Category: SF/F

Lee Mandelo on the Crucial Importance of Generous Reading

Easily the best thread I’ve seen about the the most recent fiasco of SFF Twitter is this thread on literary criticism and heterogeneity of marginalized experience by Lee Mandelo. It’s so good that, with Lee’s permission, I’m reproducing it here in its entirety, in case my prayers are someday answered and Twitter actually does burn down and fall into the sea.

Art does not exist to be evaluated on a scale of “harm” to “uplift,” and if we want to talk dog-whistles, that right there is a huge one: it’s deeply anti-intellectual, and it centers a form of toxic individualism that evacuates solidarity/difference in favor of moral purity. Also, relevant from other recent intra-community trans Discourse: the fact that something triggered or hurt you, personally, is real— but that doesn’t actually make it bad, or wrong, or Harmful ™ because you *are not the center of the universe.* Other trans folk who have different experiences of gender and the world might be deeply seen by the art that you think is morally bad and harmful personally.

To some extent, we know why this is common: traumatic stress forces your focus to be survival oriented, internal, and evaluative. It’s hyper-vigilance! However, what it is *not* is healthy or productive— especially when turned relentlessly outward to hold others responsible for your bad feelings as opposed to processing them, or saying “ouch, not for me.” (Which is not to say artists shouldn’t be cognizant of other people’s pain and the larger social implications of their work, so please don’t reduce what I’m saying here to “fuck it, who cares.”)

The other huge flaw with “the story harmed me” or flat harm-critique is the lack of acknowledgement that, if we’re using that metric, then your insistence on the story harming you is EQUALLY harming to the other trans folk for whom the piece was a revelatory story, or productive. It’s powerfully self-centered and not feasibly sustainable. This is where the whole “criticism is an art itself and has theory” thing comes in. Because Sedgwick wrote re: queer theory’s internal failings a long ass time ago about “paranoid” vs “reparative” reading practices.

What we saw here was a classic case of destructive/paranoid readings that (1) FORCIBLY OUTED A TRANS WRITER and (2) caused a lot of misery and stress across the board for everyone… but that stress has been processed unevenly. Paranoid readings are also a valid understandable response to a violent world that seeks to harm us! But they close in on themselves and each other like a fucking bear trap. Reparative readings are open to pain as useful and potential, and are by definition attempting generosity. Generosity in critique MATTERS. And furthermore, here’s where I get mad as hell: direct-effects audience theory has been discarded for like 40 years for a reason, but it HAUNTS twitter discourse like a hideous revenant. This framing of art and culture is very conservative, pretty fucked up, & spooky to someone who does this stuff professionally. If your replies are full of people saying “hell yes this is critical theory RUN AMOK” I want you to think hard about that.

And regarding some subtweets: it is, in fact, some people’s job—a job for which they have trained extensively!—to do critical work. That does not mean your opinion doesn’t matter, but it does mean (as I teach students every semester!!) that when doing heavy lifting with art, perhaps the metric of “who is allowed to speak about rhetoric and discourse” is not *solely* an identity based category. That’s a dangerous game. All of us can read badly, or be missing the background that a piece is speaking from, and being trans is NOT a guarantee against that. I’m exhausted and upset by the idea that we can’t have things that dig into more than 101 level exploration of gender, or our pain and tropes and violence, because it won’t be perfect for Everyone. And a queer woman who has the background to engage with what rhetoric and discourse and criticism do, weighing in specifically on those things, is not out of line— and neither is a trans person speaking to their identity experiences. Both can coexist and be discussed with an ethical approach to critique that is not infuriating.

I’m extremely tired and frankly feel violated by the level of anti-intellectual rhetoric and vitriol that cropped up in this discussion, and I’m not talking about fair critiques of a story’s functions or failure to fulfill those. Shit got personal quick, in unproductive ways. In short: harm-based critique of art sounds reasonable on the surface but its application & implications are intensely problematic and almost impossible to ethically or properly deploy, particularly when applied not to, like, egregious hate speech, but affectively difficult art.

Lee Mandelo

2018 World Fantasy Award Winner for Best Anthology: The New Voices of Fantasy

I woke up to the lovely news that The New Voices of Fantasy has won the World Fantasy Award for Best Anthology!

Congratulations to Jacob Weisman and Peter S. Beagle and everyone at Tachyon for creating this wonderful book, and to all the other authors whose stories made it such a delight.

