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EPISODE 23

In which we greet a brand new year with discussion about digital media, awards, books, feminism, feedback, more books, anti-heroes, gender roles and take a look at what to look forward to in 2011.

News

Follow up on the Jewish fantasy discussion by Rachel Swirsky

Locus to go digital with issue #600

Launch of the Cascadia Subduction Zone, new critical zine with focus on women’s work

The i09 Power List: 20 people who rocked SF & Fantasy in 2010

Carl Brandon Awards: Hiromi Goto and Justine Larbalestier

Hugo nominations open – last year’s members of Aussiecon 4, don’t forget you’re eligible to nominate!

Feedback: Kaia, Kathryn & Thoraiya

What Culture Have we Consumed?
[AND what culture are we most looking forward to consuming in 2011?]

Alisa: Fringe Season 3, Dexter Season 4, Being Erica (ep 1), Nurse Jackie, How I Met Your Mother, reading Managing Death
Looking forward to: LSS 2011

Alex: Zombies vs Unicorns, ed. Larbalestier and Black; Factotum, book 3 of Monster Blood Tattoo, by DM Cornish; Dervish House, Ian McDonald; The Killing Thing, Kate Wilhelm; Surface Detail, Iain M Banks.
Looking forward to: Blue Remembered Earth (probably), by Alastair Reynolds; books 2&3 of The Creature Court, Tansy Rayner Roberts; the 2011 Women in SF Book Club; Bold as Love sequence (Gwyneth Jones); Twelve Planets (from Twelfth Planet Press).

Tansy: Wiped, Richard Molesworth; The Doctor Who Christmas Special! The Gene Thieves & the Norma, Ascendant, Diana Peterfreund, Big Finish Podcast
Looking forward to: Doctor Who and Fringe (SHOCK, I know), Sherlock, Torchwood, The Demon’s Surrender by Sarah Rees Brennan, Burn Bright by M. de Pierres.

Please send feedback to us at galacticsuburbia@gmail.com, follow us on Twitter at @galacticsuburbs, check out Galactic Suburbia Podcast on Facebook and don’t forget to leave a review on iTunes if you love us!

Okay, it might seems a bit cheeky to start a week of talking about women in SF with the discussion of fantasy stories, but I spent a good chunk of the morning listening to some great critical minds discussing interstitial works (shortly before dismissing interstitiality as a movement, not quite sure if that was fair but let’s move on) and some thoughts started coalescing.

I wouldn’t go so far as to say that 2010 was a bad year for science fiction, but it was certainly evident over at the Last Short Story Bar and Grill that for every really good SF story, there were at least 5 really good fantasy stories. Within Australia, I’m pretty sure the ratio of fantasy to SF is far higher – where have all the science fiction writers gone?

But I digress.

One of the topics that Jonathan and the others were discussing on the Coode Street podcast today (well, not TODAY, but today is when I was listening to it) was the way that a story feels being an important element in whether you classify it as genre or not. Some stories, such as Elizabeth Hand’s “The Maiden Flight of McCauley’s Bellerophon” or Karen Joy Fowler’s “The Pelican Bar” can be read as speculative fiction or not as speculative fiction depending on which lens the reader views it through.
For some reason this got me thinking of a couple of this year’s stand out stories which are most definitely fantasy, but which benefit from a reader viewing them through a science fictional lens.

“My story should have ended on the day I died. Instead, it began there.”

The first of these is Rachel Swirsky’s “The Lady Who Plucked Red Flowers beneath the Queen’s Window,” a marvelous novella published in Subterranean Online. While this is undoubtedly a fantasy story, with elements that would not seem out of place in an antique copy of Weird Tales, it is very much a treatise on immortality, or the effects upon humanity of living beyond one’s natural time period, through a conceit that works very similarly to time travel.

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The Hugo shortlist nominees went up on Twitter this morning, Australian time – luckily I had been woken up early by my adorable/dreadful children, so I was around to read them as they came in.

I haven’t been as excited about a Hugo shortlist in years – not just because I got to nominate and will get to vote in these particular ones, but because it does look as if there has been a bit of a demographic shift this year. There are lots of women, new writers and online publications represented across most of the categories. Many things I really liked and indeed nominated got up, which is rather nice.

Congratulations to all the nominees! Hope to see as many of you as possible at Aussiecon this September.

