New Release: Payback Time

Posted on April 19, 2013 by Cora

Okay, so it’s not such a new release after all. Instead, this is yet another standalone release of two of the crime shorts found in Murder in the Family for those who don’t want the whole collection.

Payback Time Payback Time
You don’t want to owe a favour to the mafia, especially not when the boss himself comes to collect. But what could a simple hairdresser like Joe Martin possibly have to offer to the mob?

Gone
A travelling salesman vanishes, leaving behind a wife, two children, countless lonely housewives and his hat floating in a stream. But what really happened to Jack Bryce?

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For more information, visit the Payback Time page.

Buy it for the low price of 0.99 USD, EUR or GBP at Amazon US, Amazon UK, Amazon Germany, Amazon France, Amazon Spain, Amazon Italy, Amazon Canada, Amazon Brazil, Amazon Japan, Kobo, Barnes & Noble, Apple iTunes, Casa del Libro, W.H. Smith, DriveThruFiction, OmniLit/AllRomance ebooks and XinXii.
More formats coming soon.

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Spring Flowers

Posted on April 17, 2013 by Cora

Spring is a little belated this year because of the extended winter. After all, we still had snow less than a month ago.

Still, the first spring flowers are in bloom now. Unfortunately, I missed taking a photo of the ipheions a.k.a. white star flowers in Wolfskuhle Park, because I didn’t have my camera with me, when I drove past the park today. But here are some spring flowers from my garden:

Spring flowers

I have no idea what these are called, though they are probably some variation of ipheions or star flowers. At any rate, they’re pretty.

Hyacinths

The hyacinths normally bloom in March, perhaps even late February in a particularly warm year. This year’s crop is not just a month late, but also smaller than usual.

Violets

Some violates bloom in a crack between the mailbox and the driveway.

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Politics in SF, Tough Women in Fiction and Pop Art Plagiarists

Posted on April 16, 2013 by Cora

Nope, no more awards links today, as the online SFF community seems to have moved on to a new uproar (which I don’t want to comment on due to knowing one of the people involved). So here are some non-Hugo, non-Clarke links:

At the Guardian, Adam Roberts tackles the political dimension of science fiction and how the genre manages to be both left- and rightwing, depending on who writes it. Like Adam Roberts I was always more drawn to to the left wing of the SF genre (though there have been good and bad books written on both sides of the political divide) and indeed my teenaged self was shocked to learn that there were conservative SF writers, because SF was about the future and conservatives were against the future by definition. Of course, I had already read a bunch of right-leaning SF-authors by then (not all that many, though, since the only bookshop in town that carried English books had a definite bias towards leftwing authors), though I didn’t always recognize their politics for what they were. Heinlein’s were quite unmistakable, but other writers were either more subtle or simply so much removed from West German political reality of the 1980s that the political content, always based on the politics of another country and often from another time as well, went straight over my head.

The Fantasy Book Café continues its “Women in SF&F” month with a post by Deborah Coates who takes on what is one of my personal pet peeves as well, dismissing tough and not overly feminine women characters as “men with boobs”. Now there are plenty of badly written and one-dimensional female characters about, but the “men with boobs” comment is rarely aimed at those characters. Instead, it it often aimed at female characters who are deemed to be not properly feminine, because they work in traditionally masculine jobs, aren’t interested in romantic relationships or children and eschew make-up, fashion and other traditionally girly pursuits. Characters like Isaac Asimov’s Susan Calvin, the icy roboticist with eyes like liquid nitrogen, like George R.R. Martin’s Brienne of Tarth, like J.D. Robb a.k.a. Nora Roberts’ Eve Dallas, like Meljean Brook’s Yasmeen, like Tamara Jagellowsk of the German SF TV classic Raumpatrouille Orion, like the many tough women of Simon R. Green (Hazel D’Ark, Ruby Journey, Investigator Frost, Rose Constantine, Suzie Shooter, Diana Vertue – Green has a lot of them), like every second urban fantasy heroine ever. These are characters whose adventures I have enjoyed, characters who were inspirational role models for my teenaged self (Susan Calvin and Tamara Jagellowsk certainly were). Dismissing these characters as “not realistic” hurts me and many others who loved them. Because there are women like that in the real world, women who don’t care for traditionally feminine interests, who are not interested in relationships or children, who want to be the best at their jobs, who don’t feel they need to be beautiful to be accepted. Never mind that the “men with boobs” comment is also pretty offensive towards transpeople.

