An Interview with the Sword and Sonnet Editors

Sword and SonnetToday, I’m delighted to welcome the editors of the upcoming anthology, Sword and Sonnet, currently running a Kickstarter that you can support right now! (And you really do want to, because it’s going to be amazing.)

Welcome! To start things off, could you please each briefly introduce yourself and talk a bit about your vision for Sword and Sonnet.

Rachael: I’m Rachael K. Jones, former editor of PodCastle, award-nominated author, professional Tyrannosaur, Nicolas Cage enthusiast, and secret android. (Wait, did I said that aloud?) When I think of an anthology of battle-poets, I think of all the ways people have used their words as weapons, in powerful and creative ways that have shaped the world. I’m thinking of the pioneers of hip hop. I’m thinking of Sappho writing in exile. I’m thinking of all the people in history whose pen was their sword, and especially people from marginalized genders whose work has been lost or forgotten. My hope is that our anthology can gather up a little bit of that spirit in one place, and have fun with it to boot.

Aidan: I’m Aidan Doyle, associate editor of PodCastle, short story writer, and frequent traveler. Like Rachael, I want to see stories of people using their words as weapons – fantastical sonnet-slinging spellbinders and brave bards.

Elise: I’m Elise Tobler and I am the senior editor at Shimmer Magazine, cupcake connoisseur, and trebuchet enthusiast. When Aidan proposed the anthology, I was pretty excited over what it could mean and humbled that he thought to invite me. Shimmer has published a few things that would fit my “vision,” but I hope all of our protagonists will be active, curious, and filled with a kind of poetry that overwhelms the reader when they reach the end of the story.

An anthology of battle poets, sonnet slingers, and Haiku-wielding heroines definitely sounds like a concept with a story behind it, possibly one involving shenanigans. How did the idea for this anthology come about?

Rachael: I blame Aidan. Picture me standing behind him jabbing both fingers at him. He instigated the shenanigans and press-ganged invited me along for the samurai-stuffed ride.

Aidan: I read Sei Shonagon’s The Pillow Book and fell in love with her writing. She was known for intimidating the men of Heian-era Japan with her knowledge of poetry. Fablecroft Publishing announced a call for stories for Cranky Ladies of History and I wrote a story featuring Shonagon using her knowledge of poetry to defeat demons. The story was rejected (a revised version later appeared in PodCastle) but SL Huang remarked that she would love to read a story about a badass battle poet and I had the idea for an anthology of battle poet stories. Elise and Rachael have a lot more editorial experience than I do and I was thrilled they wanted to be involved in the project.

Elise: I completely blame Aidan, too, but appreciate his invitation to play on this amazing battlefield.

As editors, I know it’s sometimes hard to pin down exactly what you’re looking for in a story, and sometimes the best stories are the ones you never knew you wanted to read until you’ve read them. That said, do you have any particular soft spots in fiction? Are there are any subjects, styles, themes, or anything else you’re hoping to see in the submission pile?

Rachael: I’m a complete sucker for stories with a strong sense of voice, and that will be doubly true in an anthology with a poetry motif. I want stories that make me care about the characters and take me into their lives. For a thematic anthology, we’ll also be looking for stories that harmonize and contrast nicely to one another. I am also always on the look out for stories by authors just entering the short fiction world. If you’re looking for your first publication, please submit! Speaking personally, I’m also secretly a huge Old English poetry nerd, and might actually die of joy if I ran across a feminist Beowulf riff somewhere in our submissions. Tyrannosaurs are optional, but always encouraged.

Aidan: I have a soft spot for dark humor and for intricate settings. Like most editors I want characters I care about and stories with a strong voice. I also have a weakness for bears.

Elise: I love to experiment. I love to jump off a cliff and dare the reader to follow. I hope we see some risk taking! I’ve always found poetry to be powerful. When I’m stuck in my own work, reading poetry can often get my brain back into gear and motion. I am hopeful we’ll see stories that show and explore that power. Poetry can so often be looked down on, but I think it’s just as vital to this world as fiction. Poetry can be quiet, but so can a punch to the gut.

Since you’re editing an anthology themed around fighting and poetry, I think it’s only fair to ask each of you to provide an inspiring battle cry in limerick form. Haikus are also acceptable. (Yes I’m aware this isn’t actually a question.)

Rachael:

There once was a lass in a bonnet

whose sword had strange writing upon it.

She translated the verse

into this lovely curse:

“Ye aught go to back Sword & Sonnet!”

Aidan:

There once was a poet whose love of words,

Transformed her sonnets into birds,

She fought her enemies with poems and puns,

They laid down their swords and guns,

And praised the power of her words.

Elise:

There once was a girl who did battle

With her sword, her book, and her…hey are those cattle?

She took to the sky

With a furious cry:

“Oh shit I’ve misplaced my saddle!”

Bravo! Now, if you yourself were going into battle, what would your weapon of choice be?

Rachael: The word Hospitality in sixteen languages, a dappled pink scarf, and my rebellious youth. I would ride behind my battle-poet army on a beat-boxing mastodon and pointedly refuse to smile when asked. It would be terrifying.

Aidan: A dancing Christopher Walken riding atop a giant sandworm.

Elise: The trebuchet, filled with a thousand thousand volumes of Good Poems for Hard Times, ed. Garrison Keillor.

I would follow all of you into battle without hesitation! Any closing thoughts you’d like to share about Sword and Sonnet, or other upcoming projects you’re working on you’d like people to know about?

Rachael: While many anthology Kickstarters offer story critiques as a backer reward, ours is offering a special round table-style crit from all three of us. This is a good opportunity to get a peek at the editorial process in a way you almost never get to see when you’re just starting out. We say all the time that editors aren’t a monolith, and different readers can have very different opinions on the same story, which means that often submitting your stories is really a game of finding your ideal reader. Otherwise there’s a tendency to thinking we need to flatten ourselves as writers to fit, to aim for a good generic blandness instead of embracing what makes our voices unique, powerful, and sometimes divisive. But the truth is that every battle poet causes conflict, right?

Aidan: We’d love the chance to see what stories writers can create about battle poets and hope that people are excited about the idea as much as we are.

Elise: I hope that we have the opportunity to bring you this anthology because the concept is truly unlike anything I’ve seen out there.

Thank you all for dropping by! I can’t wait for Sword and Sonnet to be out in the world!

Rachael: Thank you so much for having us!

Aidan: Thanks Alison!

Elise: Thanks for having us, Alison. I’m delighted you’re going to be part of this anthology!

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Non-Binary Authors to Read: Where to Start – Part 10

Welcome to another edition of Non-Binary Authors to Read, wherein I highlight non-binary authors and recommend a starting place for their work. If you’d like to catch up on the other entries in the series, you can find them here. For the purposes of this column, I use non-binary as a catch-all term to include authors identifying as genderqueer, agender, queer, neutrois, gender non-conforming, and other genders not aligned with the male/female binary. Now, on to the recommendations!

Fiyah Issue 3Danny Lore is a queer writer based in the Bronx. My recommended starting place for their work is appropriately enough their first professionally published story – The Last Exorcist from Fiyah Issue 3: Sundown Towns. As the editors write in their Letters from the Editors: “Sundown Towns were towns with curfews that applied to black people –essentially, black visitors had to exit the town before the sun set, or else they would face the wrath of the town’s white citizens. Authors were charged with submitting stories that discussed this painful history, but we also asked for stories that examined concepts of belonging, community, and of place.” Lore delivers a story that pushes the concept of sundown towns to the extreme, an extreme that sadly feels like it could logically grow out of the racism of our present day society. Naheem is an exorcist in a world where many white people have opted to offer themselves up as Residences for demons, voluntarily being possessed in exchange for protection and special privilege – i.e. things already granted to them in the real world by virtue of being white.  On a small scale, a white student feels slighted by what they perceive as a black student unfairly taking “their” place in college, and turns to demons for help. One a large scale, entire Helltowns are created where black people literally cannot go without the ground smoking under their feet and demons tearing them apart.

When Naheem gets worked up, he gestures emphatically, fingers twitching with every word. He tends toward lecturing, and his topic of choice is the accessibility of exorcism in a post-possession America. He is unimpressed by those who say the art is too complex, too archaic to pass on to the common man. On the contrary, he believes that becoming an exorcist is a task both necessary and easy, if we are to survive as a people.

