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n in this issue e edited by Connie Wilkins and Best Lesbian Speculative Fiction S by Bannister Michele Gneiss-Mother by Care by Bannister Michele Ash Grandmother ver Postmodern: Been by AlanDe Knowability of ve “Walking We ders Pam Heiresses of Russ by Revolution at Point Zero by Kameron Bel Dame Apocrypha Rapture: Book of Three the Vandana edited by and AnilMenon Fiction Inspired by Ramayana the Breaking Bow: the Speculative by William J.Clancey Working on Mars… Guin sula K. Le by Kij Johnson At Mouth the of River the of Bees Tehanu by d by Where the On T t he eve Berman eve S N G H ilvia Federici S in An S a er randmoth oc an F I I slan Come From S ial Function of Property B e F S an N S drews atured ingh lash ook N U ti e tos ck Fires”ck and the r ir H P o ur E S R o ley ssay cience Fiction F ems 2012 e A iction vi M rtist e : The Year’s: The ws a g ma Kath WilhamKath Arts Editor TimmelL. Duchamp Features Editor Nisi Shawl Reviews Editor Lew Gilchriist Managing Editor $5.00 In This Issue Electronic singleissue:$3 $10 peryear Electronic Subscription(PDF format): Print singleissue:$5 Print subscription:$16/yr; www.thecsz.com Subscriptions andsingleissuesonlineat: Cover banner collagraph of theCascadia subduction zone byMarilyn Liden Bode W orking on Mars: Voyages of Scientific Discovery withthe Mars Exploration Rovers R H apture: Book of Three Bel the Dame Apocrypha by Kameron Hurley “Walking Stick Fires” Knowability the and of Science Fiction Br On the Island the On Where ICome From, by Nin Andrews eiresses of Russ eaking the Bow:eaking the Speculative Fiction Inspired by Ramayana the translated into English by Lawrence Schimel Grandmother Ash,by Michele Bannister The SocialThe Function of Property, by Care Santos At Mouth the of River the by Bees of Kij Johnson Gneiss-Mother, by Michele Bannister edited by Connie Wilkins Steve and Berman reviewed by Rochita Loenen-Ruiz edited by AnilMenon Vandana and Singh R evolution at Point Zero by Silvia Federici reviewed by Maria Velazquez reviewed by Karen Burnham reviewed by Victoria Garcia reviewed by Cynthia Ward We Have Never Been Postmodern: V reviewed by Mark Bould reviewed by Hiromi Goto 2012 ol Tehanu G . 3N by Alan DeNiro Pam Sanders by William J.Clancey : The Year’s: The Best Lesbian Speculative Fiction er randmoth F B e by Guin Le Ursula K. F atured o lash ook . 1 P E — R o ssay F ems e

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perspectives, or even a single alternative alternative single a even or perspectives, ing it (a)new. it ing

the potential for a multiplicity of readerly readerly of multiplicity a for potential the - mak in interest much has no-one

argument: the essay tends to shut down down shut to tends essay the argument: with the details, but it seems that that seems it but details, the with

point to a larger problem with Kincaid’s Kincaid’s with problem larger a to point there before. We might tinker tinker might We before. there

bring this point up, but I think it does does it think I but up, point this bring stead turning back to what was was what to back turning stead

finished work.” finished That just doesn’t happen. I hesitate to to hesitate I happen. doesn’t just That - in novel, it made once what with

what one reads of their their of reads one what to the state of exhaustion in the field!” field!” the in exhaustion of state the to the genre is now afraid to engage engage to afraid now is genre the

traits to writers based on on based writers to traits day! I, too, look forward to contributing contributing to forward look too, I, day! Judging by these three books, books, three these by Judging

from ascribing personality personality ascribing from - to story mediocre really a write to going

literary value of a work work a of value literary x morning and say “You know what? I’m I’m what? know “You say and morning

fundamentally understandable. fundamentally guishes critiquing the the critiquing guishes I wouldn’t care for care wouldn’t I who wake up in the the in up wake who —

they might seem, were always always were seem, might they from. A fine line distin- line fine A from. know of few writers few of know even of work that that work of even —

tant futures that, however weird weird however that, futures tant writer, this is coming coming is this writer, what one reads of their finished work. I I work. finished their of reads one what

- dis and worlds alien presented ship between reader and and reader between ship ing personality traits to writers based on on based writers to traits personality ing

its historical best, science fiction fiction science best, historical its in fact, in the relation- the in fact, in - ascrib from work a of value literary the

future can be comprehended. At At comprehended. be can future sible in discerning where, where, discerning in sible from. A fine line distinguishes critiquing critiquing distinguishes line fine A from.

that it has lost confidence that the the that confidence lost has it that to be as precise as pos- as precise as be to tween reader and writer, this is coming coming is this writer, and reader tween

it would be more accurate to say say to accurate more be would it exhaustion), it’s crucial crucial it’s exhaustion), - be relationship the in fact, in where,

fidence in the future. Or perhaps perhaps Or future. the in fidence ary affect (that is to say, say, to is (that affect ary be as precise as possible in discerning discerning in possible as precise as be

- con lost has fiction science that “When discussing a liter- a discussing “When (that is to say, exhaustion), it’s crucial to to crucial it’s exhaustion), say, to is (that

The problem may be, I think, think, I be, may problem The affect affect literary a discussing when but ous,

- obvi is this Perhaps screen). (or page

x

seen on the the on seen product finished the to process

been drained from them. from drained been

creative creative writer’s a from transition the

repeated until all meaning has has meaning all until repeated

This puzzle has everything to do with with do to everything has puzzle This 1

set of tropes to be repeated and and repeated be to tropes of set

. reader a as and writer

Rather, the genre has become a a become has genre the Rather,

i to her or his creative process both as a a as both process creative his or her to

viction about what they are doing. doing. are they what about viction

tent is valueless, particularly as it relates relates it as particularly valueless, is tent

- con real any have writers the that

- in author’s the of awareness think don’t

In the main, there is no sense sense no is there main, the In

once a work reaches a reader, but I also also I but reader, a reaches work a once

any writer’s intentions are sacrosanct sacrosanct are intentions writer’s any : exhaustion genre’s the

about one’s own work. I don’t think that that think don’t I work. own one’s about Kincaid’s central thesis revolves around around revolves thesis central Kincaid’s

For sure, it can be perilous writing writing perilous be can it sure, For No matter how far the argument ranges, ranges, argument the far how matter No

used by Kincaid. Kincaid. by used a Feather (Strahan, 2012; Nerds, 2012). 2012). Nerds, 2012; (Strahan, Feather a

to the specific examples of “exhaustion” “exhaustion” of examples specific the to well as a second interview with Nerds of of Nerds with interview second a as well

ing Stick Fires” and connect that process process that connect and Fires” Stick ing Jonathan Strahan and Gary Wolfe, as as Wolfe, Gary and Strahan Jonathan

- “Walk of process writing the discuss to sion followed a podcast interview with with interview podcast a followed — the genre’s exhaustion.” genre’s the

tations and writerly adventurism, I want want I adventurism, writerly and tations - discus thoughtful much garnered which thesis revolves around around revolves thesis

- expec genre of issues to connection of field of short fiction. From that essay that From fiction. short of field — — “…Kincaid’s central central “…Kincaid’s

caid mentioned. Considering this thread thread this Considering mentioned. caid doesn’t like what he sees, at least in the the in least at sees, he what like doesn’t

- Kin which and anthologies Best Year’s And using those stories as evidence, he he evidence, as stories those using And

is a story in one of the aforementioned aforementioned the of one in story a is the “state of the genre” (Kincaid, 2012). 2012). (Kincaid, genre” the of “state the

short story “Walking Stick Fires.” which which Fires.” Stick “Walking story short points to reflect on what he considered considered he what on reflect to points

rameters that I used in the writing of the the of writing the in used I that rameters He used the stories therein as proof proof as therein stories the used He

- pa and constraints of set deliberate a thologies of fantasy and science fiction. fiction. science and fantasy of thologies

“genre malaise.” That discussion framed framed discussion That malaise.” “genre - an best year’s three of essay-review an

and myself had an ongoing discussion of of discussion ongoing an had myself and , critic Paul Kincaid wrote wrote Kincaid Paul critic , Books of view

Several years ago, a group of my peers peers my of group a ago, years Several - Re Angeles Los the of issue recent a In

by Alan DeNiro

“Walking Stick Fires” and the Knowability of Science Fiction Science of Knowability the and Fires” Stick “Walking y We Have Never Been Postmodern: Postmodern: Been Never Have We Never Postmodern to a rather monolithic way of looking at ary movement created by an online pow- (cont. from p. 1) how genre mechanisms work. wow of friends and colleagues including Such a tendency exhibits itself in a David Moles, Meghan McCarron, Ben- kind of closed-door effect for actually jamin Rosenbaum, David Schwartz, engaging in what a story is trying to do. Dora Goss, and several others (Moles, Kincaid says at one point in the first in- 2005). It was born out of a desire to “re- “If one takes seriously terview with Strahan: brand” slipstream (a term that mercifully (as I do) that science hasn’t been in use in this current debate) True fantasy is as rigorous as fiction is just one con- into something with a little more sleek- science fiction: you play fair with tinent in the vast ecol- ness, volatility, and horsepower; in other the readers. If anything can hap- ogy of fantasy, then the words, to go beyond sidestepping issues pen, then nothing matters. Using storytelling techniques of “exhaustion” in the genre and sim- the tropes of fantasy to resolve a of thousands of years of ply immolate them. It quickly evolved science fiction story is just a way fantastic literature pres- into an aesthetic that prized explosives, of waving your hand and saying ent an array of options both literally and figuratively within a “it doesn’t matter, because any- that go beyond this story. In one of its core tenets (listed as thing can happen, all it takes is little island of genre.” a “catchphrase”): “Infernokrusher fiction the whim of the author.” I cannot explodes stagnant genre conventions, read a story that takes that form e.g., that it’s not okay to have all your without my confidence in both characters run over by a monster truck the writer and their creation in- in what would seem to be the middle stantly plummeting. of the story.” Thus, it’s a way to push In theory this criticism is not such a against the boundaries of comfortability bad thing. It’s important for a writer, in in what is “okay” in fiction, particularly the midst of writing and revising a story, the sf/f field. to understand how the building blocks Although there hasn’t been much H of prose and world building intersect written Infernokrusher output, I wrote with one another with an eye toward “Walking Stick Fires” with the Infernok- 2 concision. However, in practice, I won- rusher tenets in mind: breakneck speed der about this insistence on “confidence” in pacing, rapid changes in plot, and ex- and whether it (or the lack of it) fosters a plosions. Moreover, when I found myself “guilty until proven innocent” approach stuck in a particular point in the story, I about writing. Again, this has noth- tried to insert a car chase, a shoot-out, or ing to do with the taste of a particular a “wrong turn” in the thread of the story. reader and critic, but it does problema- This became an exercise in semiautomat- “Every writer must find tize creating a diagnosis for an entire ic writing. Later, in revisions, I fleshed their own version of field, much less a prescription, based on out some of the loose ends (for example, rigor, a grammar both one’s hunches about how a writer should the world-consuming Beings and their of the world and of the “play fair.” ecosystem). heart. Infernokrusher I would contend that “playing fair” is Whether this story succeeds or not, for me was an organiz- only tangentially related to rigor in sci- of course, is up to the discernment of ing principle, much like ence fiction. If one takes seriously (as I readers, based on what they are seeking a poet’s use of semi- do) that science fiction is just one conti- in their literature, and I have no con- formal verse….” nent in the vast ecology of fantasy, then trol over that. The point is, though, that the storytelling techniques of thousands these Dadaist (or Vorticist) composition- of years of fantastic literature present an al techniques opened up an avenue into array of options that go beyond this little storytelling that, otherwise, I perhaps island of genre. wouldn’t have gone down. Trying to pin- Perhaps the best way to illustrate this point this story on the spectrum of “is is to talk about the genesis of “Walking this story playing fair with the reader?” Stick Fires.” This requires going back a is beside the point. Every writer must few years, when the “infernokrusher” find their own version of rigor, a gram-

movement was born. Infernokrusher is mar both of the world and of the heart.

