“Feed Me the Bones of Our Saints” is as burning as Russ’ own anger.
I’ll have that in gold.
I also sold the audio rights for it to a podcast (no contract yet, so no name), so it’ll be listenable in the near future. It works well aloud — it had such a strong voice as I wrote it — so I look forward to this.
Two big things happened this year:
I spent almost 9 months of the year working on my MA in Ancient History, for which I got a Distinction. I learned a lot about the Ancient Near-East, about textual traditions of Alexander III of Macedon, I learned a little bit of Sumerian, I read up on queer theory to write an essay about personal reception of Psáppho that I want to adapt for online consumption, I wrote about Neo-Assyrian elite women’s role in the textile industry and got a 77 (a good mark in the UK system), I developed my research interests into the textual traditions of Alexander a lot further – into narrative maps and marginalised subversions – and realised my inter-disciplinary interests are going to make my future academic path very complicated. I still want to take that path.
The release of my debut anthology ALIENS: RECENT ENCOUNTERS, which was listed on io9′s Best Science Fiction and Fantasy Books of 2013. I’m really proud of it and I love its table of contents (which can be seen here). I’m happy that others agree: Lavie Tidhar said of it recently that it’s “a really strong, diverse list of authors and stories. And I love what she said recently: ‘Editing cannot be a passive act.’ It’s so true!” I continue to believe that very strongly.
I’m really excited about following it up in 2014 with THE MAMMOTH BOOK OF SF STORIES BY WOMEN. I’m working on the table of contents at the moment – it’s going to be amazing.
With my own short stories, I had a good year.
I had a story reprinted in a Year’s Best for the first time: “Feed Me the Bones of Our Saints” in Heiresses of Russ 2013: The Year’s Best Lesbian Speculative Fiction, edited by Steve Berman & Tenea D Johnson. The Publishers Weekly review of the anthology described my story as possessing a “stark ferocity”. The same story was translated into Bulgarian by Petar Toushkov and published in Сборище на трубадури. It can be read here. It also came in third place in the Strange Horizons readers’ poll for Best Story. It remains one of my favourite stories that I’ve ever written, so I’m pleased it got more readers in 2013.
Three new stories appeared online:
“Found”, about non-binary gender, spice trade and the deteriorating habitability of asteroids in another solar system, was in Clarkesworld Magazine. A reading group at NASA read the story, with an interest in the questions raised about asteroid habitation challenges and problems in our solar system. NASA. N A S A. A friend who works on the Cassini mission said very lovely things about the story. I remain awed that my science fiction has, in a small way, touched the people who work on the science I so admire.
“Singing like a Hundred Dug-up Bones”, about singing and memory on an island inspired by the Orkneys, was in Beneath Ceaseless Skies. Lois Tilton called it “profoundly misandristic”. I remain LOL.
“Thin Slats of Metal, Painted”, about bird-people trapped on a shop’s shutters, was in Crossed Genres‘ Boundaries issue.
Five new stories appeared in print:
I published two Tuvicen stories, set in a far-future solar system among a cultural group of lower-tech people on a terraformed planet. (Incidentally, they’re set about 200 to 300 years after the events of “Found”). “Unwritten in Green” was in Futuredaze: An Anthology of YA Science Fiction, edited by Hannah Strom-Martin & Erin Underwood. “Under Falna’s Mask” was in The Other Half of the Sky, edited by Athena Andreadis & Kay Holt. I particularly enjoyed starting to develop the culture’s non-binary gender in “Under Falna’s Mask”, something I talked a bit about here and looked at in my poem “Tadi”, published this year in Strange Horizons, and will develop further in a planned novelette about Tadi and gender in a non-performative culture.
“Out They Come”, a fox story (vomiting up foxes! revenge!), was in Shimmer‘s Issue 17.
“Selected Sources for the Babylonian Plague of the Dead (572-571 BCE)”, another fox story (zombies! women corresponding and solving the zombie problem!) inspired by an Akkadian tablet about a fox falling into a well, was in Zombies: Shambling Through the Ages, edited by Steve Berman.