The story is related through a reporter who begins by interviewing Naheem and ends up filming what turns out to be his last exorcism. The reporter is conflicted, having a white mother and a black father, never knowing which side the demons will see if they step into a Helltown. Lore gives a supernatural twist to the very real and ugly face of racism, scapegoating, fear of the “other”, and clueless privilege. At the same time, amidst the ugliness, it is a story about fighting back, about making the world better for others, and speaking out against oppression and power. It’s an excellent story, an excellent starting place, and I look forward to more of Lore’s work.

Shoreline of Infinity 9

Leigh Harlen is a writer of dark speculative fiction. My recommended starting place for their work is The Last Days of the Lotus Eaters in Shoreline of Infinity 9. Lita is the only one in her village who believes the world is changing. The stars are going out, trees are dying, and winters are lasting longer than they should. When she tries to warn people of this, no one believes her, not even her parents, except for one priest. He knows the truth, but believes it is better to keep the status quo, let people lead happy and ignorant lives. When Lita refuses to stay quiet, he poisons her, burying her alive in a ritual that feeds a dying tree whose blossoms bring forgetfulness, allowing people to be truly oblivious to the doom coming for them.
The earth and the creatures in it ate her flesh, but the tree kept her bones, its roots wrapped around and entwined every remaining bit of her.
While Lita’s body dies, her consciousness remains, forcing her to be the means that allows the other villagers – even her parents – to forget everything she tries to warn them about. In eating the lotus blossoms, the villagers’ memories transfer to Lita, so even in death she must bear the burden of knowledge alone. In time, however, another little girl comes along who refuses to accept common wisdom and sets out to force people to see the truth before it’s too late. With this story, Harlen offers an interesting twist on the trope of the buried child, the sacrifice that bears the sins of a people in order for everyone else to lead happy lives (e.g. Le Guin’s Omelas, or the story of Jesus Christ). Like Christ, the consumption of Lita’s transubstantiated flesh is literally the key to the rest of the village’s peace of mind. However, in this case, rather than salvation, the villagers only gain ignorance of their own destruction. Harlen weaves other elements into the sacrifice story, such as the idea of climate change denial, and the dismissal of women’s voices. It’s a wonderful story and an excellent starting place for Harlen’s work.

R.J. Edwards is a writer, librarian, and podcaster. My recommended starting place for their work is Riot Nrrd Comics, an online webcomic. While the comic is currently on hiatus, the good news is there are four years worth of comics currently available to catch up on. Riot Nrrd Comics is about all things geeky – comic books, video games, Star Wars, scientists, astronauts, and other delightfully nerdy stuff. But it’s also about being a marginalized nerd – being female, non-binary, black, fat, neurodivergent – basically being the type of person who doesn’t often get to see themself reflected in mainstream media. On the rare occasions when they do get to see themselves, those reflections are often problematic. For example, the first few comics call out Joss Whedon specifically for his depiction of “empowered women”. The comics tackle the questions of whether it’s still possible to love the things someone creates, while recognizing them as imperfect. Among the geekery, Riot Nrrd also touches on friendships, relationships, religion, work, stress, life, and every day problems and triumphs. Elements of it remind me of Chaos Life in its wide-ranging scope, touching on all aspects of life big and small, while reveling in nerdiness. At the heart of Riot Nrrd are characters who care about each other, who share geeky passions, and genuine friendship. It’s a lovely comic, and an excellent starting place for R.J. Edwards’ work.

That’s it for this installment of Non-Binary Authors to Read: Where to Start. As always, I’d love to see your recommendations in the comments, and I’ll be back with additional recommendations of my own soon. Happy reading!

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An Interview with Cassandra Khaw

Cassandra Khaw was kind enough to drop by today to talk about her new novella, A Song for Quiet. To get things started, I’ll make introductions by shamelessly stealing from Cassandra’s author bio…

Cassandra Khaw is a London-based writer with roots buried deep in Southeast Asia where there are sometimes more ghosts than people. Her work tends to revolve around intersectional cultures, mythological mash-ups, and bizarre urban architecture. When not embroiled in fiction, she writes about technology and video games for a variety of places including Eurogamer and Ars Technica UK.

Welcome, Cassandra, and congratulations on the publication of A Song for Quiet! As I understand it, this novella brings back John Persons, but is not a direct sequel to Hammers on Bone. Without giving too much away, can you give readers a taste of what to expect in A Song for Quiet?

A Song for QuietSouthern Gothic Lovecraftian with a heavy note of the blues.

Man, I wish I thought of that logline before this. Um. Anyway. A taste of what to expect? If you’re coming straight from the epilogue of Hammers on Bone, I’d say: expect the unexpected. In that A Song for Quiet is a drastically different book from its predecessor. Hammers on Bone laid on the neo-noir thick; it growled, it grumbled, and it smelled of neon-lit rain and cigarettes.

A Song for Quiet, on the other hand, is a hush. It’s a quiet book written to the meter of some old blues classics. It’s a book on grief, a book about helplessness, a book about finding hope in dark places. It isn’t a book about the people history remember, but a book about the heroes that time forgets. More than anything else, A Song for Quiet is a book of my grief and if you’ve wondered why it was like to hear someone’s heart breaking in half, this book’s for you.

I love the cover art for both of your Tor novellas. Did you have any input in the process, or did they come as a complete surprise?

They come as a complete surprise! Well. Sort of. Jeffrey Alan Love, who I’d just been a fanatical fan of, is basically the artist associated with the series. So long as Tor.com keeps publishing the Persons non Grata series, he’d be cover artist. (At least until whatever arrangement they’ve got going change. I don’t know how it works.) In that sense, the cover for A Song For Quiet wasn’t a surprise. I knew it’d be Jeffrey. I just didn’t know what would be going down.

That said, it’s Tor. I’d trust them with any of my covers any year. Like, wow.

Hammers on Bone and A Song for Quiet mash-up the genres of noir and Lovecraftian fiction. You’ve also drawn on Lovecraftian fiction in your short stories, specifically An Ocean of Eyes, which I loved. What appeals to you about playing in those worlds, or in the broader genre of dark fiction and horror generally? Is there an sense of subverting or reclaiming spaces and tropes that have historically been male-dominated, and in some cases outright misogynistic and racist?

I keep hearing this question and I keep revising my answers. There are layers to it. Like, to begin with, Lovecraft felt utterly impenetrable the first time I read his work as a teen. English’s my third language and the lexicon of words he used, the structure of his prose. It felt … inscrutable. Alien.

Of course, that meant I just wanted to beat my head against the challenge until it all made sense. So, that’s one reason for my fascination with Lovecraft. One of the other reasons, curiously, is a sense of empathy. More than anything else, Lovecraft felt absolutely terrified of everything. The world, the people who inhabited the world, the nature of his own skin, the flesh, the grim inevitability of the void. Every time I think about him, he always seems so scared. Not cowardly, per se. But just so very aware of how terrible the world is.

And I get that. I look up into the sky and there are days, especially now, when I see nothing but the hungry void. I read the news and it’s nothing but stories of powerful, inhuman creatures tearing apart the world. It scares me too.

But where Lovecraft was resigned to accepting his world of monsters, of seeing everything foreign as terrifying, I’m, like a lot of people who are messing around in the toolbox, not. I wouldn’t call myself optimistic, however.I think the world is a terrible place. But I think it is one that needs people reminding children that they can fight their monsters, that incremental improvements are worth fighting for, that the future’s worth a legacy of pain. That the moment that you give up, that’s the moment that the monsters win.

Every second before that, though? You’re still fighting to bring a light into the dark.
… I have no idea if that answered the question. I hope it did.

Now that you have a few novellas under your belt, do you have any interest in moving to novel length work? How does your writing process differ tackling longer versus shorter fiction?

Yes. I’d just submitted A Language of Doors, which is a sequel to my story in Shimmer, ‘In the Rustle of Pages.’ I think that’s my last novella for a good long while; my post-apocalyptic fairy tale mermaid novel is next. My writing process? It feels almost entirely the same, to be honest. I’m a pantser in the sense that outlines mostly just confuse me. My work tends towards being atmospheric because the process of writing them inevitably feels like a sustained delirium. I’m chasing snatches of dream towards its ending. With longer work, these waking nightmares just last longer.