An exhibition of Roy Lichtenstein’s comic book derived paintings at the Tate Gallery in London is currently attracting plenty of criticism from comic artists, who feel that Lichtenstein appropriated the art by various comic artists of the 1960s and neither credited them nor asked for permission. Paul Gravett has a lengthy and detailed article which includes an exchange between comic artist Dave Gibbons and art critic Alastair Sooke about the artistic merit or lack thereof of Lichtenstein’s artwork. The article also highlights a major issues with the work of Lichtenstein and other pop artists, namely that they happily used the work of others with neither permission nor attribution and often made quite a lot of money of it, too, often while looking down on the original creators. This doesn’t just apply to Lichtenstein either, but also e.g. to Andy Warhol’s famous prints and portraits, which were used photos that someone else had shot. And of course it’s very telling that you hardly ever see famous characters in Lichtenstein’s works – most of his source material was taken from war and romance comics that are largely forgotten these days – and that he wisely stayed away from trademarked characters except for one Mickey Mouse and Donald Duck painting (and I still wonder how he got that one past the infamously litigation happy Disney corporation).

Dave Gibbons and other comic artists have also mounted a response to Roy Lichtenstein’s uncredited borrowing and called for comic artists to create new works based on the originals appropriated by Lichtenstein, while giving full credit to the original creators. It’s a great idea and Scott Edelman shares two of the resulting images, including Gibbons’ own contribution (which needs to be enlarged for full effect – cause those dots aren’t really dots).

The first time I saw a Lichtenstein painting, my initial reaction was wondering what comic it had been taken from. Quite tellingly, art historians neither seemed to know nor care. Luckily, for people like me who always wondered just where those images had come from, David Barsalou has set up a site called “Deconstructing Roy Lichtenstein”, which contrasts Lichtenstein’s copies with the original comic artwork. Maybe it’s just me, but in almost all cases I prefer the original to Lichtenstein’s version, since the composition, details, lighting, etc… is almost always better. Never mind that the women in the original comic book artwork have a variety of hair colours (well, as much variety as 1960s four colour printing technology allowed), whereas Lichtenstein’s are almost always blonde.

The winners of the 2013 Pulitzer Prizes have been announced. This year’s fiction prize goes to Adam Johnson for The Orphan Master’s Son, which BTW seems to be one of the very few Interesting Professional’s Family Member novels where the family member is male. Personally, I was rooting for Eowyn Ivey’s The Snow Child, but a novel set in North Korea is probably more topical given the current political situation.

Finally, here’s something sad. German Turkish actor Eralp Uzun, who had appeared in many popular German films and TV shows, died of unknown causes aged only 31.

Posted in Books, Comics, Links | Tagged , , , , , , , , , | 2 Comments

The awards debate that won’t die

Posted on April 15, 2013 by Cora

Yes, we’re still talking about the Hugo and Clarke Awards.

Let’s start with the Clarke Awards this time around. Regular commenter Estara points out this great post by another regular commenter, Australian SFF writer Andrea K. Höst who takes issue with the jury’s claim that a lot of the novels by women writers that were submitted to the Clarke Award this year are “technically fantasy” and points out that it’s perfectly possible for books to be both SF and fantasy or look like fantasy and actually be SF and that even some works by the award’s patron Arthur C. Clarke would fall into this category. And of course, Clarke’s Third Law states:

Any sufficiently advanced technology is indistinguishable from magic.

Andrea’s post also led me to writer Tom Pollock and his delightfully named blog Djinn & Tronic. Tom Pollock makes a similar point, namely that genres can coexist with each other and that it’s perfectly possible for a book to belong to more than one genre, an idea which will horrify genre purists everywhere.

And let’s not forget that some of the previous winners and nominees of the Clarke Award, such as the 2011 winner Zoo City by Lauren Beukes or the various China Miéville novels which have been nominated (and won) in the past or the Sherri Tepper novel whose nomination so enraged Christopher Priest (and others) last year or Time Powers’ Declare, which suffers from the same issue as G. Willow Wilson’s Alif the Unseen, that is the presence of Djinn*, were not exactly clear-cut SF either.

