Showing posts with label fiction. Show all posts
Showing posts with label fiction. Show all posts

Wednesday, November 10, 2010

On The Edge Of A Scandal

Note From A Little Later:

I've exchanged emails with the individual involved, have been assured that the situation has been blown out of proportion, and that my work was not at all involved.

So at this point, I suspect it is simply a matter of allowing things to progress until a clearer picture emerges.

Yes, my beloved, the Swillistrations proceed apace.

So. I've become aware of an interesting situation. It seems that the first editor I don't know personally to ask me for fiction has been accused of some fairly ugly behavior.

I'm very bothered by this because our interactions had left me liking him. I'm waiting to see if he has anything to say to me. I don't think he gave me this particular treat -- both pieces of fiction I wrote for him were mentioned on his sites with my name attached to them.

I am a little baffled as to how to react and behave here. So I'm letting y'all know that something is going on, there is no way it is good, and right now I am really, really hoping that David Byron -- the name he gave me -- is going to show himself to be a gentleman. In another time I would be keeping this to myself, but right now I feel a stronger sense of allegiance to the community of writers than to Mr. Byron, and feel that despite the possibility that this is not what it seems to be, it is appropriate that anyone who has had dealings with Mr. Byron know about the situation.

In other words, I'm hoping that what seems evident turns out to be false. And if this turns out to be true, I'm kind of braced for it. I don't feel anger, which surprises me. I just feel puzzled.

When does that kind of behavior seem like a good idea? I don't understand.

While I am holding off on making any kind of serious judgment between now and when I feel as if I actually fucking know something, I am going to celebrate by passing on to y'all one of the stories. If anyone's seen this anywhere, please tell me. This is my story. This was one of a series I wrote and quit after two had been published -- they were basically an attempt at selling outlines instead of writing stories, and it did show up on the New Voices in Fiction website. I was told that it had been published in the magazine and an anthology as well. Here's the special Christmas version, so put on your pointy red...


THINKING CAPS

Next year either I get my shopping done early or I’m blowing Christmas off entirely, I thought to myself. I hate shopping at the best of times and this wasn’t the best of times. It was the holiday season. The bookstore, the music store, even a little boutique to pick up some fancy hair crap for the missus… I needed a drink. I promised myself I’d never go back to that dive just off campus but this was an emergency.

As soon as I stuck my head in the bar I knew I was making a mistake. The last time I’d been in here the place had been nearly empty; now it was packed and noisy and full of happy young people, a breed of human I can do well without. The jukebox was still broken but someone had brought in a boom box. It was playing horrible dance remixes of Christmas carols. The kids were dancing on the rough concrete floor and crowding up against the badly finished plywood of the bar. Someone had stuck up some mistletoe. The bear on the dust-coated Hamm’s Beer waterfall seemed to disapprove.

The short guy with the walrus mustache who had been behind the bar the last time I was here moved neatly back and forth as he dispensed draft beer and well shots, a pointy green elf hat perched awkwardly on his threadbare scalp like it was getting ready to jump. I started to withdraw when he caught my eye and held up his hand and waved me over.

Damnit.

I pushed my way through the crowd and the bartender gestured again, moving me further down the bar. That’s when I saw a big chunk of territory at the end that was completely vacant except for a beefy guy in a Santa suit and a moist white false beard. He had the kind of rugose drinker’s tan that turns skin into a rind the color of a pomegranate. There was an iced tumbler of soda or tonic water, a shot glass, a bottle of hundred-proof vodka and a red plastic bucket sitting next to him on the bar. The college kids who had the nerve to look at him were disgusted or horrified; in turn he regarded them with calm benevolence.

The bartender smiled at me from behind his mustache, a creepy smile that made me think he had something planned for me.

“Come on, hoss,” he said. “You’ve got to meet the latest. Get him while he’s here cause he’s going away fast.”

Hoss? Whatever.

“Mike,” the bartender said to the beefy guy. “You got to tell this guy about the brain stuff, he’ll get a kick out of it.”

Mike smiled benevolently and took a small swallow from the tumbler and licked the moisture off his upper lip. “Sure,” he said. “It’s good for me to talk. It helps with the pacing.” He had the slow, smooth diction of a serious drunk deep into a binge but nowhere near the end.

The bartender turned to me. “The usual?”

I’d only been here once before and I was curious as to what ‘the usual’ was.

“Sure,” I said.

The bartender went to fetch my order and steal change from the frat boys at the other end of the bar.

Mike poured a shot and downed it. “Well, I can’t tell you everything,” he said.

“Top secret stuff, huh?”

“Yes,” Mike said, still smiling. “You got it in one.”

Then he picked up the red bucket and, just as easily as he smiled and drank, he puked in it. Nothing big; more like a macro-spit than a hurl. Clear fluid dribbled into the blue-white fibers of his fake beard.

No wonder the crowd gave him so much elbowroom.

There was a thump on the bar next to me. It a tumbler filled with something red – no ice.

“Eight bucks,” the bartender said and grinned, stubby yellow teeth barely visible behind his mustache. I handed him a ten.

“So this is the usual,” I said. “What is it?”

“Just go on and taste it, okay?”

As I’d feared there was wine in it; there was something else as well. Something varnish-y that swallowed like hard alcohol. It made a couple of return trips before I finally got it down.

“It’s a Brutal Hammer,” the bartender said. “Seven ounces of vodka for the kick, five ounces of red wine for the hangover. I got this cheap Ukrainian vodka I can’t get rid of so I figured I’d cut you a bargain. Chernobyl, baby.” He gave me a thumbs-up.

“Fuck you and everything you stand for,” I said and the bartender laughed and moved down the bar without giving me any change. Jesus, if he was giving me radioactive vodka what kind of wine was in there?

“I used to think that the problem with the world was that people didn’t think straight,” Mike said and took a swallow from his tumbler. “You know, people think they’re rational but they really aren’t.”

“How do you mean?” I took another sip of the Brutal Hammer and it only took two swallows to get it into my stomach. I’d paid for the fucking thing, I was going to drink it.

“You know anything about the brain? I mean, developmentally.”

Now I had to think hard for a moment. At first there was nothing there, and then the file opened up. “Sort of. The way I understand it is that the brain’s like a house where there’s been all kinds of additions put on and nothing torn down; brains started off as sensory processors and then at different stages of evolution additional parts of the brain were added to the basic design and the parts that make us human were the last to come along. It’s not like a human brain is all that different from a fish’s brain; it’s more like it’s a fish brain plus a whole lot of other stuff.”

“Close enough for government work.” Mike smiled gently, as if he’d made a joke. “They’ve done some interesting work with brain scans. When someone makes a decision you see action in the lower parts of the brain first, then in the upper parts. The fish and lizards we carry around in our skulls make the decisions and our human parts just rationalize everything the animals do.”

Mike poured and swallowed a shot.

“Our brains are better at religion and conspiracy theories and fairy tales than they are at rational, logical thought. We can think, we can think well, but it’s like stirring paint with a screwdriver or cooking on an engine manifold. It works but you’d be better off using a tool made for the job.”

Then he puked again and dabbed his lips and false beard with a cocktail napkin.

“So we made the right tool for the job. We made brains for people that let them really think rationally.”

“We?”

“Hoss, you know I can’t tell you that. I will say this; since nine-eleven there’s been an awful lot of money floating around for people who have an interest in…” He took a sip from his tumbler. “Alternative avenues of research. Big money and no controls and if the president says you can do it then it isn’t illegal. And that’s everything you’re going to hear about that.”

I nodded and thought the Tuskegee experiments and those cancer patients they dosed with plutonium and the time they sprayed germs over San Francisco…

“The thinking caps have two parts,” he said. “The first is a sort of EEG that shows which part of your brain is working on a given bit of information. The other’s a processor that allows you to record memories in a limited fashion and also gives you access to calculation, record keeping, all the functions of any computer hooked directly into your brain so you can access them at will. You wind up with your consciousness running on both an electronic digital processor and an organically-grown analog one.”

He took a swallow from his tumbler. I took one from mine; it still took two swallows to keep down.

“Sounds like it would be hard to do any experiments with animals,” I said. “Seems like you’d need to be able to communicate in order to tell whether or not things were…”

Mike nodded. “Terry, which isn’t her name, split off from us and tried to work with parrots that had already been trained to talk; she figured the setup would improve their vocabularies enough to let her work with them. Bird brains are different than human brains; parrots have the equivalent of a cortex but the neurons are organized in a totally different… Well, you’ll hear about those parrots in the news pretty soon. That’s one disaster they won’t be able to keep secret forever. So yeah, we had to experiment on ourselves if we were gonna get any useful results.”

He took a shot and lifted his hat; there was a grubby white plastic box the size of a deck of cards stuck into a shaved patch on top of his head ringed by scabby scar tissue. He put his hat back down.

“Those poor parrots had to be hooked up to their thinking caps with optical cables. Goodbye flight. No wonder they got so pissed.”