With your non-fiction writing, do you ever get sent cool pieces of technology or get previews of video games to review? Does your non-fiction writing ever inform your fiction writing in any way, or do they live in two totally separate compartments of your brain?

I got a PS Vita as part of a job once. And I’ve been sent a Kindle Fire. I’ve lost track of the number of games I’ve received ahead of the release date. Won’t lie. It’s swell. My non-fiction brain has absolutely influenced my fiction writing and in the worst possible way! It took me almost a year to stop trying to abbreviate everything in a way that would be acceptable to my media training. (My fiction brain has done some beautiful things to my non-fiction brain, however My non-fiction now emerge as sumptuous, shameless things full of defiant word-beauty.)

Completely switching gears for a bit, one of my favorite questions to ask authors is about their non-writing related work. Authors are notorious for working strange jobs, for example J.D. Salinger’s stint as the entertainment director on a luxury cruise line. What’s the most unusual job you’ve ever had, and did it inspire any stories or teach you anything you’ve used in your writing?

I spent a week selling fish in a supermarket. It didn’t inspire any stories. But I was nineteen and my mother had gotten confused in regards to what an internship meant. We’d expected me to be plunked down in someone’s office, settled in behind a desk. Instead, I ended up spending a week in a supermarket, loudly encouraging housewives to check out our imported meats. My life’s been weird.

Now that A Song for Quiet is out in the world, what’s next for you?

I’m head down in my day job, which is the COOLEST DAMN THING BUT I CANNOT TELL ANYONE WHAT IT IS YET. AGH. And I’m pecking away at my mermaid novel because I promised my agent I would and it’s been forever.

Thanks for stopping by!

Thank you for having me!

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Women to Read: Where to Start: October 2017

Welcome to another Women to Read: Where to Start! Last month’s recommendations were all about ghosts and the undead. This month, the themes range far and wide, and the forms include a web comic, a short story, a novelette, and a novella. Taken all together, they represent the work of four fantastic women, and four excellent starting points for their work.

Shattered StarlightNicole Chartrand is a concept artist and comic creator, and she just so happens to live in my home town of Montreal. My recommended starting place for her work is Shattered Starlight an ongoing web comic about what happens when Magical Girls grow up.  For those unfamiliar with the Magical Girl trope, think Sailor Moon – a band of girls is given magical powers by a mystical force, usually associated with a trinket that unlocks their power and transforms them, allowing them to battle evil. Shattered Starlight is reminiscent of Hurricane Heels by Isabel Yap at times while being completely its own thing. Instead of an ongoing friendship with her team, Farah Shaughnessy aka Arcturus , Guardian of Heaven, former leader of the Star Guardians, is on her own. Her team mates are scattered, and as as the story opens, she’s being “reassigned” after using her powers to throw her boss through a wall because, in her words, he was being a sack of dicks. The Empress sends her to work at The Dead End Cafe, staffed by other former Magical Girls, in an effort to keep her out of trouble. However, trouble insists on finding her. Figures from Farah’s past begin to reappear, including a former teammate, and a former enemy, and the spell that’s supposed to keep innocent bystanders from remembering encounters with Magical Girls stops working, adding an unsuspecting human to the mix. The story is fun, without being cutesy. The world is edged in darkness. Farah’s handler is an alcoholic rabbit creature, and there are hints of tragedy in the Star Guardians’ past, causing their broken friendship. The art is striking, largely black and white with splashes of color, and it accurately capture the feeling of Montreal. I can’t wait to see where the story goes, and I look forward to seeing what else Nicole Chartrand does in the future.

C.S.E. Cooney is an author, poet, singer, performer, a member of the Banjo Apocalypse Crinoline Troubadours, and a World Fantasy Award winner on top of all that. If you’ve ever seen her perform, you’ll understand when I say there’s a good chance she’s actually made of magic. If you haven’t seen her perform, you really owe it to yourself to find a way to do so. There are a good many starting places I could recommend for her work, but I’ve settled on The Big Bah-Ha, a novelette originally published by Drollerie Press, and recently reprinted by Apex Magazine. The Big Bah-Ha feels very much like a fairy tale, a story passed around playgrounds by children about the shape of their world, a legend in the process of being born. Beatrice wakes up dead, a victim of the Flabberghast. Only where she is now that she’s dead isn’t quite clear. She knows she’s left her gang behind – Tex, Diodiance, Granny Two-Shoes, and Sheepdog Sal –  after falling victim to the very creature she’d always warned them about.

And when they asked her why, she’d said, “Well, because he’s a Tall One. Because he appeared in the gravy yard with the other eight after the world ended. Because he’s here to eat the bones, and he’ll eat yours when you go.”

The end of the world is a hard place. The slaprash takes those over a certain age. Kids are left to fend for themselves against monsters, but they look out for each other, too. Even though Beatrice is dead, her gang is determined to parley with the Flabberghast to get her bones back, and perform a proper death rite. Cooney’s prose is lush and evocative, doing much of the worldbuilding just by setting the tone. The Big Bah-Ha simultaneously captures a sense of wonder, and a sense of darkness, underscoring childhood as the terrifying country it can be when everyone is bigger than you, and you don’t get to make the rules. It’s an excellent example of Cooney’s literary voice, and thus an excellent starting place for her work.

Future FireVanessa Fogg is a freelance medical and science writer, as well as being a fiction writer. My recommended starting place for her work is Taiya, published in Future Fire #42. Patrick and Karen have just moved to a foreign country. The country isn’t specified, but all that matters is it isn’t home, and there’s a ghost haunting their new residence. The taiya is a spirit that wails in their garden, whose name literally translates to ‘eaten’. There’s nothing that can be done to appease a taiya; the only thing to do is ignore it, and hope it eventually goes away.

Patrick turns off the water. It’s only then that they hear it: a thin cry at the edge of the world. They stand still, and it rises in pitch, comes close, and moves away—like a train whistle speeding away from them in the night, racing across empty fields. The sadness is nothing human. The sound dies, then rises once more, just once. This time it catches in something like a sob.

Patrick has a new job that keeps him busy and away from home. However, Karen’s former place of employment promised her contract work, but no jobs have come through yet, leaving her at loose ends. She tries to fill her days with language lessons, exploring the new city, meeting with other expats, anything to distract herself from the house and the ghost, but ignoring the taiya is harder than it seems. At its heart, Taiya is a story about loneliness, isolation, and depression. It’s a gut-punch, but one that’s beautifully told. Fogg neatly draws a parallel between a ghost no one can see, and a clinical condition many people misunderstand. The taiya cannot communicate its sadness, just as Karen can’t communicate what she’s going through, even to those closest to her. Depression here is literally an unspeakable disease; there is no way for those on the outside to know what it feels like to inside its grasp. It is not something one can simple ‘get over’, it is not a matter of being sad, or depressed with lower case ‘d’. Being clinically depressed requires medical treatment, and silence and ignoring it will not make it go away. Although Taiya is not a horror story in the traditional sense, there is horror here, and it comes from the way mental illness is too often viewed and treated in our society. Taiya is a powerful story, packs an emotional punch, and is a wonderful starting place for Vanessa Fogg’s work.

Water Into WineJoyce Chng is a prolific author and the co-editor of The Sea is Ours: Tales of Steampunk Southeast Asia. My recommended starting place for her work is her latest novella, Water Into Wine. The story begins with Xin inheriting a vineyard on the planet Tertullian VI from their grandfather. They are fresh off a divorce, with three children, and have never given a thought to viticulture before, but they pack up their family, including their mother, and make the move, determined to make the most of their grandfather’s gift and start a new life. They had been living as a man, the main source of tension with their ex-husband, but on Tertullian VI, Xin stops taking hormones. With this new phase in their life, they realize they are neither a man nor a woman, but simply themself. However, just as they begin to build a new life, learning about grapes, bottling and selling wine, and falling into a romance with a man named Galliano who helps tend the fields, war comes to their new planet.  Water Into Wine is a quiet story; the war is omnipresent, but largely happens off screen, with a few notable exceptions. Even so, it’s a driving force, shaping Xin’s family, and teaching them more about themself, their mother, their lover, and their children. There is a rhythm to the language throughout; spare, stripped back sentences contrast with and highlight moments of poetry where Xin describes the wine they are making, or their recurring dreams, born of the trauma of war. There is a satisfying arc for the characters, and by the end, Xin has undoubtedly grown, honed by their experiences into a truer version of themself: I give myself my own pronoun. I am qar. I am me. I am Ping Xin. At its heart, Water Into Wine is a lovely and contemplative story about family, building community, and learning to be yourself, which just happens to be set against a backdrop of war on an alien world. Overall, it’s a wonderful starting place for Joyce Chng’s work.