On to the Hugos: At The World in the Satin Bag, Shaun Duke points out that all of those who tell Hugo/Worldcon critics that they should attend the WSFS business meeting have missed the fact that attending Worldcon is prohibitively expensive for many of us. I’m not sure if I’ll attend next year’s Worldcon in London (or if I even want to), because even though Worldcon is on the same continent for once, getting to London still requires plane travel (and Ryanair is not a great option, if you want to buy something and have more than carry-on luggage) plus accomodation costs (and of course, the con is in the Docklands, where hotels are pricey and nowhere near any London friends where I could crash) plus the costs for the con itself, all of which adds up. Ditto for a possible Helsinki Worldcon the year after. And I’d still consider myself financially privileged. The situation looks much worse for fans from non-western countries.

The Skiffy and Fanty Show has invited Justin Landon and Jonathan McCalmont to expound on their isues with the Hugos in general and this year’s shortlist in particular. Once again, I haven’t listened to it, since I don’t do podcats.

*And other problems. I found Declare not just immensely disappointing, but also downright offensive – and I normally like Tim Powers a lot.

Posted in Books | 4 Comments

The latest state of this year’s awards debate

Posted on April 14, 2013 by Cora

Apparently, we’re still talking about the Hugo and Clarke Awards, so here are the latest links:

At Tor.com, Niall Alexander offers a summary of the uproar surrounding this year’s all-male, all-white Clarke Award shortlist. There’s not a whole lot in this post that’s new, but it’s a nice round-up.

Kevin Standalee of the WSFS attempts to answer the question, “Who owns the Hugo Awards?” I think part of the problem here is that because the Hugos along with the Nebulas are the best known awards in the SFF genre, a lot of people feel a connection to the Hugos that they don’t feel to – say – the Clarke Award or the BSFA Award or indeed any other genre award, hence the upset when the nominations and winners don’t reflect their personal tastes.

Daveon offers a few proposals of how the WSFS business meeting could be made more inclusive towards those who are unable to attend Worldcon on a regular basis. This is a very good post and one of the few which offers concrete solutions and suggestions. Meanwhile, the comment thread at Ruthless Culture seems to have taken on the quality of a particularly nasty trainwreck.

Seanan McGuire whose name repeatedly came up during this year’s Hugo debate as that of a nominee many disagreed with wonders why she is being accused of excessive self-promotion, while male writers are not, and suspects her gender has something to do with it, because women are always judged much more harshly than men whenever they dare to open their mouths. I think she’s on to something here. Besides, it is notable that the Hugo nominees who received the most vitriol in this discussion, Seanan McGuire/Mira Grant and Lois McMaster Bujold, both happen to be women, while John Scalzi got off a lot lighter, even though the people who felt that Blackout and Captain Vorpatril’s Alliance shouldn’t be on the Hugo shortlist generally feel that Redshirts doesn’t belong there either. Never mind that John Scalzi does have a very popular blog and occasionally uses it to promote himself among many other things, whereas I don’t think I’ve ever seen Lois McMaster Bujold do any online self-promotion at all beyond the occasional interview.

Of course, those that disagree with Lois McMaster Bujold’s Hugo nomination tend to claim that she’s only on the shortlist, because fans keep nominating her out of habit. Again, no one is claiming that Kim Stanley Robinson only got nominated out of habit, even though he has been writing professionally for about as long as Lois McMaster Bujold and received a whole bunch of nominations over the course of his career as well. So yes, there is a definite gender bias in this discussion.

Talking of which, here are two posts by Larry Nolan at The OF Blog that I missed during my last round-ups: First, here is a post where he shares his opinions about the best novel nominees and then there is another post wherein he responds to the ongoing Hugo debate and says that he has largely stopped caring about the Hugo and Nebula Awards, since the winners and nominees rarely match his tastes.

What I find notable about most of the Hugo complaints this year is that they always center on the same three books, namely Mira Grant’s Blackout, John Scalzi’s Redshirts and Lois McMaster Bujold’s Captain Vorpatril’s Alliance, whereas hardly anyone has anything negative to say about Kim Stanley Robinson’s 2312 and Saladin Ahmed’s Throne of the Crescent Moon. Now in my initial Hugo post I wrote that I was quite satisfied with the nominations for Redshirts, Throne of the Crescent Moon and Captain Vorpatril’s Alliance, even if only one would have been on my personal list, but didn’t care for 2312, since Kim Stanley Robinson does nothing for me, and Blackout, since I don’t like zombie stories.