a half-joke, half-all-too-real genre liter- Infernokrusher for me was an organizing n

n

Kincaid, despite his call for more daring daring more for call his despite Kincaid,

- capabil negative by meant is What ity.” Cont. on p. 4 p. on Cont.

that, I would figure, miss these marks for for marks these miss figure, would I that, - capabil “negative of possibility the for

bilities of science fiction writing in a way way a in writing fiction science of bilities Ceding certainty in the future allows allows future the in certainty Ceding

- possi the appreciate and love genuinely for me, the story needed. needed. story the me, for

more and more examples of writers who who writers of examples more and more those “deep fried” elements were what, what, were elements fried” “deep those

and sometimes it still is. But I also see see also I But is. still it sometimes and Keith, Camaros, and kickboxing. And And kickboxing. and Camaros, Keith,

to be a major red flag of amateurism, amateurism, of flag red major a be to not have been able to include, well, Toby Toby well, include, to able been have not

fully extrapolated futurosity. This used used This futurosity. extrapolated fully writing a more “careful” story, I would would I story, “careful” more a writing

- care in interested especially not are tion not included in them as what is. If I was was I If is. what as them in included not

them as what is.” what as them

- fic science write who fence the of side stories are just as much about what is is what about much as just are stories

what is not included in in included not is what

agree that most writers on the literary literary the on writers most that agree fices and yields different rewards. Most Most rewards. different yields and fices

are just as much about about much as just are

one community). I think Kincaid would would Kincaid think I community). one - sacri and trade-offs has story of choice

rewards. Most stories stories Most rewards.

within (or if she or he is in more than than more in is he or she if (or within Keith, Camaros, and kickboxing. Every Every kickboxing. and Camaros, Keith,

fices and yields different different yields and fices

community a particular writer is at home home at is writer particular a community story include aliens, yes, but also Toby Toby also but yes, aliens, include story

has trade-offs and sacri- and trade-offs has

meaning in different ways based on what what on based ways different in meaning another. The speculative aspects of the the of aspects speculative The another.

“Every choice of story story of choice “Every

These interconnected parts gain their their gain parts interconnected These they lurched from one misadventure to to misadventure one from lurched they

a post-Fordist fast-food working model. model. working fast-food post-Fordist a point of unspooling for the narrative, as as narrative, the for unspooling of point

little pay, if any, somehow are mimicking mimicking are somehow any, if pay, little tunnels underground), was the central central the was underground), tunnels

working alone in their offices for very very for offices their in alone working dent populace (mostly forced to live in in live to forced (mostly populace dent

restaurants), as if short story writers writers story short if as restaurants), - resi the of goings-on actual the in est

industrialized ground beef in fast food food fast in beef ground industrialized - inter little have who protagonists, its

as “pink slime fiction” (referencing the the (referencing fiction” slime “pink as the bored imperialist assumptions of of assumptions imperialist bored the

rison, 2012). Harrison also references it it references also Harrison 2012). rison, exploring in “Walking Stick Fires.” And And Fires.” Stick “Walking in exploring

- (Har impact” & meaning original their certainty of typology that I found worth worth found I that typology of certainty

fication of ideas & styles evacuated of of evacuated styles & ideas of fication - un very this it’s But findings. one’s about

- commodi “intense of one problem the in careful extrapolation and a certainty certainty a and extrapolation careful in 3

plicated than M. John Harrison’s calling calling Harrison’s John M. than plicated of genre at work: one invested invested one work: at genre of typology

- com more far it’s But ways. different in i unless there is a certain certain a is there — reiterate to —

Different writers will approach them them approach will writers Different bility of a “connection” with the present present the with “connection” a of bility

half-knowledges. half-knowledges. - possi the allow doesn’t He present. the

are well-equipped to splice together its its together splice to well-equipped are fiction has to dwell either in the past or or past the in either dwell to has fiction

and science fiction, in its various forms, forms, various its in fiction, science and future is unknowable, then the work of of work the then unknowable, is future

short stories in the first place. Fantasy Fantasy place. first the in stories short I see in Kincaid’s argument. For if the the if For argument. Kincaid’s in see I

bring us to the heart of why one writes writes one why of heart the to us bring might be the fundamental disconnect disconnect fundamental the be might

knowledge.) Negative capability can can capability Negative knowledge.) and perceptions of our present.” This This present.” our of perceptions and

of of absence complete a not it’s (Again, is no connection with the experiences experiences the with connection no is

of what we know and what we don’t. don’t. we what and know we what of fiction, “things are so different that there there that different so are “things fiction,

ics that mediates between the lexicons lexicons the between mediates that ics Kincaid thinks that, in some science science some in that, thinks Kincaid

- poet a for basis the and durable, selves that I present to the reader. reader. the to present I that

- them are “half-knowledges” These the future is an epistemological premise premise epistemological an is future the

vice; for me the incomprehensibility of of incomprehensibility the me for vice;

knowledge. (Li, 2009) (Li, knowledge.

- de poetic a is “trope” A trope. a not me,

of remaining content with half- with content remaining of

reader." ture being presented.” That is, at least for for least at is, That presented.” being ture

mystery, from being incapable incapable being from mystery,

that I present to the the to present I that - fu the comprehend fully to expected is

caught from the Penetralium of of Penetralium the from caught

mological premise premise mological trope in which neither author nor reader reader nor author neither which in trope

go by a fine isolated verisimilitude verisimilitude isolated fine a by go

future is an episte- an is future At one point Kincaid discusses “the “the discusses Kincaid point one At

Coleridge, for instance, would let let would instance, for Coleridge,

prehensibility of the the of prehensibility feature, not a bug. bug. a not feature,

reaching after fact and reason and fact after reaching — —

"[F]or me the incom- the me "[F]or sible: as the saying goes, I consider this a a this consider I goes, saying the as sible:

ies, doubts, without any irritable irritable any without doubts, ies,

- incomprehen is future the mine, as such

- myster uncertainties, in being

As for the contention that, in stories stories in that, contention the for As

that is, when a man is capable of of capable is man a when is, that

iambic substitutions. iambic

I mean Negative Capability, Capability, Negative mean I

at least one with lots of slant rhymes and and rhymes slant of lots with one least at

1817, as a rejection of totalizing systems: totalizing of rejection a as 1817, formal verse formal if not a strict sonnet, then then sonnet, strict a not if —

ity? Keats used the phrase in a letter in in letter a in phrase the used Keats ity? principle, much like a poet’s use of semi- of use poet’s a like much principle, Never Postmodern and risk. They are simply pursuing other Far from the unknowability of the future (cont. from p. 3) goals — whether they be a deep dive into being an epistemological closure (and characters (more about that later), an the past and the present, for that matter, exploration of a disphoric tone, or an as their own quandaries), this is more of actualization of personal metaphysics. a grappling with reality itself. This is the Writers, particularly the newer genera- “truth content” — that, no, by definition, tions of writers, are cobbling together the future cannot be understood. Thus their own system of poetics that draw on describing this as lazy postmodernism traditions of both the fantastic and the does not delve close at all to this truth. realistic. The postulation that we can understand “Writers, particularly It appears that writers can only be the future through fiction is a comfort- the newer generations “daring” if they share the same episte- ing fiction, but to let go of it is not a ca- of writers, are cobbling mological premises as Kincaid about pitulation into pure relativism. together their own sys- what science fiction should be and do. At one point, Kincaid asks a rhetori- tem of poetics that draw But that’s exactly it. Science fiction as cal question about this type of fiction: “If on traditions of both a unified “project,” even one that leads anything can happen, then what is the the fantastic and the from the edges, is more or less over. consequence of any action?” realistic.” There are only science fiction stories, This is precisely the question worth and fantasy stories, and science fantasy careful exploration through storytell- stories, and, well, you get the point. That ing. (Or even wild exploration.) And is where the change has come — a move science fiction and fantasy have unique away from seeing the comprehensibil- toolsets to make these types of stories “…this shift into a mul- ity of the future as a worthwhile project. matter: through world-building (even tiplicity of storytelling Of course, some writers are still going to if the rivets are not perfect), through modes has nothing to continue in that mode, and that is great. characterization of “the Other,” through do with “postmodern- But it’s not going to be assumed as a giv- a willingness to take a speculative turn H ism.” Postmodernism en. And this has nothing inherently to with prose. is just the last gasp of do with the Singularity. The amount of What does this leave us with, then? If 4 modernism. The splicing thought I give to the Singularity is pret- this project is not under consideration together of genres is not ty much zero. To announce that as the for me and, I would venture, an increas- a postmodern act, and wellspring of the “problem” is to make a ing number of other writers, what is left? it is not the inherent blanket assumption about what writers “Science fiction” is going to include signal of death-of-genre, are, in fact, really interested in writing anti-sf. It’s also going to include post-sf, or exhaustion.” about. And as a writer, I want that project mushy sf, forward-looking sf, and back- to be over, because I think that it has be- ward-looking sf. It’s going to include come less and less useful with each pass- YA-influenced sf and manga-influenced ing decade. Moreover, this project is its sf. It’s also going to include the sf built own mishmash from the very origins of from solid extrapolative models. And it’s the genre (endearing at times, astound- going to include fantasy. The issue of the ingly frustrating at others) — from the quality of stories in the field is a separate twin imperatives of Gernsbackian sci- matter not inherently tied to this loosen- entific pedagogy and lurid neo-­colonial ing of the strictures of what science fic- exoticism under the guise of “adventure.” tion “ought to be.” In this sense, there is “The postulation that Why should writers continue not to ex- fertile ground for the type of risk-taking we can understand the amine these very premises? that both Kincaid and I would encour- future through fiction Speaking of false flags, this shift into age. And as a writer, I’m more than happy is a comforting fiction, a multiplicity of storytelling modes has to be part of this ongoing conversation. but to let go of it is not nothing to do with “postmodernism.” a capitulation into pure Postmodernism is just the last gasp of * The title of the essay is a riff on the title relativism.” modernism. The splicing together of We Have Never Been Modern, by Bruno genres is not a postmodern act, and it Latour. is not the inherent signal of death-of-

genre, or exhaustion. Its results — like

many other human endeavors! — vary. n

n

edu.au/~micheleb/poetry.html

her work at: http://www.mso.anu. at: work her

. See See . Fruit Goblin and Ideomancer

, and is forthcoming in in forthcoming is and , Telling

Stone Stone and Horizons Strange in

astronomy. Her work has appeared appeared has work Her astronomy.

towards her doctorate in in doctorate her towards

Australia, where she is working working is she where Australia,

Michele Bannister lives in in lives Bannister Michele

still holding on to hope. to on holding still

grained nail-beds limned in lime, lime, in limned nail-beds grained

there her hand cast in sudden starkness– starkness– sudden in cast hand her there

Walking the dark flows south of Vesuvius, Vesuvius, of south flows dark the Walking lives in Minnesota. Minnesota. in lives

(Ballantine/Spectra. He He (Ballantine/Spectra.

5.

Less or More Oblivion,

Total Total novel the and Press)

pushed down under pumice. under down pushed

(Small Beer Beer (Small Dead the of

In departure, losing, leaving, one little gold ibex, ibex, gold little one leaving, losing, departure, In

Skinny Dipping in the Lake Lake the in Dipping Skinny

every laugh-leaping dolphin down under dust. dust. under dolphin down laugh-leaping every

of the story collection collection story the of

crisp azure disappearing tile by tile, tile, by tile disappearing azure crisp

Alan DeNiro is the author author the is DeNiro Alan

Watching ash fall over Akrotiri, smudging mosaics, mosaics, smudging Akrotiri, over fall ash Watching

4.

