- How to Bake by Paul Hollywood. Celebrity chef cookbook, but one that wants to get people baking rather than be in service to a lifestyle brand. Perfect for what we needed: we’d bought a stand mixer in order to bake more; this book covers the basics we needed to learn. Very inexpensive Kindle edition.
- Raven Strategem by Yoon Ha Lee. Military science fiction novel, sequel to last year’s award nominee Ninefox Gambit. Still a bit bewildering (what is calendrical warfare?), but not as bewildering to the characters in this book who don’t know how the last one ended, and are brought up short.
- Fire and Fury: Inside the Trump White House by Michael Wolff. Based on hundreds of interviews with terrible mendacious liars, whose perspective is not filtered or critically engaged with. Mostly Steve Bannon. If Fire and Fury was A Confederacy of Dunces, Bannon would be its Ignatius J. Reilly.
- A Wrinkle in Time by Madeleine L’Engle. Classic fantasy children’s book. Never read before now; I confess that the upcoming film was an impetus. Pleasantly odd. Surprised at how theologically Christian it is—C. S. Lewis was more subtle.
- Navigation: A Very Short Introduction by Jim Bennett. Reviewed at The Map Room.
- The Left Hand of Darkness by Ursula K. Le Guin. Classic and influential science fiction novel about first contact with a human culture whose people change their sex over the course of a month. One of the ur-texts of anthropological sf. Fantastic book.
- The Moon and the Other by John Kessel. Science fiction novel. Why Artemis was the moon book talked about last year when this book was already out is proof there is no justice in publishing. Sensitive and, in the end, sad book about masculinity, marginalization and cultural difference; the elevator pitch could well be “MRAs on the Moon” but it’s way more nuanced than that.
Month: January 2018
I came late to Ursula K. Le Guin, who died yesterday at the age of 88.
I read the Earthsea books only a few years ago, as a fortysomething adult—too late, I think, to appreciate them properly. I read a lot of science fiction and a bit of fantasy growing up, but my reading was largely focused on the hoary classics and on hard sf, with an emphasis on Asimov and Niven (which did not help my development as a writer). I made up for lost time later; by the time I was in university I was in the midst of a serious contemporary sf reading binge. For a while, thanks to my father’s Asimov’s subscription, my own Locus subscription, and the surprisingly good sf holdings of the Winnipeg Public Library, I was as up to speed on the science fiction of the late 1980s and the 1990s as it was possible for anyone to be. (Then came graduate school, and it was no longer possible to keep up.)
But in the process I had missed out on a lot of stuff from the late 1960s and the 1970s. Tiptree I’d read, and Varley and Wolfe; but not Delany, or Zelazny—or Le Guin. What had happened was that I’d skipped over a generation, jumping from the Golden Age to the Postmoderns, from Asimov and Pohl to Kelly, Kress, Robinson, Swanwick and Willis. From the classic to the right now. There was a gap in my reading. Except for a few short stories, I’d missed out on Le Guin.
Or so I thought.
Some of my favourite science fiction novels from the 1990s were set on other worlds and had an anthropological bent. Eleanor Arnason’s A Woman of the Iron People. Nicola Griffith’s Ammonite. Maureen McHugh’s Mission Child.
You can see where this is going, can’t you.
Earlier this month I finally got around to reading The Left Hand of Darkness, Le Guin’s fourth novel and the one the won all the awards. It was a revelation. Not because of how powerfully good it is (though it is), not because, as a work of anthropological sf, this kind of thing was very much my bag (though it is), but because I immediately clued in to its influence.
All those anthropological sf books I’d enjoyed reading, decades ago? The line between them and The Left Hand of Darkness could not be more clear.
Those of you familiar with Le Guin will by now be saying, well, duh. This is not exactly unknown. But hear me out. I came to Le Guin late, and backwards; it’s an odd, uncanny thing to read the works that were inspired before the work that originally did the inspiring. I had managed to encounter The Left Hand of Darkness’s impact before I had read the book itself—to reverse-engineer the book’s importance from what had followed in her wake.
This is, of course, only a small part of Le Guin’s legacy. Others who knew her better or read her sooner will speak to other parts far better than I ever could. But it’s what I noticed when I belatedly finished one of her most important books, eight days before she died.
There’s been some discussion recently about the need for more (and better) reviews of science fiction and fantasy short stories, much of which is predicated on the various inadequacies of the few existing short fiction review venues.
In general I think more short fiction reviews can only be a Good Thing, because more critical discourse on science fiction and fantasy literature is never a Bad Thing. There’s not enough of it (as opposed to PR and squee). That said, I have a couple of reservations.
First, if the purpose of short fiction reviews is to be useful for award nomination purposes, I have a problem with that. I appreciate that nowadays there are frankly too many short stories being published for any single person to read them all,1 and that award nominators are looking for ways to filter the reading material down a bit. But I have a problem with the implicit assumption that winning awards is the reason for creating works of art. (Winning an award should be an inadvertent by-product, not the point of the enterprise.) If we’re reviewing short fiction because we’re trying to figure out our award nomination ballots, then we’re reinforcing the notion that art is grist for a career: write a story to generate buzz; generate buzz to win an award; win an award to further the career; ???; profit!
We’d also be privileging the latest at the expense of the greatest: reviewing for awards purposes means you only review what’s eligible for the next award season. A story that is only three to five years old may still be worthy of critique and analysis—may still be worth talking about—but if all you’re doing is reading for awards, it has already disappeared down the memory hole. Functionally speaking, it no longer exists.
Neophilia might be good for the publishing calendar, it might be good for writers’ careers, but it’s terrible for art.
Second, if we’re agreed that there should be more short fiction reviews, I think it’s a bad idea for us to simply review it on our own blogs and journals. It’s too haphazard. There aren’t enough people looking for short fiction reviews to have those reviews scattered across the intertubes. There’s a reason why Rocket Stack Rank, Tangent and Locus came to be: collating reviews from divers hands makes a lot of sense. The reader only has a single place to go.
The problem is that short fiction reviews make absolutely no economic sense. I could easily reboot Ecdysis with a new focus on short fiction reviews, but how would I solicit them? Reviewers would expect, reasonably, to be compensated, but what business model (other than Locus’s, but they primarily do book reviews and trade news) would there be for a periodical focused mainly on short fiction reviews? Book reviews get few enough eyeballs; short fiction reviews would be even worse, and without even the faint hope of affiliate income. It would have to be a labour of love, which in sf community terms means a work done for social capital, and that’s often been problematic too.
I’ll keep thinking about this, and listening to other opinions on this subject.