“Gerayis (or Gedayis)”, a wikipedia article about Tomyris’ grand-daughter, was in Missing Links and Secret Histories, edited by L Timmel Duchamp.
I had some new poems published too:
“Tadi” in Strange Horizons.
“Always Packing” in Through the Gate.
“The Bone Woman” in Flying Higher: An Anthology of Superhero Poetry, edited by Shira Lipkin & Michael D Thomas.
I also participated in an Exquisite Corpse with KJ Bishop, Sofia Samatar and Katie Lavers.
None of the poems published this year belong to the ongoing project of poetry about ancient and prehistoric archaeological finds, but I’ll have new poems in that project in Stone Telling, Strange Horizons and Mythic Delirium in 2014.
I’ll have new stories in Strange Horizons (a queer historical story that’s very important to me), Beneath Ceaseless Skies (a woman general in a desert, outdoing her world’s Alexander) and Gigantic Worlds, edited by Lincoln Michel, Nadxieli Nieto & Michael Barron (taxidermied foxes IN SPAAACE), as well as a reprint in new zine Lackington’s. News on more stories is hopefully to come.
I’m pleased with 2013. I hope to do even more (on the SFF front) in 2014.
There’s a fun meme on Facebook at the moment: list the 10 books that have most influenced you, the 10 that first come to mind not the list of 10 you might carefully craft to show the world. I’ve variously seen it as the books that specifically influenced you as a writer, or more generally influenced you as a person. My list is a mixture of both approaches.
10 Books That Influenced Me
1. Enid Blyton – The Famous Five
The whole series, not just the first book. It was my first(?) introduction to the idea that a girl could want people to think she’s a boy, which had a huge impact on me in a wide variety of ways. I’ll summarise it as: I am called Alex, not Alexandra, because of George.
2. Lylat Wars (for the Nintendo 64)
It’s not a book, but rules are for breaking. I can’t talk about influences on me as a writer or a person without mentioning this game! (Called Starfox 64 in non-European territories.) It’s what started me writing, before I ever saw the word “fanfiction” – I discovered the internet a year or two later and was delighted to find other people writing stories about Starfox. It’s key to my love of science fiction. It’s also one of the fox-related narratives I adored as a child, which has had obvious consequences for my fiction and poetry.
Then, in my teens, I started to lose interest in fantasy or science fiction. I’d go to that section in the bookstore and be utterly bored by everything I noticed, which was dominated by things like Robert Jordan and Terry Goodkind and other names. The backs of their books bored me so much. (I never even liked Tolkien! That kind of fantasy has never been my idea of fun, and that’s all I was seeing.)
Around 2006, I stumbled across some interesting writers.
3. Andreas Eschbach – The Carpet Makers
4. KJ Bishop – The Etched City
5. Catherynne M Valente – Yume no Hon
6. China Miéville – The Scar
7. Nalo Hopkinson – Midnight Robber
Thanks to them, I started writing fantasy and science fiction again. It could be weird, beautiful, thought-provoking; it could be about things beyond the Tolkien-style fantasies or Star Wars.
I also expanded my limited literary reading into work that ignores the literary/SFF boundary that a lot of people are fond of, that stands with its feet in many genres. Of these books, the most memorable I’ve read remains the following, but there are others I could name.
8. Milorad Pavić – Dictionary of the Khazars
Aside from Anne McCaffrey, I’ve read very little older science fiction and fantasy, which included Le Guin until fairly recently.
9. Ursula K Le Guin – The Wild Girls
10. Ursula K Le Guin – Always Coming Home
The Wild Girls is, of course, quite a recent work of hers, but it prompted me to read more. It is such a perfect, beautiful, angry, cutting story. Meanwhile, Always Coming Home is the construction of a huge body of cultural output from a group of people in a post-apocalyptic near-future: poetry, plays, prose, histories. It’s affected what I want to do with the Tuvicen stories and poems I’m gradually assembling.