November 19, 2012. 19, November

packing away the present. the away packing sode-116-live-with-paul-kincaid, accessed accessed sode-116-live-with-paul-kincaid, 5

such care, in folds and wraps of skin, skin, of wraps and folds in care, such thanstrahan.com.au/wp/2012/09/16/epi-

the carried chill of unsought winter– winter– unsought of chill carried the Coode Street podcast. http://www.jona- podcast. Street Coode i

Strahan, Jonathan (2012). Notes from from Notes (2012). Jonathan Strahan, heralding eruptions out of Campania, of Campania, out eruptions heralding

Breaking the valley-camp as the wind brought grit, grit, brought wind the as valley-camp the Breaking

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paul-kincaid-is-sf-exhausted.html, accessed accessed paul-kincaid-is-sf-exhausted.html, 3.

nerds-feather.com/2012/10/interview-

embers eking out the clock of hours and days. and hours of clock the out eking embers Kincaid – Is SF ‘Exhausted’?” http://www. ‘Exhausted’?” SF Is – Kincaid

a gift in the crumbs of charcoal: charcoal: of crumbs the in gift a Nerds of a Feather. “Interview: Paul Paul “Interview: Feather. a of Nerds

A last trace of fire’s ash, grandmother, grandmother, ash, fire’s of trace last A

accessed November 14, 2012. 14, November accessed

waiting the scuff of careful fingers. fingers. careful of scuff the waiting

chrononaut.org/log/archives/000581.html, chrononaut.org/log/archives/000581.html,

Four hundred grandmothers that hearth sat hushed, hushed, sat hearth that grandmothers hundred Four

an Infernokrusher Manifesto.” http://old. Manifesto.” Infernokrusher an

searching out the sparkle of distant sea. sea. distant of sparkle the out searching Moles, David et al. (2005). “Notes Toward Toward “Notes (2005). al. et David Moles,

scanning the forested plains for smoke, smoke, for plains forested the scanning

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gazing from a cave’s high aerie in Gibraltar, Gibraltar, in aerie high cave’s a from gazing

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Smoke-stained hand on the wall; wall; the on hand Smoke-stained

Group. p. ix. Via en.wikipedia.org/wiki/ Via p. ix. Group.

. Continuum International Publishing Publishing International Continuum . ity 2.

Keats and Negative Capabil- Negative and Keats (2009). Ou Li,

Seeds buried in sudden ash. sudden in buried Seeds

11, 2012. 11, the volcano’s gift, sign of two feet on a long walk. walk. long a on feet two of sign gift, volcano’s the

php?id=904&fulltext=1, accessed November November accessed php?id=904&fulltext=1,

passing by thirteen hundred grandmothers later: later: grandmothers hundred thirteen by passing

gies.” http://lareviewofbooks.org/article. gies.”

planting footsteps for fickle-following children, children, fickle-following for footsteps planting

Gyre: 2012 Best of the Year Antholo- Year the of Best 2012 Gyre:

the long path past Laetoli, hand in hand, hand, in hand Laetoli, past path long the

Kincaid, Paul (2012). “The Widening Widening “The (2012). Paul Kincaid,

Trudging after her anguish, soberly, soberly; soberly; soberly, anguish, her after Trudging

Rockville, MD: Prime Books, pp. 130-142. pp. Books, Prime MD: Rockville,

1.

. 2012 Fantasy and Fiction ence

The Year’s Best Sci- Best Year’s The (2012). ed. Rich, Horton,

by Bannister Michele

Grandmother Ash Grandmother Works Cited Works y On the Island Where I Come From Fiction by Nin Andrews

St. Julio’s Finishing School is the Is- Boys with artistic flare learn to ar- land’s elite academy for boys. Any boy range flowers, hair, and makeup, and are who wishes to attend St. Julio’s must have often expected to apply the finishing his blood tested to determine whether he touches to the bridal party’s faces and possesses the right genetic material. the traditional Island up-dos, complete Only St. Julio’s boys are destined to with pearled barrettes, fake cherries, and become true paragons of their gender, gilded birds. “St. Julio’s promise, capable of mastering the fine art of mar- Musical students play the organ, or complete with a money- ital bliss. St. Julio’s promise, complete they sing or play the harp or the flute, back guarantee: all its with a money-back guarantee: all its while the cake is being cut and the graduates marry once graduates marry once and forever. champagne served. and forever. As part of their education, boys who All students take turns filling the As part of their educa- attend St. Julio’s participate in seven pews of sparsely attended weddings, a tion, boys who attend wedding ceremonies per week. The back practice they continue long after leaving St. Julio’s participate in rooms and wings of the school serve as the academy. It is believed on the Island seven wedding ceremo- sanctuaries where simultaneous wed- that the more witnesses, the stronger the nies per week.” dings take place every day except Mon- couple’s vows. days, a day designated for sanitation The graduates of St. Julio’s love wed- and janitorial training. All St. Julio’s dings so much, when they fall asleep at graduates are trained as chefs, servers, night they dream of the day that they, dishwashers, and janitors in addition to too, will walk down the aisle. Even in marital training. old age, they cry whenever they watch a H Each student develops a special cer- groom kiss his bride. They know that this emonial skill. Those who are good with is the pinnacle moment of every man’s 6 their hands become either calligraphers life on earth, that everything to follow and compose hand-lettered wedding is but a shadow or afterthought, and the invitations or seamstresses who design beginning of his inevitable demise. wedding dresses and suits. These boys are Nin Andrews is the editor of a book of translations often seen attending to the last-minute­ of the French poet Henri clothing emergencies for members of Michaux entitled Someone the wedding parties. Wants to Steal My Name, and she is the author of 5 chapbooks and 5 full- length books of poetry.

Subconscious Rivalry n

n

lesbian, and Jewish themes. Jewish and lesbian,

work frequently deals with gay and and gay with deals frequently work

books in a wide range of genres. His His genres. of range wide a in books

English. He has published over 90 90 over published has He English.

writing in both Spanish and and Spanish both in writing

translator living in Madrid and and Madrid in living translator

among people who are solvent and with a future. a with and solvent are who people among

winning author, anthologist, and and anthologist, author, winning

awaken enthusiasm, scientific or not, not, or scientific enthusiasm, awaken

Lawrence Schimel is an award- an is Schimel Lawrence

knowing that its slices slices its that knowing

It’s even possible that I enjoy enjoy I that possible even It’s

as they do with liverwurst. liverwurst. with do they as

. Mundo El newspaper

or vacuum sealed it it sealed vacuum or

critic for the national Spanish Spanish national the for critic

to know that someone placed it between glass glass between it placed someone that know to

Americas, and serves as a literary literary a as serves and Americas,

And I wouldn’t care either either care wouldn’t I And

literary workshops in Spain and the the and Spain in workshops literary

any intention of correction). correction). of intention any children and young adults. She gives gives She adults. young and children

justifies, albeit tardily, tardily, albeit justifies, poetry, and a great many books for for books many great a and poetry,

my viscera to anyone anyone to viscera my of short stories, two collections of of collections two stories, short of

(the fact that in life I offer offer I life in that fact (the published six novels, six collections collections six novels, six published

of Barcelona, Spain. She has has She Spain. Barcelona, of if it is someone with merit and tact tact and merit with someone is it if

Care Santos was born just north north just born was Santos Care I don’t care if someone divides it into little pieces pieces little into it divides someone if care don’t I

I plan to leave my heart to science. science. to heart my leave to plan I

For identical reasons, today today reasons, identical For

the scientists proclaim, exhausted. exhausted. proclaim, scientists the

in the social function of property. of function social the in

We proudly offer this new data, data, new this offer proudly We

but I continue believing believing continue I but

or lacks certain structures. structures. certain lacks or

I am no longer going to use it any more more any it use to going longer no am I

7

the brain of a genius generates fewer cells cells fewer generates genius a of brain the

After all, all, After

than that of a mature man of his time; time; his of man mature a of that than

with a card; no exceptions). exceptions). no card; a with

i

the brain of a genius weighs 100 grams less less grams 100 weighs genius a of brain the

(available, of course, to any patron patron any to course, of (available,

and extract portentous conclusions: conclusions: portentous extract and

be available on loan loan on available be

study the pieces of Einstein’s brain brain Einstein’s of pieces the study

that one part of the organ in question question in organ the of part one that

Some eminences of science science of eminences Some

I’m even willing to authorize authorize to willing even I’m

with the highest bibliographic rigor, rigor, bibliographic highest the with

nor even if its 200 fragments are classified classified are fragments 200 its if even nor

or in a laboratory, laboratory, a in or and in their own way. own their in and

nor for the world to keep it in an archive archive an in it keep to world the for nor each in their own skin skin own their in each

That’s why I don’t mind sharing it with all, all, with it sharing mind don’t I why That’s we are all of us exceptions, exceptions, us of all are we

that Einstein’s brain interests the experts. experts. the interests brain Einstein’s that As if they didn’t know that that know didn’t they if As

for the same reason reason same the for to the complex rule of life. life. of rule complex the to

is worth studying (forgive my hubris) hubris) my (forgive studying worth is looking for rarities and exceptions exceptions and rarities for looking

I feel my heart heart my feel I those macabre fragments, fragments, macabre those

Well then, and with this I conclude: conclude: I this with and then, Well to again weigh it, measure it, compare compare it, measure it, weigh again to

what moves me to such a maneuver. maneuver. a such to me moves what that there is always someone willing to investigate it, it, investigate to willing someone always is there that

It could be that you’re asking yourself yourself asking you’re that be could It It seems curious to me me to curious seems It

if it murmurs or if it wheezes. wheezes. it if or murmurs it if carefully divided Einstein’s brain. brain. Einstein’s divided carefully

if it weighs more or less, if it lacks a valve, valve, a lacks it if less, or more weighs it if into which Thomas Harvey, humanist pathologist, pathologist, humanist Harvey, Thomas which into

to know if my heart is different from others, others, from different is heart my if know to where they keep the 240 sheets sheets 240 the keep they where

if someone cares cares someone if (Princeton, Chicago, Minneapolis, it doesn’t matter) matter) doesn’t it Minneapolis, Chicago, (Princeton,

And especially especially And There exists a place in the United States States United the in place a exists There

into translated Schimel Lawrence by English

by Santos Care The Social Function of Property of Function Social The y Reflecting Upon Ursula K. Le Guin’s Tehanu Tehanu by Ursula K. Le Guin, Atheneum, 1990, 226 pages Reviewed by Hiromi Goto