That does it for October’s Women to Read. I’ll be back in November with more suggestions. In the meantime, feel free to leave your own recommendations in the comments!

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October Happenings

This weekend (October 6-8) I’ll be at Capclave in Gaithersburg, MD, which is a small, literary-focused convention. This year’s guests of honor are Neil Clarke and Ken Liu. It’s a relaxed, laidback, con, and every year I’ve attended it’s been a lot of fun – good friends, tasty food nearby, people saying smart things on panels, and of course, lots of books. In between my panels, I’ll be hanging out in the bar area, attending friends’ readings and panels, and browsing the dealer’s room. As to the rest of the time, here’s my official schedule for the weekend.

10am – Saturday – Rockville/Potomac – Doctor Who, End of an Era, Beginning of a New One.

Moffatt’s era ends and Chibnall’s era begins. What did we think of the Capaldi era and Clara and Bill as companions? What do we want from Jodie Whittaker as the Thirteenth Doctor? What are our hopes for Chibnall as showrunner? Moffatt era vs. Davies era?

Victoria Janssen, A.C. Wise, Hildy Silverman, Vanessa Phin (m)

11am – Saturday – Rockville/Potomac – Reimagining Fairy Tales

Who doesn’t love a fairy tale retelling? Part of the universal appeal of fairy tales is that they were never a static form, at least not as an oral tradition. Re-tellers have used these archetypes and modes to spin new variations ever since these stories first came to the page. Angela Carter once said that “Ours is a highly individualized culture, with a great faith in the work of art as a unique one-off…. But fairy tales are not like that, and nor are their makers.” We can find fresh insight into our own lives and connections through these age old tales. This panel will focus on a variety of approaches in reconstructing fairy tales with a modern bent, both in their favorite respins and in their own work.

Margaret Ronald, A.C. Wise (m), John Skovron, Michelle Sonnier, Marylin “Mattie” Brahen

6pm – Saturday – Frederick – Writing for Anthologies

Anthologies are an excellent opportunity for writers to get their work out to new readers. Where to look for submission opportunities, how to write to a theme, tips on catching the editor’s eye (in a good way), and a what-not-to-do list are some of the things to be addressed.

M’Shai Dash, Hildy Silverman, A.C. Wise, Alex Shvartsman, Larry Hodges (m)

Saturday – 10:30 pm – Rockville/Potomac – Superheroine to Wise Woman: Creating Powerful Female Characters

What goes into creating strong, compelling female characters in fantasy worlds? Speculative fiction authors discuss how to approach elements such as world-building, magic, special powers, and plot when crafting a multi-dimensional character, and how to avoid the pitfalls of the “Mary Sue.”

Joshua Palmatier, Michelle D. Sonnier, A.C. Wise

Noon – Sunday – Frederick

Reading – Beverly Haaf (12-12:30pm)

Reading – A.C. Wise (12:30-1pm)

2pm Sunday – Bethesda – Why Do We Like Being Scared?

Fear probably developed as a survival mechanism. We fear things that might hurt us. Yet many read horror, go to slasher films, ride roller coasters, and climb cliffs. Why? What does this say about us and our psyches?

Dina Leacock, Darrell Schweitzer, A.C. Wise, Hildy Silverman (m), Scott Roberts

October generally seems to be a good month for literary things, so later in the month, on October 18, I’ll be reading at Noir at the Bar in West Chester, PA. The event is being held at Timothy’s from 7-9pm. A group of us will be reading. If you’re in the area, come join us!

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An Interview with Sunny Moraine

A few years back, I interviewed Sunny Moraine about their novel Line and Orbit. Sunny was kind enough to come back today to talk about their new serial fiction podcast, Gone. If you dig Gone (and why wouldn’t you?), consider supporting Sunny on Patreon so they can continue creating it. Now, to get things started, I’ll make introductions by way of shamelessly stealing from Sunny’s author bio…

Sunny Moraine’s short fiction has appeared in Tor.com, Strange Horizons, Nightmare, Lightspeed, and multiple Year’s Best anthologies, among other places. They are also responsible for the Root Code and Casting the Bones trilogies and their debut short fiction collection Singing With All My Skin and Bone is available from Undertow Publications. In addition to time spent authoring, Sunny is a doctoral candidate in sociology and a sometime college instructor. They unfortunately live just outside Washington, DC, in a creepy house with two cats and a very long-suffering husband.

GoneWelcome back! Gone just released its mid-season finale. Without giving too much away, can you give folks who may not be caught up yet a taste of what Gone is about? And for those who are in the know, any non-spoilery hints about what the future holds?

Gone starts with a relatively simple premise: you wake up one morning and everyone has vanished, leaving no trace or clue regarding what happened or where they went. My unnamed protagonist goes from there, initially trying to answer the most basic question of where everyone is, but things quickly get a lot weirder and far more troubling questions begin to assert themselves. Including the one I think most of us would be asking: “Is this even happening at all?”

Halfway through the season it’s turned into a story about mental illness and the terror of isolation and the fearful damage of deeply repressed anger. It’s also a twisted kind of love story (this is where I think the influence of Alice Isn’t Dead is most apparent) between two women, a romance which has been happy and healthy on the surface while resentment and lies seethe beneath. At heart it’s a story about things breaking down and falling apart: lives, relationships, one’s grip on reality and perhaps reality itself. It’s a very personal story and a lot of my own baggage is in it. Which is true of most of my work.

The future? I’m both excited by and nervous about the future. I can reveal that the second half of the season is going to be much darker – figuratively and literally – and some fairly awful things are going to happen, including one scene that I’m especially nervous about because of the subject matter, which hopefully I’ll pull off okay. I don’t think things are going to tie themselves up neatly in the end, but I almost never end stories that way anyway. Nevertheless, I’m aiming to make the ending a real conclusion that ideally at least somewhat satisfies. Although not all the questions will be answered, many will be.

I promise she won’t turn out to be in Purgatory. Or Heaven, or Hell, or any iteration of any afterlife. I won’t hurt anyone else the way Lost hurt me.

Something that I said in the intro to the midseason finale is that this is actually a much larger universe than it seems right now (about which I don’t know a huge amount and would like to find out). I’m not sure how much of that universe I’ll be able to explore in the next five or six (six maximum) episodes, but it is out there, and while I’m envisioning this season as a single self-contained narrative that can stand on its own, I’m also consciously developing it in a way that could be an establishing point for a second season. That’ll depend almost entirely on the reception the rest of the season gets; if the demand is there, I’ll try to make it happen. In any case, there’s the possibility.

You’re essentially a one-person production team, and you’ve written a bit about your process on your blog. One of the things that surprised me is how much room for improvisation you leave yourself. What is your actual, physical process like when you sit down to record? What do you have with you in terms of notes, cues to yourself, or points you know you need to hit in each episode? Have you ever gone back to re-record sections after something unexpected came up that pushed the plot in a different direction, or do you simply go forward from where the new twist in the story takes you?

Very little of what someone hears is directly scripted, yeah, although the Interludes are all written beforehand. For the main episodes I draw up an extremely rough sketch of an episode, with a few “talking points” for each scene, but otherwise I just sit down in front of my cheap little mic and improvise with one eye on my outline. I feel like it helps with the acting, and it makes it easier for me to get fluidly into this character’s head. I actually haven’t had to re-record much; I edit things, cut out longer pauses and lines that I don’t think work, but for the most part I get the lion’s share in a single take.

The overall plot for the rest of the season is fairly set, but I’ve left some flexibility for things to take the natural turns they want to (which is also how I write my other fiction). So for the most part, when something new pops up, I have room to let it run. I’ve also had to shift scenes around here and there in my outline when I realized they might have to happen sooner or later than I thought.

On a related note, what has been most surprising to you in terms of what you originally envisioned for the story, versus where it’s ended up so far? (If you can answer without giving too much away that is.)