Directed by an email, I logged into student records late last week to find the following:
A sequence of happy gifs would not do it justice. I am happy beyond gifs. I worked very hard and, after seeing the preliminary mark for my dissertation – a merit – I feared I would not get a distinction. My dissertation is indeed a merit (a good one), but all three of my coursework modules are distinctions. COURSEWORK VICTOR.
I got an average of 76 for Alexander’s Afterlife, which makes me want to see the essay-by-essay breakdown. (Fellow UK students will know why that’s quite good.) I got a 70 for S&M – no, not that S&M, calm down, it stands for Sources & Methods – which means my personal reception of Psáppho essay must have got quite a good distinction, or that the one I wrote in two days and finished at 4am on the extended deadline was not as terrible as I thought at 4am. Or both. (I never had the courage to look at the preliminary mark for that one. I am not a good academic writer at speed, but I am perhaps not a terrible one.) I don’t have an average for the Ancient Near East module yet because it was done at UCL, not KCL, but my lowest preliminary mark was 68 and my highest 77 (for the essay on elite Neo-Assyrian women’s roles in the textile industry, whee!), so it’s going to be around 73 or so?
I did well.
I will raise every glass of Champagne/sparkling wine over the holiday period to this distinction.
I am so pleased to say that my story “Because I Prayed This Word” has sold to Strange Horizons, to be published in early 2014.
“Because I Prayed This Word” takes its title from Anne Carson’s translation of Psáppho’s fragment 22. The word is: I want. It is about (reception of) Psáppho and much more. I wanted to write about some texts I read while working on my MA, for an essay about personal reception of Psáppho and for personal interest. There is so much literature about love between women in history! Try to define that love, try to determine if genitals ever touched, and you completely miss the point. So much love! I’ll write a longer post about its sources (with bibliography) when the story is out, but for now: so happy.
Another reason to be happy is that it will appear for free online: more accessible. At the amazing “Better History = Better Fantasy: Writing Outside the Binary” panel I ran at Nine Worlds, panellist Hel Gurney talked about the importance of making queer history accessible, when so much of it is locked away in journals and expensive books – or un-researched. (Like Hel, I really need to write up thoughts from that panel!) I hope that “Because I Prayed This Word” introduces people to literatures and women they might not otherwise have known.
This evening on Twitter there was a lengthy discussion about diversity in SFF magazines, the SFWA raise of the minimum qualifying payment to 6c/word, percentages of diversity, editorial practice and more! The people involved included Sabrina Vourvoulias, Silvia Moreno-Garcia, Sean Wallace and me. I assembled a storify of it because it got rather long and a lot of people wanted to be able to read it.
This is a relevant time for me to link to a post I wrote about editing Aliens: Recent Encounters, where I said the following:
This cannot be a passive act. An editor cannot sit at their desk and say “Oh, I hope I get lots of diverse stories!” and wait for them to appear. Not all authors see calls for submissions, not all authors think their stories are appropriate or good enough, not all authors are sure the editor is interested in their kind of work. (Some editors aren’t interested in true diversity, despite statements to the contrary.) …the only way to get a diverse set of stories in an anthology is to have a large, diverse pool of authors and stories to sift through, and the only way to get that is to work.
I do not think the 6c/word rate is going to change the diversity situation in SFF magazines. I think the situation will continue as it has been: slowly improving. I think it is important to pay diverse writers as much as possible. I think the key issue is – as it has been – editorial choices.
I got bored and downloaded Instagram. It’s really fun! There are so many filters and I find (you may disagree) that they give low quality tablet photography a certain charm. So far I’ve taken photos of (1) the stack of contributor copies I received in 2013 (2) the view from my window this evening, when the sky stained the estuary water pink at the shore (3) amazing fox paperclips I bought in Brighton during WFC (4) reaching 40,000 words of edited still-titleless YA novel. Another 10,000 words remain to be achieved in the next 4 days, which will not mark the end of editing (the novel is about 60,000 words) but a significant milestone. I’d like it to be done in the near future so I can shift to other projects. I’d like to give it a title. I need to go through the Turkmen women’s folksongs again for something a little less cumbersome than “Selin That Has Grown In The Desert”, the name of the story from which this novel grew.