“I want to talk about There are certain books I return to for I first read the Earthsea trilogy some- Tehanu as a text of rereading―some for solace, some for time in the ’80s, I think. I quite enjoyed ideas, rather than a book courage, others for intellectual stimula- it, but Tehanu shone for me as a narra- from a series, and rather tion and inspiration. These books are tive separate and distinct and continues than a conventional re- like old friends; they are familiar and to speak to me on different levels. view I would like to of- dependable, yet my rereading of them is Tehanu is a story about the lives of fer a kind of articulated not a static deciphering of a fixed text. women and girls in a world where men musing upon how a story As I age and decode through a richer hold power. It is that simple and that about women can be layer of experience, so my understanding complex. In Tehanu we return to the written, how narrative is of these texts shifts and deepens. life of Tenar, living as a middle-aged shaped, and the ques- I want to talk about Tehanu as a text widow on a farm. She had left the world tions that come to mind of ideas, rather than a book from a series, of magic and power (as described in the when I read and think and rather than a conventional review I first three novels) to live a humble yet about this novel.” would like to offer a kind of articulated respectable life as a farmer, a wife, and musing upon how a story about women a mother. The story opens with a terrible can be written, how narrative is shaped, maiming of a girl, Therru, whom Tenar and the questions that come to mind cares for and adopts as her own. when I read and think about this novel. In a world of men, how can women and For those who are unfamiliar with Le girls live with safety and prosperity? How Guin’s writing and the Earthsea series, do women become fully realized persons H some sort of context is in order. Tehanu beyond the constraints of gender? is the fourth book of a cycle of books, I must admit that I have railed at Le 8 and it is likely best to read the first three Guin in my readings of Tehanu. Why, books before coming to this one, al- I’ve entreated, have you scripted a world though a part of me wonders if the novel system that sets women as secondary to could stand on its own in some way. men? When you have such a wide can- The Earthsea cycle is a fantasy series vas, why do you choose to write a narra- about the fictional archipelago Earth- tive that describes the power of women sea, a world of islands, magic, and con- as, “Weak as woman’s magic, wicked as nections with dragons. The peoples are woman’s magic?” Yet even as I’ve railed technologically “preindustrial,” and most at the social powerlessness of the women travel is carried out on foot, or by ships within the novel, I have marveled at the and boats. The teaching and controlling care with which Le Guin has described of magic lies in the hands of men who the slow movements of women’s lives in- can study at a special school on the island formed not only by political and social of Roke. Only men can become wizards; structures created by men, but also by the women can only be witches. The witches turns of the seasons, and the reality of are valued at the communal level as heal- distance. How far can a child walk in a ers and midwives, but the village witch day? How can a woman and child jour- can also be seen as a figure who cannot ney safely from one village to another? be entirely trusted. The initial trilogy fol- What stands out as remarkable for lows the adventures of Ged, who ends me is that Tehanu is not a fantasy ad- up becoming a great Mage; Tenar, a venture that sees heroes embarking on Kargish priestess whom Ged encounters great journeys of discovery in order to on one of his adventures; and Arren, a save the world, but that it is about the prince who sets out with Ged to discover smaller and more tightly detailed lives Grandmother Magma

what is bringing darkness and evil into of women and children being heroic in

their world. small and modest ways. Le Guin has n

n

power in order to choose a life of farmer, farmer, of life a choose to order in power www.hiromigoto.com.

Her website is http:// is website Her nar has left behind this false world of of world false this behind left has nar

. . Light Darkest is , World - Te If whole. and integrated than rather

Half Half award-winning that has them disconnected and distinct, distinct, and disconnected them has that

companion book to the the to book companion

sea cycle is a flawed power flawed a is cycle sea a power power a — of bravery.” of

Her latest YA publication, publication, YA latest Her

- Earth the in Mages and men of power

horrific drama, and acts acts and drama, horrific

James Tiptree, Jr., Award. Award. Jr., Tiptree, James

Ultimately, Le Guin reveals that the the that reveals Guin Le Ultimately, ments of great beauty, beauty, great of ments

earned the the earned Child Kappa

care how women and girls can live…. live…. can girls and women how care domestic there are mo- are there domestic

The The novel Goto’s Hiromi

we live?” Le Guin shows us with great great with us shows Guin Le live?” we that, yes, even in the the in even yes, that,

win?” the text moves toward, “How do do “How toward, moves text the win?” “…the author shows shows author “…the

munities. Instead of asking, “How do we we do “How asking, of Instead munities.

- com their with relationships their and

connectedness of people to each other other each to people of connectedness

- inter the on more and vanquishing on

within the plot, but the emphasis is less less is emphasis the but plot, the within

are struggles and villains to be dealt with with dealt be to villains and struggles are

modality, but relational. Certainly there there Certainly relational. but modality,

nist form, one that is not hierarchical in in hierarchical not is that one form, nist

- femi a of me to speaks this And tory. ­ fanfare.”

- trajec than rather cycles, flow and ebb

of heroism without without heroism of ―

seems to emulate the turn of seasons, an an seasons, of turn the emulate to seems est ways.…a rendering rendering ways.…a est

is back and forth, or perhaps, circular. It It circular. perhaps, or forth, and back is roic in small and mod- and small in roic

lowed by a great many plots. Rather, it it Rather, plots. many great a by lowed and children being he- being children and

- fol is that model descent and climb detailed lives of women women of lives detailed

tional” (or, perhaps, patriarchal) upward upward patriarchal) perhaps, (or, tional” smaller and more tightly tightly more and smaller

- “tradi the not is narrative the of ment 9 but that it is about the the about is it that but

- move The villages. distant two mostly, order to save the world, world, the save to order

i actually walk back and forth between, between, forth and back walk actually journeys of discovery in in discovery of journeys

the end of the quest. Tenar and Therru Therru and Tenar quest. the of end the roes embarking on great great on embarking roes

an epic journey only to return home at at home return to only journey epic an adventure that sees he- sees that adventure

structure. The heroes do not embark on on embark not do heroes The structure. Tehanu is not a fantasy fantasy a not is Tehanu

follow the conventions of epic fantasy fantasy epic of conventions the follow markable for me is that that is me for markable

rative unfolds. Le Guin, again, does not not does again, Guin, Le unfolds. rative “What stands out as re- as out stands “What

- nar the which in way the is remarkable

that I have found found have I that Tehanu of aspect other

- An heroism. of figure great a as Tenar

I love middle-aged and “powerless” “powerless” and middle-aged love I

of bravery…. bravery…. of

of great beauty, horrific drama, and acts acts and drama, horrific beauty, great of much like our own. own. our like much

even in the domestic there are moments moments are there domestic the in even that perceives them as so as them perceives that a world very very world a —

fantasy, and the author shows that, yes, yes, that, shows author the and fantasy, ism of women and girls living in a world world a in living girls and women of ism

with the same respect as, say, classic epic epic classic say, as, respect same the with - hero quiet the depicts that tale a written

sacred; however, the domestic is treated treated is domestic the however, sacred; of women as weak and wicked; she has has she wicked; and weak as women of

tic and unadorned. The domestic is not not is domestic The unadorned. and tic Le Guin does not envision the magic magic the envision not does Guin Le of gender?” of

- realis unflinchingly is gaze her sense; very well, in a quiet and unblinking way. way. unblinking and quiet a in well, very beyond the constraints constraints the beyond

these moments as heroic in the romantic romantic the in heroic as moments these lesbian. But what it does offer it offers offers it offer does it what But lesbian. fully realized persons persons realized fully

of maternal love. Le Guin does not cast cast not does Guin Le love. maternal of well imagine many witches as bisexual or or bisexual as witches many imagine well do women become become women do

ing for other women; it is the heroism heroism the is it women; other for ing en who choose women over men. I can can I men. over women choose who en and prosperity? How How prosperity? and

- car women of heroism the trauma, after - wom of representation any is it lacking girls live with safety safety with live girls

of a child’s capacity to endure and thrive thrive and endure to capacity child’s a of as as Tehanu see I that thing one is there how can women and and women can how

mothers caring for children, the heroism heroism the children, for caring mothers All books cannot be all things, and if if and things, all be cannot books All “In a world of men, men, of world a “In

ism without fanfare. It is the heroism of of heroism the is It fanfare. without ism meaningful. meaningful.

- hero of rendering a into fantasy of work in these roles something enduring and and enduring something roles these in

- frame sweeping broad, the from shifted wife, and mother, it is because she sees sees she because is it mother, and wife, y Versatility, Heartbreak, and Joy At the Mouth of the River of Bees, by Kij Johnson, Small Beer Press, September 2012, 300 pages, $16.00 Reviewed by Victoria Garcia

At the Mouth of the River of Bees is a when an empire with great power is able stunning new collection from Nebula to communicate only in limited bursts “Johnson writes with and World Fantasy Award-winner Kij and with a lag of decades. In this gor- glorious precision about Johnson. A versatile artist with a clean geously balanced story, storytelling and the emotional lives of and careful style, Johnson writes with folklore provide a way for human beings fox spirits, empresses, glorious precision about the emotional to live in an unspeakably brutal milieu. cats, and small children, lives of fox spirits, empresses, cats, and Indeed, many of the best pieces in the all with equal flair.… small children, all with equal flair. She collection are stories about storytelling. moving with apparently shows the same fluency with genre, Though metafiction is often (justifi- effortless grace between moving with apparently effortless grace ably) seen as self-indulgent and turbid, mainstream literary fic- between mainstream literary fiction and in Johnson’s hands it is translucent and tion and space opera, space opera, folklore-based fantasy and compelling. In “The Cat Who Walked folklore-based fantasy metafiction. a Thousand Miles,” a small feline refu- and metafiction. ” Johnson’s facility with different genres gee journeys through cities, mountains, leads to some interesting moments of and farmland searching for a home. She blending. “The Man who Bridged the knows that she has found it when she Mist,” which won the 2012 Nebula meets another cat that she can tell her Award for best novella, is a particular- stories to. In “The Evolution of Trickster ly interesting example of this. Set in a Stories Among Dogs of the North Park fantastical port town on the edge of a After the Change,” abandoned pet dogs, H thick-fogged sea full of monsters, it ably having learned to speak, begin to de- engages traditionally hard sf themes of velop folklore in order to make sense of 10 engineering, material science, the hu- the perplexing and hostile human world. man cost of technology. The result is a The most metafictional of the group, beautiful exploration of the relationship “Story Kit,” is an intriguingly fractured between a large-scale public works proj- account of how a writer uses myth and ect and the community it is meant to legend to work personal loss into fiction. serve. Another luminous hybrid, “Names Fascinatingly, the piece’s fragmentary for Water,” is a quiet and subtle main- nature only heightens both its tension stream literary story with a lovely hint of and its emotional weight. spacefaring sf at its core. Not everything in the collection is As fascinating as the genre blend- dark. Johnson is also capable of great ing is, the pure science fiction stories tenderness and whimsy. In “26 Mon- are perhaps the most intriguing. They keys, Also the Abyss,” which won the are also among the grimmest. “Spar,” 2009 World Fantasy Award, a woman in which won the 2010 Nebula Award, crisis finds her place in life by running is the most harrowing of the lot. In it, a travelling magic act in which a collec- a human being and an alien, forced to tion of macaques, marmosets, and oth- live in a tightly confined space together ers apport, mysteriously, from a bathtub and lacking a shared language, interact suspended above a stage. And “At the by continuously penetrating each other’s Mouth of the River of Bees,” which is bodies. An exploration of alienness, per- about a surreal road trip and a woman’s sonal autonomy, eroticism, and the lim- bone-deep connection with her aging its of communication, it is as sharp and dog, depicts a world of love, inexplicable thought-provoking as it is horrifying. magic, and healing.