This time I didn’t take a swallow; I took a gulp. A quick bad booze shudder and then I said, “So that little box has a processor that can run a simulated human mind?”

Mike waved his hand like he was brushing away an invisible butterfly. “No, no. It’s better than you’ll find in consumer markets but we don’t have anything that good. Yet. It works like this. When you have a thought, you not only have the thought, you also know what part of your brain it originated in. So you find out that your parking is based on territorial instincts rather than time and space functions, or that you picked a particular checkout line because you think the cashier is sexy. It makes it a lot easier to sort things out. Put that together with a digital memory recorder and an internet connection…” He shook his head. “You’d be amazed if you knew how many decisions you made with your dick.”

“Oh, I doubt that.”

“You. Would. Be. Amazed.”

Mike puked in his bucket. The bartender swooped by and emptied it into the little bar sink, wiped the lip with a rag and set it back down.

“Anyway, the end result is that you know what you think and why you think it, you can store important memories in a solid form – the world’s first impartial witness. So if you’re willing to spend the time with your thoughts you can really figure things out. And that’s what fucked us over. We figured out the big question. And then we figured out our answers.”

“The big question?”

“How should I live my life. That’s the only important question and everything else comes from that. And at the end of the day life is a simple minimax situation – minimize suffering, maximize pleasure. Of course there’s no way to eliminate suffering – it’s all a matter of making sure that you get what you pay for.”

He took a sip from his tumbler; by now I was pretty sure it was just a way of padding his stomach for when he hit it with the hard stuff.

Mike held up his hands and started counting off fingers. “Terry, Terry, Terry, Terry, Terry, Terry, and Terry killed themselves inside of the first two months. What we got out of the hard drives in their thinking caps was that they realized their prime motives for existence were based on animal needs they would never be able to effectively gratify – that everything they did was intended to attract potential mates and none of it would ever work and the best way to maximize their happiness was to minimize their lifespans. Thinking with the dick, except for Terry and Terry who used their vaginas.”

Mike puked into his bucket again — splosh.

“Now Terry and Terry, they make a good argument for the success of the experiment. They got together with each other, started getting involved in community services. These days they grow their own food, volunteer at the local grade school, all that kind of thing. Epicureans in the real sense of the word – maximizing life’s pleasure through balance. I mean, they would have wound up like the other Terries if they hadn’t decided that they’d settle for each other.” He held his tumbler out to me. “To Terry and Terry.”

I clicked my glass against his and we both sipped.

“Terry, Terry, and Terry couldn’t make their new minds work. Or maybe we just didn’t wire them right. So now they are locked up in tiny rooms and nasty men such as myself take notes on their various twitches and spasms. Terry runs that program; he likes power and secrets and decided to roll that way. Dick thinking and in his case it works. Terry realized that at the end of the day it was chocolate for her. Diabetes got her after a year and a half, a good two months more than what she thought she’d get. Terry wanted to be pregnant; she’s involved in a fertility research program that’ll come out in the news the same way the parrots will. I promise you nightmares, my friend. And then Terry, Terry, Terry, and Terry have devoted themselves to a sort of masturbatory monasticism. Limited but gratifying, apparently.”

Mike took a shot.

I took another gulp and a deep breath. “So how are you handling it, man?”

Mike smiled, his eyes wide and wet. “Oh, I’m just like Terry with her chocolate but I like to drink.”

The bartender leaned over to me, his mustache almost hiding his grin so I could barely make out his crooked yellow teeth. “Tell you what, Hoss. It’s Christmas. Finish that off in one go and I’ll give you another on the house.”

I looked at the Brutal Hammer, still more than half-full. “Nice of you to offer but I think I’ve got more here than I’m gonna finish.”

Mike smiled benevolently at both of us. “Ho, ho, ho,” he said and reached for his bucket.

Tuesday, November 2, 2010

Two Cats and a Cockroach


So here's a little unit I scored at a yard sale a couple of weeks ago. Two bucks. What caught my eye was the cover art. It's by Rube Goldberg. But it wasn't just the artist -- it was the subject matter.



So when I flip it over, I find this -- the damned thing has actually been through the mail. This edition was dated 1909. I wonder if those stamps might be of interest to someone. And note that gorgeous cursive. Dip pens rule. I find it interesting that it's addressed to Omar, which is the name of the cat on the cover.

Let me be honest. The book itself looks dreadful. It's about a pampered cat's wild night out on the town, and it's got that dated us-guys humor that makes a feller want to slink into the corner and weep for his gender.

But the scratchy caricature and subject matter reminded me of the works of another writer and artist. So I looked up A Night Out, and found that it had been reprinted into the twenties. Which means that there's an excellent chance that it exerted an influence on one of my favorite works of US letters.



Poor ol' Marquis. (Not to mention the Herriman.) He was a genuinely good writer. Top-shelf stuff. But the poor bastard had to go and be funny, and now all that anyone remembers him for is this.

The pieces in this book were cranked out for a newspaper column, and from what I've read, Marquis didn't think too highly of them. He was wrong, of course, but if you read his other stuff you can understand why he was frustrated.

The pieces are all supposedly written by a cockroach who was a reincarnated free-verse poet. It's kind of like a more sophisticated Damon Runyon, written for exterminators. It's fascinating to think of something as basically dumb as A Night Out influencing something as smart as Archie and Mehitabel.

There's a lot of missing links out there we'll never find out about.

Tuesday, September 15, 2009

Thoughts On Fantasy

I decided to take photography because I've been using photographs as a basis for doing my Dada/Surrealism-influenced fantasy art for Swill. Unfortunately, I seem to be developing a taste for photography in itself. Great. Just what I need. A new form.

What next? If it's dance, I might have to kill myself.

Well, if you didn't think I was an overweening ass before, this might just change your mind. I've got a couple of hours before I have to leave for school and nothing pressing that I can actually do, so I thought I'd write a bit about my philosophy of fantasy, how it evolved, and how I apply it to my own work.

As a child, my introduction to fantasy came when my parents decided to read the Hobbit to me. My maternal grandmother, Jean Bishop, was one of those who fell in love with Tolkien's work as it was first published, and she passed that inheritance on to my mom.

The Hobbit obsessed me. It let me live in another world, one far more satisfying than my own. My life seemed -- how does it go? -- flat, stale, and unprofitable. More than his words, Tolkien's illustrations gave me a sense of uplift, of expanded life, a sense that there was (despite the fears and suffering he portrayed) a better place than mine.

I think that in many ways, the pleasure we take in stories of other times and places, of fantastic people, creatures, and events, derives from the same roots as the impulse motivating religious belief. For many, religion gives them the same thing Tolkien gave me -- an escape hatch.

So throughout my childhood and teen years, I searched out as much fantasy as I could -- and my criteria for approval was distance from conventional reality.

This eventually led to my explorations into religion, the occult, spirituality, Forteana, and so on. I wanted that imaginary escape hatch to be real, but the more I looked for it, the more I realized that it didn't exist. If I hadn't pursued the numinous with intellectual rigor, I'd probably still have a vague belief that there's a supernatural influence in life.

This led me to ignore many of the strongest virtues of much of my favorite fiction. Lord Dunsany --

A few words before we go on. Lord Dunsany is the single most influential figure in fantasy. The two main schools of twentieth-century fantasy are the Weird Tales writers and the later Inklings, who included both Tolkien and C.S. Lewis. He was in many ways a better writer than those who followed him, more mature, more original, more humorous, more wise in the ways of the world.

Most of those who followed him were enchanted, as I was, by his use of words, the way he summoned up an atmosphere of other worlds. His writing, especially his early writing, was consciously influenced by the Bible. This added a strong whiff of the Orient (apologies for the use of an outdated term, but in our cultural history there's a difference between the Orient and Asia) to his work. He recognized that the Bible, however much it's influenced the Western world, was a work of Eastern folklore and folk history, one whose essential mindset is exotic to the West.

As an adult, when I read Dunsany I still appreciate that exoticism -- but more than that, I'm conscious of his sense of irony and satire. When appreciated in full, his escapism is grounded firmly in the reality of the human experience.

Dunsany's awareness of mythology is congruent with Tolkien's fascination with the folk literature of Northern Europe. What I'm saying is that fantasy has its deepest roots in religion and folklore -- in stories that people really believe in. It's that sense of conviction that allows us to experience escapism. I've always read myths and fairy tales and so on with the same mindset that I bring to fantasy.

As a kid I was distressed to hear the speculation that The Lord of the Rings was a parable for WWII, with Sauron playing the role of Hitler. It seemed to make the whole thing a cheat. But when I read more of Tolkien's personal history, it seemed to me that the War of the Rings drew more from his experiences during WWI, and that many of the emotional beats in that story seemed to come from Tolkien's life, I had the opposite reaction.

The connection with reality made the story deeper, richer, more personal.