Twitter was alive before World Fantasy Convention 2013 with disappointment, unhappy amusement and anger at the emails sent by the convention committee to attendees, which can best be categorised as patronising and thoughtless, summarising badly thought-out policies: £75 for a replacement badge (they were not made of gold or the feathers of a mythical mountain bird), £5 for a Kaffeeklatsch to pay for the biscuits (a whole packet of nice M&S biscuits is not even that much), a very minimal statement about harassment. The latter of these is, obviously, a lot less absurd and a lot more worrying, although the classism inherent in the first two is not to be overlooked. Post-convention refunds for the Kaffeeklatsches are all well and good, but that refund was not adequately advertised before the convention, so many people did not bother signing up (and some authors opted out on principle – not even they knew the refund was forthcoming). PS: I am not voting for your convention book that was so pointlessly heavy that I didn’t bring it home. (Yes, in their latest email, they asked for award nominations/votes for their book. Really now.)
I want to talk specifically about the harassment part of WFC2013′s failures, because they’ve sent out a post-convention email and it is appalling.
Here is the relevant quote in full:
“Regrettably, we learned of one small harassment incident that occurred on the Saturday night when an extremely drunken fan made a nuisance of himself in the hotel Lobby. Unfortunately, he was not reported to either of the professional Security guards who were on duty at the time or any member of the con committee. As a result, by the time we had found out about the incident and ascertained the details, the individual concerned (who was not attending the Awards Banquet) had apparently already left the convention. The person affected did not wish to pursue the matter with either the hotel or the police and, for legal reasons, we cannot publicly identify the individual responsible. However, after full consultation with the Hilton management and our Security team, we have passed the name of the nuisance-maker on to the organisers of next year’s World Fantasy Convention, who will decide on any appropriate action to take.”
Let’s take that to pieces.
“one small harassment incident”
I am not happy to see any harassment described as “small”, as it makes it sound like it is not a big deal. The only person who can determine whether it is/isn’t a big deal is the person harassed. How hard is it to write “a harassment incident”.
“an extremely drunken fan made a nuisance of himself in the hotel Lobby”
1. Why is his drunkenness relevant? Many people got drunk at WFC2013, despite the price of drinks in the bar, and the vast majority did not harass anyone. Drunkenness is a behaviour, not a force of nature, not ever a reason – an excuse – for harassment or any other harmful behaviour. The only reason it is brought up in discussions of harassment is to in some way explain – ie: excuse – events.
2. The word “harassment” has been dropped in favour of “nuisance”. Someone making a nuisance of themselves while drunk is someone, I don’t know, singing harmless songs loudly in the corridor: annoying, but not a huge deal. Harassment is never a “nuisance”, it is harassment. Call it harassment. Always.
“Unfortunately, he was not reported to either of the professional Security guards who were on duty at the time or any member of the con committee.”
1. I am not the only person at WFC2013 who didn’t even notice that there were security staff in the lobby. I saw volunteers during the daytime, providing very helpful guidance through the clusterfuck of a badly signposted hotel, but I never noted security staff. If I had been harassed, how would I have known to go to security?
2. More importantly, someone who has been harassed should not be obliged to report their harassment immediately. Their number one priority is probably going to be their safety, which probably entails getting out of there a.s.a.p. Whatever their personal priority is, that is their priority and they should not be shamed for doing it.
3. Someone who has been harassed should be given support if they choose to report, whenever that is. Note the “if” and the “when”. It can take time to decide to report, because reporting is stressful: it involves being blamed for what happened; being told the harasser was drunk and made a nuisance of himself, nothing more. It involves recounting the incident multiple times. Many people do not report harassment and they should not ever be shamed for this. If it takes time for someone to decide to report, they should not ever be shamed for this.
