, but it did make me uncomfortable.

Eternals tries very hard to do interesting things. It is probably a bit long, and that’s in part due to how much has to get explained. It is also at its weakest when portraying the conflicts between the cast. Angelina Jolie is absolutely brilliant when doing Thena as Goddess of War, but looks a bit lost the rest of the time.

As we have come to expect, the MCU team has done a good job of integrating the film into the MCU project. They’ve also been a bit tongue in cheek at times. It turns out that The Blip and the Infinity War are crucial to the plot, even though none of the Eternals in the story know that Thanos is one of them. Sersi’s human boyfriend asks her if she is a wizard like Doctor Strange. And Phastos’s son thinks that Ikaris is Superman because he can fly and has laser vision.

What we should never forget about MCU material, however, is that it is all part of an unfolding plan. In many ways the most interesting things about Eternals are the things it teases. At the end of the film the team splits up. One group remains on Earth, while the others head off to look for more of their kind.

Remember that Thanos (or more properly Thanatos if you are stickler for correct Greek) is an Eternal? Well obviously he has a brother called Eros. Who, it turns out, is played by Harry Styles. This should be a lot of fun. (And hopefully Styles will bring some of his own gender and sexuality to the role.)

Also, remember that I mentioned that Sersi has a human boyfriend? Well, he’s played by Kit Harrington, and that should immediately give you a clue that he has a bigger role ahead of him. His name is Dane Whitman. If you have spent any time reading Marvel comics then you will know exactly who he is and, like me, you will be Very Excited to see him again. Flying horse and all.

What I don’t think the Eternals need is to be put in a massive, 3-cornered super team fight along with the Avengers and X-Men. But Marvel has managed to make ridiculous ideas work before so maybe Judgement Day won’t be quite that bad.

Oh, one more thing. Characters die in this film. It may look like some of them are Really, Most Sincerely Dead. However, remember that the Eternals are androids made by the Celestials. They can easily make copies. Which is just as well, because one of those who dies is way too good to waste.

The Witcher – Season 1

Yes, yes, I know, I am way behind. Too much good TV. But I’m catching up, at least on this one.

I should note at the start that I have only read one Witcher book. I’ve not been moved to read any others. That’s partly because it was a terrible translation. It may also be because I got to meet Andrzej Sapkowski a couple of times at conventions and I wasn’t greatly impressed. It looks like he hasn’t had much to do with the TV series, being listed as a creative consultant for the first episode but merely “inspired by” thereafter. If you are a writer, of course, taking a big pay check and running away fast is the best way to be involved in TV. I know from talking to Neil Gaiman how hard it is to exert creative control.

Anyway, this means that I came to the TV series with very few preconceptions. What I found was something that reminded me a lot of Dungeons & Dragons. The world of The Witcher is one in which dragons, vampires and djinn all exist side-by-side. It is a world full of mediaeval kingdoms in various states of historical development from around the 12th to 16th Centuries. The fashions, at least amongst the wizarding class, are even more varied. More on that later. As is so often the case, the societies portrayed seem to have no sound economic basis for existence, being altogether too full of nobles and soldiers, and not enough full of merchants and peasants.

It is also a world that has a school for wizards, and which was first published long before a certain other series. It is not a new idea. It was in Earthsea, after all, and I doubt that Le Guin made it up entirely by herself. This particular school seems to be a pretty tough place, and turns out some very interesting graduates, most of whom seem rather damaged in some way.

The reaction to the first season when it first aired was very mixed. A lot of this was due to the fact that there are three separate timelines for the three main characters: Geralt the Witcher; Yennefer the sorceress; and Princess Ciri. I spotted what was going on very quickly, but I suspect that people who are not used to this sort of thing in books may have had a lot more trouble.

I should note that the series includes a lot of gratuitously naked women. Television seems to like this sort of thing. Having met Sapkowski, I suspect that this may fairly reflect the books.

Like most people, I ended up very fond of Jaskier the Bard. He might be a bit of an arse, but the series needs someone who doesn’t take Geralt too seriously. Henry Cavill is pleasantly hunky in the lead role, but is rather too craggy and grumpy for my liking as far as men go. He should take more baths.

The most interesting thing about Geralt is that he’s a man created specifically to fight monsters (and I do mean “created” – Witchers are made, not born), and yet he hates killing them. Even the ones that are just beasts he thinks would leave people alone if only people left them alone. Humans, for the most part, are far more evil than the creatures he kills (yes, I do mean you, King Foltest).

Jodhi May as the foul-mouthed, sword-swinging Queen Calanthe is a lot of fun, but doesn’t have much of a major role and ends up dead far too quickly. In any case, I’m rather more fond of Yennefer. Yes, she’s a total basket case of a human being for most of the season, but she’s also the sort of girl who will go on a dragon hunt in a beautiful, fur-trimmed winter coat, and with a large tent that contains a wardrobe, dressing table and king-size bed. I’m assuming that the whole lot fits neatly into a bag of holding and she stuffs it into a pocket in her coat during the day. That is how a mighty sorceress should run her life, I think.

That brings us back to the clothes. The wizards are all very well dressed, and the styles are totally all over the place. Some look mediaeval, some early modern, and some are straight off a Hollywood red carpet. Coat aside, some of Yennefer’s fashion choices are a little suspect. However, Tissaia, the Rectoress of the wizard school, has a particular style that she sticks to throughout. I want all of her outfits. Every single one of them.

Anyway, plot wise the whole thing comes together very nicely in the final episode, and I was surprised to find myself heavily invested in knowing what happens next. You should get a review of season 2 next issue.

Editorial – January 2022

Is it 2022 already? Or are we just repeating 2020 until we get it right? I don’t know. I haven’t been out since before the holidays, save for a couple of days when I picked up a fortnight’s groceries from Tesco. Given the state of the pandemic in the UK, it is likely to be another month or so before it looks safe to risk it.

Thankfully I have plenty of books to read. However, this being January I have spent rather more time doing research for LGBT+ History Month talks than reading speculative fiction. Fortunately one book saw double duty.

February is one of the two months in the year when Salon Futura takes a back seat. I will be busy giving talks and can’t guarantee to have consumed enough material to make a full issue. However, things should be back on track in March. And with any luck the UK will be back on track too, because there are conventions due.