Now I can understand why some people might not like Redshirts, because it does play on nostalgia and sf fan culture insider jokes, i.e. it’s a book that’s deliberately self-referential and designed to appeal to geeks. But what I don’t understand is why the same people almost unanimously like Kim Stanley Robinson and dislike Lois McMaster Bujold (often without having read her), since both are writers that deliver the big ideas SF fans love so much. Now I personally think that Lois McMaster Bujold is more successful at mixing the big ideas with great characters and good stories than Kim Stanley Robinson. But nonetheless I wonder why there is such a vehement dislike directed at Lois McMaster Bujold. Is it because she’s published by Baen? Or because she’s a woman?

Larry Nolan also states that while this year’s list of Hugo nominee may be diverse with regards to gender, race and country of origin, the stories are still “too conventional and safe” for his tastes, since they don’t challenge today’s social conventions as much as (his examples) Joanna Russ and Samuel Delany. Now I believe that Lois McMaster Bujold’s works in general are quietly subversive, though a lot of people fail to notice this (and indeed the dismissal of Bujold in certain corners of the SFF community confirms one of the points Joanna Russ made in How to Suppress Women’s Writing). What is more, this year’s Hugo shortlist contains a classic of Chinese literature retold as an SF novella (Aliette de Bodard’s On a Red Station Drifting) and a short story that would have been right at home in the feminist SF of the 1970s (Kij Johnson’s Mantis Wives). Even John Scalzi’s Redshirts, while conventional in subject and theme, does have a rather unusual structure with its three codas. Indeed, Nolan’s first Hugo post illustrates an issue I briefly mentioned towards the end of my last post, namely that a lot of people want more diversity in the SFF genre and its awards, but then are annoyed when the diversity they get doesn’t match their ideal of what diversity should look like.

Meanwhile, the winners of the Romantic Times Awards (which are awarded for various genres, not just romance) have been announced as well. There are a lot of SFF nominees and winners (they even have a separate Steampunk category, though I would have picked Meljean Brook’s Riveted over Karina Cooper’s Tarnished) including John Scalzi’s much maligned Redshirts in the SF category and two books many would have liked to see on the Hugo shortlist, N.K. Jemisin’s The Shadowed Sun in the general fantasy and Elizabeth Bear’s Range of Ghosts in the epic fantasy category. They also have a bunch of categories for small-press/self-published works.

And just because the Hugo and Clarke Awards don’t have a monopoly on generating debate, I also have a round-up of the latest indie publishing controversies and discussions over at the Pegasus Pulp blog, including a slugfest of sorts between Hugh Howey and Chuck Wendig. And I didn’t even get into Scott Turow and his “Death of the American Author” op-ed in the New York Times, which sparked a whole new round of controversy.

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Mixed Links – mostly SFF but not necessarily Hugo related

Posted on April 11, 2013 by Cora

First of all, here is a signal boost. Ben Wolverton, the 16-year-old son of writer and teacher Dave Farland/Dave Wolverton, has been critically injured in a longboarding accident and is currently in a coma. The treatment costs are enormous and like so many in the US, the family has no health insurance. If you want to help, you can donate for a fundraiser here and/or buy one of Dave Farland’s books, such as Nightingale, a YA paranormal from the man who was Stephenie Meyer’s teacher. If you’re a writer, Dave Farland also has two great books on writing, Million Dollar Outlines and Drawing on the Power of Resonance in Writing. If you manage to buy one of those books on Wednesday, you will contribute to the “book bomb” organised by friends of the Wolverton family to benefit Ben. But if you buy them later, you can still help.

I’m interviewed by fantasy writer Scott Marlowe at his blog. We talk about writing, inspiration, ideal readers, sockpuppets and whether the review system is broken. So come on over and say “hello”.

The Hugo/Worldcon debate seems to be winding down, though artist and Hugo winner John Picacio points out that Worldcon is open to everybody who is willing to pitch in and do the work and the the WSFS is actually pretty democratic. The delightfully named I’m wasted potential also shares his or her thoughts here.