It is not unfortunate that someone did not report their harassment immediately. It is unfortunate that they were harassed.
It is unfortunate that this email from WFC2013 – hopefully unintentionally – acts as if not reporting immediately is something they did wrong. Intent, however, has little relation with consequence. The WFC2013 email is upsetting and unsupportive.
“we have passed the name of the nuisance-maker”
The words you’re looking for are “the harasser”.
We then come to the issue of the “one” in “one small harassment incident”, as I heard on twitter shortly after WFC2013 that there had been three incidents of harassment. To quote @LR_Lam on twitter today:
Also there was more than one incident. One person hrrassed 3 people, and I heard there were two other names. #wfc2013
— Laura Lam (@LR_Lam) November 17, 2013
Maybe the people who were harassed didn't know how to follow the exact policy because there WASN'T A POLICY IN PLACE. #wfc2013
— Laura Lam (@LR_Lam) November 17, 2013
The person I know about was not a fan, but an industry person. Was reported to someone involved with planning WFC2013.
— Laura Lam (@LR_Lam) November 17, 2013
More important information comes from Cheryl Morgan, who has written a lengthy post about the running of World Fantasy Conventions, including specific reporting from WFC2013. The comments are worth reading for even more information. In it Cheryl reports that
the WFC2013 twitter account posted on Sunday Correction: it was posted on the display boards in the lobby:
“It’s Sunday. No one has lost their badge and no one has been harassed.”
Not only is this infantile passive aggressive bullshit, but it’s factually wrong. People reported harassment on Saturday night.
Even if no one had reported by Sunday morning, it’s awful to say that, because what about anyone harassed and still considering reporting? That is not a lot of time to make that decision. What about anyone harassed who never reports? Their experience should not be erased by assuming it doesn’t exist.
Blithe updates and dismissive official emails indicate little to no compassion for people who have been harassed at WFC2013. That is exactly the kind of environment in which people do not report harassment – and harassers know they are safe to harass. They know that harassment is not a serious issue for the people running the con. They know that the reports that are made will be minimised to a single report in the official email. Whatever the intent of the person who wrote that display board update and the person(s) who wrote that email, the consequences are this: WFC2013 was more safe for harassers than people who were harassed. This is not a proud legacy. This is not a safe legacy. This continues after WFC2013 finished, as anyone harassed at WFC2013 who reads that email – people who reported, people who did not – will know who is safe and who is not.
I want an apology from WFC2013 and a statement that all future World Fantasy Conventions will be run with the safety of attendees as a major priority. (Also: ACCESSIBILITY.) Look to Readercon as an example. It’s not fucking difficult, the only reason not to do it is that you don’t give a shit.
A few days before WFC, I went to a panel hosted by The Kitschies about Secret Histories, with Tim Powers, Kate Griffin and Lavie Tidhar speaking. It was a fun evening, well worth the slight slog on trains disrupted by the previous night’s storm. (I want to take a brief moment to note that the storm was called St Jude, after the patron saint of lost causes. Meanwhile, the Scots named their storm last year Hurricane Bawbag. The English: “fancy way of expressing our misery”, the Scots: “aw, balls”. I like this island.) Errant branches and heavy rain conquered, I secured a chair and listened to the conversation.
There was plenty of discussion about historical research methods, the interest in alternate/secret histories, the fun in making the “secret” parts of history (ie: created) seem real, and so on.
My favourite remark came from Lavie Tidhar, who raised the point that a lot of real history is “secret” for a variety of reasons, and that rather than create history, he’d rather make real history more real. An unexpected example is that, when researching Hitler, he discovered that Hitler had received manuscript rejections when submitting Mein Kampf. It’s the kind of fact that you don’t really know what to with it! (Well, if you’re Lavie, you do: you write about it.) History is far weirder than fiction, a lot of the time. Far vaster, too.