Reviews “Dia Chjerman’s Tale,” another inter- Johnson is perhaps most famous for

stellar piece, shows what could happen her work with Japanese folkore. (Her n

n

reader that robots currently in operation operation in currently robots that reader rovers Spirit and Opportunity. Frankly, Frankly, Opportunity. and Spirit rovers Cont. on p. 12 p. on Cont.

but also takes the time to remind the the remind to time the takes also but morphism and identification with the the with identification and morphism

project would be familiar with them), them), with familiar be would project - anthropo the i.e., granted: for take will

on a NASA or other large engineering engineering large other or NASA a on Clancey are things that many readers readers many that things are Clancey

public.”

why they’re important (anyone working working (anyone important they’re why However, the things that amaze amaze that things the However,

lar book for the general general the for book lar

cal design reviews) without explaining explaining without reviews) design cal into the rovers’ work with enthusiasm. enthusiasm. with work rovers’ the into

specialist and a popu- a and specialist

- criti and (preliminary CDR and PDR on the Mars mission throw themselves themselves throw mission Mars the on

scientific book for the the for book scientific

selves. Clancey throws around terms like like terms around throws Clancey selves. est, but of course the geologists working working geologists the course of but est,

able limbo between a a between limbo able

- them Rovers the of description little but - inter less of and limiting be would move

ists in an uncomfort- an in ists

of the various Mars exploration missions, missions, exploration Mars various the of - re a such at working that seem might It

- ex Mars on Working “

the general public. We get some history history some get We public. general the forward to seeing a landscape first hand. hand. first landscape a seeing to forward

for the specialist and a popular book for for book popular a and specialist the for science, where researchers actively look look actively researchers where science,

fortable limbo between a scientific book book scientific a between limbo fortable notes that geology is at its heart a field field a heart its at is geology that notes

- uncom an in exists Mars on Working rover is on Mars, doing things”). He He things”). doing Mars, on is rover

these phenomena. phenomena. these we’re doing things” as opposed to “The “The to opposed as things” doing we’re

to shed much psychological insight into into insight psychological much shed to entists (when they say “We’re on Mars, Mars, on “We’re say they (when entists

on another planet.” another on

crack in the sidewalk, Clancey does little little does Clancey sidewalk, the in crack - sci the by used language the on touches

through robotic rovers rovers robotic through

iors seem as natural as stepping over a a over stepping as natural as seem iors robotic rovers on another planet. He He planet. another on rovers robotic

tists’ work is mediated mediated is work tists’

- behav “adaptive” these that Given now. scientists’ work is mediated through through mediated is work scientists’

that comes when scien- when comes that

tronauts to Mars isn’t in the cards right right cards the in isn’t Mars to tronauts chological adjustment that comes when when comes that adjustment chological

chological adjustment adjustment chological

- as sending since especially them, with - psy the in interested most is Clancey

terested in the psy- the in terested

doing this work and refuse to identify identify to refuse and work this doing book is actually very narrowly focused. focused. narrowly very actually is book

“Clancey is most in- most is “Clancey

researchers would scoff at mere robots robots mere at scoff would researchers , William J. Clancey’s Clancey’s J. William , Mars on Working

it’s harder to imagine a world where the the where world a imagine to harder it’s For a book with a title as general as as general as title a with book a For

11

Burnham Karen by eviewed R

i by William J. Clancey, MIT Press, August 2012, 310 pages, $29.95 pages, 310 2012, August Press, MIT Clancey, J. William by

Working on Mars: Voyages of Scientific Discovery with the Mars Exploration Rovers Rovers Exploration Mars the with Discovery Scientific of Voyages Mars: on Working

y ars Exploration Unexamined Exploration ars M

of the living. living. the of

es to accept a posting outside the world world the outside posting a accept to es

agile little dog. dog. little agile - choos position, suitable another find to

Aegard, and a chunky but but chunky a and Aegard, reaucrat in medieval China who, unable unable who, China medieval in reaucrat

comics creator John John creator comics - bu low-level a about is Dead,” the of

Seattle with her husband, husband, her with Seattle and mythology. “Chenting, in the Land Land the in “Chenting, mythology. and

elsewhere. She lives in in lives She elsewhere.

. Zone Subduction Cascadia The of cludes an exploration of Chinese history history Chinese of exploration an cludes

and and Review, Indiana the

it is highly recommended for all readers readers all for recommended highly is it - in also collection The gods. capricious

, , Polyphony in published

delight. Deeply engaging on every level, level, every on engaging Deeply delight. wife deals with war, loss, and the will of of will the and loss, war, with deals wife

Garcia’s fiction has been been has fiction Garcia’s

Still, taken as a whole, this book is a a is book this whole, a as taken Still, Empress Jingu Fishes,” a young imperial imperial young a Fishes,” Jingu Empress

Victoria Elisabeth Elisabeth Victoria

ling. ling. love and real desolation spring. In “The “The In spring. desolation real and love

- compel than clever more is 1993, from feit surroundings, the possibility of real real of possibility the surroundings, feit

ending. And “Schrödinger’s Cathouse,” Cathouse,” “Schrödinger’s And ending. - counter these From garden. kitchen

.” Zone Subduction hard to follow and has a rather opaque opaque rather a has and follow to hard burrow beneath a storehouse in his own own his in storehouse a beneath burrow

The Cascadia Cascadia The of readers ping,” published in 1989, is occasionally occasionally is 1989, in published ping,” ing with her in imaginary splendor in a a in splendor imaginary in her with ing

recommended for all all for recommended - Trap “Wolf work. later the as brightly - liv into nobleman local a lures who en

every level, it is highly highly is it level, every and interesting, not all of these shine as as shine these of all not interesting, and - maid fox a about story a is Magic” “Fox

Deeply engaging on on engaging Deeply career are included. Though worthwhile worthwhile Though included. are career body of work will not be disappointed. disappointed. be not will work of body

this book is a delight. delight. a is book this fifteen years, a few from Johnson’s early early Johnson’s from few a years, fifteen Japan.) Fans of this part of Johnson’s Johnson’s of part this of Fans Japan.)

“…taken as a whole, whole, a as “…taken the collection were published in the last last the in published were collection the 2003’s 2003’s , are both set in historical historical in set both are , Fudoki

While the majority of the stories in in stories the of majority the While , and and , Woman Fox The 2000’s novels, two Mars Exploration aren’t ­sentient. He insists on using the trating.” I would have loved to see more (cont. from p. 11) acronym MER (Mars Exploration Rov- investigation of that tension. er) instead of referring to “the rovers.” As a general reader, or even as a NASA And Clancey repeatedly mentions the reader looking for “lessons learned” to “virtual reality” tools used by the team, apply to other projects, this is an un- but without any particular description satisfying book. It is awkwardly written “Clancey incorporates of those tools. It appears that he means and focused on very specific questions an ethnographic ap- the photographic mosaics that the teams that are narrowly tailored to Clancey’s proach to his research, assembled to get a more comprehensive specialty in Human and Machine Cog- including biographical view of the landscape surrounding each nition. He tends to treat the humans in- snippets and extensive rover — probably not what the term “VR” volved in a distanced and rather abstract interviews with some of evokes in readers’ minds. way. There are interesting tidbits here for the people involved in Clancey incorporates an ethnographic those with a specific interest in the cur- the mission, and these approach to his research, including bio- rent and future program of Mars explo- voices are the strongest graphical snippets and extensive inter- ration in specific, and human-machine part of the book.” views with some of the people involved partnerships in general. Still, I think I’ll in the mission, and these voices are the be picking up Steven Squyres’s book, strongest part of the book. As is com- which seems to tell a more human and mon in NASA, older participants tend personal story of the mission, as soon as to be men, and younger (less powerful) I can track down a copy. voices belong to women. Clancey unfor- tunately doubles down on this by focus- ing a large part of his attention on Steven Squyres, the principal investigator on the Rover missions, and almost none on Joy Crisp, the principal scientist (Clancey’s H attempts to explain the difference are “As a general reader, or almost hilariously inept). This is likely even as a NASA reader 12 inevitable given that Squyres has written looking for ‘lessons about the Spirit and Opportunity mis- learned’ to apply to sions already (excerpts from which make other projects, this is it clear that the general reader should an unsatisfying book.” read that book, Roving Mars: Spirit, Op- “…when asked to com- portunity, and the Exploration of the Red plete the sentence: Planet instead of this one), but I would ‘Working with the Mars have liked to hear more of Crisp’s take rovers is _____’ many on things. of the scientists filled in The interviews also hint at questions the blank with ‘frustrat- that I’m interested in but Clancey clear- Karen Burnham is ing.’ I would have loved ly isn’t: engineering team dynamics and vocationally an engineer to see more investiga- getting a room full of very smart people and avocationally a fiction tion of that tension.” to all pull together. The rover missions reviewer. She works at have been remarkably successful, out- NASA Johnson Space lasting their original designed lifetimes Center as an electrical by years and returning a wealth of new engineer. She edits Locus information. So in one way this is a case magazine’s Roundtable blog. study of running an excellent project, and Clancey points out that most sci- entists involved regard it as the height of their careers. However, when asked to complete the sentence: “Working with

the Mars rovers is ______” many of the

scientists filled in the blank with “frus- n

n

Cont. on p. 14 p. on Cont.

. it deserved ably

- prob she rakshasi, a cut I if mean own life in her own hands. hands. own her in life own

Lakshmana: Absolutely not. I I not. Absolutely Lakshmana: decision and the responsibility for her her for responsibility the and decision

It is a strong statement: Sita takes the the takes Sita statement: strong a is It

Admin: So no regrets? no So Admin:

will make the decision this time.” this decision the make will

this: this:

And if I am to be exiled, I alone alone I exiled, be to am I if And

with a celebrity saying something like like something saying celebrity a with

“Be silent, Lakshmi. I am Sita. Sita. am I Lakshmi. silent, “Be

it is quite easy to imagine an interview interview an imagine to easy quite is it

.” Ramayan

This is what she says to her creator: her to says she what is This Manickavel has an ear for dialogue; dialogue; for ear an has Manickavel

takes on an epic like the the like epic an on takes

exile herself as the original Sita did. Sita original the as herself exile is pitch-perfect and her prose shines. prose shines. her and pitch-perfect is

interrogate when one one when interrogate

gains a will of her own she proceeds to to proceeds she own her of will a gains posed internet response to it. Her writing writing Her it. to response internet posed

ment on and much to to much and on ment

. When Sita Sita When . Ramayana the of Sita the by - sup the and television real-time modern

“There is much to com- to much is “There

artificially intelligent creation inspired inspired creation intelligent artificially the subject of Suparnakha’s mutilation on on mutilation Suparnakha’s of subject the

science fictional imagining of Sita as an an as Sita of imagining fictional science Manickavel is brilliant in her handling handling her in brilliant is Manickavel

Indrapramit Das’s “Sita’s Descent” is a a is Descent” “Sita’s Das’s Indrapramit American Reality Television Show.” Show.” Television Reality American

do. do. Manickavel’s “The Ramayana as an an as Ramayana “The Manickavel’s

who also desire to love as Rama and Sita Sita and Rama as love to desire also who opens with with opens Bow the Breaking uzhali uzhali ­ K

a source of jealousy for the butterflies, butterflies, the for jealousy of source a sible ruler of Aydohya. of ruler sible

ma’s and Sita’s devotion to each other as as other each to devotion Sita’s and ma’s - respon a and Sita, wife, faithful his to

- Ra portrays Grove” Mango “The thal’s fect son. Later he was an ideal husband husband ideal an was he Later son. fect

- Rosen Julia Rama. of form the taking - per the was he boy, young a was Rama

this connection is realized with Ravana Ravana with realized is connection this why Indians consider him heroic. When When heroic. him consider Indians why

sharing a connection with Sita, even if if even Sita, with connection a sharing life by the rules of dharma; in fact, that is is that fact, in dharma; of rules the by life

shown as being envious and desirous of of desirous and envious being as shown dharma. Its hero, Rama, lived his whole whole his lived Rama, hero, Its dharma. on or interrogate it.” interrogate or on

relationship is idealized, and Ravana is is Ravana and idealized, is relationship around 1000 BCE and offers models in in models offers and BCE 1000 around

can seek to extrapolate extrapolate to seek can 13

tale, “The Good King,” Rama and Sita’s Sita’s and Rama King,” Good “The tale, tells about life in India India in life about tells Ramayana The in which it originates originates it which in

In Abha Dawesar’s science fiction fiction science Dawesar’s Abha In late on or interrogate it. it. interrogate or on late standing of the culture culture the of standing i

to be like Sita.” like be to - extrapo to seek can originates it which ing work and an under- an and work ing

be like Rama and girls are admonished admonished are girls and Rama like be and an understanding of the culture in in culture the of understanding an and good grasp on an exist- an on grasp good

New York) notes that “boys are told to to told are “boys that notes York) New with a good grasp on an existing work work existing an on grasp good a with “…only writers with a a with writers “…only

Dharma,” Jean Johnson (University of of (University Johnson Jean Dharma,” preciating, because I think only writers writers only think I because preciating,

ticle “Rama and Ramayana: Lessons in in Lessons Ramayana: and “Rama ticle - ap worth point a is It life. cultural their

- ar her In Ramayan. the like epic an as part of of part as Ramayana the with up grew

much to interrogate when one takes on on takes one when interrogate to much the majority are penned by authors who who authors by penned are majority the

There is much to comment on and and on comment to much is There Of the twenty-five stories in this book, book, this in stories twenty-five the Of

violence against women. women. against violence tradition.” Ramayana the is that ers

trayal of and the audience’s enjoyment of of enjoyment audience’s the and of trayal - riv of network great the of distributaries “

life.”