The plot hasn’t really surprised me; it’s the details that have revealed themselves as I go. I had only a basic grasp of this character when I started recording the first episode; she’s taught me about herself as the story has unfolded. Though again, none of that has been exactly surprising, because the framework for her character was always there and I knew the outlines of who she was, but it’s been great to chip away at the marble and watch the details of the sculpture appear.

I think what’s been most surprising to me is actually just how well it’s held together so far. I’m obviously nervous about that suddenly not being the case, and it’s clearly not a perfect story because very few stories are, but in general, considering that I’ve never done this before (with the exception of my other podcast, Keep Singing, which is purely a fandom deal), the whole thing has been kind of a pleasant surprise.

In the same post where you discussed process, you talked a bit about drawing inspiration from classic audio dramas like The Shadow, as well as recent podcasts like Alice Isn’t Dead. One of the things that’s always fascinated me about the audio dramas is the foley work. How do you handle sound effects for Gone? Have you used any household items in unconventional ways to create the audio effects? Has any of your audio work caused undue alarm among neighbors, pets, or passersby those who may not be aware you’re recording an audio drama?

Oh, man. Yeah, it’s been an interesting experience, especially given that I have no budget or formal training in any of this, and my “recording studio” is a home office with tile floors and mostly bare walls. That obviously works okay for stuff that’s technically supposed to be recorded in someone’s echoey home office, and that’s one reason why I lean a lot on that setting, but for scenes set elsewhere, I have to get creative. So far the best solution I’ve come up with for that is recording with a literal quilt over my head and the mic to dampen the echo. I have to hold very still to minimize the rustling. It’s not perfect but I think it works better than I would have expected.

For sound effects, I make heavy use of a site called Freesound.org, which is an excellent archive of Creative Commons licensed sound effects. The quality is a somewhat mixed bag but so far I’ve found enough good stuff to do what I want to do. But using imported sound effects takes a fair amount of precise work – I often do a lot of editing and move smaller bits of them around – so I try to do in-“studio” foley when I can. When the protagonist is flipping through a book, I’m flipping through a book. When she runs into the hall, I’m running into the hall. I actually threw myself and a bunch of stuff on the floor for a scene in the second episode; the pain you hear there is real (I wanted it to be; I suffer for my art).

The most recent episode involved some screaming; I closed up the house, put the quilt over my head, and prayed no one would call the cops. It’s not the last time I’ll need to scream, either, so it could yet happen.

I have badly startled my cats on more than one occasion.

As mentioned, you’re a one-person production team. Do you think you might ever expand to include additional voices?

I’ve been thinking about that a good bit, especially as I look forward to the possibility of a second season. I’d like to, with another project if not with this one, but I think I would have to adjust my working style somewhat and write real lines, given how much of what I do is unscripted. That or find a truly gelling improv partner. I’m also not sure about how to handle the logistics of recording multiple voices, especially if I’m dealing with geographically distributed people, but hey, I could learn. I’ve taught myself how to do this much.

In addition to being a podcaster, you’re also a novelist, and a prolific author of short fiction. What else do you have coming up, or in progress that you’d like people to know about?

I have a story forthcoming in Uncanny Magazine – not sure exactly when – about two women who forge an intense and violent romantic relationship owing to their shared superpower: they can cause enormous destruction when they’re in pain. I’m very proud of it and very excited to share it with the world.

Besides that, I’m in the final stages of editing a novel called LINEAGE which will be released hopefully sometime in the first part of next year from Riptide Publishing. It’s a work of science fantasy set in the same universe as the ROOT CODE books, about a trans man who (along with the girl on whom he has a tremendous and tremendously awkward crush) crashlands on a strange planet and must try to survive caught between an isolated band of survivors and their nemesis, who is a gigantic sentient plant-mass.

Finally, I’m in the early development stages of another podcast with my sister, Emma Phipps. The working title is “Drinks and Thinks”, and the premise is that we drink a different specific brand of liquor per episode while we ramble on some topic of mutual interest. I have no idea how well this would/will work but it seems like it might be fun.

That all sounds amazing and I can’t wait to read and listen! Thank you so much for stopping by!

Thank you so much for having me!

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An Interview with Kat Howard

Kat Howard was kind enough to drop by today to talk about her new novel, An Unkindness of Magicians, among other things. To get started, I’ll make introductions by way of shamelessly stealing from Kat’s author bio…

Kat Howard is a writer of fantasy, science fiction, and horror who lives and writes in New Hampshire. Her short fiction has been nominated for the World Fantasy Award, performed on NPR, and anthologized in year’s best and best of volumes. In the past, she’s been a competitive fencer and a college professor. Her debut novel, Roses and Rot was released from Saga Press in May of 2016, and will be followed by An Unkindness of Magicians in September 2017, and a short fiction collection, A Cathedral of Myth and Bone, in 2018, both also from Saga. You can find her on twitter, and on tumblr.

An Unkindness of MagiciansWelcome and congratulations on the publication of An Unkindness of Magicians! Without giving too much away, care to give readers a taste of what it’s about?

Thanks so much! To continue the trend of shameless stealing, here’s the back cover copy:

There is a dark secret that is hiding at the heart of New York City, diminishing the city’s magicians’ power…

In New York City, magic controls everything, but the power of magic is fading. No one knows what is happening, except for Sydney—a new, rare magician with incredible power that has been unmatched in decades, and she may be the only person who is able to stop the darkness that is weakening the magic. But Sydney doesn’t want to help the system, she wants to destroy it.

This is a book about sacrifice and family and making yourself who you want to be. Oh, and there are magical duels.

I have admit that sometimes I’m shallow, and I do judge books by their cover, by which I mean impulse buying things that are pretty. This cover is a particularly striking one – did you have any input on the artistic process?

I had absolutely nothing to do with the artistic process, so I feel perfectly comfortable in saying that I love how gorgeous this cover is. The cover design is by Lizzy Bromley, and the illustration done by Vault 49, and I’m so grateful for their genius. It’s based on what is one of my favorite scenes in the book, where a piece of magic goes very, very wrong.

I also wanted to ask about your first novel, Roses and Rot, which I adored. I love the themes of family, fairy tales, and artistic inspiration woven throughout. Speaking of artistic inspiration, what sparked this story for you?

Thank you! Roses and Rot is a very loose retelling of Tam Lin (Child Ballad 39A). So in a way it was sparked back when I read Pamela Dean’s gorgeous novel, Tam Lin, and first learned about the story. The question that eventually became the book for me was, “What would you be willing to give up?”

The artist’s colony of Melete that you describe in the novel sounds amazing. If you were invited, would you go, even knowing what lies behind the colony? If you were offered the deal that the most promising Melete residents are offered, would you accept that invitation?

I’d go, and I’d make the bargain. I’m not sure I’m exactly comfortable with that piece of self-knowledge, but there you go.

In addition to your two novels, you’ve also written quite a bit of short fiction. Were there any challenges in transitioning between the two lengths? Do you have different processes for writing short versus long fiction?

The biggest challenge for me was to let the novel open up and breathe. My short fiction tends to be very focused (or at least it feels that way in my head when I’m writing it), and so allowing myself to open up to the possibilities that something novel-length offered as a bit of a transition.

Switching gears completely, I have to ask about your competitive fencing. How did you get into competitive fencing, and do you still fence for fun? Are you an extra harsh critic of works (movies, books, etc.) featuring swordplay? Are there any works out there that really get it right? On the other side of things, is there a particular thing that people who don’t do their research get wrong about swords that causes you to shout at a book/movie in frustration?

I’ve been obsessed with fencing since I first saw a Zorro cartoon and went around drawing Z’s everywhere. Seeing Star Wars and lightsabers only increased this obsession. My parents found me lessons, and I started training seriously in college. Injury meant that I stopped competing, but I’m moving in a few months, and one of the first things I did was look up fencing clubs, so I hope to get back into it. I love the sport.

And because I love the sport, while I do wince at certain depictions, I’m also generally glad to see fencing in movies and books. Anything that gets people to love it! Ellen Kushner writes great fencing, and Molly Tanzer has a forthcoming book, Creatures of Will and Temper, that I love, and also has terrific fencing in.

Oh, and there may be a fencing scene in An Unkindness of Magicians, too.
(NB: I wrote an article about fencing for Lightspeed a few years ago, if you want more info)

Now that An Unkindness of Magicians is out in the world, what’s next for you? Any projects you’re working on you want folks to know about?