Issue #36

This is the December 2021 issue of Salon Futura. Here are the contents.


Cover: Dust Up at the Crater School

This issue’s cover is by Ben Baldwin and comes from the cover he did for Dust Up at the Crater School, the latest Chaz Brenchey novel from Wizard’s Tower Press. I really love this cover, especially as I’ve been effectively doing the art direction for the Crater School books. Ben has done a fabulous job of turning my idea into reality.

Here’s the full thing:

Beyond the Hallowed Sky

As most of you will know, there is a bid to bring Worldcon back to Glasgow in 2024. What better way to promote that, than have one of Scotland’s finest writers of science fiction launch a new trilogy that is centred on the building of a faster-than-light craft in a Clyde shipyard? This version of Spaceport Glasgow might not be as chrome-covered and busy as the painting that Jim Burns produced for us in 2005, but it is even more evocative of the setting.

This, then, is the new novel by Ken MacLeod: volume one in the Lightspeed Trilogy, which will presumably be completed by the time that we all assemble at the SECC, assuming that there is a Worldcon left by then. I look pointedly at friends in Chicago and Chengdu, and hope they will take better care of what has been entrusted to them than Washington did.

Before diving into the plot, we need to spend a bit of time on the near future that MacLeod has constructed for us in Beyond the Hallowed Sky. The year is 2070. Much has changed, but much stays the same. Climate change has been mostly brought under control; democracy has been restored to the USA; and the world is run mostly by three large power blocks. These are the Anglophone Alliance, which does not include Ireland and Scotland, but does include India; the European Union, whence Ireland and Scotland have fled; and the Co-ordinated States, which is an uneasy alliance of Russia, China and their dependents.

You will note that Africa and Latin America are not included in these groups, so little has changed there. Also MacLeod has assumed that Wales will go along meekly with whatever England wants, so I’m afraid that we’ll have to keep beating the Scots at rugby until their manners improve. A classic MacLeod twist is that the EU has undergone a Socialist revolution and is now some sort of technocratic single party state which is better than the Fascist Alliance and the Totalitarian Co-ord because the revolutionary cadres are so secret from each other that no one really has any control, allegedly.

Of particular significance is that the Union, as MacLeod calls it, is run by an Anticipatory Algorithmic Artificial Intelligence called Iskander. The other two power blocks have their AIs too. The Alliance has Smart Alec, presumably a descendant of Alexa; and the Co-ord has WeThink, developed by the Chinese. Iskander, however, is smarter than both of these, and is uncannily good at predicting that citizens need. Here he is helping out our hero with a small domestic problem.

He peered at the selection of Celtic and Romano-British reproductions, trying to recall what style of brooch Ellen usually wore or indeed if she ever did. ‘Uh, Iskander, what would Ellen like of this lot that she doesn’t already have?’

‘You’ve bought it now,’ replied Iskander.

By the way, one reason why this scene is set in a gift shop of a museum of ancient British culture is because the tomb of a Romano-British king has been found inside the mountain called Ben Arthur which is a mere hour’s drive from Glasgow. That’s another tourist destination for Worldcon-goers to take in, and another reason for me to give MacLeod a good talking to next time I see him.

So, what is the dramatis personae for this tale? First up we have Lakshmi Nayak, a mathematical genius who comes up with what seems to her to be a set of equations that would actually permit faster than light travel. Well, she doesn’t actually invent it. It is sent to her in a letter, in her own handwriting, from Kabul, where she has never been. Which suggests that at some point she travelled back in time to send it to herself. Which proves that FTL is possible. QED.

Warned off her researches by the English Secret Service, Nayak defects to the Union and Iskander finds her a job near Glasgow where she will be well placed to one day make the acquaintance of John Galt Grant, a marine engineer specialising in submarines, and a veteran of the Rising, the Union’s Socialist revolution. Grant isn’t Party himself, but there are Party members in the trade union hierarchy at the shipyard where he works.

Unbeknownst to either of them, the Alliance and Co-ord have had FTL for decades. It is a Deep State secret for both of them, and they have established a base on a nearby inhabitable planet they have named Apis. It has that name because, although most of the wildlife is forms of giant arthropod, the planet is also home to bees. Absolutely identical down to the last strand of DNA Earth bees.

One of the reasons why there is a planet inhabited with bees is a pun of such awful magnitude that I feel I owe MacLeod several glasses of fine whisky for having the audacity to perpetrate it.

On Apis we make the acquaintance of Emma Hazeldene, a biologist studying the bees. Shortly after we meet her, she is involved in deadly peril, because there are other things on Apis and they bear no relation to Earth life at all.

The final piece of the puzzle is James Bond Marcus Owen, a robot in the service of the English Secret Service. Being a robot, Owen is more than capable of outlandish feats of derring do, and there are parts of the book that are very clearly lifted from MacLeod’s script for the Bond movie based on his book.

Meanwhile there is a fine science fiction plot cooking away in the background, and eventually our heroes will have to put their newly built FTL ship to use. How that happens, I will leave you to find out for yourselves. It is a very enjoyable journey, and I for one can’t wait for the next book in the series.

book cover
Title: Beyond the Hallowed Sky
By: Ken MacLeod
Publisher: Orbit
Purchase links:
Amazon UK
Amazon US
Bookshop.org UK
See here for information about buying books though Salon Futura

Worldcon 79 – DisCon3

Oh, it is a Worldcon report, I’d better have some subheadings.

The Pandemic

Let’s start with the issue that had the most potential for disaster. Earlier this year, DisCon 3 was faced with a difficult decision. They could stick with their original August dates and have to run the convention entirely virtually, or switch to December and have an in-person event with some hybrid features. The membership voted for December. Little did they know that the dates they had chosen would be at the start of the omicron variant wave when infections were spreading like wildfire and governments were afraid to impose new restrictions because of the impeding Christmas holiday. DisCon 3 had the potential to be a massive super-spreader event. It was not, and the convention deserves massive praise for avoiding that.

Of course the convention was not entirely COVID-free. That would have been highly unlikely. In addition to attending the event, members would have been traveling by air, staying in various hotels around Washington DC, and going out to dinner, all of which are likely vectors of infection. According to DisCon3’s final report on December 29th, 30 members of the convention had tested positive at or since leaving the event (and there had been one false positive). This is out of 2,300 people on site. The rate of infection amongst convention goers was substantially lower than the rate of infection in the District of Columbia as a whole.