Fantasy Book Café has honoured a lot of female fans, critics and writers during their “Women in SF&F” month. Today’s post is by Lois McMaster Bujold, who expresses her frustration that discussions about the death of science fiction and about women in genre not just reoccur every year, but that they are almost the same discussions every time as well. This is quite fitting, particularly in the light of the recent Hugo and Clarke award debate, which would probably have to be filed under “Discussions that reoccur every year” as well.

At Galaxy Express, Heather Massey comments on the prevalence of sexual violence committed against the heroine in science fiction romance and how annoying this trope can be, particularly en masse and done in a way that trivializes sexual violence. The discussion in the comments is interesting, particularly in the light of the recent grimdark debate. Word of warning though, a troll rears his ugly head in the comments as well.

Aliette de Bodard has a great post at her blog about how complaints that a certain work of fiction is overly political or preachy on the one hand and dismissing other works as escapist entertainment or “mindless fluff” on the other hand both miss the point, because all fiction is political. Even the so-called “escapist fluff” promotes some kind of message, usually one that reinforces the status quo.

In fact the reply that “It’s just entertainment. Don’t overanalyze it”, whenever I complain about sex scenes in supposedly contemporary romances and erotic fiction that don’t involve condoms, about stone age gender relations and men treating women like crap in certain popular romance novels, about the fact that any Asian or French person ever to show up in an episode of NCIS or NCIS: LA will inevitably turn out to be a villain* (Germans don’t necessarily fare any better, there just aren’t very many of them), about the fact that the otherwise enjoyable German crime show Der letzte Bulle (The last cop) had two episodes almost back to back, where a lesbian suddenly fell in love with a man and her female partner then proceeded to murder said man in a fit of jealousy. Because these things are not just entertainment, they also send a message, a message that can be actively harmful.

*In one case, this even included a recurrent character who had been on the show for several years before suddenly being revealed as a murderess and traitor and being “accidentally” shot by Leroy Jethro Gibbs in a scene that was cut in a way to make the shooting look anything but accidental.

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Award me, baby, one more time

Posted on April 10, 2013 by Cora

Yes, we’re still talking about the Hugos and awards in general, though by now the discussion seems to have moved on from general complaining and whining to constructive criticism of how the Hugos could be fixed, provided one agrees that they require fixing. One example is the post by Jonathan McCalmont to which I linked yesterday. Continue reading →

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The Hugos, the Clarke Awards and what do you want, exactly?

Posted on April 8, 2013 by Cora

We’re still talking about the Hugo awards and whether they are broken or not. Though as a bonus, we’re now talking about the Clarke awards and whether they are broken as well.

So here are links to the latest posts and some commentary under the cut: Continue reading →

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Linkdump – One hundred percent Hugo and Clarke Award free

Posted on April 6, 2013 by Cora

The hits on my Hugo reaction link round-up have gone through the roof thanks to links from John Scalzi, James Nicholls, Liz Bourke, Jay Lake, Radish Reviews, SF Signal and others. I’ll do another link round-up about the reactions to the Hugo and Clarke awards shortlist (which has also been announced and goes in the complete opposite direction) over the weekend. However, my offline life has been very busy these past two days (plus school started up again), so reactions to Hugo reactions and the Clarke awards will have to wait. Plus, I think I accidentally deleted a comment that landed in my spam filter, so my apologies for that.

But for now, here are some non-Hugo/non-Clarke links that have piled up:

Chuck Wendig, who has just been nominated for the Campbell award, has a great illustrated post about plot and story structure. He is a bit harsh on Freytag’s triangle (What is it with American SFF writers and Freytag hate lately?), though he’s right that the basic Freytag triangle is not the only way to structure a story. Besides, if you’ve ever read Freytag (I have – slogged my way through six volumes of Die Ahnen at university), you’ll see that not even Freytag himself always adhered to the triangle that bears his name.

At Editor’s Opinions, William H. Coles attempts to answer the question why contemporary literary fiction is so often so dull and fails to achieve excellence. At the creative writing classes I attended at university, this problem manifested itself in a glut of stories about doomed exchange student romances.