- por media’s on otherwise, or intentional are not retellings. She refers to them as as them to refers She retellings. not are

as part of their cultural cultural their of part

There is an underlying commentary here, here, commentary underlying an is There says that the stories in this anthology anthology this in stories the that says

Ramayana the with up

ed need in the protagonist’s customers. customers. protagonist’s the in need ed In her introduction, Vandana Singh Singh Vandana introduction, her In

by authors who grew grew who authors by

- twist of sort some satisfy to meant play dana Singh, things are not so simple. simple. so not are things Singh, dana

the majority are penned penned are majority

consideration, but this time as a role- a as time this but consideration, - Van and Menon Anil by edited yana,

­ stori es in this book, book, this in es

tilation of Suparnakha also comes under under comes also Suparnakha of tilation - Rama the by Inspired Fiction Speculative

“Of the twenty-five twenty-five the “Of

- mu the story, this In fiction. science is Breaking the Bow: Bow: the Breaking With thinks. one

has a surreal aspect to it for all that it it that all for it to aspect surreal a has reading it and then writing down what what down writing then and it reading

by Neelanjana Banerjee’s “Exile,” which which “Exile,” Banerjee’s Neelanjana by anthology would be a simple matter of of matter simple a be would anthology

Manickavel’s brilliant tale is followed followed is tale brilliant Manickavel’s One would expect that reviewing an an reviewing that expect would One

Loenen-Ruiz Rochita by eviewed R

edited by Anil Menon and Vandana Singh, Zubaan Books, 2012, 338 pages, Rs 395 Rs pages, 338 2012, Books, Zubaan Singh, Vandana and Menon Anil by edited

, , Ramayana the by Inspired Fiction Speculative Bow: the Breaking

y In terrogating the River of Truth of River the terrogating River of Truth In Mary Anne Mohanraj’s “The Prin- makes us question Rama’s single-minded (cont. from p. 13) cess in the Forest,” a modern day wom- devotion to the quest for “justice.” an finds herself trapped in a marriage There is a poignant moment in “Obliv- where she has lost love and respect for ion” when Vikram reflects on Ram: “In her husband. I found this to be a par- the Ramayana, Ram braves all to recover ticularly moving tale, as it speaks to the his consort Sita from the demon Ravan. experience of migrant women who find But near the end of the story he loses her themselves unable to leave their mar- through his own foolishness.” Other noteworthy stories are Aish- “[T]he anthology has riages because of cultural and familial warya Subramanian’s “Making,” Tori succeeded in bringing restraints. Truslow’s “Machanu Visits the Un- us stories that are fresh At one point Samiksha, the main derworld,” Lavanya Karthika’s “Day and vivid and resistant character, asks herself: of the Deer,” Priya Sarukkai Chabria’s to pigeonholing regard- “If she had never studied math, “Fragments from the Book of Beauty,” less of the fact that never gone to England, who Sharanya Manivannan’s “Petrichor,” La- they employ elements would she have married? Would vie Tidhar’s “This, Other World,” and that make us classify she have become the perfect wife, Manjula Padmanabhan’s “The Other them as science fiction, the Sita of the story?’ Woman.” fantasy, magical real- Shweta Narayan’s “Falling into the ism, or slipstream.” There is no resolution to Samiksha’s predicament, but Mohanraj’s ending Earth” is the anthology’s final story. It leaves us questioning where the true tells of a modern Rama and a modern path to happiness lies. Is it in fulfilling Sita brought together in an arranged the expectations of the ideal wife, or is marriage. Sita tries to fit into the pattern the answer to be found elsewhere? of the faithful and proper wife, while Swapna Kishore’s “Regressions” is an Rama works hard and does what ideal sf rendition of the Ramayana wherein a husbands are supposed to do. Narayan H futurist goes back in time to replace an packs quite a wallop in this story, and the agent at a gender fork. ending is poignant and hopeful. 14 When writing in his introduction “Pay attention,” Seniormost about the Ramayana and its various ex- said. “You know how important isting versions, Anil Menon speaks of “These stories remind Sita was in shaping gender roles, the Ramayana tradition as that of de- us yet again that the right?” parting from tradition. truths that we have Kishore’s is perhaps one of the most If and how much the writers in this been fed through epics satisfying stories in this anthology. It anthology have succeeded in departing and myths and tradi- looks at the existing epic with a sharp from tradition is a question the reader tional beliefs are not gaze and questions the standards that must answer for herself. the only truths.” boys and girls are raised to believe as While not all the stories in Breaking proper. Is Rama indeed the ideal man? the Bow satisfied me, I do feel that the Should Sita submit to Rama as dictated anthology has succeeded in bringing us by the script assigned to her, or is she stories that are fresh and vivid and re- justified in diverging from the scripted sistant to pigeonholing regardless of path and embracing all that it means to the fact that they employ elements that be Sita? make us classify them as science fiction, fantasy, magical realism, or slipstream. Rochita Loenen-Ruiz is a Vandana Singh’s “Oblivion” is another These stories remind us yet again that Filipina writer, a graduate satisfying tale. Singh’s gender-shifting of Clarion West, and an main character Vikram is hunting after the truths that we have been fed through Octavia E. Butler Scholar. a demon named Hirasor. Vikram likens epics and myths and traditional beliefs She has two children and the hunt for the demon to Ram’s hunt for are not the only truths. Like their au- lives in the Netherlands. Ravana. “Oblivion” interrogates the stan- thors, who have poked and prodded at Visit her website at dards to which Vikram holds himself the Ramayana, we must also poke and

rcloenenruiz.com (the standard of Ram in the Ramayana) prod until we find the paths leading us

and through this science fictional lens to our own stories. n

n

her childhood sweetheart in the home of of home the in sweetheart childhood her Moore’s Northwest Smith. And unlike unlike And Smith. Northwest Moore’s Cont. on p. 16 p. on Cont.

healed and semi-retired, she lives with with lives she semi-retired, and healed Brackett’s Eric John Stark and C.L. C.L. and Stark John Eric Brackett’s

Nyx in self-imposed exile. Partially- exile. self-imposed in Nyx on a (mostly) desert planet, to Leigh Leigh to planet, desert (mostly) a on

begins some years later, with with later, years some begins Rapture of the novels’ science-fantasy setting setting science-fantasy novels’ the of

grim and deadly sociopath. sociopath. deadly and grim Connor, to Jael and Jirel and, courtesy courtesy and, Jirel and Jael to Connor,

vouring the breakneck adventures of a a of adventures breakneck the vouring through Ripley and Molly and Sarah Sarah and Molly and Ripley through

first-person shooter. ” shooter. first-person

- de are you that you on dawns slowly through Hothead Paisan and riot grrrl, grrrl, riot and Paisan Hothead through

ded correspondent or the the or correspondent ded

. Only more so. And it it And so. more Only . 2 Terminator of Her semiotic lineage can be traced back back traced be can lineage semiotic Her

viewpoint of the embed- the of viewpoint

She is like Sarah Connor in the first half half first the in Connor Sarah like is She Tabitha Jute, but with none of her charm. charm. her of none with but Jute, Tabitha

orous adherence to the the to adherence orous

mirable, resilience, becomes remorseless. remorseless. becomes resilience, mirable, ing and screwing like Colin Greenland’s Greenland’s Colin like screwing and ing

consequence of her rig- her of consequence

She works hard and plays hard plays and hard works She - ad even remarkable, a like seemed once drink- —

failure so much as a a as much so failure

tracking down and executing deserters. deserters. executing and down tracking for her fades. Her relentless drive, which which drive, relentless Her fades. her for

unclear. This is not a a not is This unclear.

of the Nasheenian warriors charged with with charged warriors Nasheenian the of any empathy one might feel feel might one empathy any Infidel of

histories often remains remains often —

as a bel dame, one one dame, bel a as War God’s starts Nyx izing experiences, but during the course course the during but experiences, izing

backstories, political political backstories,

the genocide of men. of genocide the - brutal particularly of and culture izing

al differences, personal personal differences, al

to return. Very few do. Some even talk of of talk even Some do. few Very return. to - brutal a of product the clearly is Nyx

and counterplots, cultur- counterplots, and

vive until they are forty, they are allowed allowed are they forty, are they until vive shooter. shooter.

the bigger picture bigger the plots plots —

- sur they If old. years fourteen just are bedded correspondent or the first- the or correspondent bedded n n perso ­

immediate action that that action immediate

dispatched to the front lines when they they when lines front the to dispatched - em the of viewpoint the to adherence

characters and on the the on and characters

children are bred to become soldiers and and soldiers become to bred are children much as a consequence of her rigorous rigorous her of consequence a as much

tight on her taciturn taciturn her on tight

cratic authority is in the ascendant. Male Male ascendant. the in is authority cratic remains unclear. This is not a failure so so failure a not is This unclear. remains

“Hurley’s focus is so so is focus “Hurley’s

- gyno Nasheen, In raging. still is it later, backstories, political histories political backstories, often often —

sheen and Chenja. Three hundred years years hundred Three Chenja. and sheen terplots, cultural differences, personal personal differences, cultural terplots,

- Na between out broke war when ended that the bigger picture bigger the that - coun and plots —

two millennia of peaceful coexistence coexistence peaceful of millennia two characters and on the immediate action action immediate the on and characters

15 shared a common Islamic heritage. But But heritage. Islamic common a shared Hurley’s focus is so tight on her taciturn taciturn her on tight so is focus Hurley’s

separate nations, their different cultures cultures different their nations, separate sult to injury. Throughout, Throughout, injury. to — injury and —

i from several worlds and established established and worlds several from - in add demimonde Umayma the within

their will. Although the colonists came came colonists the Although will. their And every time, revenges and betrayals betrayals and revenges time, every And

and magicians who can bend insects to to insects bend can who magicians and Dame Council and the First Families. Families. First the and Council Dame

shifters who can take on animal forms forms animal on take can who shifters of factions within the royal court, the Bel Bel the court, royal the within factions of

mutate. Among the consequences are are consequences the Among mutate. they are ground up in the machinations machinations the in up ground are they

world, causing the human genome to to genome human the causing world, nearer an end to the war. Every time time Every war. the to end an nearer

an early descent to the still-unhomelike still-unhomelike the to descent early an cept a mission that will supposedly bring bring supposedly will that mission a cept

ter a thousand years, a catastrophe forced forced catastrophe a years, thousand a ter - ac team mercenary her and she tervals,

- af But planet. the terraformed magicians - in seven-year roughly at set novels, three

moons of Umayma, while their scientist- their while Umayma, of moons grace, turns bounty hunter. In each of the the of each In hunter. bounty turns grace,

as Nyx…” as

starts, diasporic humans sojourned on the the on sojourned humans diasporic starts, - dis in dames bel the from expelled Nyx,

so Dasheem, also known known also Dasheem, so

Some four millennia before her story story her before millennia four Some , , War God’s into pages dozen few A

sexual warrior Nyxnissa Nyxnissa warrior sexual

Halo the for Girl Tank able generation. ­generation. permanently as as permanently others). ­

adventures of the bi- the of adventures

- unlike and humorless particularly a Nyx, and people die (but not all of them as as them of all not (but die people and

brutal, sprawling (mis) sprawling brutal,

rior Nyxnissa so Dasheem, also known as as known also Dasheem, so Nyxnissa rior plosion and in which bodies get mangled mangled get bodies which in and plosion

Umayma…. And to the the to And Umayma….