Look, these days I find the Lord of the Rings absolutely unreadable. And I've tried. The first volume begins entertainingly, but by the end I wanted to beat the living shit of of Tom Bombadil, and I hit The Two Towers like a bullet hitting Lexan. But I still respect Tolkien and wish happiness to those who truly love his work. I just don't see this as a novel written with a readership in mind. It's intensely personal, clearly the product of a deep-rooted compulsion, and for most of us it's inaccessible.

My growing feeling that escapism functions best when firmly rooted to the human experience was reinforced by the Fafhrd and Gray Mouser stories of Fritz Leiber. Leiber is a highly variable writer; he's done some absolutely dreadful stuff but at his best? He's one of the best. Honestly, he should be recognized by the Literary Establishment. I will flat-out say that Our Lady of Darkness is one of the two most direct influences on my novel The Ghost Rockers. (The other would be Fear and Loathing in Las Vegas. The Ghost Rockers isn't that much like either of them, but the influence is there.)

My absolute favorite Fafhrd and Mouser story is the farce Lean Times in Lankhmar. It is fucking hilarious, the supernatural just barely peeks in through the window, the satire of religion is pitch perfect. And yet it's set in another world that's clearly realized to the point where you smell it, you taste it, you feel cobblestones under your ass as you sit and listen to Fafhrd sing.

Edward Eager was another strong influence for me, and later John Bellairs. They both specialized in the intrusion of the supernatural into daily life. In Eager's works, this led to comedy, and in Bellair's, this led to horror. As much as I loved works like the Oz books and The Phantom Tollbooth, the way the fantastic and realistic elements were neatly separated from one another disappointed me. Either there is an Oz or there isn't -- and if there is, Dorothy isn't going to be the only person or thing traveling between the two worlds. That sense of separation seemed to make the fantastic elements of the story into a dream.

Or a lie.

You may notice that I spend little time discussing current fantasy. The fantasy I love is the product of a singular and eccentric mind, and most of what was written after the clearly plagiarized Sword of Shannara has been product. I'm certain that much of it is good product but it just isn't what I'm interested in.

I suspect that Dungeons & Dragons has much to do with it. Hey, I was rolling polyhedral dice back when you had to buy them from TSR and they were made out of shitty plastic that made them look like a Transformer's venereal scabs. I still read RPGs even if I don't play them.

But they gave people a clear model for creating a fantasy, a series of methodical steps that lead to the production of a world, characters, and a narrative. And that's what this stuff looks like to me -- the product of a method. All perspiration and no inspiration.

So when I set out to write a fantasy, I had a number of clear goals in mind.

1) It should offer escapism -- it's my job to show you amazing things that you will never see anywhere else.

2) It needs to connect strongly with reality in a way that makes the real fantastic and the fantastic real. The world of daily life and the other world are the same fucking world, even if it takes a while for the characters and the reader to see this. You ever think that virtually all humans throughout history would regard the way you live as exotic, magical, fantastic?

3) It should be personal and honest. There is a longstanding tradition of writer's putting elements of themselves in their characters, especially in Sword and Sorcery fiction. There's a lot of Robert E. Howard in King Kull, a lot of Moorcock in Elric, a lot of Leiber in Fafhrd. And to be honest, I'm a hell of a good character. Early in my current drive to become a writer, my sister and brother-in-law told me that my best fiction was the stuff I wrote in my own voice, my conversational voice. "It makes me feel like I'm in the presence of an incredibly powerful mind that's totally devoted to not being a psycho killer," was what my brother-in-law said. I've kept that statement in mind while writing.

4) It should be true to my time, place, and culture. I want to write a piece of epic fantasy that relates to my people, and derives from current folk culture. So while I'm trying as hard as I can to write real literature, I am consciously drawing on everything from popular music to movies to comic books, along with the deeper well of world mythologies and religious traditions.

5) It should be absolutely convincing. I'm thinking of Lovecraft's dictum that a horror story should be as carefully planned and executed as a hoax. It is my goal to have the fantastic elements of the book be the kind of thing that some people might actually believe in, no matter how bizarre they might be. To have the supernatural elements ring true to a degree that would have allowed me to start a cult based on them if I hadn't used them in a novel.

6) Finally, and in many ways most importantly, I wanted make this something that was truly unique, a real one-of-a-kind, and so I turned to sources of inspiration outside the fields of genre fiction. I brought surrealistic techniques to bear, I used direct observations from life, I started out by writing completely intuitively before organizing the material into a cohesive narrative. Dreams and visions (I'm crazy -- I get visions) and music and art and even evolutionary science play more of a role in what shows up on the page than Tolkien and Howard do.

Whew.

Sometimes I suspect that I think too much about this stuff.

Tuesday, July 28, 2009

Evopunk Lives! Stones, Episode Two


He saw something silver glittering between the greenleg’s eye and earhole.

A Magpie control blob. What kind of maniacs would use those on big dinosaurs?

Okay, enough moping around. I decided to take a little holiday this morning and knock out a new chapter of the evopunk serial Stones.

Here's the deal. I am not going to be devoting myself to this in a serious fashion. It's playtime for me, no rewrites, no revisions, no serious plans, no more than a couple of hours writing any given episode. This is just for fun. And part of that fun is having an audience and getting a response.

You know what made me want to do another chapter? People asked. (Hey, Glendon! Hey, Peter!) And I got hits. The more interaction I get with this, the more interested I'm gonna be in continuing it. The Stones story could go on for a while -- but I'm also wide open to suggestions and requests. In the short run, is there a critter in the Morrison formation you'd like to see? Or another place, another period? A mystery you want resolved? More information on the Transit Authority? Some real aliens, or some more alternate time-line type aliens like the Magpies? Want to know why Skinner and Duke are refugees? The more you give me to bounce off of, creatively, the more fun I'm gonna have and the more episodes you're gonna get.

And just to sweeten the pot, how about a contest?

The first person to figure out the origins of Skinner and Duke's names gets an 8.5" x 11" signed print of any dinosaur image from my Picassa gallery.
(Click here to peruse!)


STONES

click here for episode one

EPISODE TWO: STICKY TRAP

Skinner, perched on the carcass of the dead saddleback, felt exposed. An oxbow river to the right, with a riparian forest of cedars and redwoods bordered by cycads, but all around him was fern prairie, a rough terrain where it was hard to run and harder to hide.

Without taking aim, Skinner scanned the ultralight soaring overhead, his spex feeding the acquisition information directly into one of the rounds in his gun, a stop ‘em — a Self-Targeting Plasma Missile. Under the circumstances, it wasn’t quite overkill.

“If you shoot him without probable cause we’ll blow our contract,” Duke said.

“He’s here,” Skinner said. “That’s probable cause.”

“Not enough for the TA.”

“Shit,” Skinner said, and wheeled. There was something big coming across the prairie. His spex brought it into focus – it was a greenleg, one of three distinct local species whose skeletons would have been classified as Allosaurus fragilis if found fossilized. They were middle-sized, averaging around thirty-five feet long, and they roamed in small prides out in the open. It was strange to see one alone. But that wasn’t the only weird thing about the greenleg.

It had riders. This was something new. A howdah made of heavy nylon over a tube frame was slung across its back and fastened with thick straps, forming a nest on each of the big predator’s flanks. There was a passenger in each nest; they were both carrying guns. Guns aimed at Skinner.

Skinner threw himself back, putting the bulk of the saddleback between him and the incoming. A wad of something white, soft, and sticky hit the spot where he’d been standing. A hypersonic crack came from overhead, trailing the round that had been meant for Skinner.

Skinner didn’t have to look; he just pulled the trigger and let the stop ‘em do its work. It was a gyrojet round, essentially a capacitor hooked up to a rocket engine. It took a moment to get up to speed, then its course twisted skyward. Skinner kept moving; another round of glue smacked into the ferns behind him.

When the stop ‘em got to the ultralight the capacitor discharged, turned the round and the air around it to a globe of plasma so hot the aircraft and its pilot were vaporized. The only debris left were particles of grit and flakes of ash blowing in the breeze.

“Something’s coming out of the forest,” Duke said.

Skinner glanced over; the fat man had put down his chainsaw and picked up his rifle. He was aiming at something out of Skinner’s line of site. Skinner took a moment to scan the area with both his spex and the cameras mounted on his gun. Two more greenlegs with passengers, converging on them from different directions. They moved more quickly over the broken terrain than any man-made vehicle.

Duke’s rifle went off once, then once more. “Go for the riders,” he said. “Once they’re down —”

There was a smack and Duke grunted as a wad of glue slapped against him, fastened his right arm to his side, made him drop his rifle.

Skinner didn’t waste time taking out the passengers. Instead, as more glue rounds splattered against the wall of meat behind him, he dropped, braced his rifle against the ground, and used its railgun function to launch a four-ounce iron sphere at the closest greenleg. It hit the allosaurid so hard the beast turned into a giant meatbomb, flesh and bone and blood blasting a red fan across the ferns.

Duke cursed as another wad of glue hit him, then dropped to the ground. The glue must have been drugged.

