The Mumpsimus

There's an old law amongst writers of speculative fiction: the best writing has speculative or fantastic elements which, if removed, would ruin the story. You will frequently see writers say that if a tale is merely set in an SF universe, it is not a good story, because it could be mainstream ("realistic") writing, and is only posing as SF. While I have great respect for the many people who believe this, I disagree, because such an idea gives in to the concept of the mainstream, contemporary, "realistic" story as the basis of all fiction, and much as I like much mainstream writing, I don't want to give it so much power over the imagination. Certainly, writers have written stories which are not particularly interesting or compelling, and some of these stories suffer from having the only SF element be the setting (usually, the setting is not well realized or original, merely a few mentions of spaceships and nanotech machines). Stories which don't w

I've gotten suddenly busy and haven't updated this site nearly as much as I hoped to, and haven't been doing nearly as much reading as I'd hoped to, so I thought I would take a moment to point readers toward interesting other SF-related material currently on the web. Graham Sleight has started a new weblog, Stet , which is young but already brimming with good thought. I particularly liked his look at the worldview of the Harry Potter books, wondering if that worldview is inherently liberal or conservative or a bit of both. Richard Calder takes a long look at Swinburn's poems "Faustine" and "Dolores" , concluding: Both Faustine and Dolores are, of course, succubi: muses that possess and inflame the author -- or, at any rate, those authors 'marked cross from the womb and perverse' -- muses that bring down the fire and reveal the beauty of Hell ... As such, they are incarnations of my muses, too. Tim Pratt offers some off-the-c

I discovered Ken MacLeod recently, after reading China Mieville's 50 Fantasy & Science Fiction Works Socialists Should Read . I'm not a socialist, but I like politically-engaged fiction, particularly with a leftist bent, so I was curious to see what he'd come up with. Mieville writes of MacLeod: British Trotskyist (of strongly libertarian bent), all of whose (very good) works examine Left politics without sloganeering. Sounded good to me. When I was next at a bookstore, I found The Stone Canal , where the protagonist, Jonathan Wilde, is described on the back cover as "an anarchist with a nuclear capability who was accused of losing World War III". Sounds good to me, I said to myself, and promptly bought the book. It is, in many ways, a remarkable novel, though also a frustrating one. I can't say that I've settled my feelings about it -- I know that the story held me most of the time, the characters were sometimes interesting, the imagined worl

Every now and then a writer writes a first novel which feels like a tenth, a novel full of imagination, skilled writing, careful structure, and compelling characters. Jeff VanderMeer's first novel, Veniss Underground is one such book. It is not a perfect novel, it will not appeal to all types of readers, but it is work which must be taken seriously, and labelling its author as "promising" does him an injustice, for he writes with more skill and verve than most people who have published far more books than he. VanderMeer is not a new author -- he's won the World Fantasy Award and others for his short fiction and poetry, and he's worked as an editor for various publishers and journals for many years. In many ways, I'm grateful he waited so long to write a novel, because the maturity of vision demonstrated by Veniss Underground is a rare thing. The plot is complicated and fragmentary, and no summary can do the book justice. All a potential reader re

Brazil is the best SF movie I have ever seen. It is also the movie which comes closest to realizing on film some of the sense and style of Philip K. Dick's novels and stories, even though it's not based on a PKD book, and I have no idea if director Terry Gilliam has read any of PKD's work. (By the way, this insight is not original to me: Gardner Dozois made the point in the "Summation" to one of his early Year's Best SF anthologies.) Gilliam's later film 12 Monkeys is also very PhilDickian, especially with its time travel themes, but though I think 12 Monkeys is a superb work, it's not as mesmerizing for me as Brazil . The Criterion Collection edition of Brazil is one reason I bought a computer with a DVD player in it (since I don't own a TV). It's a 3-disc set, originally released as a laser disc (remember those?), and it includes all sorts of extra material -- commentaries, production art work, and a couple of documentaries, on

"Presence" is currently up for a Hugo Award , and since I haven't yet read any of the other novelette nominees, I can't say whether it deserves to win or not, but it certainly deserves its nomination. This is a carefull-crafted, well-modulated story which looks at a possible future near-cure for Alzheimer's Disease. Since my own grandfather had Alzheimer's, I can say with some authority that McHugh's presentation of the disease's effect on its victims, and on their caregivers, is sadly accurate. The prose in the story is clear, though not particularly stylish, and the story mostly avoids the kind of cheap sentimentality that stories about sufferers of diseases can often fall into. The ending is particularly well done, with no simple "cure", no easy solution, no sudden fix -- instead, McHugh offers a mutedly emotional ending, one which mixes hope with sadness and regret, the general pain of being human. I have some reservations about

This story is from the latest (September 2003) issue of The Magazine of Fantasy & Science Fiction , and it is a story which every lover of short stories should read. I don't tend to like "sweet" stories, stories which cleverly put two kind-but-awkward characters together in an inevitable love story, stories which play on the reader's sense of nostalgia for a simpler era, etc. "The Only Known Jump Across Time" does all of this, but it is done with such skill and such control of tone that it achieves the hat trick of putting a bunch of less-than-exciting elements together into a magical, masterful whole. It is the story of two shy, but kind, people, living in America in the 1920s: a tailor and the daughter of a Harvard horticulturalist who discover a similar desire to travel back in time and say some of the things they meant to say before, do some of the things they regret having not done. The premise becomes clear in the first few pages, and I fea

I've been friends with Jim Kelly for many years, and have even been declared by him his "most deranged fan", since I have a nearly-complete collection of his works, including all of his books and all of his earliest stories (the ones he'd like to forget). To be fair, he has lots of my early work, too, things I wrote when I was in grade school, and which he vows to keep as blackmail material should I ever decide to show anyone his early publications. "Mother" is the only story I've read so far in what looks to be a particularly strong original anthology, The Silver Gryphon , which commemorates the twenty-fifth publication from Golden Gryphon Press . I have a special love for Golden Gryphon, as they published the first large collection of Jim's stories, Think Like a Dinosaur (now, finally, reprinted as a trade paperback). The qualities that make Jim Kelly special are his sensitivity and virtuosity. Many writers have one or the other, but few

I've created this weblog to keep track of my reading in and thoughts about the world of speculative fiction. I'm not a big fan of definitions, and I have little patience for arguments about whether a particular work is "science fiction" rather than "fantasy" rather than "horror" rather than "slipstream". I will, in general, use the term SF here, because it doesn't lump writings and authors into little ghettoes, other than the general ghetto of what has been called "weird fiction" or "fabulist fiction" or, one of my favorites, "philosophical romance". I like the last term because it situates writing within a general literary category and doesn't marginalize it (too much) within the world of "mainstream" fiction (aka "literary fiction" aka "mundane" [as in mundus ] fiction). I do think there is a distinction between works where anything and everything could possibly h

1. a traditional custom or notion adhered to although shown to be unreasonable. 2. a person who persists in a mistaken expression or practice.