I have a short fiction collection, A Cathedral of Myth and Bone, that will be out next fall from Saga. There will be reprints, but also some new pieces, including a new novella, “Once, Future.” That’s an Arthurian riff that I’m extremely excited for people to read. And I am working on some other things that I hope to be able to say more about soon!

All of that sounds wonderful, and I can’t wait to read it! Thanks for stopping by!

Thanks so much for having me.

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An Interview with the Editors of Augur Magazine

Augur MagazineToday, I’m very pleased to welcome the editors of Augur Magazine, a new publication of intersectional Canadian speculative fiction. They’re currently running a Kickstarter to fund their first two years of publication. For a taste of the types of things they intend to publish, check out their Preview Issue, which is available for free.

Welcome! To start things off, could you please each briefly introduce yourself and talk a bit about your vision for Augur Magazine?

Kerrie: Hello! Thanks so much for having us. I’m (obviously) Kerrie, cat lover extraordinaire and the Editor in Chief of Augur.

When it comes to Augurian vision, I think we’ve all always wanted to create space for the kinds of stories we wanted to read. For me, it was a matter of time and place. Augur is all about creating space for stories that don’t always have the room to be told—whether intersectional storytelling (something we gravitate towards naturally as a fairly intersectional editorial staff) or stories that fit between genres.

We’ve talked a lot about our goals and wants for intersectionality over the last month on our kickstarter campaign, so i’m going to focus for a second on the second point. We’re really looking for stories that feel like they don’t belong, or that might not fit a single or defined genre. It’s one of the reasons we aren’t limiting ourselves to speculative or realist work—we take both, because we think that they aren’t as different from one another as they’re often treated. That said, we do lean pretty heavily on the speculative fiction side of things. There’s just so much room there to explore the kinds of topics we love.

Alex: We’re thrilled to be here! I’m Alex, the Managing Editor of Augur and a JD Candidate at the University of Toronto’s Faculty of Law.

Mado: Great to be here! I’m Mado: Senior Editor for Augur and classical pianist who moonlights as a writer (or is it the other way around?)

How did you all meet, and how did the idea to launch Augur come about?

K: A half decade or so ago, I launched a speculative fiction magazine at the University of Toronto called The Spectatorial. This was, in part, a response to something so many spec fic readers are familiar with—how little speculative fiction is in the English Literature curriculum, despite the fact that it’s such a rich literary landscape. The mag quickly became one of the biggest pubs on campus. And, to my surprise and delight, it also became a blissfully queer and intersectional space.

It was easy to make The Spectatorial that kind of space. It happened naturally. We want to bring that sense of ease with us to Augur—we want to be coincidentally intersectional, that kind of space that creates a gravitational force. It will take work on our part. Natural doesn’t mean easy for us. But I remember the joy in the faces of the students who were a part of The Spec—here was a speculative fiction environment that supported them! My hope is that Augur will generate that same kind of joy on a larger scale than a university campus. The Spectatorial was always what I considered a training ground for the magazine-that-would-become-Augur, but it was definitely a force in making us realize how much need remains for spaces that explicitly look to welcome intersectionality. None of those students should have been that happy that they finally felt like they belonged—they should have had that experience much sooner.

As for how we met, we’re mainly school chums. Alex was an editor of The Spectatorial after I was, and Mado and I met online many, many moons ago—but officially met in person in a writing group I ran at the University of Toronto. I’m very lucky to have them on the team.

As editors, I know it’s sometimes hard to pin down exactly what you’re looking for in a story, and sometimes the best stories are the ones you never knew you wanted to read until you’ve read them. That said, do you have any particular soft spots in fiction? Are there are any subjects or styles or types of voices you’re hoping to see in the submission pile, or things that you don’t see enough of in other publications that you’re hoping Augur can highlight?

K: I’m a big sucker for pieces that are only-kind-of-speculative and/or that play with your idea of what a story is meant to do. I like being left with questions and uncertainty when I read, but especially when those questions and that uncertainty is joined with a sense of fulfillment. When you get something from a story, but it takes you some time to realize what you’ve gotten—maybe you never get more than a feeling. This is especially true when the voice and writing are crystal clear—I want to be challenged when I read, but I don’t necessarily like being challenged to read it in the first place. That’s also, of course, highly dependant on each individual piece. Sometimes the dense, difficult-to-read pieces are my favourite. But the above is the easiest way to get on my Yes list.

A: I love stories that have lush settings—I’m always drawn into stories that have a strong atmosphere and some well-placed details about their environment. I have a huge soft spot for urban fantasy. Seeing cities turned magical, dystopic, futuristic, or otherwise speculative enthrals me every time. There isn’t a lot of urban fantasy set in Canada, so I think I would really latch onto stories like that.

I find that lately there’s been a resurgence of stories written from the second-person perspective, and I’d definitely like to see more of these stories coming to Augur. There’s something about the directness and intimacy of this approach that I think can have really fascinating effects on storytelling and on how we experience narratives.

M: The pieces that stood to me the most in our submissions were the ones that were completely unapologetic in their tone. The ones that dropped me in an entirely unfamiliar setting and didn’t spoon-feed me information until I felt comfortable, but instead made me do some of the work of puzzling out where I was and what was happening. (Of course this can only be effective if the writing is excellent!) More generally speaking, I’m always drawn in by stories in a folkloric style, with echoes of oral tradition.

Shifting gears a bit, you’re based in Toronto, which seems to be home to a good number of speculative fiction writers. Do you think there’s anything particularly speculative or science fictional about Toronto? What are your favorite spots in the city, or places you’d recommend to first time visitors?

K: Oh, definitely. But then again, I was the kind of kid that went chasing after rabbits or into forests, convinced magic was just a turn away—I think most of our environments are brimming with the speculative, the what-ifs. It’s one of the reasons we worked with one of our artists, Ann Sheng, to do up a speculative landscape series—a fairytale creature in the rollings hills of Alberta, a dragon in the mountains of the Yukon, and an apocalypse in Quebec City. One of our goals is to make sure we’re recognizing the magic that’s all over our environments and acknowledging all kinds of spaces. And, of course, as we do this it’s essential that we carve out room for Indigenous/Aboriginal creators to engage this conversation, and so we plan on including Indigenous/Aboriginal voices as often as we can.

But yes. I’ve segued. For your actual question. Toronto, specifically…I’d say climbing the hill to St. Clair and looking out over the city is pretty wonderful. You really get a sense of scope, being so high that you can see the lake. Otherwise it’s easy to feel lost. There’s also tons of alleyways behind houses that are covered in street art and have this gorgeous city beauty to them, and it’s easy to imagine slipping between houses and disappearing into another world. It’s also very easy to imagine being spirited away in the city’s ravine—a long, winding stretch of nature and greenery that’s carved throughout Toronto. That’s my stress place, and it has a wonderful calmness to it.

A: I think there’s a diversity of worlds that make up Toronto—it’s a collection of different neighbourhoods, of course, but it’s also an amalgamation of different cities. I’ve lived my whole life in Scarborough, which was originally a separate city but became an administrative district and borough of Toronto. Toronto is utterly sprawling, and many places are difficult to get to even with public transit. I feel like every week I discover an entirely new neighbourhood or area, and this limitlessness has always felt magical.

One of my favourite places in the city is actually the University of Toronto’s downtown campus. It’s a beautiful campus, and lots of sleek, newly designed buildings sit beside castle-like structures that are nearly two hundred years old. This will be a very controversial statement for every University of Toronto student, but I actually love Robarts Library, the largest individual library at the university. Robarts is reviled for being a particularly imposing and unattractive example of brutalist architecture, but it’s also designed in the shape of a peacock! I’m in love with how one of the most ominous, ugly buildings in the city is actually a giant concrete peacock filled with academic books. To me, that’s absolutely wonderful.

But I think the most speculative elements of Toronto are quietly nestled into the background. Kerrie talked about the beautiful street art in the alleys, and I’d like to mention the “Outside the Box” program, where local artists paint works of art on traffic signal boxes throughout the city. I think one of the most speculative things about Toronto is that it’s always trying to transform and represent itself through art.

Some places that I would recommend are the Scarborough Bluffs, Rouge Park, and the beaches. There are countless parks, woodlands, ravines, and trails hidden throughout Toronto, especially in the suburbs, and I think exploring them is a lot of fun.