There was a thump, and waves went through the saddleback. Skinner looked up and saw the head of the greenleg coming over the curve of the saddleback’s ribcage. He saw something silver glittering between the greenleg’s eye and earhole.

A Magpie control blob. What kind of maniacs would use those on big dinosaurs?

“Fucker,” the woman on the right side of the howdah said, and aimed her gluegun. The moment froze like a photograph and Skinner took in the green bandana on her head, the T-shirt with a grinning cartoon alligator and the cowboy cursive under it: Gatorheads.

No time to load the railgun; Skinner let loose with a burst of three nine-millimeter rounds. The woman’s face was still recognizable. Barely.

The greenleg didn’t flinch; he was remote controlled. Skinner couldn’t see whoever was in the other side of the howdah. He started to prep the railgun when he felt something punch his back hard enough to bruise, and that was it.

He was glued.

“Shelly? Shelly?” The man’s voice came from the other side of the greenleg on the saddleback. The predator’s eyes seemed dreamy, unfocused, and it stood still, just shifting its weight enough to stay balanced as its claws sank into the saddleback’s meat. Skinner saw a blonde head with a red face come across the greenleg’s back; the man screamed when he saw what was left of Shelly.

Behind Skinner, he heard the other greenleg approach through the underbrush.

“I told him we should just kill these shits,” someone said. “Jesus, what a fucking balls-up.”

As Skinner’s vision went glassy and then rippled, he noticed the man above him wore the same T-shirt that Shelly had. Gatorheads?

The man spat, hit Skinner in the face. “Fuck you,” he said. “Mr. Big Johnson’s gonna make you wish we’d just shot you. Just you wait.”
To Be Continued!

Thursday, May 14, 2009

Holy Smokes.


Huh.

It just struck me.

The combination of fiction and art that I'm currently executing is something more-or-less new.

It's not that illustrated fiction is new, or that art inspired by writing is new...

But the idea of creating art as a means to inspire fiction while making sure that the art is of a certain quality, well.

I can't think of anyone who's done this before. Christ, that can't be true. Someone else has done this.

Right?

Monday, April 6, 2009

I Really Shouldn't Do This: The Guardian's Science Fiction And Fantasy Novel List

This is the piece that's in the art show tomorrow and is being printed in the Laney Tower today... Hmm. That makes it my most-published work of art.

Over at the Biology In Science Fiction blog, Peggy has responded to a meme -- The Guardian published a long list of must-read novels and included one hundred and forty-nine SF and fantasy novels. See her post for more details.

Anyway, I read down the list and found myself thinking -- so here's my annotated version. The novels I've read are in bold. And having gone over the list, I'm not fond of it. It smacks of committee work -- one guy is interested in proving that some of this stuff is Real Literature, someone else is fixated on Klassic SF, another person it way totally Goth...

And if you're going to do a representative list of fantastic literature, you need to include more stuff from outside Europe and North America. Where are the Latin American Magic Realists? (Although where I come from, we call those guys fantasy writers.) Where's Amos Tutuola? Where's A Voyage To The West or The Ramayana? And why aren't there more children's books?

And I was irked that my favorite group of North American fantacists, the Weird Tales crowd, got totally shafted.

My main complaint was that this was restricted to novels. One thing that really bugged me was the continual inclusion of second-rate novels by people who should have been on the list for their short fiction.

And the methodology behind the listing seemed weird -- some series were included under one heading, others were broken up, others had a couple of books from a series listed seperately. Like I said, this feels like the effort of a poorly-coordinated group.

Oh, well -- this was still a fun little stroll down memory lane. Perhaps I shall construct my own lists -- Ten Worthwhile Supermarket Horror Novels, Ten Genre SF Books That You Don't Have To Be An SF Fan To Enjoy, Ten Fantastic Novels From World Literature, Ten Novels That Gave Birth To Modern Genre... It's something to think about.

Now, on with the kvetching!

1. Douglas Adams: The Hitchhiker's Guide to the Galaxy (1979)
Kinda cute. If you like this, read Robert Sheckley instead.

2. Brian W Aldiss: Non-Stop (1958)
It was okay -- his Hothouse and The Malacia Tapestry were both a lot more fun.

3. Isaac Asimov: Foundation (1951)
I tried but I just bounced off of it. I dunno; I'm just not that crazy about Asimov's stuff. I loved his robot books and Lucky Starr novels when I was a sprat but as an adult, eh.

4. Margaret Atwood: The Blind Assassin (2000)
5. Margaret Atwood: The Handmaid's Tale (1985)
I've been meaning to check these out for a while but have been put off by the whole, "I am a writer, these are not science fiction," schtick.

6. Paul Auster: In the Country of Last Things (1987)
Been meaning to get around to this guy, too. Got one of his books on the shelf.

7. J.G. Ballard: The Drowned World (1962)
8. J.G. Ballard: Crash (1973)
This one's sitting on the shelf. Ballard is one of those people I'm supposed to like more than I actually do.

9. J.G. Ballard: Millennium People (2003)

10. Iain Banks: The Wasp Factory (1984)
One of my favorite books. I must have been through six copies of this and I currently don't own a copy -- people borrow them and I never get them back. Good-natured nastiness with a curiously domestic edge, perfectly captures the vibe of 'child as a compulsively superstitious religist.'

11. Iain M Banks: Consider Phlebas (1987)
It was okay, I guess, if you like big loud noisy weird space opera.

12. Clive Barker: Weaveworld (1987)
I have yet to read a Barker novel that was anywhere near as much fun as The Books Of Blood. His first was more controlled; this one wobbled around a bit.

13. Nicola Barker: Darkmans (2007)

14. Stephen Baxter: The Time Ships (1995)
A real hoot, especially for those of us who are Morlock sympathizers. (My first Thaumatrope submission: "You do understand," the Morlock said, "that it's in very poor taste to fuck them.")

15. Greg Bear: Darwin's Radio (1999)
A ridiculous premise, competently executed. I've read a bit by Bear but aside from Blood Music I've never had much enthusiasm. I'm just not in his target audience.

16. William Beckford: Vathek (1786)
Great, great fantasy, wonderfully decadent. It's Arabian Nights stuff written by a brilliantly degenerate nobleman.

17. Alfred Bester: The Stars My Destination (1956)
A hoot and a half. The beat version of Cyberpunk, fast dense high-tech lowlifes.

18. Ray Bradbury: Fahrenheit 451 (1953)
In the second and third grades I went through a phase where I read nothing but Ray Bradbury. Now the only stuff I can take is The October Country. Another guy who's really worth listing because of his short fiction, although I've come to find his use of metaphors hooty in the extreme.

19. Poppy Z Brite: Lost Souls (1992)
Read some of her short fiction; hipster stuff, kinda bored me. Isn't she the one who wound up with a suicide-scented edition of one of her books, due to an immolation in a warehouse?

20. Charles Brockden Brown: Wieland (1798)

21. Algis Budrys: Rogue Moon (1960)
Tried it; it was impenetrable. Another writer I wish I liked.

22. Mikhail Bulgakov: The Master and Margarita (1966)
Hilarious stuff but I just didn't get the connection between the main storyline and the Pontius Pilate flashbacks. Well worth reading, though.

23. Edward Bulwer-Lytton: The Coming Race (1871)
This is the kind of thing I wonder about -- is this here because it's a readable novel, or is it here because of its historical significance?

24. Anthony Burgess: A Clockwork Orange (1960)
Not the most impressive of Burgess's works but a mean little bit of lit-flavored pulp. I used to have a sheet that my brother handed out to his friends containing all the terminology from this, 1984, and Brave New World.

Duncan also went through a phase where the only shirts he wore were Clockwork Orange T-shirts based on the movie poster. Once in public I pointed out to him that his shirt was actually a Sigue Sigue Sputnik shirt; he tore it off of his body. I mean, tore -- grabbed the chest in both hands and ripped. God, I miss that stinky bastard.

25. Anthony Burgess: The End of the World News (1982)
I went through a Burgess phase when I was twenty-three -- it was his book on Napoleon that ended the binge.

26. Edgar Rice Burroughs: A Princess of Mars (1912) 27. William Burroughs: Naked Lunch (1959)
You want an explanation for me? In the fiction section of the Richmond Public Library these two authors were mingled together indiscriminately and that's how I read them. Nowadays, with my visual imagination Edgar reads just as pornographically as William -- 'naught but a sword-belt' translates to 'pretty much butt-naked.'

Naked Lunch was one that I put off reading for a looooong time and when I got to it, it was just as hilariously appalling as I'd been told. I have very mixed feelings about WS Burroughs, though. On one hand he's a childfucker who shot his wife in Mexico; on the other hand I've found him one of the most useful writers I've run across, in terms of expanding my creative toolchest.

But if I only allowed myself to appreciate art by genuinely good people, I'd be shit out of luck, now wouldn't I?

