The lovely Emma Newman was kind enough to interview me for her awesome show Tea and Jeopardy (Tea, assorted geekery and peril, what more can you ask for?). You can listen to the episode here. And thanks to Paul Weimer for the question ^^
So, I got my final Worldcon schedule, and I’m going to be busy (in a pretty awesome way). As a reminder (taking a leaf from Kate Elliott’s book), I go to cons to meet people, so don’t be shy if you see me and want to talk. I’m also quite happy signing stuff and/or talking outside of panels (provided I’m not running on my way to elsewhere, of course!).
Below is where you can find me:
Thursday 15:00 – 16:30, Autographing Space (ExCeL)
I will have signed postcards featuring the On a Red Station, Drifting artwork, and possibly a few other books: notably, I’m working on a POD edition of On a Red Station, but am not at all sure I’d have those with me.
Universal Language: Good or Bad?
Thursday 18:00 – 19:00, Capital Suite 14 (ExCeL)
Is a universal language possible? How might that be achieved and would achieving it necessitate destroying our own languages and way of thinking? Would we want to create one in addition to our own languages and if so, should it be spoken or signed?
Michael Burianyk (M), Dr. Bettina Beinhoff, Aliette de Bodard, Anna Feruglio Dal Dan, Jesi Pershing
Feeding the Imagination: Food in SF/F
Friday 11:00 – 12:00, Capital Suite 3 (ExCeL)
The food in George R.R. Martin’s A Song of Ice and Fire series is described in such detail that cookbooks have been published in response. What other genre works have focused heavily on food to develop the world and characters? What does food say about an invented society? Are stories that lack an exploration of the diet of their characters lacking something?
Shana Worthen (M) , Aliette de Bodard, Gillian Polack, Jo Walton , Fran Wilde
Content and Form: Writing SF/F in non-Western Modes
Friday 13:30 – 15:00, Capital Suite 8 (ExCeL)
Sofia Samatar recently suggested that SF genre writers and readers have “a tendency to focus on content rather than form”, even or especially when engaging with marginalised perspectives. Does our genre inevitably tend towards the form and structure of western, English-language stories, regardless of what cultural tradition(s) are reflected in the content? How can a non-western or non-Anglophone writer engage with science fiction and fantasy while also operating outside of the conventions of western-style storytelling? Is it possible for western writers to engage with non-western traditions in an authentic way and produce a story that a wider audience will recognize as science fiction or fantasy? What are some of the different forms offered by non-western cultures that need to be told?
Amal El-Mohtar (M), Aliette de Bodard, Rochita Loenen-Ruiz, JY Yang, Nick Wood
Friday 17:00 – 18:00, London Suite 5 (ExCeL)
Saturday 10:00 – 10:30, London Suite 1 (ExCeL)
I haven’t made a firm decision on what I’m reading, but it’s likely to be an excerpt from the novel aka fantasy set in sideways version of Belle Epoque Paris–your chance to find out more ^^
Always Outside, Looking In?
Saturday 15:00 – 16:30, Capital Suite 16 (ExCeL)
How do writers from non-Anglophone countries relate to so-called “traditional SF”, and the expectations of Anglophone publishers and readers? What are the processes and considerations behind writing in a language that is not your first, or in seeing your work translated into English? While it’s often assumed that non-Anglophone writers all want to see their work reach the English audience, are there any circumstances under which a writer might choose not to? In a 2013 interview on the World SF blog, UAE writer Noura al-Noman said about one of her novels: “The whole idea behind ‘Ajwan’ was to provide Arabic content for teens … The subject matter [sci-fi] made Arabic seem more approachable to them … I am going to wait a bit before I publish it in English.”
Thomas Olde Heuvelt (M), Jesús Cañadas, Aliette de Bodard, Ju Honisch , Floris M. Kleijne
Environmentalism in Anime
Sunday 10:00 – 11:00, Capital Suite 2 (ExCeL)
Images of environmental destruction — or the complete replacement of nature with metal and concrete mega-cities — are common in anime. But there is also a tradition of anime and manga that preserves and honours nature: think of MuShiShi, or Nausicaa of the Valley of the Wind. Where else are ecologically-aware narratives found, and what is their focus? Is the environmentalism of anime primarily one of nostalgia and conservationism, or technological conquest?