M: I grew up in a residential area of downtown Toronto, and I’ve always thought there was a kind of fungal quality to the city: the creeping spread of its outskirts, the connective root system of the PATH. There’s an awesome tension between the straight-laced, gridded areas of the city, and the weirdnesses that permeate it, such as the ROM’s crystal growth, the life-sized sculpture of a white elephant in my neighbourhood, and whatever the heck is going on at OCAD. The place is full of great little glitches in what is supposed to be a very orderly, chitinous code. Plus there’s Dundas Street, which makes me very uncomfortable. It’s everywhere you look. You can’t get away from it. It knows all.

For first-timers I recommend Kensington Market and Ward’s Island for great walkarounds.

On a related note, I like to ask my fellow Canadians about the idea of “Canadian Literature”. Do you think there’s a particular theme, tone, or some common unifying thread that makes a piece of writing particularly Canadian and sets it apart from other fiction?

K: I think that there’s a tone we’ve learned to expect when it comes to thinking about what Canlit “is”. There’s a good number of tropey themes—cottages, nature, feeling sad or morose in the city, etc., etc.. When Augur talks about Canlit, that’s not necessarily what we’re looking for. Recently, there have been a number of excellent pieces circulating that interrogate what “Canlit” is and how it needs to be rebuilt in order for it to function as a responsible, representative space. I especially recommend these pieces by Chelene Knight, Alicia Elliot, and Gwen Benaway.

I’m less concerned with what Canlit has been and more concerned with what we can make it.

A: If you ever take a course on Canadian literature at a university, there will always be a student there who summarizes Canlit as being “about nature”, or about the tension between rural and urban life. The prof will then spend the rest of course trying to show how there is so much more beyond that, haha.

Nature is of course a major element of CanLit, but I think that a more important thread of themes in contemporary Canadian Literature is the struggle between the old and the new. There’s a very palpable and vivid tension between the historic, nostalgic, and somewhat inaccurate sense of what Canadian literature was—stories about small towns and the encroaching wilderness—and emerging Canadian literature, which explores immigration, cultural diversity, poverty, and the continued destruction of Indigenous/Aboriginal communities. Matched with these I think is the struggle to reconcile ideals and actuality. What excites me the most is that there’s a flux of exciting emerging writers expanding the conversation of what Canlit is and could be, and I think Canlit is going to open up to whole new worlds in the near future.

M: Three words come to mind: anxious, jealous, and funny. At least that’s for the CanLit I’ve read, which for a long time was dictated by Giller frenzy and Book City tables. I’m really excited to see where CanLit is going, and from what I’ve read more recently, I’m hopeful that it’s going towards a space with fewer guardians and more chaos.

Any closing thoughts you’d like to share about Augur, the world in general, or other personal projects you’re working on you’d like people to know about?

K: I’d love to mention the Augur Magazine Preview Issue! Our inaugural pre-issue (a collection of reprints) was published at the end of August, on the same day that we launched our kickstarter, and is free to read on our website. It’s a collection of reprints, spanning fiction, poetry, and comics, and features both established and emerging creators. We had an amazing time working with our contributors, and we really can’t express enough how happy we are to have been able to produce this first collection. It’s a good starting point to see what we’re going to be looking for in the future (and, if we fund we’ll open to original submissions October 1!), and I think I speak for all of us when I say that we felt very lucky as we hemmed it together. We can’t wait to produce more like it.

Thank you all for dropping by! I can’t wait to see what the future of Augur has in store!

K: Thanks so much for having us!

A: Thank you so much!

M: Thank you!

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Women to Read: Where to Start: September 2017

Welcome to another edition of Women to Read: Where to Start. We’re still the heat of August as I write this, which may be why I’m already projecting ahead to fall, October, and Halloween, anticipating cooler weather. By the time this posts, it’ll be September, which means Halloween is really just around the corner, and it’s never too early to start celebrating, right? By coincidence, all four of my recommendations this month are in the Halloween spirit, featuring the otherwordly, ghosts, and things returned from the dead.

Winter TideFirst up, my recommended starting place for Ruthanna Emrys’ work is appropriately enough her debut novel, Winter Tide. She’s also a short fiction author, and a columnist for Tor.com, where she and Anne M. Pillsworth dissect and discuss the works of H.P. Lovecraft, along with other authors playing in his sandbox. Winter Tide is set in the same world as Emrys’ short story, Litany of Earth, both reclaiming Lovecraft, and specifically the people of Innsmouth, and giving them a rich, nuanced, and misunderstood history. Aphra Marsh and her brother Caleb are the last surviving children of Innsmouth. When the town was raided years ago, they were put in a camp and forgotten until the location was re-purposed for Japanese internment during the war. As an adult, Aphra lives in San Francisco with her adopted family, the Kotos who took care of Caleb and her in the camp. She works in a rare bookshop with her friend and student, Charlie, who she is instructing in the rituals and rites of her people. Aphra also occasionally works for the government. Her sometimes boss, Ron Spector, calls her back to Innsmouth and Miskatonic to help track down a suspected Russian spy who may be using body switching magic derived from the Yith. Aphra sees it as an opportunity to reunite with her brother, and try to reclaim the books stolen from her people, and now housed at the university. Knowledge of Lovecraft’s works will enrich Winter Tide, but it isn’t strictly necessary. Emrys does an excellent job of giving the reader everything they need to know, peeling back the layers of Lovecraft’s mythos and making it more personal and sympathetic. In doing so, she touches on themes of cultural appropriation and theft, as Innsmouth’s heritage is locked up in libraries and museums, used by those who neither understand it nor respect it, and kept away from its rightful owners. While one of the prevailing themes in many of Lovecraft’s stories is the vast and uncaring nature of the universe, Emrys brings humanity to the race known as the Deep Ones. They aren’t monsters, just another branch of humanity – a fact Aphra asserts throughout the novel, refusing to let herself be othered. In addition to cosmic events, and potential spies, Aphra must also deal with the pressures of being one of the last of her people. Her ancestors who moved below the waves want her to help continue the species, something she isn’t particularly interested in, but feels obligated to consider. While Aphra is an individual, she is also part of a chain of existence, and the weight of its continuation rests with her. In Aphra’s circle, Emrys offers a well-rounded cast of characters, each with their own goals and desires. The world she builds is rich, making Innsmouth feels like a real place with traditions, rituals, and culture that needs to be protected and restored. Winter Tide is an excellent starting place for Emrys’ work, and as a next step there’s another book coming soon continuing Aphra’s story.

Apex MagazineAllison Mills is an author, archivist, librarian, and researcher. My recommended starting place for her work is If a Bird Can Be a Ghost published in Issue 99 of Apex Magazine. Shelly’s grandmother specializes in removing ghosts, catching them in her hair, and helping them to move on. She does most of her work for trade, or the occasional small fee, and she’s been training Shelly as an assistant even though Shelly’s mother doesn’t approve.

Grandma doesn’t get rid of every ghost she comes across. Sometimes ghosts deserve to do their haunting. Sometimes people deserve to be haunted.

“You don’t take ghosts from a graveyard,” Grandma says, braiding Shelly’s hair so she won’t catch any ghosts she doesn’t want. “Not unless they want to go, then you can let them out. Most of those ghosts, they’ll leave if they really want to. Same with churches and temples, sacred places. They deserve to stay.”

When Shelly’s mother dies, she can no longer accept the rules her grandmother taught her. She begins stealing ghosts in an effort to find her mother, wanting just a few more moments with her. Not every dead person becomes a ghost, but even though it seems Shelly’s mother has already moved on, Shelly finds herself unable to let go. It’s a beautiful story exploring family, loss, grief, and love. It packs an emotional punch, while offering moments of lightness and humor as well, and overall, it is an excellent starting place for Mills’ work.

Fiyah 2Eden Royce has been a bridal consultant, reptile handler, and a stockbroker, as well as an author whose work spans multiple genres. My recommended starting place for her work is Graverobbing Negress Seeks Employment from Fiyah #2. Prosper is a rootworker who uses the healing skills her mother taught her in order to brew tea to bring back the dead. She also saves a little for herself, just enough to ease her pain and extend her life by a few more years so she can keep doing the work that’s needed of her.

Even though most church-going Negroes claimed to be scared of me, saying I wasn’t natural, I eased their minds by returning their kin to them so they could rest on blessed ground. Whispers about me had been going around the city for years, in the parlors and in the paper mills, on the farms and in the ironworks. If you can find your dead, then you better find Miss Prosper next.