- war bisexual the of (mis)adventures ing - ex an outruns ever one no where pact,

“Rapture returns us to to us returns “Rapture

- sprawl brutal, the to And (2011). Infidel - im crunching and collisions bruising of

(2011) and its sequel, sequel, its and (2011) War God’s ning world of gravity, momentum, and inertia, inertia, and momentum, gravity, of world

- Tentacle-win Golden and nominated Alices, Nyx lives in a Jason Bourne-like Bourne-like Jason a in lives Nyx Alices,

setting of Kameron Hurley’s Nebula- Hurley’s Kameron of setting tion heroines, the multimedia Laras and and Laras multimedia the heroines, tion

returns us to Umayma, the the Umayma, to us returns Rapture - ac “post-feminist” contemporary other

R Bould Mark by eviewed

Night Shade Books, October 2012, 372 pages, $15.99 pages, 372 2012, October Books, Shade Night

by Kameron Hurley, Hurley, Kameron by Apocrypha Dame Bel the of Three Book Rapture:

y

B el Dames in an Outbreak of Peace of Outbreak an in Dames el Outbreak of Peace an old friend, surrounded by children. It a large extent by Hurley’s attention to (cont. from p. 15) is all very tenuous, but she allows herself varieties of custom and costume; but it to imagine it as her future. And so inevi- nags away that this in turn might merely tably, she is called — and threatened and be an aspect of her brilliant eye for detail, blackmailed and provoked — out of retire- demonstrated elsewhere, for example, by ment one last time. Peace has broken out, the attention she pays to boxers taping and Nasheen is struggling to cope with their hands before fights. the sudden influx of male veterans. The Hurley’s writing is never as precise as “Hurley’s writing…” Queen wishes to abdicate, to dissolve Grimwood’s, but also never as mannered, often gives off a heady, the monarchy, and to replace it with a and although it evinces no trace of Wil- juvenile tang. Her prose new kind of government. The Bel Dame son’s quietly didactic Young Adult tone, is not hardboiled, but Council is desperate to retain its power. it often gives off a heady, juvenile tang. her attitude is…” A men’s advocacy movement is growing Her prose is not hardboiled, but her at- in numbers and strength. In Ras Tieg, a titude is, right down to that faint edge former reluctant ally is the secret head of romanticism that is always there and of the underground movement against constantly slipping out of reach. Some- anti-shifter prejudice, desperate to keep times her descriptions of Umayma’s this conflict from spilling over into di- insect-based technologies conjure up an sastrous insurrection and bloody reprisal. image that’s a little bit too much like a And an old enemy, long thought dead, bugpunk Flintstones. And sometimes her turns out to be central to the plans of attempts to be hard-ass teeter over into various factions. He has, however, been camp; for example, in Infidel she writes, kidnapped, and only one person, it “When her mood moved from severe to “Rapture’s assorted seems, can bring him back. Nyx accepts foul she would tighten and release her political and personal the mission, of course, albeit for com- fist on her desk the way she was doing plex reasons, and soon she and a hastily now — tighten and release, tighten and H closures confirm Hur- ley as an author with thrown-together team are heading fur- release — as if she were strangling kittens ther and further north into the desert, one by one and dropping them into a 16 the confidence to know which generic plea- to the two-kilometer-high semi-organic pail at her feet.” But these are occasional sures to offer and which wall that marks the end of the world and missteps as, book by book, Hurley has to withhold.” on into the territories beyond. Familiar become a better writer, more and more characters reappear and, after a coinci- worth reading. dence or two too many, their stories find In God’s War, Hurley’s prose was at closure of one sort or another, while Nyx, its most gnarly, full of twists and snags who knows bone-deep that nothing is that suggested an author discovering the what it seems, gradually figures out how world she was writing about as she was she is being played and by whom, and writing about it. In each subsequent vol- comes up with a last-ditch play of her ume, the prose is more finely-tooled, the own. story flows more easily, and the world Among the obvious comparisons Hur- is more familiar; and Rapture’s assorted Mark Bould teaches ley’s setting suggests are Jon Courtenay political and personal closures confirm Film Studies at the Grimwood’s Arabesk trilogy (2001–3) Hurley as an author with the confidence University of the West and G. Willow Wilson’s Alif the Un- to know which generic pleasures to offer of England and co-edits seen (2012). The latter comparison also and which to withhold. Science Fiction Film and Television. He has brings into focus a nagging doubt that But I kind of miss the gnarl. From written or edited books is never quite laid to rest: like Wilson, partway through Infidel, the series has on sf, film noir, and John Hurley is concerned to display an Islam been crying out for a move off-world, Sayles. He is currently that is far from monolithic; but unlike sooner rather than later, not least to find editing Paradoxa’s “Africa Wilson, her violent stories often evoke out what the Christians are up to (I sus- Sf ” special issue and the worst kind of neo-con stereotyping pect nothing good). With Nyx’s tale ap- researching the life and of Islamic culture as always, essentially, parently completed, Hurley might now

work of “pasty lothario” and inevitably characterized by war, cru- give us that bigger picture and lay some

Salacious Funk. elty, and betrayal. This is ameliorated to doubts to rest. n

n

Cont. on p. 18 p. on Cont.

specifically locates the home as a site site a as home the locates specifically ther ties these gaps to both globalization globalization both to gaps these ties ther

The Wages for Housework movement movement Housework for Wages The - fur She analysis. Leftist present in gaps

sary for the creation of a workforce (16). (16). workforce a of creation the for sary introduces eldercare and childcare as as childcare and eldercare introduces

- neces labor of kind a not and families, mons,” centers on resistance. Federici Federici resistance. on centers mons,”

“act[s] of love” women perform for their their for perform women love” of “act[s] - Com “Reproducing section, third The

come indelibly feminine, unwage-able unwage-able feminine, indelibly come survival.

the Third World. ” World. Third the

- be have caretaking and housework and underpaid domestic labor for their their for labor domestic underpaid and

tion and exploitation of of exploitation and tion

are allowed to live…” (16). In contrast, contrast, In (16). live…” to allowed are pendent on microloans, imported foods, foods, imported microloans, on pendent

attendant industrializa- attendant

is the only condition under which you you which under condition only the is of colonization, into citizen- into colonization, of - de orkers, ­ w

to globalization and its its and globalization to

it comes naturally to you, but because it it because but you, to naturally comes it bone of the resistance to this new form form new this to resistance the of bone

feminization of poverty poverty of feminization

work, not because you like it, or because because or it, like you because not work, - back the normally women, remaking on

“[Federici] links the the links “[Federici]

no doubt concerning its meaning: you you meaning: its concerning doubt no this is part of the current NGO emphasis emphasis NGO current the of part is this

part of a social contract, and there is is there and contract, social a of part women, from the land. She suggests that that suggests She land. the from women,

writes, “To have a wage means to be be to means wage a have “To writes, ation of subsistence farmers, particularly particularly farmers, subsistence of ation

in supporting the flow of capital. She She capital. of flow the supporting in - alien the on depends globalization that

waged reproductive and affective labor labor affective and reproductive waged tation of the Third World. She argues argues She World. Third the of tation

- un of role the emphasizes and gender - exploi and industrialization attendant

to “waged work” destabilizes ideas of of ideas destabilizes work” “waged to tion of poverty to globalization and its its and globalization to poverty of tion

gesting that connecting “women’s work” work” “women’s connecting that gesting - feminiza the links she Reproduction,”

- sug wage, a of concept the of salience suggestions, “Globalization and Social Social and “Globalization suggestions,

stead, Federici highlights the political political the highlights Federici stead, rizing. In the section containing these these containing section the In rizing.

- In money. about solely as movement - theo revolutionary of unworthy sidered solely about money.” about solely

dismissing the Wages for Housework Housework for Wages the dismissing - con are time and bodies, labor, whose Housework movement as as movement Housework

housework as a political project, and in in and project, political a as housework with other women with less social power, power, social less with women other with dismissing the Wages for for Wages the dismissing

in the US made a mistake in dismissing dismissing in mistake a made US the in enter into an exploitative relationship relationship exploitative an into enter political project, and in in and project, political 17

that the feminist and Leftist movements movements Leftist and feminist the that force as waged or salaried workers, they they workers, salaried or waged as force missing housework as a a as housework missing

Politicizing Housework,” Federici argues argues Federici Housework,” Politicizing - work waged the enter women Western i made a mistake in dis- in mistake a made

In the first section, “Theorizing and and “Theorizing section, first the In feminist movement in the West: when when West: the in movement feminist ist movements in the US US the in movements ist

movement. movement. rhetorical gaps in the contemporary contemporary the in gaps rhetorical the feminist and Left- and feminist the

production facing the antiglobalization antiglobalization the facing production suggests that this highlights one of the the of one highlights this that suggests “Federici argues that that argues “Federici

- re revolutionary and care of crises ing ize and earn a fair wage. Powerfully, she she Powerfully, wage. fair a earn and ize

- grow the to ) thereof lack (or response - union to attempts their in workers as

the mainstream feminists’ and Leftists’ Leftists’ and feminists’ mainstream the viders have been consistently devalued devalued consistently been have viders

2008; 2009-2011), Federici describes describes Federici 2009-2011), 2008; - pro service and workers domestic which

three key periods (1975-1984; 1999- (1975-1984; periods key three grant women. She highlights the ways in in ways the highlights She women. grant

tivist work. As this book moves through through moves book this As work. tivist - immi of exploitation continued the to

- ac and theories abstract these between valuing of housework and caretaking caretaking and housework of valuing

activist work.” activist

with ease, highlighting the connections connections the highlighting ease, with - de economic the connects Federici

abstract theories and and theories abstract

fines Marxist and anticolonial concepts concepts anticolonial and Marxist fines ated labor on workers’ psyches. psyches. workers’ on labor ated

nections between these these between nections

- de and introduces Federici cessibility; - alien of effects the numbing by workers

highlighting the con- the highlighting

- ac its is collection this of strength great guarantees the productivity of existing existing of productivity the guarantees

nial concepts with ease, ease, with concepts nial

of women in the global commons. The The commons. global the in women of workers, and and workers, more creates literally home

Marxist and anticolo- and Marxist

1970s, as well as the revolutionary role role revolutionary the as well as 1970s, the reproductive work of women in the the in women of work reproductive the

introduces and defines defines and introduces

Wages for Housework movement of the the of movement Housework for Wages cooking, smiling, fucking” (19), because because (19), fucking” smiling, cooking,

accessibility; Federici Federici accessibility;

provides a fantastic introduction to the the to introduction fantastic a provides “has made and makes money out of our our of out money makes and made “has

this collection is its its is collection this

women’s work, and anti-classism. It also also It anti-classism. and work, women’s labor of worker. “[C]apital,” she writes, writes, she “[C]apital,” worker. of labor

“The great strength of of strength great “The

author’s writing on social reproduction, reproduction, social on writing author’s woman-as-helpmeet facilitates the paid paid the facilitates woman-as-helpmeet

collects the the collects Zero Point at Revolution of class struggle, where the labor of the the of labor the where struggle, class of