28. Octavia Butler: Kindred (1979)
This one's sitting by the side of the bed right now. I've got a hell of a lot of respect for Butler's work. She never takes the easy way out; her depth of thought is admirable and her work is strongly moral.

29. Samuel Butler: Erewhon (1872)

30. Italo Calvino: The Baron in the Trees (1957)
I've got a copy of Cosmicomics that I've started any number of times. It seems great; I have no idea why I've never gotten more than ten pages into it. Perhaps that says something...

31. Ramsey Campbell: The Influence (1988)
I went through a Campbell phase as well; my favorite is still The Face That Must Die. Quite unpleasant in a good way; this guy knows his crazy.

32. Lewis Carroll: Alice's Adventures in Wonderland (1865) 33. Lewis Carroll: Through the Looking-Glass, and What Alice Found There (1871)
These were childhood obsessions; my mom paid me a buck to memorize Jabberwocky when I was three and it's still on tap at a moments notice.

I'm also in the habit of picking up the various differently illustrated editions -- Barry Moser, Ralph Steadman, etc.

Shame about the whole pedophilia thing; that does give it a taint. See Burroughs.

34. Angela Carter: Nights at the Circus (1984)
35. Angela Carter: The Passion of New Eve (1977)
I've got a copy of The Bloody Chamber on the shelf. She's one of those writers I'm supposed to love, so I'm feeling a bit hesitant about actually cracking the covers.

36. Michael Chabon: The Amazing Adventures of Kavalier and Clay (2000)
Right, so was this SF or fantasy? I'm still irked at Chabon's disingenous introduction to Thrilling Stories -- he acts as though plot-oriented short fiction was dead when he knew damned well that genre fiction is the Serenghetti of the short form. He's good, though.

37. Arthur C Clarke: Childhood's End (1953)
Loved Clarke as a child and still take great pleasure in Tales From The White Heart.

38. GK Chesterton: The Man Who Was Thursday (1908)
This reads like the work of a very nice fellow indeed.

39. Susanna Clarke: Jonathan Strange and Mr Norrell (2004)
It's sitting on the shelf.

40. Michael G Coney: Hello Summer, Goodbye (1975)

41. Douglas Coupland: Girlfriend in a Coma (1998)
The Mojo Nixon cover of the song of the same title rocks.

42. Mark Danielewski: House of Leaves (2000)
Again, on the shelf, but it looks like one of those books where sooner or later you have to get up and go to the bathroom in order to read a reverse-printed passage in the mirror and life is fucking short, you know?

43. Marie Darrieussecq: Pig Tales (1996)

44. Samuel R Delany: The Einstein Intersection (1967)

45. Philip K Dick: Do Androids Dream of Electric Sheep? (1968)
46. Philip K Dick: The Man in the High Castle (1962)
Delany and Dick are both writers I ought to like but don't. (Not entirely true -- I have thoroughly enjoyed short fiction by both.) See Angela Carter; this is why I'm shy about her.

47. Thomas M Disch: Camp Concentration (1968)
Someone else whose best is their short fiction. Pretty decent poet as well. This one is great until the cop-out happy ending.

48. Umberto Eco: Foucault's Pendulum (1988)

49. Michel Faber: Under the Skin (2000)

50. John Fowles: The Magus (1966)
This one's on the shelf. The missus recommended The Sot-Weed Factor as well.

51. Neil Gaiman: American Gods (2001)
He's developed into a quite decent novelist; his single issue stories in the Sandman comic book series remain his strongest work. He's someone who works the same field as magazines like Unknown; his agriculture improves the quality of the topsoil, if you'll forgive me the hooty metaphor. (See Bradbury.)

52. Alan Garner: Red Shift (1973)

53. William Gibson: Neuromancer (1984)
When this came out I was going through my above-mentioned Ramsey Campbell phase. I was sick of science fiction and getting deep into punk rock. When I read about this the phrase cyberpunk thrilled me so much that I avoided reading any so that I could just mentally riff on the concept -- here's some of what I came up with.

Another Duncan memory -- we had a power struggle for a while. I wanted him to read Neuromancer; he wanted me to read this story he'd found in an old Omni called Johnny Mnemonic. Each of us knew we'd found the best SF ever. Duhr. More a phase than a great work; still great fun.

54. Charlotte Perkins Gilman: Herland (1915)
The Yellow Wallpaper is bone-crushingly miserable and transmits massive testicular guilt.

55. William Golding: Lord of the Flies (1954)
I read it in one period in high school -- one of those assigned texts that just captured me. For that hour I lived that book.

56. Joe Haldeman: The Forever War (1974)
Read it a couple of times; kinda sorta liked it.

57. M John Harrison: Light (2002)
Sitting on the shelf.

58. Nathaniel Hawthorne: The House of the Seven Gables (1851)
I tried to reread Tanglewood Tales recently -- god it was awful. Rapacinni's Daughter is great, though.

59. Robert A Heinlein: Stranger in a Strange Land (1961)
I like me some Heinlein when I'm in the mood but this was just plain bad. The Dawn Of The Horny Heinlein. And not horribly entertaining like Farnham's Freehold; it was dull as well as dirty. Not hardcore porny; dirty minded masquerading as wholesome.

60. Frank Herbert: Dune (1965)
I read this while my family was driving back and forth to Oregon; it was worth the carsickness. I'm gonna try it again but I'm afraid it might not hold up.

61. Hermann Hesse: The Glass Bead Game (1943)

62. Russell Hoban: Riddley Walker (1980)
I've had two copies of this and have never read the damned thing.

63. James Hogg: The Private Memoirs and Confessions of a Justified Sinner (1824)
Man, I loved this one. I should go back to it soon. Realistic, visionary, full of the whiff of true madness. Funny as fuck, too.

64. Michel Houellebecq: Atomised (1998)
Dude wrote an asinine self-satisfied rape of H.P. Lovecraft that made me want to smack him. Fuck you and everything you stand for, Houellebecq. It's your kind that gives hyperintellectual solipsistic nihilism a bad name.

65. Aldous Huxley: Brave New World (1932)
Read this again recently; not bad at all.

66. Kazuo Ishiguro: The Unconsoled (1995)

67. Shirley Jackson: The Haunting of Hill House (1959)
She's so good -- but the works of hers I love the most are her humorous domestic memoirs, Raising Demons and Life Among The Savages.

68. Henry James: The Turn of the Screw (1898)
Tried reading The Golden Bowl; I could not care about his characters and I did not like his prose. Boredom carried to an exquisite pitch.

69. PD James: The Children of Men (1992)

70. Richard Jefferies: After London; Or, Wild England (1885)

71. Gwyneth Jones: Bold as Love (2001)
I keep getting her mixed up with Diane Wynn Jones, which certainly isn't fair to either of them.

72. Franz Kafka: The Trial (1925)
I haven't read enough Kafka but what I've read I've loved.

73. Daniel Keyes: Flowers for Algernon (1966)
It jerked my tears when I was eight or nine; doubt I'll ever want to read it again.

74. Stephen King: The Shining (1977)
Still haven't seen the Kubrick film based on this one... I enjoy King but he needs either discipline or an editor with a chair and a whip and a pistol loaded with blanks. I'm of the opinion that he could be a lot better than he is -- that he has chops he hasn't used yet.

75. Marghanita Laski: The Victorian Chaise-longue (1953)

76. CS Lewis: The Chronicles of Narnia (1950-56)
I heard one of these as a book on tape a little while ago; genuinely hateful. The racism and misogyny in his works are not fucking subtle. I have to wonder whether or not he was a dick in person.

77. Joseph Sheridan Le Fanu: Uncle Silas (1864)
I need to check out more of this guy's work -- ever read Carmilla? Ooh-la-la, that one carries an erotic charge.

78. Stanislaw Lem: Solaris (1961)
Haven't read this one but The Cyberiad is one of those books I read every few years. Funny, funny stuff, both clever and smart, full of remarkable wordplay. I really should read more Lem.

Interestingly, a work pal once recommended the writer Michael Kandel to me. I loved Strange Invasion but found it strangely reminiscent of The Cyberiad. That was because Kandel was the translator.

79. Ursula K Le Guin: The Earthsea series (1968-1990)
I read and loved the first three when I was in Jr. high; I've been saving the more recent ones for a binge when I'm emotionally vulnerable enough to really appreciate them.

80. Ursula K Le Guin: The Left Hand of Darkness (1969)
I'm supposed to read this one, aren't I?

81. Doris Lessing: Memoirs of a Survivor (1974)
My Independent Study sponsor in high school gave me this one. I really owe that woman a debt; I can see her face and hear her voice but her name has been stolen by the years. Man, she had to put up with some ugly shit from me.

I found this alternately fascinating and frustrating -- I was a lot more genre-oriented at that age and her refusal to play by the rules bugged me.

82. MG Lewis: The Monk (1796)

83. David Lindsay: A Voyage to Arcturus (1920)
Sitting in a stack of books at the top of the stairs.

84. Ken MacLeod: The Night Sessions (2008)
Loved his first four novels, liked his next three, haven't read any since. Why are so many of the best SF writers Scots socialists?