Most of those she brings back are lynching victims. Her work isn’t easy or pretty, but it’s important, bringing some small measure of peace to grieving families. A young boy comes to her after the remains of his brother, who had been missing for years, are found. They’re on the land owned by Runnin’ Jack, a notoriously dangerous man who deals in liquor and numbers and who doesn’t take kindly to trespassers. Prosper takes the job regardless of the risk. Jack finds her at her work, attacks her, and she discovers that not only is he a black man passing as white, he’s a serial killer who has been using lynchings and other violence to hide his crimes. Royce packs a lot into a relatively short story, delivering a powerful tale. Even though its set in the past, the story resonates with current events. It’s a story about those who are seen by society at large as disposable, against whom violence is so common that it’s almost expected, and therefore dismissed. For all the pain, there is a hopeful note to the story as well. It shares elements with Mills’ story, in its focus on healing and bringing peace to the dead and those who mourn them. Both stories also deal with community on a certain level as well. Royce’s story underlines how the death of a single person wounds a whole community, but also shows that community fighting back, as friends and neighbors who put their own lives at risk to help each other. It isn’t an easy or comfortable story, but it isn’t meant to be. It’s an excellent story, and a wonderful starting place for Royce’s work.

Six WakesMur Lafferty is a Campbell award winner, twice the winner of the the Manly Wade Wellman Award, and a Hugo finalist for her podcasting work. My recommended starting place for her work is her latest novel, Six Wakes. Maria wakes in the cloning bay of a ship, with dead bodies floating all around her, including her own. The gravity is off, there are clear signs of violence, and something is obviously very wrong. She wakes the other members of the crew, all clones, and even though they should have mindmaps from their previous selves, the last thing each of them remembers is boarding the ship. They soon discover the pilot’s previous clone hanged himself, while the captain’s is still technically alive, but in a coma. To make things even worse, the ship’s AI is unresponsive, and they’re off course. Since none of their cargo of cryogenically frozen colonists are awake, one of them must be the murderer. The basic premise could be likened to cult classics like House on Haunted Hill, and Clue, but instead of a guests invited to a creepy old mansion, clones are invited to serve on a spaceship. Each of them has a criminal past, accepting the job in exchange for wiping their records clean. Lafferty does an excellent job of slowly unfolding each character, and of course they all have secrets and a potential motive. The six wakes of the titles also gives the book its structure – from the waking of the clones, to the waking of the AI, to new knowledge being woken in the characters. The characters are well-rounded, and given new depths as the novel progresses. Lafferty manages to keep the tension high and maintain sense that any one of them really could be the killer. Among the grim circumstances, there are touches of humor, engaging character interactions, and excellent worldbuilding. The novel unfolds is tightly plotted and brilliantly executed, making it a wonderful starting point for Lafferty’s work.

That brings us to the end of September’s Women to Read. I’ll be back with more recommendations next month when it’s actually Halloween season. In the meantime, please do leave your own recommendations for fantastic women to read in the comments!

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Non-Binary Authors to Read: Where to Start – Part 9

Hello, my lovelies! It’s time for another installment of Non-Binary Authors to Read. If you’re looking to catch up on the series, you can do so here. And now that you’re all caught up, onward to new recommendations!

Anathema Issue 2Wen Ma is a queer, non-binary, author, editor, and translator  from Hong Kong who also dabbles in illustration. My recommended starting place for their work is Everything You Left Behind from Issue #2 of Anathema Magazine. The story takes place in a city where time is frozen. An event called the Nothing stopped it, and no one within the bubble can die or grow old. The protagonist’s lover disappears, and all they know about the disappearance for certain is that the last person to see their lover was The Pain Merchant, a man who takes hurts big and small away from people in exchange for a piece of themselves. The protagonist knows exactly what pain their lover sought to get rid of – the death of the couple’s daughter just before the Nothing froze time. Looking for answers, they seek out the Pain Merchant themself, and make an odd request – they want to take their lover’s pain rather than pain of their own taken away. A trade is agreed upon, and they drink the pain their lover gave up.

But this isn’t my pain, isn’t my grief. It’s yours, at once alien and achingly familiar. I’m drowning in it, trying to keep my head above the waves even as the storm threatens to pull me under.

By consuming it, the protagonist comes to understand the rift between them and their lover, the doubt and guilt their lover felt, the questions they couldn’t stop asking. If they’d never adopted Fara, if they’d lived somewhere else, would things be different? They see how their lover came to resent them in a way for processing grief differently, and come to understand why they left. It’s a lovely story, beautifully written, and despite the subject matter, it’s not without hope. While it is a story about grief, it’s also a story about finding a way through grief, and learning to see the world through someone else’s eyes. The story meditates on loss, family, and the fundamental isolation of humans. No matter how well we know someone, we can never see and feel and experience the world exactly as they do. This is echoed in the story by the unchanging nature of the city, cut off from the world, and bringing into question what the point of anything is in a world without time. However in this story, the protagonist is given the rare opportunity to understand at least one aspect of their lover completely, and that brings hope. It’s a gorgeous story and an excellent starting place for Wen Ma’s work.

Latonya Pennington is a queer essayist who regularly contributes to Black Girl Nerds, The Mary Sue, Beyond Words, and BuzzFeed. My recommended starting place for her work is actually two essays, which I see as being thematically linked – What Magical Girls Taught Me About Being Queer, and When Will Black Coming-of-Age Films Leave the Hood. The first article is more personal, discussing how Sailor Moon helped the author realize her queerness, and deal with coming out to her friends and family. The second article is more general, questioning the way many black coming-of-age movies follow the pattern of Boyz n The Hood rather than presenting a wider range of black, teenage experiences. Although their subject matter differs, similar themes resonate across both articles. Both pieces underline the critical importance of representation, and being able to find yourself in fiction and film. They also  highlight the importance of portraying a diversity of experiences. Growing up black is not a monolithic experience, nor is being female, queer, disabled, etc. Marginalized voices are already erased and dismissed, and presenting only one model of femininity, queerness, blackness, or anything else, only further erases individuals. It’s othering and alienating. Both articles also make the point that the more representation there is out there, the more likely we are to see ourselves reflected on the page and on the screen, and that can literally be a life changing and/or a life saving experience. They’re both excellent articles and a worthy starting place for Pennington’s work.

SunvaultT.X. Watson is an author, activist, and the co-founder of Solarpunk Press, a short fiction magazine celebrating the solarpunk sub-genre. Appropriately enough, my recommended starting place for their work is the opening story from the anthology Sunvault: Stories of Solarpunk and Eco-Speculation. The Boston Hearth Project is written as an admissions essay from a prospective student, Andie Freeman, who is applying to X.S.U. The question in particular zie is answering is “When have you worked well as part of a team?” The answer may be slightly illegal, but after being assured that application essays are confidential, zie relates the story of working with a team of activists to take over a first class hotel and turn it into a homeless shelter. Andie is an e-sports expert, and takes on almost Oracle-like role on the team, guiding Juniper, an urban explorer and parkour practioner, through the building – avoiding guards, and security cameras – in order to stage the takeover.

Practicing with AugR was like learning to operate another body. I learned new limits for what was physically possible. I know how far back Jupiter’s arms can go before they hurt, and how much farther before they’ll keep hurting afterward. I know how high she can jump. I know how soft she can land.

One of the defining characteristics of solarpunk is its hopeful nature. It imagines a better future, one that embraces diversity, and where people work together toward the greater good. Andie’s team can be seen as a kind of future version of Robin Hood and his merry men, robbing from the rich to give to the poor, and making innovative use of technology to do so. The structure of the story is clever, opening with an email exchange between Andie and an X.S.U. admissions counselor before going in to the essay. Because it’s written as a personal essay, the story doesn’t lose any immediacy, so Watson remains free to show us the friendship between Andie and zier team, along with the tense action of the break in and occupation itself. In a time when it’s all too easy to imagine a grim future where corporations and profit are valued over individual people, and hate-speech is given free rein, The Boston Hearth Project offers hope. It is a story of camaraderie, resistance, and working for a greater good, all of which make it an excellent, and timely, starting place for T.X. Watson’s work.

As always, please leave your own recommendations for non-binary authors to read in the comments, and I’ll be back with more recommendations soon!

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