If you want a copy of this newly award-winning anthology, which includes my short story “My Time Among the Bridge Blowers,” head on over to Tachyon’s site and pick one up

The Coode Street Podcast with Jo Walton and Me

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At WorldCon in Kansas City I got the chance to join Jo Walton on the Coode Street podcast, hosted by Jonathan Strahan and Gary K. Wolfe. We talked about writers that characterize different eras of science fiction, how science fiction differs rhetorically from fantasy (more detail on that here), and whether there’s a difference between the kinds of literary experimentation in the past and what is pursued today. As tends to happen, I fell a little bit into just listening to Jo be enviably clever, but I did get a chance to talk about the Iowa Writers’ Workshop’s modern support for genre writing, and contemporary writers who inspire me (going on for a bit about  Carmen Maria Machado and Meghan McCarron and Carola Dibbell). You can listen to the episode on the Coode Street site, on your podcast player of choice through iTunes, or via the embedded player below.

Kind Words From Walton and Whyte

Two of my all-time favorite reviewers of science fiction have chimed in about “The New Mother,” and they had good things to say!

I’ve been reading Nicholas Whyte since my early twenties, when I discovered his historical reviews of works that won both the Hugo and Nebula. His taste nearly always matches up with mine, and his critical articulation often clarifies my own. (The structure of his negative review of Asimov’s The Gods Themselves is the first thing that comes to mind when I think of that book.) Over on his LiveJournal he’s been doing a roundup of Hugo-eligible short fiction, and writes:

There are only two issues of Asimov’s to consider here, April/May being a double, but I found it by far the best hunting ground. Again, the very first story, “The New Mother”, by Eugene Fischer really impressed me, and I’m a bit surprised not to see it more widely recommended (other than by Amal El-Mohtar).

I’ve written of my enthusiasm for Jo Walton’s reviews before, and never tire of reading and rereading her thoughts about genre fiction. So I was agog when I saw she’d tweeted this:

My Armadillocon 37 Schedule

ArmadilloconArmadillocon is happening this coming weekend here in Austin, July 24-26. I’ve been invited to participate in some programming, so if you’re around and would like to see me, here’s where I’ll be.

Author Reading – Friday, 5:00-5:30 pm, Conference Center

Favorite Webcomics – Friday, 6:00-7:00 pm, Ballroom F

Short Fiction You Should Have Read Last Year – Sunday, 1:00-2:00 pm, Southpark A

A full schedule for the con is available here.

Changing the World Fantasy Award Trophy

The trophy for the World Fantasy Award is a bust of H. P. Lovecraft, a man who, it’s undeniable, was hugely influential on the body of fantastic literature. He was also an exceptionally hateful and unabashed racist. When Nnedi Okorafor won the World Fantasy Award for Best Novel in 2011, she wrote a thoughtful blog post about winning an award bearing the image of a man who, in life, would have detested her based on her skin. Since then, discussion of the propriety of having Lovecraft on the award statue has grown. Today Daniel José Older (who recently made a great video about why he doesn’t italicize Spanish words in his fiction) put up a Change.org petition to change the World Fantasy Award to a bust of Octavia Butler.

My initial response to this idea was excitement. Octavia Butler is among my favorite writers, and the author of my all-time favorite short story. She was also a woman of color who wrote about issues of race with as much nuance as anyone ever has. So with regard to addressing the things that make Lovecraft a troublesome figure to have on the statue, it’s hard to imagine anyone better. With regard to representing the fantasy genre, though, Butler is an odd choice. She almost never wrote it.

Butler published, by my count, 21 pieces of fiction during her life: 12 novels and 9 shorter works. Of those, there are only two that seem to me to be works of fantasy. Her short story “The Book of Martha” is clearly fantasy; the story is all about the titular character having a conversation with god about how to construct an utopia, given a Rawlsian veil of ignorance. The rest of her short works are all either science fiction or realism. Of her novels, the only one that is arguably fantasy is Kindred,1 in which the main character jumps through time between the 1970s and pre-Civil War United States, for no reason that is ever explained. (Daniel José Older obliquely references the book in his petition.) While this fantastic premise is perhaps enough to qualify it as a work fantasy, this book itself is far more concerned with investigating the social structures of slavery than it is with the fantastic element. The time travel, for all that it powers the plot, gets very little focus. And in terms of tropes and rhetorical structures, the novel has much more in common with historical fiction than it does fantasy. In bookstores I’ve seen it shelved in “literature” or “African American fiction” more often than I’ve seen it in “science fiction and fantasy.” So even if Kindred is fantasy, it’s not very representative, or in-genre influential fantasy, wonderful book though it is. And that still puts Butler’s fantasy output at less than 10% of her oeuvre.