Substantial tracking information was provided for most of the positive cases, and on the basis of that it does not seem like any particular part of the convention was significantly associated with infections.

DisCon3 attributes its success in controlling infection to their vaccination and masking policy. Perhaps a government or two could take note.

Facilities

Another issue that DisCon3 had to deal with during the year was the bankruptcy of the Marriott Wardman Park, one of the two hotels at which the convention was due to be based. This left them working with substantially reduced capacity and presumably a need to re-allocate space to the rather smaller Omni. Had the convention been full size, which would probably have meant over 5000 members, this might have been a huge problem. Thankfully the pandemic reduced the pressure on space considerably. Every cloud, and all that.

Facilities were also the subject of one of the post-convention controversies. Mari Ness was faced, yet again, with a Worldcon that did not cater effectively for people in wheelchairs. She has written about her experiences at length here.

I hope that everyone has a great deal of sympathy with Mari over what she went through, but with my conrunner hat on I am wracking my brains to see what we can do. Facilities contracts are the biggest financial obligations that any Worldcon has. You need agreement in principle before you can start bidding, and the contracts are usually signed soon after the site selection results are announced. Once you have signed, you are locked into those facilities (unless they go bankrupt), and the only way you can change things is by negotiation, which usually means paying them more money, probably a lot more money.

The level of accessibility that Mari, and other wheelchair users, need is in excess of that required by the Americans with Disabilities Act. While the ADA is a wonderful thing in many ways, once a piece of legislation provides a standard that must be met, corporations will generally do the absolute minimum necessary to meet that standard and no more. So finding a fully accessible facility in the USA will be hard. Finding one in a country that does have something like the ADA is probably impossible.

Of course, Worldcon committees want to advertise themselves as accessible, because otherwise they will get yelled at on social media. So they do, and people like Mari get into trouble.

If we want to ensure that Worldcons are in fully accessible facilities then we need to have a well-qualified inspection team that can check sites during the bidding phase and disqualify them if they are not up to scratch. I’d like to say they could just warn the voters, but sadly accessibility is fairly low on the priority list of most site selection voters. But to have such an inspection team, WSFS would have to be an organisation with teeth, which it is not. Much more of that later.

What I will say is that there are many people, not just disabled people, who cannot attend Worldcon on a regular basis, but who would be happy to buy a reasonably priced virtual membership if attending virtually was possible and provided a satisfying experience. Which brings us to…

The Virtual Convention

I’m sorry to say that, despite having a virtual membership, I didn’t see much of the con live. That’s partly because a lot of it was very late in my time zone, and partly because I was very busy with work stuff as everyone panicked to get projects closed off before the midwinter break. A lot of the program will be available for viewing later, but because of that midwinter break it is taking much longer for DisCon3’s staff to get the video edited and put online. I understand that there was a lot of good programming and I’m hoping I will have time to see some of it.

What I did see were the three virtual panels that I was part of. Things were a little disorganised at the start of the con. My first panel was 25 minutes late starting because one of the hosts did not turn up and the other had received no training. When things didn’t work, she had to go for help. It appears that lack of training was a widespread problem for virtual program staff. All they got was a sheet of instructions. But they all learned on the job and by my third panel it was all very smooth.

DisCon3 did not attempt to do hybrid panels with some participants in the room and some virtual as World Fantasy had done. But they did allocate some in-person attendees to virtual panels, expecting them to log in from their hotel rooms (and possibly from a room provided on site). This seemed to cause a bit of confusion.

The impression that I get from other people is that the audio quality for virtual panels was fine, but the audio quality for in-person panels that were streamed live was not so good. I suspect that a lot of this was to do with the fact that people on virtual panels are very much aware that their microphone needs to be working well, whereas people on in-person panels tend to have very poor microphone technique. If you are going to do streamed panels, moderators need to try to get their panellists to behave, and audience questions should either be repeated by the moderator, or only taken from someone with a mic.

DisCon3 did have a Discord server. The program channels seemed very quiet. Most of the action took place in the fan table channel. I would be interested to see how many virtual members DisCon3 had, and how many joined the Discord, because I was expecting a lot more traffic.

The Physical Convention

I wasn’t there, obviously. The impression I got from reading other people’s con reports is that it went very well. Programming was interesting. There was a masquerade, and the Best In Show, a costume based on John Picacio’s “La Calavera”, looked amazing. I presume that there were a dealers’ room, art show and exhibits area, but I’ve not heard any feedback.

Of course, one of the reasons that I heard so little about the physical convention is that social media was busy yelling about other things. Before we get to that, we need to remind ourselves about the pre-con controversies.

To Lose One Con-Chair…

Early this year, DisCon3 issued policies suggesting that they would only permit a maximum of 4 people to be named as finalists for any work in the Hugo Awards. This was contrary to tradition, and there’s nothing in the WSFS Constitution to allow it. There was a huge fuss, which led to most of the convention’s WSFS Division staff resigning. Then one of the co-chairs resigned. The implication was that the new policy had been forced through by the co-chair against the wishes of the people required to implement it.

Then in June the list of Finalists was released. Once again email was sent to Finalists, this time applying a limit of 4 people (and their +1s) would be allowed at the pre-Hugo reception. Once again it appeared that staff involved with administering the Hugos had not been told, or had been overridden. More staff resigned. And then the remaining co-chair resigned too.

As I remarked on Twitter, to lose one co-chair may be regarded as a misfortune; to lose both looks like carelessness.

I have written about these events in greater detail here.

If two rounds of Hugo controversy were not enough, we also had pre-con site selection drama. There was a late addition to the 2023 contest from Winnipeg. This happened after the change of dates for the convention. When the date changed was announced, DisCon3 said that site selection was closed, and they would not be accepting any more bids. This seemed to be in contravention of the WSFS Constitution that says new bid filings can be accepted up to 180 days before the start of the convention. Eventually DisCon3 relented and allowed Winnipeg to file but, and this is the important point, they did so in such a way as to imply that this was entirely at their discretion, and that the WSFS Constitution was irrelevant.

