The Mumpsimus

Dave Truesdale stirred up a bit of trouble with his TangentOnline editorial titled "Idiocy from the SFnal Left", which caused a remarkable discussion on the Tangent newsgroup -- a discussion where some excellent ideas and conversation is crowded amidst hostility, short tempers, bruised egos, petulance, bile, apologies, misunderstanding, mis-statements, and brilliance.

The strangest result of the discussion was Truesdale's announcing that, because of it, he was ending Tangent. That would be a great disaster for the SF field, as no-one else, that I know of, works so hard to notice and review SF short fiction. I expect the discussion was the proverbial straw breaking the camel's back, since Truesdale has been under many pressures recently, and Tangent has not been easy to keep going. No matter what the cause, though, Tangent's demise would be a horribly sad one.

What I want to discuss here, though, is the editorial itself, and some of the discussion around it. T…

I've long had ambivalent feelings about SF poetry, primarily because so much of it that I read in Asimov's and a few other places seemed awful, completely unaware of the last century or so of poetic innovations, debates, and techniques. If the "poem" wasn't a prosey joke, it was a half-baked story idea with broken lines.

More than the quality, though, I wondered about the need. Mainstream poetry has not succumbed to the deadening of imagination which so much mainstream fiction has succumbed to. A book like Verse & Universe: Poems About Science and Mathematics is, in its own way, a collection of SF poems, many written by Big Names in poetry. They had no need to label their poems as anything other than poems.

I still think most of the best SF poetry is happening in the literary journals and is not written by writers who would ever associate themselves with a literary ghetto other than the ghetto of poetry, but there are also some good poems being written by…

Recently, I picked up a copy of The Best from Fantasy & Science Fiction, 8th Series, edited by Anthony Boucher, which contains a story I've long wanted to read, "The Wait" by Kit Reed, a remarkable writer who deserves to be better known.

"The Wait" is, I believe, Reed's first published story. It appeared in the April, 1958 issue of F&SF, when Reed was about 26 years old.

Any writer, regardless of age, would be proud to call this story their first published. The command of tone and pacing is nearly perfect, with the story unfolding one strange revelation after another. Just when you think you understand the world Reed has created -- one which reminded me of Shirley Jackson's "The Lottery" -- she complicates the situation and brings in a depth of detail extraordinary in a story of about 16 pages. The characters are not rounded and complex, but rather serve as types in the way many of Flannery O'Connor's characters serve as ty…

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 work s…

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-cuff speculations…

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 world is vi…

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 really need…

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, one of which …

"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 the st…