R by eviewed Velazquez Maria

by Silvia Federici, PM Press, September 2012, 208 pages, $15.95 pages, 208 2012, September Press, PM Federici, Silvia by Zero Point at Revolution

y

S ocial Reproduction, Women’s Work, and Anti-Classicism and Work, Women’s Reproduction, ocial Social Reproduction and urbanization, describing the role of Federici has organized each of Point (cont. from p. 17) women in resisting an international col- Zero’s sections so that it provides an over- lective “amnesia” (129) induced by cor- view of the political moment in which porations. The goal of this amnesia is she was writing along with a brief defi- “…each of Point Zero’s to free up resources for the global mar- nition of the concepts with which she is sections…provides an ketplace. For example, instead of many working. Also, because this is a themed overview of the political small, family-owned farms raising food collection, each concept is reintroduced moment in which she crops for local distribution/sale, the cor- and thoroughly explored. What is par- was writing along with porate vision is of one giant farm raising ticularly interesting about this work is a brief definition of the money crops for sale in the global mar- that the concerns Federici introduced concepts with which she ketplace. Women subsistence farmers in the 1970s section remain deeply con- is working.” have provided life’s basic necessities to temporary. Her arguments regarding populations abandoned to starve while the political saliency of housework as a grasping for the elusive dream of riches waged project continue to be incredibly Maria Velazquez is a through globalized, industrialized labor. relevant, particularly when one consid- doctoral candidate at the Women farmers have also been the back- ers the rising fixation on the “domestic University of Maryland, bone of antidevelopment movements goddess” as a post-ironic, postfeminist College Park. She blogs countering the appropriation of land fantasy, the erasure of agency on the part for The Hathor Legacy, a for corporate development and ecotour- of women of color domestics in period feminist pop culture blog, and recently received the ism. Federici particularly highlights the pieces like the 2011 film The Help, and Winnemore Dissertation Landless Women Association in Bangla- the continued refusal of the Occupy! Fellowship from the desh and the Peasant Women’s Commis- movement to engage with native sover- Maryland Institute sion in Paraguay, as well as the work of eignty or anticolonialism as vital politi- for Technology in the urban gardeners in New York City. cal projects. Humanities. Maria is a Ron Brown Scholar and an The Heiresses’ Achievements H alumna of Smith College. y Heiresses of Russ 2012: The Year’s Best Lesbian Speculative Fiction, edited 18 by Connie Wilkins and Steve Berman, Lethe Press, October 2012, 302 pages, $18 trade paperback/$25 library binding/$8.99 ebook Reviewed by Cynthia Ward

The year 2012 brings us the second works as the Jewish main character, “I cannot claim that volume of Heiresses of Russ, an anthology apprentice golem-maker Sarah, seeks the works in Heiresses series that collects the year’s best lesbian a husband among the sons of a family of Russ 2012 reach the speculative fiction, named in honor of the friend, and favors instead the daughter. heights of Russ’s best genre’s pioneer, Joanna Russ. A leading With steampunk all the rage, it’s un- fiction. But the stories feminist and academic, and one of Spec­ surprising that the anthology includes are all superior works, Fic’s first out lesbians, the late Russ was a two other examples. More surprising- making this anthology a searingly brilliant, angry, acclaimed, and ly, these stories also buck the Anglo-­ necessity for the library insightful critic, essayist, theorist, satirist, Christian-Victorian trend. In first-time of any fan of specula- novelist, and short story writer. Clearly, writer S.L. Knapp’s slightly uneven but tive fiction, literary fic- living up to Russ’s legacy poses a stag- entertaining “Amphitrite,” the mermaids tion, or feminist fiction. gering challenge for both the anthology’s are singing, but not each to each. In- coeditors, Connie Wilkins and Steve stead, these carnivorous Caribbean sirens Berman, and its contributors, as Wilkins’ lure men to their deaths, and one targets a informative Introduction acknowledges. Cuban woman submarine engineer/pilot­ The fiction kicks off with strength and for a more ambiguous fate. charm in the literary steampunk opener, The best steampunk contribution is “In Orbit,” from Katherine Fabian, a not only the anthology’s best story, but writer previously unknown to me. The one of the year’s best works of the fan-

tale eschews the Anglo-Christian-Vic- tastic: “To Follow the Waves,” from rela-

torian default of too many steampunk tive newcomer Amal El-Mohtar. In an n

n

ments and influence of Russ Russ of influence and ments . ­ herself

- achieve the through gained changes tive

feminist and nonfeminist and feminist - posi the and —

and straight, cisgender and transgender, transgender, and cisgender straight, and

generations of women of generations gay and bisexual bisexual and gay —

be beauty. be

of the positive changes gained by later later by gained changes positive the of

this is a fine collection, and one reflective reflective one and collection, fine a is this be dust-bitten landscape lit by sudden-shafting light: sudden-shafting by lit landscape dust-bitten be

and feminist SpecFic would allow that that allow would SpecFic feminist and be surface-shallow, be bedrock-bones for every little planet, planet, little every for bedrock-bones be surface-shallow, be

that the fierce founding mother of lesbian lesbian of mother founding fierce the that when out in all the rain, rain, the all in out when

I can’t help expressing my own suspicion suspicion own my expressing help can’t I when diapir-deep beneath the ground, ground, the beneath diapir-deep when

of feminists who were not angry.” Still, Still, angry.” not were who feminists of be water-worn to glory, when all the world may look, look, may world the all when glory, to water-worn be

Introduction notes, “expressed suspicion suspicion “expressed notes, Introduction be friable, fire-fallow, fault-febrile, facetious; facetious; fault-febrile, fire-fallow, friable, be

that would have pleased Russ, who, as the the as who, Russ, pleased have would that Be stone. Be faceted, deep-core, be fissile and faithful; faithful; and fissile be deep-core, faceted, Be stone. Be

claim that these stories convey the anger anger the convey stories these that claim

the art of abandoned control, fickle in grace. in fickle control, abandoned of art the

ous character within these pages, I cannot cannot I pages, these within character ous

Living, an ever-falling-orbit’s dance, dance, ever-falling-orbit’s an Living,

- furi one is there while And, fiction. inist

- fem or fiction, literary fiction, speculative slickensides slip-shards in the bed of the river. the of bed the in slip-shards slickensides

a necessity for the library of any fan of of fan any of library the for necessity a Scudded out to scattered syllables soapstone-clean, soapstone-clean, syllables scattered to out Scudded

superior works, making this anthology anthology this making works, superior

bereft below mantled magma-melt majesty! magma-melt mantled below bereft Russ’s best fiction. But the stories are all all are stories the But fiction. best Russ’s

Behold: brazen botherers broken-backed, broken-backed, botherers brazen Behold: reach the heights of of heights the reach 2012 Russ of esses

(really, how do you keep everything balanced?) balanced?) everything keep you do how (really, - Heir in works the that claim cannot I

The basalt-boned hover between abeyance and asking: asking: and abeyance between hover basalt-boned The complexity of multicultural layers. multicultural of complexity

shared-world story with an uncommon uncommon an with story shared-world leveled to a peneplain of politeness. of peneplain a to leveled

Bordertown a Prettiest,” the is “Ours cal 19 Pressed into permanence. Presumption Presumption permanence. into Pressed

- lyri and nuanced Hopkinson’s Nalo and

crunch-crackler of margins with cackles of glee. of cackles with margins of crunch-crackler i tations,” rich in evocative sensory detail; detail; sensory evocative in rich tations,”

weatherworn world-wielder, collider of continents, continents, of collider world-wielder, weatherworn - Incan “Thirteen fantasy coming-of-age

Rush-risen in radiance, garnet-hearted gleam-giver, gleam-giver, garnet-hearted radiance, in Rush-risen Desirina Boskovich’s subtly wrought wrought subtly Boskovich’s Desirina

phobic plumber encounters an undine; undine; an encounters plumber phobic

By Bannister Michele

the Heart,” in which a commitment- a which in Heart,” the

romantic urban fantasy “The Tides of of Tides “The fantasy urban romantic Gneiss-Mother

Award winner David D. Levine’s gently gently Levine’s D. David winner Award

vampires encounter a fallen angel; Hugo Hugo angel; fallen a encounter vampires

“La Caida,” in which Latina vigilante- Latina which in Caida,” “La

finest are Anna Meadows’s magic realist realist magic Meadows’s Anna are finest

from very good to excellent. Among the the Among excellent. to good very from

remaining contributions generally range range generally contributions remaining

” influence of Russ Russ of influence erself. ­ h Though not achieving that pinnacle, the the pinnacle, that achieving not Though

through the achievements and and achievements the through beauty of her prose. her of beauty

the positive changes gained gained changes positive the protagonist and setting, or the sensuous sensuous the or setting, and protagonist

generations of women… of generations and and to convey the graceful complexity of her her of complexity graceful the convey to

changes gained by later later by gained changes dream-gem; but that would utterly fail fail utterly would that but dream-gem;

reflective of the positive positive the of reflective

has crafted a gorgeous and wondrous wondrous and gorgeous a crafted has She lives in Los Angeles. Los in lives She

a fine collection, and one one and collection, fine a and Nebula Award-nominated author author Award-nominated Nebula and She is completing a novel. novel. a completing is She

this story, the Rhysling Award-winning Award-winning Rhysling the story, this Fi c would allow that this is is this that allow would c (Aqueduct Press, 2005). 2005). Press, (Aqueduct

results. It’s tempting to say that with with that say to tempting It’s results. Approach Practical A Other: lesbian and feminist Spec feminist and lesbian ­

Writing the the Writing coauthored into her dream-gems, with unexpected unexpected with dream-gems, her into fierce founding mother of of mother founding fierce

With Nisi Shawl, she she Shawl, Nisi With

chance, she begins working that desire desire that working begins she chance, my own suspicion that the the that suspicion own my

magazines. magazines.

with an unknown woman glimpsed by by glimpsed woman unknown an with

“I can’t help expressing expressing help can’t “I

numerous anthologies and and anthologies numerous

one dreamcrafter becomes smitten smitten becomes dreamcrafter one

published stories in in stories published

crafters make dreams to order. When When order. to dreams make crafters

Cynthia Ward has has Ward Cynthia

- dream (Damascus), Dimashq alternate Artist as Subject Pam Sanders

Pam Sanders is an eclectic artist who designed and handcrafted by Pam from started with knitting and embroidery, and the pendant to the closure. went on to drawing, painting, and any- Pam’s mixed media collages are made thing to do with making art. Her work with handpainted papers, paint, spackle, has been described as abstract expres- polymer, and even egg shells. She uses sionism. Myth, magic, ancient cultures, PhotoShop to create one of a kind pa- and fantasy novels are the inspiration for pers using old artwork and photos. Bold the art she creates. bright color and texture are used to cre- Handsculpted polymer dolls got Pam ate depth to the pieces. into her first art gallery. She continues To say Pam is obsessed with art is an to use polymer in mixed media collages. understatement. She creates art daily and Pam’s current passion is an extension of is constantly experimenting with new the love of polymer and mixed media. concepts and techniques. She creates wearable art sculptures, each www.pamsanders-art.com

H

20

Family Portrait

the artist as subject

We start out our lives full of hopes and dreams and set ourselves on our chosen paths. The world is laid out in front of us. But we soon come to our first obstacle. Do we go with the flow and follow in the footsteps of the others who have gone before and know the way, or do we make our own way? We try the accepted ways of those more experienced and plug ourselves into the matrix but find that this is not for us.

So, we step back and see the world anew, Featured Artist

and we sing the body electric. n

n

String Theory String

I Sing the Body Electric Body the Sing I

21

i The End of All Things All of End The Form Over Function

$5.00 The Cascadia Subduction Zone PO Box 95787 Seattle, WA 98145-2787