So what we have here is two rounds of Hugo controversy, and one round of site selection controversy, all three of which arose from DisCon3 believing that they had the right to run things their way, and not follow the WSFS Constitution.

Site Selection At-Con

As the convention began, it immediately ran into controversy when Kevin did something very foolish: he posted the demographic breakdown of site selection votes from the mail-in ballot validation session. This was seen as an attempt by a member of the Winnipeg bid team to influence the vote, and Kevin got fired from his post as Business Meeting Chair.

We had what I think is the worst row we have had in a 26-year relationship. Had I been Chair of DisCon3, I would have fired him too. But we talked it out via email and we both learned a lot in the process.

To understand what went on you first need to know that SMOFdom has been nervous of ballot stuffing for decades. There has been an instance of suspected ballot stuffing in the past, where numerous Hugo ballots turned up with different names but in the same handwriting with the same pattern of votes and payment via consecutively numbered money orders. Thankfully no one has spent enough money on such a project to make a difference. The Puppies had real supporters.

It is also worth bearing in mind that previous non-US/UK Worldcons (Japan, Finland and Ireland) had campaigned by actively appealing to US fans. The Chinese mostly had not. Obviously COVID made it hard for them to get to in-person events, but they hadn’t had much presence at virtual conventions either. Instead they had relied on getting out the local vote.

It is traditional for Worldcons to give information about the demographic breakdown of membership in their progress reports. DisCon3 had not done this. I don’t know why.

Now imagine that you are bidding for a Worldcon in a two-way race. You’ve seen almost nothing of your opponent in the past year. You then arrive at the mail-in ballot validation meeting to discover that your opponent has a couple of thousand votes, filled in electronically, many unsigned and without a home address for the voter, and using email addresses that seem to have been generated automatically. Plus the way in which these people have paid is unusual.

There are, in fact, very good reasons why the Chinese fans’ ballots looked like this. I’ll get to that shortly. But hopefully you can imagine why the Winnipeg bid team was taken aback. The more I talked to Kevin, the more I came to understand that their concern was not just that the Chinese votes looked dubious, but that they felt that the management of DisCon3 had taken a decision not to challenge those votes for fear of bad publicity. Ballot stuffing is one thing but thinking that the convention administering the ballot had taken a decision to turn a blind eye to it is quite another.

Validating the Chinese Votes

What, then, about those Chinese votes? We need to remember that the internet is a very different place in China than in the rest of the world. Most importantly, PayPal and other Western payment systems are banned, and DisCon3 found itself unable to use the most popular Chinese payment platform. So the Chengdu bid had to get creative in helping its supporters pay to vote. Naturally that looks suspicious, but what else could they do?

Also the way in which we, in the Western world, validate our identity doesn’t work as well in China. Street addresses and not a thing in the same way as they are for us, and many Chinese, particularly the younger ones, do not have email addresses. They communicate through social media. So some people had to create email addresses in order to vote.

The number of votes is large – Chengdu had 1950 mail-in votes – but it is a city the size of Los Angeles, and its annual SF convention attracts 50,000 people. In contrast the populations of Finland and Ireland are small compared to Chengdu or LA. China as a whole has a population of 1.4 billion. It is not surprising that the country has a large population of SF fans, especially as their country has only just begun to be a serious player in the space race.

Another factor that suggests there was no conspiracy going on is the fact that 917 more site selection voting tokens were purchased than were actually used. This suggests that a lot of the Chinese fans could not work out how to fill in the ballot at all. If there was some sort of conspiracy in operation, surely they would have turned all of those additional tokens into votes.

As it turned out, however, a major reason why there were so may seemingly suspicious ballots was due to mistakes by DisCon3. The convention had tried to do the right thing in having the site selection ballot translated into French (for the Canadians) and Chinese. However, where the English language ballot had asked for an address, the Chinese one simply asked, “where do you live?” Not understanding what was being asked, many of the Chinese voters had simply responded “Chengdu” or “China”. Furthermore, the voting system included an autoreply which thanked each member for their vote and said that if there were any issues with the ballot then site selection staff would get back to them. None of the Chinese voters got this follow-up. Indeed, I have heard it suggested that the mail-in votes weren’t even looked at prior to the convention.

This put DisCon3’s position in an entirely different light. That is, they were not against strict validation of ballots because they were pro-Chinese; they were against it because it was their fault that so many of the Chinese voters had not filled in their ballots correctly. As is so often the case, when something appears to be the result of malfeasance, a cock-up is a much more likely explanation.

Ballot Fixing?

The internet was in high dudgeon for much of the convention over what people saw as attempts to “fix” the election by throwing out most of the Chinese votes. These were not quite as simple as they seemed. It has been standard practice for a long time for site selection to validate mail-in ballots and throw out any that they deemed dubious. Typically this happens to about a handful of votes, not to almost 2000.

The motion to the Business Meeting was supported by the head of site selection, Tim Szczesuil. I don’t believe that Tim was looking for an excuse to throw out the Chinese votes here. He was being a good bureaucrat in covering his back by going to his political masters and asking for clarification of his powers. The answer he got was that yes, he did have the power to disqualify suspect votes but, as Kevin pointed out at the meeting, this was entirely at his discretion. Therefore he also had the power to allow them if he deemed that there was a good reason for doing so. The Business Meeting basically said that it was up to him. It would not order him to do one thing or another, and equally both allowing and disallowing the ballots was legal.

Come the announcement of the result at the Business Meeting, Winnipeg conceded gracefully. Kevin moved the motion to destroy the ballots, showing that the result had been accepted and put beyond doubt.

A few people have commented that, given all the efforts to bar people from voting that the Republican party has been making over the past couple of years, American Worldcon attendees might be more antagonistic towards apparent suppression of the Chinese vote. However, most of the Americans who attend the BM are also old enough to remember when ballot fraud was suspected of helping George W Bush win the 2000 Presidential election. It goes both ways. The whole question of ballot fairness needs to be looked at.

Can We Fix Site Selection?

Since all of this blew up, people have been talking online about possible ways of making site selection fairer to people who do not share the Western obsession with street addresses. This is all well and good, but I think misses the point somewhat. Let’s start with a bit of history.