The shortlisted items/people I am most excited about are:
Boneshaker, Cherie Priest (Tor) [best novel nominee]
“Act One”, Nancy Kress (Asimov’s 3/09) [best novella nominee]
“Eros, Philia, Agape”, Rachel Swirsky (Tor.com 3/09) [best novelette nominee]
“The Island”, Peter Watts (The New Space Opera 2) [best novelette nominee]
“It Takes Two”, Nicola Griffith (Eclipse Three) [best novelette nominee]
“Spar”, Kij Johnson (Clarkesworld 10/09) [best short story nominee]
On Joanna Russ, Farah Mendlesohn (ed.) (Wesleyan) [best related book nominee]
The Secret Feminist Cabal: A Cultural History of SF Feminisms, Helen Merrick (Aqueduct) [best related book nominee]
Jonathan Strahan [best editor, short form nominee]
Shaun Tan [best pro artist nominee]
StarShipSofa edited by Tony C. Smith [best fanzine nominee]

And the works that have been added to or moved up to the top of my reading list are:
Palimpsest, Catherynne M. Valente (Bantam Spectra) [best novel nominee]
The Windup Girl, Paolo Bacigalupi (Night Shade) [best novel nominee]
The Women of Nell Gwynne’s, Kage Baker (Subterranean) [best novella nominee]
Soulless by Gail Carriger [The John W. Campbell Award for Best New Writer nominee]
Rosemary and Rue by Seanan McGuire [The John W. Campbell Award for Best New Writer nominee]

Ah yes, somehow it all comes down to more books for Tansy to read… funny, that.

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There are people who at times express surprise at how much I manage to do. Looking after a small baby, a school-age daughter, writing books, blogging, running a small business, etc. Sometimes they ask my secret, and I say ‘well, I’m a really bad housewife.’

Jeff VanderMeer has cued up a discussion on women, writing, guilt, and domestic responsibility, both at the Booklife blog and on his own (the really good comments so far are on his own blog). Rachel Swirsky also comments on the issue at her own blog.

I’ve commented over on Jeff’s blog about my experience as the stay-at-home-parent-who-writes, and I know how lucky I am to have a partner who sees my writing as an investment in our future rather than something which takes away from time I should be spending on, you know, vacuuming. I’m sure he would prefer I spent a touch more time vacuuming, since we bought the robot vacuum cleaner and all, but he has always been remarkably non-judgemental about the whole thing, and shared the chores.

There are so many potential issues/problems/complications tangled up in the concepts of Guilt and Motherhood, Guilt and Writing Time, Balancing Paid Work and Writing, Balancing Unpaid Work and Writing, that I think it’s impossible for any person to sum it up in an all-encompassing way. I always find it interesting to read other people’s stories about how they handle that difficult balance, though, and how they deal with their own expectations, and the expectations of others, which often have a lot to do with gender.

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I’ve really been enjoying Rachel Swirsky’s guest posts over at Ecstatic Days, Jeff VanderMeer’s blog. Her latest piece is a review of Cat Rambo’s collection Eyes Like Sky and Coal and Midnight (Paper Golem Press, 2009) which engages directly with another review of the collection from Publisher’s Weekly. Swirsky moves fluidly between defending Rambo from the scathing remarks of the Publisher’s Weekly reviewer to agreeing with aspects of what they say, and it makes for a very dynamic review.

One of the points Swirsky makes is that a collection can be weakened by extra material. Or, to be perhaps more accurate, a collection can be made stronger by leaving out some of the material. Her belief is that Rambo’s collection would have benefited from containing the twelve stories she considers excellent, and not the other eight stories she sees as less-excellent padding.

This is something that I’ve been harping on about for some time, whenever I can pin people down long enough to listen. There’s a tendency in small press (and not only in small press, it has to be said) to try to offer “value” for money through sheer quantity of words, or number of stories. But the older I get and the higher my reading pile teeters, the less interested I am in books that feel the need to be completionist, to pack in lots of material at the expense of the overall vibe.

I’ve read a lot of anthologies over the course of the last few years, thanks to Last Short Story as well as my own interest in short fiction. Apart from ‘best ofs’ which are another thing again, it’s hard to think of any that couldn’t have been improved by having fewer stories. This is particularly the case of theme anthologies, where 8-10 excellent stories exploring variations on a theme works much better than 20 stories that do the same. Even if the second 10 are *almost* as excellent as the best 10, the theme becomes diluted and well and can easily wear out its welcome.

I love it when publishers big and small go with a small, intense selection rather than an overpadded one. The Twelfth Planet Press books tend to do this. I also like the X6 novella anthology (yes I hear the book is huge, but it’s only 6 actual stories, which is a really good number of stopping and starting points). I’ve also been enjoying several anthos-packaged-for teens which include between three and six long-short stories from very recognisable name authors, and come in as slender volumes.

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