85. Hilary Mantel: Beyond Black (2005)

86. Michael Marshall Smith: Only Forward (1994)
I've read a couple of books by him; not bad, not good.

87. Richard Matheson: I Am Legend (1954)
Another writer with a half-assed novel on the list and brilliant short fiction that should be here instead. Why the fuck did the specify novels?

88. Charles Maturin: Melmoth the Wanderer (1820)
Sitting on the shelf.

89. Patrick McCabe: The Butcher Boy (1992)
Loved it -- brutal and depressing, just like me. But it's a realistic story -- why the hell is it on this list?

90. Cormac McCarthy: The Road (2006)
Someone else I'm supposed to like -- it's Blood Meridian that I really want to read.

91. Jed Mercurio: Ascent (2007)

92. China Miéville: The Scar (2002)
Lousy prose, many dull passages, both more than compensated for by brilliant moments of visionary imagination. Hmm. Kinda like The Night Land, now that I think of it. My favorite of his thus far. For a while I thought he was the next Gene Wolfe; then I noticed the prose. But hell, Gene Wolfe isn't the next Gene Wolfe anymore.

93. Andrew Miller: Ingenious Pain (1997)

94. Walter M Miller Jr: A Canticle for Leibowitz (1960)
Sitting on the shelf.

95. David Mitchell: Cloud Atlas (2004)

96. Michael Moorcock: Mother London (1988)
I've read a good chunk of Moorcock and I just am not that crazy about his stuff. I suspect I'd like the man, though.

97. William Morris: News From Nowhere (1890)
I dug The Woods Beyond The World but I was in the mood for it. More interesting than good.

98. Toni Morrison: Beloved (1987)
Sitting on the shelf.

99. Haruki Murakami: The Wind-up Bird Chronicle (1995)
The missus has been reading Murakami; she was surprised to find out that Hard-Boiled Wonderland And The End Of The World was one of her first presents to me. I really dug it and should read more of his stuff.

100. Vladimir Nabokov: Ada or Ardor (1969)
Got a copy of Pnin on the shelf; have been hesitant.

101. Audrey Niffenegger: The Time Traveler's Wife (2003)

102. Larry Niven: Ringworld (1970)
Loved it as a kid, it's influenced me strongly. Great, but not very good. I read Niven with the same feeling I get when I eat candy, and do neither very often. Still, he's influenced me.

103. Jeff Noon: Vurt (1993)
I tried reading this one. Just not good.

104. Flann O'Brien: The Third Policeman (1967)
One of my absolute favorite writers. But again, it's his short work I love the best. The twist ending here is predictable but the side-trips more than justify the book.

105. Ben Okri: The Famished Road (1991)

106. George Orwell: Nineteen Eighty-four (1949)
Like everyone else, I reread this in 1984. Been meaning to read Down And Out In Paris And London.

107. Chuck Palahniuk: Fight Club (1996)
I just don't like his stuff. I dig shock value but gimme a break, you've got to have something else there. But people I respect love his stuff so I'll probably try it again.

I do like the movie based on this book, though. More than I ought to.

108. Thomas Love Peacock: Nightmare Abbey (1818)

109. Mervyn Peake: Titus Groan (1946)
Haven't read the second two; loved this one. He writes like an artist but in a good way.

110. Frederik Pohl & CM Kornbluth: The Space Merchants (1953)
Reread this recently; just wasn't as crazy about it as I was when I was a kid. Kornbluth wrote some top-notch short fiction, though.

111. John Cowper Powys: A Glastonbury Romance (1932)

112. Terry Pratchett: The Discworld series (1983- ) (A few of them)
More substantial than Douglas Adams; still, it seemed more like product than literature. Not bad, though. I'll probably read more. His Strata was a nifty riff on Ringworld.

113. Christopher Priest: The Prestige (1995)
Really well done but it seemed to labored to be truly entertaining.

114. Philip Pullman: His Dark Materials (1995-2000)
I really enjoyed these but I felt that they fell apart at the end. His shorter novels like Clockwork are among the most strongly plotted fiction ever. Every writer should study them.

115. François Rabelais: Gargantua and Pantagruel (1532-34)
Whenever I've sat down to read this one, I've found myself incapable of resisting his exhortations to the reader to drink. So I've never finished it.

116. Ann Radcliffe: The Mysteries of Udolpho (1794)

117. Alastair Reynolds: Revelation Space (2000)

118. Kim Stanley Robinson: The Years of Rice and Salt (2002)

119. JK Rowling: Harry Potter and the Philosopher's Stone (1997)
I can't even remember if I gave up on these with the fourth or the fifth volume. At one point I was reading a collection of old Robertson Davies newspaper bits from the fifties and he included a deconstruction of a play with a hoary old cliche plot dating back to the 1800s. It was the plot of this book.

120. Geoff Ryman: Air (2005)

121. Salman Rushdie: The Satanic Verses (1988)
Again, ought to try him.

122. Joanna Russ: The Female Man (1975)
Read Alyx recently; eh.

123. Antoine de Sainte-Exupéry: The Little Prince (1943)
When I was a kid I hated this for being sad but read over and over again anyway. I hear it's a fuck of a lot better in the French.

124. José Saramago: Blindness (1995)

125. Will Self: How the Dead Live (2000)

126. Mary Shelley: Frankenstein (1818)
Read the version illustrated by Bernie Wrightson for the pictures; found myself empathizing more with the creature than with any other literary figure I'd read to that point.

Imagine you're the creature. You're living in a shed, you're held together by stitches, and you're teaching yourself to speak and read with the help of a book.

That book is The Sorrows Of Young Werther. Bummer, dude.

127. Dan Simmons: Hyperion (1989)
I tried but I just couldn't do it. Seemed like a Gene Wolfe ripoff; I was probably unfair to Simmons, who has written stuff I've liked.

128. Olaf Stapledon: Star Maker (1937)
Sitting on the shelf.

129. Neal Stephenson: Snow Crash (1992)
His lead character is named Hiro Protagonist. You just can't lose with that sort of thing.

130. Robert Louis Stevenson: The Strange Case of Doctor Jekyll and Mr Hyde (1886)
Amazing. Structurally fascinating. Really, this should be much more highly regarded.

Of course this was written on a coke binge and I've had to deal with some coke freaks in my life so I may be biased.

131. Bram Stoker: Dracula (1897)
I've tried. I picked up an Edward Gorey-illustrated version at a yard sale recently so I suppose I'll try again.

132. Rupert Thomson: The Insult (1996)

133. JRR Tolkien: The Hobbit (1937) 134. JRR Tolkien: The Lord of the Rings (1954-55)
Massively influential in my life. My first book was The Hobbit, which provided the key cultural reference for most of my childhood. TLOTR was my grandmother's favorite fiction.

Shame they aren't all that good. TLOTR in particular doesn't read as though it was meant to be read. I'll give Tolkien this much -- he may not have known a damned thing about women but unlike Lewis, at least he thought they were probably a good idea. Sorry, Inklings.

135. Mark Twain: A Connecticut Yankee at King Arthur's Court (1889)
Really sadistic at the end. Loads of fun.

136. Kurt Vonnegut: Sirens of Titan (1959)
Sitting on the shelf; my favorite is still Cat's Cradle.

137. Horace Walpole: The Castle of Otranto (1764)

138. Robert Walser: Institute Benjamenta (1909)

139. Sylvia Townsend Warner: Lolly Willowes (1926)
Her Kingdoms Of Elfin was brilliant; I need to score another copy.

140. Sarah Waters: Affinity (1999)

141. HG Wells: The Time Machine (1895) 142. HG Wells: The War of the Worlds (1898)
Most of his stuff still works quite well -- he's a genuinely good author. Very fond of this stuff. I'm thinking about doing some illustrated editions for self-promotional purposes, actually.

143. TH White: The Sword in the Stone (1938)
Sitting on the shelf; was read to me aloud as a child and I loved it.

144. Angus Wilson: The Old Men at the Zoo (1961)

145. Gene Wolfe: The Book of the New Sun (1980-83)
I was fixated on this one for a while. One of those brief, "This is the best book ever," things. I've been meaning to go back to it...

146. Virginia Woolf: Orlando (1928)

147. John Wyndham: Day of the Triffids (1951)
Decent prose but a ridiculous plot. Still, he's always good for an afternoon's light reading.

148. John Wyndham: The Midwich Cuckoos (1957)

149. Yevgeny Zamyatin: We (1924)

Friday, March 20, 2009

Baffu's First Story Complete.

For your reading convenience, the whole story is in the comment section of this post. Strictly rough draft, completely off the top of my head -- but I think it's a solid start.

That said, I have no idea what the title is.