Way back in the mists of time, Worldcon took place entirely in person. You voted in person, and all of the ID that you needed was your membership badge. Then mail-in voting started, and there was a need to validate votes. However, this was done separately by the Hugo and Site Selection teams, partially because the ballots were separate, and partly because the electorate was different. SMOFs, being SMOFs, took rather more care over site selection because that’s the thing that really matters to them as con-runners.

However, this makes no sense to the voter. If you are a member of Worldcon in good standing then you should be able to vote in the Hugos, and if you pay the additional advance supporting membership then you should be entitled to vote in site selection. Why is any extra validation needed?

Part of this is historical accident, but part of it is also a result of a refusal of Worldcons to accept that they are part of WSFS. As an example, DisCon3 refused to use the required terminology of “advance supporting membership” on their site selection ballot, instead using the older “voting fee” term which suggests that the payment is simply required to vote, not buying you a membership of WSFS for the year of the Worldcon you are voting on.

It should not be beyond the wit and imagination of fandom to create a membership system that keeps track of each person’s membership status in WSFS and allows them to vote online without any further validation. If people want to insist on an email address, etc., then they should do so when you buy a membership, not take your money and then tell you that it wasn’t good enough.

The problem with this is privacy legislation; things like GDPR. There is already a lot of debate as to how much information individual Worldcons can share with each other, as each one is an independent organisation. The only practical solution is for WSFS membership (and the voting rights that go with it) to be handled centrally. But to do that WSFS would probably have to incorporate.

Is China Safe?

As soon as Chendgu was confirmed as the site for the 2023 Worldcon, the online conversation started to pivot from “those poor Chinese” to “what an awful place China is”. That’s Twitter for you. And presumably other social media venues too.

SMOFdom is mainly concerned that Chinese fandom, having flexed its muscles, will decide to win every Worldcon site selection from now on. As Colin Harris pointed out on File 770, that’s not much different from what US fandom has been doing for decades. More importantly, I think, they would have to want to. I have never yet met a Worldcon committee that, at their end of their convention, was eager to rush into running another one. Chengdu is probably using up the entire fannish resources of China. They would need a lot more people to want to run another Worldcon in a hurry.

China does have a terrible record on human rights. The proposed political boycotts of the upcoming Winter Olympics attest to that. On the other hand, the UK is happy to let refugees drown in the English Channel. The USA is still locking up people trying to cross the border from Mexico and has a major problem with murderous police. Australia has its own refugee issues and Canada has been allowing energy and timber companies to ride roughshod over the rights of native people. There are no easy answers here.

Some people have said that we should not hold Chinese fandom responsible for the sins of their government. That’s a fair point, though I have a sneaking suspicion that some of the people who are saying this are the same people who put poor Yasser Bhajit in real danger from his authoritarian government over his attempt to run a bid for Saudi Arabia.

Other people have complained that they are unable to visit China, either because they work for the US government and its contractors, or because they are of Chinese extraction and have spoken out against the Chinese government. Well, yes. But also Peter Watts and I are banned from entering the USA, and one of the co-chairs of the Chengdu bid was denied a visa to travel to DisCon3. Many people from Muslim countries also find it difficult to travel to the USA.

The short version is that the world is a very shitty place right now and finding a Worldcon site that is safe for everyone is very difficult. Worldcons should offer a high-quality virtual membership for those people who cannot travel. For those who can, my guess is that China won’t be much of an issue. A work colleague of mine spent a lot of time in China in the year before the pandemic. His husband was working there, and the two of them were able to do a lot of tourism together. There are trans women who are famous actors and TV presenters in China. You are unlikely to be arrested simply for being trans the way you would in Dubai. So I think that for most people China will be fine.

Finally, some people have asked whether the Chinese government will insist on having political oversight of the program. That’s mostly a problem for the Chinese fans, who are probably well used to navigating the local political landscape. But I will suggest that those people who are concerned should read a few Ken MacLeod novels, particularly his latest, to find out how state power actually works.

Selling the Hugos?

The final controversy that DisCon3 became embroiled in erupted on Saturday night, or Sunday morning for me. The hotel had experienced an electrical fire in the ballroom which delayed the Hugos for a couple of hours, so I had gone to bed. When I woke up, Twitter was aflame with the news that naming rights for the Hugos had been sold to a notorious arms manufacturer.

As best as I can make out, what happened was this: as part of the pre-Hugo reception, DisCon3 laid on a red carpet for the Finalists. This was a lovely idea. As is traditional, at the end of the red carpet there was a photo area. That was being run by a commercial sponsor, and the backdrop to the photo included the Hugo logo and the logo of the sponsor: Raytheon. Many of the finalists didn’t look carefully at the background, or didn’t know who Raytheon were, and ended up having their photos with that background appear online. Certainly none of were informed in advance that Raytheon would be involved as a sponsor, and the fact that we were not told suggests that DisCon3 knew there was potential for upset.

Historically it has been perfectly OK for a Worldcon to take sponsorship, especially to help with major events such as the Hugo Award ceremony which cost a lot of money to stage. Kevin and I did this on a small scale in Glasgow in 2005 when we ran a slide show to entertain people while they were waiting for the major events to start. In such situations it is always good form to make it clear that the sponsor is associated with the Worldcon and the event, not with the Hugos. There has only been one instance when the Hugos themselves were sponsored. That was in 1987 when a UK Worldcon took sponsorship from the Scientologists. Those of us with long memories still shudder at the thought.

This year’s sponsorship appeared to be very different. As evidenced by this article on Gizmodo, the impression people got was that Raytheon were the official sponsors of the Hugo Awards. Worse than that, because their involvement included photo ops with finalists, those finalists were being used to promote the sponsor.

At any time after this blew up, DisCon3 could have issued a statement to the effect that Raytheon was only sponsoring their convention, or their Hugo Award ceremony, and that they had not sold sponsorship of the Hugos. This might seem a technical distinction, but it is a very important one. They did not do so. The only logical explanation for that is that they had actually sold sponsorship of the Hugos and they could not then deny that without upsetting their sponsor.

They had no right to do that. The Hugos and their service marks are owned by WSFS, not by individual Worldcons. WSFS has a Mark Protection Committee responsible for protecting those service marks. It has a sub-committee called the Hugo Awards Marketing Committee. Kevin is on both committees, and I am on the latter. If sponsorship of the Hugos had been sold, DisCon3 should have sought our permission first.