Anushia Kandasivam (M), Adrian (Ade) Brown, Aliette de Bodard, Ian Murphy
Sunday evening, from 6pm onwards: Hugo Reception, Hugo Awards and Hugo Losers’ Ceremony.
I am ready to deliver on my promise to bring a snakelet in a suit onstage, should I (against all odds) find myself in a position to give an acceptance speech.
By popular request (and since the question came up several times), I posted a basic primer on how to pick fish sauce. You can find it here, in the recipes section of the website.
Comments welcome (the recipe itself won’t take comments, so do leave them here).
A fish sauce shop in Phú Quốc (picture courtesy of Jennifer Yin on flickr. Used under a Creative Commons Attribution NonCommercial Generic 2.0 license).
Gardner Dozois’s annual Years Best Science Fiction has now been released: it contains my Hugo and Locus finalist and Nebula Award winner “The Waiting Stars”, as well as stories by the likes of Nancy Kress, Alastair Reynolds, Lavie Tidhar, Elizabeth Bear, Ian McDonald and Ken Liu… I always find those collections worth reading, especially since I no longer keep up with short fiction markets quite as much, and Dozois’s summation of the state of the field always makes for fascinating reading.
I ranted this weekend on science in fiction on twitter–thought I’d collate those into a blog post. Warning: minimal editing (that’s why every sentence is around 140 characters ^^).
I’m getting a bit tired of “it’s not really hard SF” argument, which–oddly enough– often coincides with “this story is written by a woman/POC/other marginalised POV). (before anyone asks, I don’t have a specific occurrence to point to; it’s just an accumulation of small things).
Thing is: the discourse about what constitutes hard SF–supposedly “real science! ™”–is very normative. It demands certain narrative forms, certain ways of addressing the reader, certain methods of expositing the science to make it sound plausible. Note that I said “plausible”, which means “what people are ready to believe”, which is different from “what is actually true”.
Even ignoring the problem of evolution of science (I’ll come back to that!), I’ve read hard SF stuff that was… er… out of date/inaccurate (I have a general science background, though my area of speciality is the mathematics of computer algorithms; and the H has a PhD in Quantum Optics, so between both of us we can muster passable science analysis). And that inaccuracy/out-of-date character *absolutely* didn’t prevent me or him from enjoying said books, btw–we don’t want to be snobs, and our enjoyment of books isn’t the cutting edge science. (actually, if I do want cutting edge science, I tend to read journal articles–though of course that’s pretty much restricted to fields of science I’m conversant with, so a pretty limited subset of everything that’s published).
I swore I’d come back to the evolution of science, so here goes: today’s science is likely going to be debunked (aka “evolve”) within a few centuries. 19th century science, pre quantum mechanics and pre general relativity, is vastly different from 21st century science. So any books set in, say, the 24th century that still rely on *today’s* understanding of science are a nice fiction. And, again, that’s OK. We’re writing/reading SF books, not journal articles, and requirements are different (real engineering specs make for bad fiction anyway, a bit dry!).
There you go, afternoon rant. Would be interested to know what people think?
So, actually, it turns out that my favourite part of novel writing (aside from the heady feeling when you’re a few chapters in) is revisions. Aka, the moment when I have finally understood why the novel is not working, have made a checklist of everything I need to fix, and am settling down in front of the computer with a cup of tea, and a determination to tick off those checkboxes one by one. Which is, I guess, another way of saying that I vastly prefer knowing where I’m going ^^
I am done with revisions, and have sent novel off to agent (also, the H rocks as a first reader, but we all knew that. We had a bit of a narrow brush when the snakelet attempted to chew the printed manuscript, but we’re good now). Also, I learnt entirely too many things about Belle Epoque etiquette from Baronne de Staffe (my favourite bit: men give way to women because women are vastly superior), and about servant hierarchy in big French households (I was only familiar with that time period through novels written during the era, so I hadn’t quite realised the ubiquitousness of the servant class. It was quite impressive to read up on who did what, and also quite fun to imagine how this would have changed a few decades after that, if WWI hadn’t quite happened the same way).