Baffu's First Story: Part Nine

“Good enough,” Doctors said. “Good enough.” Then he looked at the potted plant and got up from his couch. While he had been speaking the rain had thinned and then stopped, though clouds still hid the world beyond the sky. “I think the buds have been softened enough for the blossoms to…”

Baffu got up and went to the plant. Doctors was right; one of the buds was splitting. Baffu held his finger out and the blossom crawled onto it, seeming grateful for the warmth. Its cluster of crinkled petals pulsed and swelled, turning into wings. Its eyes glowed with the internal light of coals under ash.

Full text in comments.

Baffu's First Story: Part Eight

“You mean whore’s paisley,” Baffu said. “I’ve heard that after a time it turns women into men.”

“Not so, not so,” Doctors said. “But it does have certain… unfortunate cosmetic effects. Thusly, it is only used on the lowest grade of prostitute, one whose employer intends to use and discard them. Now if I may return to the story – and I trust you’re paying attention?”

Baffu nodded.


Full text in comments.

Baffu's First Story: Part Seven

Doctors stared out at the potted plant with its struggling luminous buds in silence, then drained his cup. Baffu picked opened a third bottle and poured for both of them.

“So?” he asked.

“So, indeed,” Doctors said. “The next time the Justice of Black and Gray saw the student the young man lacked the modest dignity that had formerly been his hallmark; the student turned this way and that, his scholar’s robe open so that his private parts were displayed to any who cared to look. That is because his sash was around his neck and he hung from a rafter in his room. It was the restauranteur who found him when the smell of the student was stronger than the smell of cooking."

Full text in the comments.

Baffu's First Story: Part Six

He gestured to a plaque on the wall; it was much like the one Baffu had seen in the court where Doctors acted as judge but older and simpler in design. Carved out of fine-grained ivory and inlayed with colored wood and shell, it showed four figures, posed close together; a tall stern man with a dour face, a calm woman with a look of keen intelligence, a dark angry youth, and a gently smiling girl with downcast eyes.

“Kneel before them,” Doctors said. It was a command.

Full text in the comments.

Baffu's First Story: Part Five

“Older brother, I need your advice,” he said. “You know I keep the peace out in the market. Well, now they’re asking me to settle disputes and I fear it won’t be long before I’m working your main line of business.”

“So I hear,” the old man said, and curled his lips in a shape that only resembled a smile.

Full text in the comments.

Baffu's First Story: Part Four

There were no lanterns, no candles. The square patio and the porch surrounding it were lit only by the steady pink-and-yellow glow from the buds of the potted plant that was the evening’s focus. It was Doctors’s (so-called because of his meritorious degrees in medicine, literature, engineering, and of course jurisprudence) first blossom viewing since he’d been exiled to the City of Wealth (so-called because of the wealth it brought to the Four Empires, its name a cruel joke to locals like Baffu).

Full text in the comments.

Baffu's First Story: Part Three

“Spend night?” First Wife asked.

“Depend drunk, we,” Baffu said.

“La, la,” First Wife shook her head, then broke into the language of the poets. “My beloved younger brother, our venerable repository of justice and wisdom is anxious for your company.” She hooked a thumb in the direction of the patio and lapsed back into Market. “Out there, got bottle. Food soon.”


The complete version of this page is in the comments.

Baffu's First Story: Part Two

The giant Baffu crawled through the service entrance, scarred knotty knuckles pounding the bone floor like mallets. First Wife rushed toward him holding a towel and once he was fully inside he sat cross-legged and bent forward so she could dry his hair.

“Walk in rain, you.” First Wife spoke in Market pidgen and her voice had a companionable, familiar nag to it.

“Try fly, older sister. Don’t work,” Baffu said. He extended his hands and flapped. Carefully.

The full section is in the comments...

Baffu's First Story: Part One

No pictures today. Sorry about that...

So I want to apply to this writer's workshop, Viable Paradise. They want somewhere in the neighborhood of eight thousand words of fiction -- one or two stories or a chunk of a larger work. What makes this tricky is that what you submit is what you work on over the course of the workshop.

I want to get in, so I want to send my best work -- but if my best work works, why would I want to spend a week having it prodded at? It seems as if I'd rather spend the time working on something that needs help.

I thought about it and realized that I have a story that contains some of my best stuff -- but the story isn't quite there. It was good enough to be published in issue seven of Monday Night but it still feels as if it's not quite there. Nothing that's in submission to a pro market is allowed but Monday Night is strictly small press. So that takes care of story number one.

That leaves me with story number two. And that problem has been driving me out of my mind. See, Viable Paradise is a SF/Fantasy-oriented workshop. That appeals to me because my genre side has been a wee tad hampered by the writers I work with. It's great to have had so much of a mainstream/literary influence on my work but genre fiction is important to me as well.

But my first story, God's Tourists, is about five thousand five hundred words long. And I don't have any fantastic fiction that's short enough to fit into the remaining space.

I wanted to do something really SF-y for the second story. I wanted to do something action-oriented.

I haven't been able to come up with an idea.

So in casting around I remembered a story idea that I should be able to write within the permitted word count. The thing is, is that the story uses character and setting details from what I intend to eventually be my Big Work, the series of novels that I want to write for my bread and butter in the long run. I've been working on it both mentally and on paper since I was a kid. It was the subject of my first attempt at game design -- I tried to write it as an adventure game before there was Dungeons and Dragons.

The shape of the thing has changed radically over the years, going from goofy far-future SF to weird fantasy, from being intentionally escapist to being a tool for confronting issues both personal and political. It's really, really ambitious and I wasn't going to try and tackle it until I had at least one successful (in the artistic rather than the commercial sense of the word) novel under my belt.

Thing is, there's still a lot of work to be done. A lot of world-building is still ahead of me. Much of what I'm going to do is gonna have to be changed because I cannibalized a good chunk of the material for my current novel-in-progress...

And part of this story touches on elements that are central to my pal Allison's big work in progress. They actually predate my friendship with Allison but I'm nervous about working her side of the street, especially on issues as sensitive as this.

But I need a fucking story. So here's the deal.

This is a test boring. This is an experiment. This is the first attempt I've made at working with these characters since I've achieved any success with my writing.

So I'm gonna liveblog the story. Gonna do a draft of the whole thing today and then send it out to my Monday night writer's group. I'll post each page (ending at the last completed paragraph) as I go. I'll lead each post with a sample paragraph and then put the rest of the page in the comments section.

See you next post...

Tuesday, February 10, 2009

Bah! I've Got To Stop Writing Bar Stories

Now why I'm keeping this secret when most of the people reading this know exactly what's going on is a source of bafflement to me...

But there's something going on. I'll tell you that much. On March First everything changes. Okay, not everything. But there'll be something.

Cumulative evidence, both internal and external, has convinced me that I need to dump the bar series. (For those not in the loop on this one, I've written some stories set in a bar. They're weird SF, very old-fashioned in the way they work the initial concepts, and are told by barflies.) Here's why.

The main problem with them has always been integrating the setting into the story in a way that makes sense. Problem number one?

The setting doesn't need to be in the stories I've told.

When John Shirley -- he's got some readings coming up, and I'm planning on attending the one on February 28, click for further information -- read the first story in the sequence, he said that he'd have shown at least some of the real action in the story happen on-screen. I suspect diplomacy on his part.

I gave a long defense of my approach, based on the fact that the story was written specifically because I wanted to write a bar story. Which was true.

Which didn't mean that Mr. Shirley was wrong. The core of the story was right there from the first draft. All the major changes that the piece went through during its numerous revisions had to do with the packing material, with the parts of the story that were actually set in the bar.

The central and (to some degree willfully) unrecognized problem with those sections was that they didn't fucking need to be there in order to tell the story.

But I remained in denial, despite what I'd heard in my writer's group. What I'd heard from other readers.

Well, this morning I got an email from Allison Landa giving me her critique of the most recent story in the sequence. Among other things, she said...

I don’t consider the bar setting relevant and, in fact, it distracts from the meat of the story.

She also pointed out some cliches that were built into the setting. On some level this wasn't news to me but this time I found myself wondering if maybe everyone was right...

Then I got this comment from Rob Pierce regarding the Free Story I pimped yesterday.

Enjoyed it, of course, but it doesn't feel fully realized. There's a guy in a bar telling a very strange story so matter-of-factly that even when the thinking cap is revealed it doesn't seem dramatic. The whole thing for me felt like a concept, like you were saying "hey I've got this really cool idea for a story." And despite its publication, that's what I think it remains.

(For his full statement, see the comment on yesterday's post.)

Ooooooh, shit. The other other shoe just dropped.

Okay, folks, clue delivered.

The method of telling the story -- having a third person tell it to the 'voice' character, who then repeated it to the audience? Can you say insulation? One of my main concerns in my fiction is delivering something as close to a direct experience as I can get. This technique does the opposite. Fuck me.

But I wouldn't be doing this if I didn't have any reasons. And now that I know that the approach is broken it's pretty clear to me what's going on here.