In the New York Review of Books, British writer Tim Parks recounts his experiences with an intrusive American editor intent on americanizing one of his books. Found via Craig Morris, an American journalist living in Germany, who also offers some observations of his own. I’ve pointed out before that I find the American obsession with non-issues like split infinitives, passive voice, adverbs, “telling”, etc… flat-out weird, especially since e.g. split infinitives are often regarded as grammatical mistakes, when it’s merely a style issue. I guess we have to thank my old friends Strunk and White for that. Meanwhile, American editors seem to be far more intrusive regarding rewriting to fit house styles or telling writers to change the content of their works than German editors. Indeed, I try to imagine some twentysomething editor trying to tell Martin Walser or Günther Grass or Peter Handtke how to write and predict a bloodbath at Suhrkamp that makes the current troubles look like a minor skirmish.

One of the editors of Carina Press, Harlequin’s “digital first”, has come up with a new romance subgenre called “contemporary crack”, which apparently encompasses all the stuff that was bad about the romance genre twenty to thirty years ago such as domineering alpha heroes, over-the-top plots, extreme melodrama, etc… Now I like Carina Press for publishing romances with niche appeal. For example, a lot of the better recent SF romance hybrids originated at Carina. I also like the fact that they publish a lot of same sex romances and don’t necessarily separate them from the regular heterosexual romances, e.g. when you click on “science fiction” on the Carina website, you get both gay and straight stories. However, I really could do without devoting an extra subgenre 1980s retro style romances (never mind that this style never went away – Harlequin has whole lines devoted to publishing this sort of thing) and I no more want to see “contemporary crack” than real crack of the drug variety.

For that matter, what’s this thing with referring to books and TV shows of the overly melodramatic variety as “crack”, “crackalicious” and similar terms. As neologisms go, I find “crackalicious”, “contemporary crack” and similar terms nearly as annoying and problematic as “drinking the Kool Aid” or anything involving “Youg Turks”. Besides, what’s wrong with “addictive”?

The German media has just discovered online witchhunts, “fails”, as they’re called in the online fan community, or “shitstorms” as such phenomena are called in German speaking countries, which shows that the German language mainstream media is several years behind the times, as usual. I also strongly doubt that Sascha Lobo coined the term “shitstorm”, since I recall having seen it used in English language texts, though not with the exact same meaning. There’s probably a linguistic paper in this somewhere. Meanwhile, 3sat also offers an image gallery with several prominent example. I must confess that I missed most of those uproars, except for the Anne Hathaway hate (which I just plain don’t get). That is, I’d heard that German actress Katja Riemann was at the centre of an online controversy about an interview, though my initial reaction was “Wait a minute, you mean someone actually watches DAS!?”

Finally, here’s the sad news and sadly, there’s rather a lot of it:

Scottish SF writer Iain Banks has been diagnosed with advanced gall bladder cancer. Here is an appreciation by fellow Scottish writer Val McDermid.

Legendary American film critic and blogger Roger Ebert dies aged 70 after a lengthy battle with cancer. I had never heard of Roger Ebert before getting on the internet, but I have enjoyed several posts at his blog in recent times.

Spanish dirctor, fimmaker and composer Jess Franco died aged 82. I have never been a fan of Mr Franco’s works, largely due to what he did to the Dr. Mabuse franchise (For more details, see the article I wrote about the German master villain Dr. Mabuse). However, you can’t help but admire his prolificness.

DC Comics artist Carmine Infantino, who drew Batman and The Flash among others, died aged 87. He was one of the main forces in ushering in the silver age of comics at DC.

Posted in Books, Links, Writing | Tagged , , , , , , , , , , , , , , , | 2 Comments

Hugo Nomination Reactions or Why the Fuck is this Controversial?

Posted on April 4, 2013 by Cora

Odd. I’d have thought that this year’s Hugo shortlist was pretty much uncontroversial. I mean, we have a healthy representation of women and writers of colour, most of the nominations went to works and writers that are popular or at least talked about, there are very few “What the Fuck?” nominees compared with other years (e.g. last year’s nominees included a filk CD and a Hugo acceptance speech from the previous year). Sure, there still are issues, particularly with certain categories, but there always are issues.

Which is why I was surprised to find that this year’s Hugo slate is apparently considered highly controversial in certain corners of the SFF community. Continue reading →

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