If the choice is between Lovecraft and Butler for the World Fantasy Award, then obviously I’m on Team Butler. But if the choice instead is Lovecraft or Not Lovecraft, then I think I lean toward a different sort of Not Lovecraft: I’m on Team Nobody. Why does the award have to be a person? It isn’t named for a person, it’s named for a genre. No one–not Lovecraft, or Dunsany, or Tolkien–encapsulates an entire genre. I think I’m with Nick Mamatas, who proposed that the award be changed to something symbolic of fantasy. His suggestion was a chimera, which I like. In discussion on Twitter, Kurt Busiek spitballed the idea of a globe with fantastic maps, which could be nice too. The convention could have a design competition, like there is every year for the base of the Hugo award (the trophy for which, it’s worth noting, isn’t a bust of Hugo Gernsback). Doing so would undoubtedly produce a great, artistic design, and it would nicely unify a family of closely related awards: the Hugo is a rocket ship, the Nebula is astral bodies, and the World Fantasy Award would be… something fantastic.


  1. Fledgling has vampires in it, but treats them in a throughly science-fictional, biologically rigorous way. There’s nothing fantasy about it. 

Unfinished Writing in the Octavia Butler Archives

Gerry Canavan, a literature prof at Marquette University, has been studying the Butler archive and published an article in the LA Review of Books, “There’s Nothing New/Under the Sun/But There Are New Suns: Rediscovering Octavia Butler’s Lost Parables.” In it he outlines the many different options Butler was considering for the third book in her Parables series, Parable of the Trickster.

Nearly all of the texts focus on a character named Imara — who has been named the Guardian of Lauren Olamina’s ashes, who is often said to be her distant relative, and who is plainly imagined as the St. Paul to Olamina’s Christ (her story sometimes begins as a journalist who has gone undercover with the Earthseed “cult” to expose Olamina as a fraud, and winds up getting roped in). Imara awakens from cryonic suspension on an alien world where she and most of her fellow Earthseed colonists are saddened to discover they wish they’d never left Earth in the first place. The world — called “Bow” — is gray and dank, and utterly miserable; it takes its name from the only splash of color the planet has to offer, its rare, naturally occurring rainbows. They have no way to return to Earth, or to even to contact it; all they have is what little they’ve brought with them, which for most (but not all) of them is a strong belief in the wisdom of the teachings of Earthseed. Some are terrified; many are bored; nearly all are deeply unhappy. Her personal notes frame this in biological terms. From her notes to herself: “Think of our homesickness as a phantom-limb pain — a somehow neurologically incomplete amputation. Think of problems with the new world as graft-versus-host disease — a mutual attempt at rejection.”

Over at io9, Annalee Newitz has published an extended email correspondence with Canavan, asking about Butler’s plans for sequels to Fledgling.

And then there were a few tantalizing hints of a novel set a generation or two later, when many more of the vampires can go out in the sun like Shorri, and what they might do when they had no weaknesses and there was nothing stopping them from taking over the world. This is the one that I’m most interested in because it suggest Shorri as a somewhat darker figure than we might have thought — she really is disturbing a delicate ecological balance with her power to walk in the sun, which could cause a lot of problems down the road when played out to its logical conclusion…

Much gratitude to Mr. Canavan for this insight into Butler’s plans and process. I hope to have the chance to look at these papers myself some day.

WisCon 38

MoxieNot going to do a full con report this year, but I attended WisCon38 and had a generally lovely time. I got to see Karen, Pär, and Jeremiah, all of whom I’m going to miss terribly when I move away from Iowa City and can no longer easily visit. I roomed with Keffy Kehrli and Sunny Moraine, and also spent time with Ted Chiang, Marica Glover, Jen Volant, Meghan McCarron, David Schwartz, David Moles, Ben Rosenbaum, Will Alexander, Genevieve Valentine, Valya Lupescu, Nancy Hightower, Alice Kim, Liz Gorinsky, Richard Butner, Barb Gilly, Marco Palmieri, Greg Bechtel, and a bunch of my friends from the Clarion 2012 class.

The most notable thing for me this year was that I had my first reading at the con. Gwenda Bond and Christopher Rowe had to cancel their attendance at the last minute, and I got to take one of their places in at the Death-defying Feats of Moxie reading. I read the first three sections of my novella “The New Mother,” and got an enthusiastic reception. Hopefully by next WisCon it will be published.

AboutSF: Videos from the Center for the Study of Science Fiction at KU

I’ve just discovered, via Nick Mamatas, the YouTube account AboutSF, which are all videos uploaded by the Center for the Study of Science Fiction at the University of Kansas. Some of these, like the one embedded below, are excerpts from lectures given back when James Gunn was bringing science fiction authors to KU in the ’60s and ’70s. This is interesting for me personally, as my parents met at KU during this time and attended the Gunn-organized readings and lectures together. Here’s one of a bunch writers, including Harlan Ellison, Poul Anderson, John Brunner, Fred Pohl, and Isaac Asimov discussing the value of science fiction. I particularly like Anderson’s opening comments.

Preserved for Posterity

Presumably all in reference to this bit of idiocy, but that’s incidental.

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