Anyway. In honour of the sending off of the manuscript, here’s a snippet of later on in the book:
He remembered a cold, cold Hall much like this one; a lieutenant in the red-and-gold of House Draken, telling bewildered boys about the glory of dying for one’s House, for one’s country; and him, standing in the riot of colours streaming from a tall stained-glass window, and struggling to remember the power that had sustained him in Indochina.
Meanwhile, I’ll go off and grab my missing sleep…
Strange Horizons very kindly asked me to curate a reprint for their June issue. I picked Elisabeth Vonarburg’s “Chambered Nautilus” (translated from the French by Jane Brierley). I really like Vonarburg’s introspective, dreamy science fiction, and I think it’s a shame that so little of it got translated into English (you can pick up The Maerlande Chronicles from amazon–I prefer her Tyranaël series, but I think this stopped being translated after two volumes?). More info here at her English website.
Being an editor, even if it’s for a brief, one-story stint, means I read a lot of stories and didn’t have nearly enough space for all the stuff that I loved. Can I recommend you check out the following anthologies for great fiction? The Apex Book of World SF (volume 1, volume 2; and volume 3 which has recently been released), Afrofuturism, Mothership, AfroSF, and, if you have a copy lying around, Bloodchildren, which was a limited-time anthology by the Octavia Butler scholars and is sadly no longer available)? Also, anything by Yukimi Ogawa (she’s got a great story in this issue of Strange Horizons, “Rib”, a mordant tale of a skeleton woman and the child who befriends her), Zen Cho (her collection, Spirits Abroad, just got released, and that link explains how to get a copy from her), Benjanun Sriduangkaew (who is up for the Campbell Award this year, and whose story “Autodidact” ought to be on awards list next year if there’s any justice), and Rochita Loenen-Ruiz (check out “Of Alternate Adventure and Memory” up at Clarkesworld, as well as her newest “Movements” column in this issue of Strange Horizons, which focuses on languages, hegemonies and translations).
That’s all from me for the moment–please do leave feedback on Strange Horizon’s website on the story if you’re so inclined.
Today is the first day of the summer sales in Paris, so naturally I
braved the crowd was foolish enough to drop by a baby clothes’ shop to pick up a hat for the snakelet. The following conversation is depressingly familiar when buying clothes:
Me: “Do you have this model in size 51?”
Saleswoman: “Let me look. It’s for a–” she peers at the hat I’m holding up (red with stripes)–”girl, right?”
Me, biting down on a desire to lecture her on gender essentialism, “Boy, actually.”
Saleswoman, turning to a bin where everything is some shade of blue, “Hum, I’m not too sure–”
Me, pointing to another bin where everything is a shade of pink or red, “Maybe in this bin?”
Saleswoman: “That’s for–”
Me: “I know. Do you have anything?”
She looks at me, at the hat, and at the bin again. “No, everything is pink, I’m sorry.”
At which point I gave up and went foraging into the darn bin for girls’ hats myself. They had another red hat, which was actually the right size for the snakelet–I snagged it immediately.
Seriously. This is for a baby who’s not yet a year old. I can predict some intense frustration as the snakelet grows up…
Posted a new recipe at the blog for dumplings, as well as my mini-review of the Dumpling Cube, a contraption that claims to simplify your dumpling making. Does it live up to its promises? Find out all about it here.
Meanwhile, I shall be off to eat my dumplings, yum yum.
So this isn’t definitive by any means, but I’ve been allowed to share my draft Worldcon programme, and it looks great!
Thursday 18:00 – 19:00: Universal Language: Good or Bad? (ooooh… I’ve seldom been on a panel about languages, actually, despite my, hum, experience, I guess? This should be really great).
Friday 11:00 – 12:00 Feeding the Imagination: Food in SF/F (I need not explain why I’m particularly happy to geek out about food for an entire panel ^^)
Friday 13:30 – 15:00: Content and Form: Writing SF/F in non-Western Modes (aka a panel Rochita Loenen-Ruiz and I have been discussing for a while. Very happy to see it on the programme. It should be awesome!).
Saturday 15:00 – 16:30: Always Outside, Looking In? (aka non-Anglophone SF. There’s a pretty good variety of people on this with varying experiences of being published in English, which should make for fascinating conversation)
Sunday 10:00 – 11:00: Environmentalism in Anime (should be really fun. Never had that kind of conversations about anime)