As it is, we have had a lot of angry emails from people disgusted at “our” decision to accept sponsorship from an arms manufacturer and vowing to boycott the Hugos in future. There’s not a lot we can say.

When is an Apology not an Apology?

Of course, DisCon3 did issue an apology. The con chair, Mary Robinette Kowal, took full responsibility for the decision to accept sponsorship from Raytheon. She did so in part to protect those of her staff who had been involved in the decision. That’s admirable.

However, as part of my work in diversity and inclusion, one of the things I have to do is train people to make good apologies, which means not making apologies that sound like they have been written by a lawyer who is afraid you might be sued if you say too much.

The first rule of making an apology is to accept responsibility. Kowal did that, which is an excellent start. However, I also encourage classes to think about who the apology is made to, and what is being apologised for.

For me, the most notable thing about the DisCon3 apology is that it makes no mention of WSFS or the Hugo Awards. The apology is to the wider SF community for a poor choice of sponsor. The implication here is that DisCon3’s management believed, and still believe, that they had the right to sell sponsorship of the Hugo Awards.

Mr. WSFS, He Dead

There was a great thread on Twitter shortly after the con about how the anarchic structure of WSFS means that when things go wrong, no one is responsible. And if no one is responsible then nothing can ever be fixed. I’ll come back to that in a minute, but a corollary of no one being in charge of WSFS is that a power vacuum is created. Worldcon chairs are moving into that power vacuum. DisCon3 had many high-profile controversies, and most of them were a result in some way of DisCon3 and various chairs acting as if the WSFS Constitution and Worldcon traditions did not apply to them. In many ways they are right.

In theory WSFS can give a Worldcon a slap on the wrist for misbehaviour, but it can’t do that until the following year’s Worldcon, by which time almost everyone has moved on. The theory is that Worldcons will not do terrible things because the fannish public will be angry with them. DisCon3, however, has shown itself to be rather more concerned with what is said on social media than what SMOFdom thinks, and was apparently willing to ride roughshod over the WSFS Constitution if it felt that would go down better with the fannish public.

Much of the problem here is that WSFS has grown well beyond an organisation that can be governed by a town meeting. In theory, WSFS is a participatory democracy, in that everyone has the right to turn up to the Business Meeting and have their voice heard. In practice the BM is inaccessible for the vast majority of WSFS members. They may be busy elsewhere during the convention and unable to devote the time to attending. They may be put off by the complex rules and procedures that the BM uses, which may facilitate debate but can also be used by BM veterans to frustrate newbies who are not as well versed in the process. And of course the BM would be a disaster if it were made virtual. Imagine having a Zoom meeting with several hundred people all wanting to speak.

More to the point, most of fandom does not want a participatory democracy. They want a representative democracy. They want people who will be in charge and take responsibility; people to whom they can complain when things go wrong, and crucially who have the power to fix things without it taking several years of debate in the Business Meeting.

I am firmly of the opinion that if fandom wants the problems with Worldcon and the Hugos fixed, then it must turn WSFS into a proper membership organisation with an elected leadership. Because if it doesn’t then Worldcon chairs will continue to take the power that no one else holds; and will continue to use it. And no one will be able to hold them to account because once their Worldcon is over they can just walk away.

Your choice, fandom: take control, or give it up forever.

Updates

Since this was published I have made more inquiries about who knew about the Hugo sponsorship deal. As far as I can make out, no one involved with Hugo Administration for DisCon3, including the head of WSFS Division, was consulted in advance about the Raytheon deal.

Also since this was published, Robbie Bourget, who was part of the Winnipeg bid, posted this on File 770:

The Site Selection head had already stated that he planned to disqualify over 1500 votes before anyone on the Winnipeg team even saw the votes in any way, shape or form. Then the Chair of the convention told him to reverse that decision. At that point, he asked Winnipeg to submit the motion that was brought to the Business Meeting.

That put the motion to the Business Meeting in a very different light. I think it would have been wrong for Tim to disallow all of those Chinese ballots. I also think it was very foolish of Winnipeg to sign their names to someone else’s motion. And regardless of the rights or wrongs of the issue, I am deeply distrubed at the idea of the chair of the Worldcon overturning the decision of the site selection team. There’s a reason why Hugo Administration teams are taken out of the chain of command. I’d like to see some confirmation of what Robbie said, one way or the other.

The Anthropocene Unconscious

Academic writing, particularly in literary criticism, has a tendency to be meticulously argued, strewn with references to established Theory and Authority, and to use jargon in the manner of Athena’s shield. Anyone gazing upon it is so stupefied with confusion and boredom that they are incapable of responding.

Not so, The Anthropocene Unconscious by Mark Bould. This book is short, snappy, very snarky, and for the most part an entertaining read. It is also what academics call a “provocation”.

It all goes back to 2016 when Amitav Ghosh published a book titled The Great Derangement: Climate Change and the Unthinkable. In it, Ghosh argues that modern literature had singularly failed to confront the issue of climate change. By “literature” he of course means that subset of fiction that pointedly excludes science fiction and fantasy, because we’ve been writing about climate change at least since George Turner’s classic The Sea and Summer (1989), and probably a lot longer. Bould is not interested in that argument. Rather he advances the idea that, subconsciously, all of modern literature (by which he means not only all fiction, but also all comics, TV and movies) is about climate change.

That might strike you as a rather extreme claim, which is why I have described this book as a “provocation”. I don’t think Bould expects there to be no counter examples. Somewhere in the world there is doubtless someone who has produced literature that doesn’t share this underlying obsession. The point is that fears of climate change affect us all, and creep into far more of our fiction than we might like to admit.

Before Bould can make this argument, he first has to deal with the dreary literalism and obsession with authorial intent exhibited by (former?) philosophers of literature such as K*thleen St*ck. Bould wastes very little time on this because, unlike philosophers, literary critics are largely agreed that authorial intent is a pointless dead end. He comments:

But critics are not bathyspheric explorers plumbing textual depths. At no point do we even need to break the surface. The clamour of the unspoken is everywhere. Thus, it is beyond quixotic to imagine that criticism is concerned with uncovering the text’s single true meaning. Because there is no such thing. There is no rabbit waiting to be pulled out of the hat. There is probably not even a hat.