First off, I really love bar stories. I may not be good with them but I love them. Of course, I hate drinking in bars and that was one of the things I wanted to get across -- but that's not what I'd call a major theme upon which a body of literature could be built. Farewell, Jorkens and Mr. Mulliner. Gavagan's Bar, the White Hart, farewell. I'd rather drink alone anyway.

The next one is a little tricky, but it's essentially conceptual. In all three of these stories I had a basic idea --

The whole planet is covered in invisible bugs. What if some of them were intelligent and we were committing genocide on a daily basis just by wiping counters and cleaning toilets?


Rational thought is the product of discipline, and its most refined forms are skills derived from a tradition that has been built over the course of history, something that must be taught. It's unnatural, an artifact. What if you could do something to the human brain to make it more predisposed to rational thought?

Why the hell are raccoons stockpiling concrete on the roof outside my studio? Are they trying to make the jump to tool use?

-- and in all these cases the basic idea was something I had lurking in my head for a long, long time. Years. And they hadn't gotten anywhere near turning into stories.

The bar acted like a mental Petrie dish. In each of these cases, I had the experience of running over a particular thought like this and then saying, "Hey. Let's put it in the bar."

And when I did, all I had to do was sit down and start writing and the story just came. Clever little details and hooks produced themselves without the need for elaborate planning. The pattern in the critiques that I've gotten on these stories has been tons of red ink during the sections set in the bar, then little or nothing during the actual narrative.

There's another clue for you, Oafboy.

I think the key there is that I was imagining someone telling me the story. So all I had to do was listen. And since that was the way I imagined the stories -- and they came so easily, they were fucking gifts -- that's the way I wrote them. Stories don't come to me every day so I tend to take what my imagination gives me.

Time to start developing my creative techniques, he said.

And finally, there's a far more crass reason. The damned things sell. Both finished stories have been published, one twice in hypothetically-paying markets, and both have been posted on line. The Little Things even got praise from Biology In Science Fiction. There's a motive right there.

But more than that, the spoken-word format allows me to write the stories in a much shorter form than would be possible if I were to include things like, oh, I don't know.

Character. Setting. Description. That kind of thing.

Most of my short fiction has been at a length that rides the border between a short story and a novella. Seven to nine thousand words seems to be my sweet spot. (Now that I think about it, I've read the critical claim that the novella is the perfect length for a science fiction story...)

That length is pretty much unsellable. Almost all markets are closed to work that's longer than a short story and shorter than a novel.

But I've had just about everything I've written make it out into the public eye (and I still hold out hope for some of the pathetic crippled monstrosities thumping around my story trunk) and anyway. Who worries about the money when you're writing short form works? That's what novels are for.

(And the occasional collection. I figure that I'll put out a collection of my short fiction at some point in time. I've got just about enough to put up a self-published on-demand collection at Lulu. Hell, I want to do it just for the chance to design a book, now that I've done a magazine properly.)

So by taking the fast and easy route when I write these stories, I'm cheating them. If I want to build up a respectable body of work I can't be pulling that shit.

I need to just write them as well as I can and fuck a bunch of commercial motivations. If someone wants something commercial from me I'm happy to do it -- but to write commercial stuff and then hope to sell it? That's not the game I want to play. (Puts on his grease-stained cardboard crown.) I am, after all, a literary artist of the highest water. Belles-lettres, motherfucker.

So I guess I'll have to go back to the raccoon story and write it like a fucking story. At least I've got a solid notion of the events, characters, and setting of the story, of the basic narrative arc. Now to turn those into a plot.

Damnit.

A Free Story At New Voices In Fiction, Plus Some Pissing And Moaning

I sketched this at the botanical gardens up at UC Berkeley. Man, it's gorgeous up there. I want to go and sketch there again, once I'm all caught up... which will never happen.


Well, I recently had my second troll show up -- go here and scroll down to the bottom for a nice dose of dumbass -- and I decided to Google his name. Which is my name but since Googling yourself is fucking obscene I'm not going to cop to it in public. This time.

Anyway, in the process I found that New Voices In Fiction had posted my most recently published story on their site. It's in the same sequence/series as the story I posted about a couple of days ago. This one is about those most inseparable of twins, booze and brain surgery. It's just good plain fun, chock full of the optimistic view of human nature you've come to expect from me.

Here it is!


On a more distressing note, my back is giving me hell. I've pushed it this last week -- had school four days in a row, did a skeletal drawing, and carried some groceries home. Pathetic, huh? It's not the pain that bothers me so much as the sensation of weakness -- physically, that is. I can feel the vulnerability of my back right now. It's like there's a hinge there and if I stand wrong the top half of my body will just flop over.

Of course it's the pain that keeps me from sleeping. And I don't have any fucking pills and I missed my appointment last week and I'm gonna have to pay for it and shit. Just a bit of a bummer, you know? Ah well and oh my.

But the real issue here is that I'm having to let go of a project I've been wanting to do for more than a year now. Here in the East Bay Area there's an annual tradition of having open studios. A local arts organization, ProArts, organizes the whole thing and it's a real circus.

Now that I've decided to try and do something with my art I wanted to participate. But it would involve spending two weekends in a row of pulling eight-hour days on my feet. I should have known better than to start into something like that but I gave myself the old, "You fucking lazy-ass hypochondriacal goldbricking bastard, go out and try and make some fucking money," speech.

That one always gets me in trouble. The people at school who are doing this need everyone they can find to participate so I feel really bad about having to withdraw from this.

Stupid back.

Sunday, February 8, 2009

A New Story! A New Story!

Behold! My very first attempt at drawing a dinosaur. This was back in the days when Gregory Paul was suggesting that small theropods may have been feathered and everyone formed a circle around him, pointing and hooting and saying, "Get a horse! It'll never fly!"

I had my doubts but I wanted to try drawing one.


I came upstairs this morning with every intention of continuing the skeletal diagrams for my Psitaccosaurus neimongoliensis. Instead, I wrote a new short story.

For the last while we've had some critter -- either squirrels or raccoons -- stockpiling chunks of concrete on the roof outside my studio. I've joked to my music buddy that someone's trying to make the jump to a paleolithic culture.

This came up in conversation with the new writer's group on Thursday and it dawned on my that I've written two stories with the same characters and setting that used other whimsical SF notions -- I think of the series partially as a dumping ground for those kinds of stray thoughts. I've mentioned this in my blog at other times.

Well, this morning my narrative function made the little ping noise that mean's a story is ready to write.

These stories are old-school short fiction. This one in particular had John Collier and Saki whispering in my ear while I worked.

Here's a taste. I'll let you know when it finds a home.
from
Procyon habilis

Like I said, I always get into trouble at Gary’s.

I sighed loudly enough to let Gary know that I was doing him a favor and got up.

“Hoss, this is Heather. Heather, my man the Hoss,” Gary said.

I smiled and nodded. “Heather.”

Heather smiled back – big worried eyes and a thin tight smile -- and reached her hand up. “Hoss,” she said.

I took her hand gently – I’m always wary of using a firm grip – and kept my eyes on her face as we shook. Her dress was cut low and I couldn’t help but imagine myself falling face first into her pillowy cleavage. Poof.

I scooted into the booth. The scuffed leather-covered padding on the bench was thin and the space between the table and the walls was narrower than I found comfortable and Heather and I were entirely too close to one another.

When I looked up I caught Gary staring at her. “I’ll have your drinks in a second,” he said, and went back to the bar.

Heather picked up her glass and licked at the salt on the rim, looked at me as though inspecting a piece of livestock. The silence went on forever, so long that I actually jumped when she spoke up.

“So you got any kids?” she asked.

“Nah,” I said. “I love ‘em but I can never finish a whole one.”

Heather giggled. I wasn’t sure she was really amused – she seemed worried. “Maybe that’s what I should do with mine, just put him in the oven.”

“Kids are great,” I said, “I used to work at a day care center when I was in high school. I love kids, I’m pretty good with them, but I just don’t want any of my own.”

Gary set our drinks down on the table; another margarita, my stout, and a double of something amber.

“I know you like your whiskey,” he said to me. “Since the lady’s paying I figured I’d give you a taste out of my private bottle.” He looked hard at Heather as he spoke and his statement sounded obscene – I’d like to give you a taste out of my private bottle.

“Well, thanks to both of you,” I said, and Gary pulled away reluctantly.

Heather lifted her glass. “To kids.”

“To the health of your boy,” I said, and we clinked glasses. There was something about this whiskey, something richer than usual, and I realized that it wasn’t watered.

Then Heather scrambled for her purse, sniffing loudly. Her eyes shone with tears as she pulled out a Kleenex and dabbed at her face. “I just don’t know what I’m going to do with him, Hoss.”

I took another gulp before I spoke. “What’s wrong?”

“He’s… Jason’s in with a bad crowd,” she said.

“You mean like a gang?”

She shook her head. “No. Well, sort of.” And then she laughed through the tears and the sound made me think of ripped cloth.

“What do you mean?”

Heather blew her nose and wiped at her lip for long seconds before she replied. “They’re raccoons.”