There are many parts of history that remain widely unknown and that would make an excellent basis of a story or poem or novel, which has been my driving interest when writing historical fiction. (Fittingly, I’m currently using NaNoWriMo as an incentive to rewrite the 19thC Turkmen YA novel – and it’s working! In a week I’ve edited 15,000 words, which is about a quarter of the novel.) It’s not that I’m opposed to the alternate/secret history approach, but that I’m far more interested in historical fiction that attempts to tackle the question of “real” history. This is usually very difficult, given the limitations of surviving sources. Nicola Griffith’s new novel Hild, out tomorrow, and which I highly recommend, fills in many gaps around the figure of Hild. (It’s brilliant women-centric historical fiction. I loved it.) When I write about the relationship between people and foxes about 16,500 years ago, I have only burial remains to go on. When I write about 19thC Turkmen women, the closest I can get to their voices is a book of translations of slightly later written recordings of their folksongs.
Talking about the “real” in history is incredibly difficult, and there are many possible ways for historical fiction to approach the “real”. All we can ever do is give a voice to the past – giving, rather than receiving – as I’ve discussed before and done in poetry and prose. My interest in how we do this continues to grow.
Anyway, it was a good panel, and having really enjoyed Lavie Tidhar’s historical-inspired story “Dark Continents” in the excellent post-colonial SFF anthology We See A Different Frontier – as well as what he said on the panel – I’m now very curious about his new novel The Violent Century and how approaches the “real”. And how other writers do it. (Nicola Griffith’s Hild. I can’t recommend it enough.)
I was at WFC 2013 this weekend and had a fantastic time, in spite of rather than because of the con program. The panel descriptions were laughably basic: Style vs story? Should YA books have sex and other naughty things in them? Ebooks are rather new aren’t they? Women write fantasy?? I assume that some panellists ignored the descriptions and had worthwhile discussions, but I couldn’t be bothered finding out the hard way which ones didn’t. I did go to a few readings: Delia Sherman, Genevieve Valentine and Rochita Roenen-Ruiz. All were delightful, especially Genevieve’s story of bugs and tattoos and a sister lost in the desert. I can’t wait to read the rest when it’s on Tor.com next April.
I spent the rest of my time talking to friends and good people, too many to name. Lots of good food too (I particularly recommend Street Thai omgyes).
And there were books!
Five free, four purchased. I also got the China Miéville chapbook, which I forgot to add to the small book tower, and a sampler for Sarah Lotz’s The Three.
I’m really looking forward to reading Shimon Adaf’s Sunburnt Faces after getting the chance to talk to him at WFC (and if you missed me mentioning it last week, I do recommend his conversation with Lavie Tidhar at Strange Horizons), as well as Jonathan Oliver’s pleasingly diverse anthology End of the Road.
Then there was the art room, which had some of the usual titties-and-spaceships of convention art rooms, but also had an art installation by Tessa Farmer that was just stunning. Bees hanging on see-through wire, tiny ant-human skeletons riding them, riding seahorses, riding a lizard-skin, climbing over bone-shell-wing-conglomerates and brandishing seeds. All hanging. Moving with the breath of its viewers. I went back to it several times. I showed it to Tessa Kum, who has shared this photo of it, which is just a small glimpse of its wonder. I remain in awe.
I was also very pleased by the number of people excited by my anthology projects: people who enjoyed Aliens: Recent Encounters and people looking forward to The Mammoth Book of SF Stories by Women, which will be out in late 2014 (and is currently open to reprint submissions). It’s really satisfying to know that people enjoy my work!
In conclusion: some terrible (wheelchair-inaccessible registration and poor-looking accessibility to program areas should not be happening, especially after so many years of people talking about accessibility needs) and baffling (the program itself) choices made by the con’s organisers, but a great con for me because so many friends were there.
Out in late 2014
Aliens: Recent Encounters
"...this [anthology] blew us away more than any other. Mostly because of the sheer volume of greatness contained in these 32 stories... These are classic stories of alien encounters, from some of the best science fiction writers working today."
- io9.com Best Books of 2013