From here Bould sets of on a fantastic journey though fiction, ranging from zombie movies and the Sharknado series to Ducks, Newburyport and Mansfield Park, on to Ghosh’s own fiction, sweeping through the Fast & Furious franchise, and idling a while with a number of arthouse movies that a lightweight like me has never heard of. Bould is primarily film critic and I bow to his expertise.

I should note that Bould is the sort of person who is not afraid to quote Karl Marx in his writing. This does not lead to stodgy, revolutionary prose. Rather it produces snarky, pithy little asides like this:

Like capitalism, the novel depends on producing – and by definition not counting – externalities.

He also produces some fabulous comparisons. Talking about Mauro Herce’s 2015 film, Dead Slow Ahead, Bould writes:

Below, a pitch-black sea undulates; above, the sky, which should be full of stars, is deep reddish brown, filthy with light pollution. In between, a fairytale Manhattan, a skyline of yellow light, garish and unsavoury, burns against the night. It looks just like Blade Runner’s Los Angeles, Ridley Scott’s science-fictionalised recollection of the Port Talbot steelworks.

Which will probably mean nothing to you if you have not driven past Port Talbot on the M4 on your way to Swansea, Llanelli and points further west, but will strike an instant chord if you have.

The purpose of these quotes is to show you that The Anthropocene Unconscious is a book as much in love with language as it is in love with the subjects of its inquiry. It is, in short, a joy to read, which is all too rare in academic literature. You might find some of the material about obscure films a little dull simply because you haven’t seen any of the works that Bould is writing about, but other than that I wholeheartedly recommend it.

book cover
Title: The Anthropocene Unconscious
By: Mark Bould
Publisher: Verso
Purchase links:
Amazon UK
Amazon US
Bookshop.org UK
See here for information about buying books though Salon Futura

The Green Knight

It took me rather longer than expected to get around to watching this film. So long, in fact, that I decided to save it for Solstice because that seemed a very appropriate time for it. Because I did so, I had the opportunity to see other people’s opinions come in on Twitter. I avoided actual reviews, but there seemed to be a lot of disappointment involved, especially in view of the huge amount of anticipation that the film generated. Clearly this was going to be interesting.

I suspect that I went into the film with rather less in the way of expectation, because having seen the trailer I was expecting Art rather than Story. I was right. This is a film which I suspect will very much reward being seen in a cinema rather than merely on a large TV screen as I saw it. Ireland looks absolutely beautiful, and there is a certain amount of poetic appropriateness in the fact that Cahir Castle, which is the setting for Camelot, was also used in John Boorman’s Excalibur.

Somewhat less successful was the choice of Charleville Forest Castle as the location for Bertilak’s castle. It was built is 1798 and is described as being in the Gothic Revival style. Parts of it do look mediaeval, but others definitely do not, particularly the ceilings. The fact that director, David Lowery, elected to show them, rather than avoid them in shots or CGI them out, suggests that he wasn’t that worried (and quite possibly that he had a fairly small budget).

However, as I hinted earlier, I suspect that a good deal of the disappointment with the film comes from the story. Much is left to the viewer to figure out, and if you are not familiar with the original story that might be quite difficult.

To start with, few characters are actually named. Gawain is Gawain, but Arthur and Guinevere are merely the King and Queen. Morgan is merely Gawain’s mother, and the sister of the King, and so on. There is a round table, so it is pretty obvious what is going on, and I’m not sure what was supposed to be gained by the coyness.

Also odd is the choice of the same actor to play both Bertilak’s wife and Gawain’s sex worker lover, but different actors are used to play Bertilak and The Green Knight, who are the same person in the original story. Part of this might be because Bertilak, as portrayed, is older and a little round in the belly, whereas The Green Knight is seriously buff. But I don’t want to cast aspersions on Joel Edgerton’s physique, and there is at least one instance where camera (and maybe audio) tricks are used to imply that Bertilak and The Green Knight are one and the same.

By the way, you might be surprised by the sex worker comment, but apparently the baths scene gives it away. There are people who know what a medieval brothel would look like, and I bow to their expertise. Listen to Eleanor Janega people, for she is smart and amusing. Of course, this does mean that someone involved with the movie also knows what a mediaeval brothel would look like.

Somewhat less odd is the use of Saint Winifred who is a real Welsh saint who does have her head cut off, so her story fits quite well with that of Gawain. The original story mentions that Gawain travels to Holyhead, and Winifred has connections to that part of the world. She died in Conwy, and her shrine is in Holywell, also on the North Wales coast. It was rather strange to see Karli Morgenthau playing the role of an innocent teenage saint, but’s not the film’s fault.

The story of The Green Knight, the film, is clearly still a morality tale in which the headstrong and selfish Gawain learns to become a better person, just as in Sir Gawain and the Green Knight, the poem. However, because so little is explained, viewers might come away confused. What, for example, is Morgan’s motive in all this? It isn’t even clear that Gawain escapes with his head still attached at the end. Some measure of the confusion can be gauged from the fact that Lowery did an interview with Vanity Fair in which he explained what he thought was happening in his film. Even that doesn’t explain the fox. Or the photograph.

Weirdly, the one aspect that Lowery did think needed explaining is the consequences for Gawain if he were to cheat and not face The Green Knight. That’s what the whole flash forward thing is about. But I didn’t need it, and I suspect that most seasoned fantasy readers didn’t need it either.

What we are left with is a beautiful-looking film that does some intriguing things, but also a bunch of ambitious things that don’t quite come off. Which is a shame. But also means that there is room for someone else to do it better. Though I doubt that anyone will ever do it more prettily.

Supergirl – Season 7

That’s it, then. No more Supergirl to look forward to, apart from possible guest appearances in other Arrowverse shows. I’ll miss this bunch.

This will be a bit spoilerific, so don’t read if you want to watch the series without knowing what happens.

Season 6 was long (20 episodes) and was always planned to be a finale of sorts. There’s no single theme, but Lex Luthor is present for much of it. Along the way, there’s a lot more going on, because everyone needs their story wrapped up.

The rough plot line is as follows. Lex manages to wheedle his way out of a court case, then traps Kara in the Phantom Zone. Several episodes are spent rescuing her. Then she has a few run-ins with the city authorities, before spending the rest of the season fighting Nxylgsptinz (Nxyly), an imp princess from the Fifth Dimension. Lex makes a return for the final few episodes.

There’s not much of a wrap for J’onn J’onzz, but early on we get an opportunity for him to deepen his relationship with M’gann, the White Martian woman. There is promise that they will have long and happy lives together.

Lena, who is only an adopted Luthor, finds out who her real mother is, and finally frees herself from her toxic mother and brother.

Nia starts to gain better control of her dream powers, and she and Brainy get back together again. They are very cute together. In a brief glimpse of the future, we see Nia opening the “Dreamer LGBT Center”.
Alex Danvers and Kelly Olsen get serious about each other and decide to adopt a little girl. Kelly also gets a chance to be more than just a psychologist. This is part of a sequence of episodes focusing on the Black Lives Matter campaign, which obviously the show supports.

The two-part finale had guest appearances by James Olsen, Mon-El and Winn Schott, because you have to get the band back together. There’s also a brief appearance by Calista Flockhart in fine form as always as Cat Grant. (We get a Cat Grant origin story in an earlier episode.)

While the first part of the finale is all about fighting Lex and Nyxly, that gets wrapped up very quickly in the final episode so that we can concentrate on Alex and Kelly’s wedding. Yes, that’s a top-billed superhero TV show that centre’s its finale on an inter-racial lesbian wedding. I gather that the dudebros were furious.

The wedding also gives Melissa Benoist another opportunity to flex her singing talents. Kara and Winn perform the Pat Benatar ballad, “We Belong”, for the happy couple. Benoist doesn’t have Benatar’s vocal power (very few people do), but she does a creditable job.

And then it is time for a wrap for Kara herself. One of the ongoing themes of the series has been her drop in confidence in her place in the world. Being a hero has become harder and harder as she has had to deal with threats that you can’t beat by punching them, and as fighting actual super threats has caused more and more damage to National City. Also the escalating threats have made it harder for her to keep up her job as a reporter.

This is where Cat Grant comes in. She gives Kara a good lecture about needing to be true to herself and stop hiding who she is. Those stupid glasses don’t fool anyone now, do they? Isn’t it time that Kara Danvers came out?

In part, of course, this is a neat break with the silliness of 20th Century superhero stories. The days of the secret identity have been numbered ever since Tony Stark stood up at that press conference and declared, “I am Iron Man!”. But there’s more to it. The Supergirl series has always been about civil rights and opposing far-right politics. Alex and Kelly have been doing their bit for lesbians, and for the African-American community. Nia has done her bit for trans people. Kara, of course, has been resolutely straight and white throughout.

And yet, here in the final episode of the show, we see Kara too accepting that she cannot hide who she is. True happiness can only come through honesty and accepting who you are. That may have costs but pretending to be someone you are not is worse. There’s a limit to what the show can do with such a high-profile character, but they could choose to end by showing that everyone can benefit from a little coming out. I was impressed.

So yes, I will miss these folks. They have been a beacon of sanity and goodness in a world that is going to Hell in a handbasket. It wasn’t just Alex and Kelly who made a family in that season. The entire team made a point of being a family for each other. They are a family for fans too.

Let’s end with a little Pat Benatar, to experience the full glory of that song.

The Memory Theater

Karen Tidbeck novels are not ordinary things. They ooze strangeness; they twist and morph just when you thought you had a handle on the plot; they disappear off in directions that you didn’t know could exist. The Memory Theater is no exception.

The book takes place in the world of The Gardens, the mysterious, timeless fantasy of a world that we first saw through the stories “August Prima” and “Aunts” in the collection, Jagganath. The Gardens are ruled over by the Lady Mnemosyne who is named after the Greek goddess of memory. But that’s a joke, because there is no memory in The Gardens. There is no time either. The Lords and Ladies who inhabit that tiny bubble world never remember, never grow old, but wake up each morning fresh to face a new, perfectly boring and unchanging day. Boring, unless they find something new to do, which they will probably have forgotten by the next day.

We know the Gardens are connected to other worlds, because occasionally children find their way there, as in in a fairy tale. And as in a fairy tale, they are enslaved by the ageless monsters of that unearthly realm. Someone has to provide the sport, after all.

Lord Walpurgis once had an idea. He thought it would be nice to have a child of his own. He did a deal with a traveller called Ghorbi to make him a daughter. But the Lords and Ladies of The Gardens have the attention spans of mayflies and soon Dora found herself abandoned. Not being human, she could not be enslaved like the lost children, but she could do little to help them. She made a special friend of Thistle, the page to Lady Augusta, and together they plotted escape.

Ah, Augusta, what a character she is. Many characters in fantasy novels are Evil, but they generally have mad ambition too. Augusta is vain, selfish, lazy, and limitlessly cruel, but has no ambition beyond being constantly indulged. She is such an awful person that she could probably be elected leader of the Conservative Party if she could be bothered to make the effort. But she wouldn’t. She would just demand that they bow down to her and assume that she would be obeyed.

Of course, Dora and Thistle do escape. There would not be much of a plot if they didn’t. Each day in The Gardens is much the same as the next, so for there to be a story they must leave. Along the way they encounter a troop of travelling players who live in a large, wheeled house. Their company is called The Memory Theater, hence the title of the book. They preserve stories from the worlds that they have visited. They are, if you like, a travelling book of fairy tales.

Augusta also travels. She ends up in rural Sweden during World War Two. It is a cold and dreary place, and people do not treat her with the customary respect and obeisance. This does not go down well.

And there you have a story in search of a conclusion. It will get there by ways that you did not expect, via strange byways that you may never find again.

Gary Wolfe has likened Tidbeck’s fiction to Heinrich Kley’s paintings. Tidbeck has apparently referenced John Bauer. I prefer to think that Tidbeck writes her books by shuffling a collection of paintings by Leonora Carrington and then makes up the way in which they are connected.

If you walk far enough in the ways between worlds then perhaps all of these things are true. Regardless, Tidbeck is one of the finest writers of surreal fantasy about. They deserve more recognition. Somewhere, I am sure, they are a legend, and The Memory Theater has a play about them.

book cover
Title: The Memory Theater
By: Karin Tidbeck
Publisher: Pantheon Books
Purchase links:
Amazon UK
Amazon US
See here for information about buying books though Salon Futura
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