The Mumpsimus

You can now order my upcoming collection Blood: Stories from the publisher, Black Lawrence Press. The book will be released in January 2016, and BLP is offering it for a bit of a discount before the publication date (it's a big book — 100,000 words — so will retail for $18.95). Should you pre-order it? I don't know. Yes, of course, I would like you to. And if you're going to order it online, this is a good way to do it, because you'll get it pretty quickly and a larger percentage of your money will go to BLP, so you'll help a small publisher stay solvent. Once the book is published, you'll also be able to buy it from bookstores, and since I support people spending as much money as possible in local bookstores, that's a great way to get it as well. Actually, you should probably both pre-order it and buy it from bookstores, because why would you want only one copy? You need to be able to give them away to friends — or, if you don't like the book,

The new school year has started, which means I've officially ended the work I did for a summer research fellowship from the University of New Hampshire Graduate School , although there are still a few loose ends I hope to finish in the coming days and weeks. I've alluded to that work previously, but since it's mostly finished, I thought it might be useful to chronicle some of it here, in case it is of interest to anyone else. (Parts of this are based on my official report, which is why it's a little formal.) I spent the summer studying the literary context of Virginia Woolf’s writings in the 1930s. The major result of this was that I developed a spreadsheet to chronicle her reading from 1930-1938 (the period during which she conceived and wrote her novel The Years and her book-length essay Three Guineas ), a tool which from the beginning I intended to share with other scholars and readers, and so created with Google Sheets so that it can easily be viewed, updated

To make Kim Stanley Robinson's Aurora make sense, I had to imagine a metafictional frame for it. The novel tells the story of a generation starship sent in the year 2545 from the Solar System to Tau Ceti. It begins toward the end of the journey, as the ship approaches its destination and eventually sends a landing party to a planet they name Aurora. The narrator, we quickly learn, is the ship's artificial intelligence system, which for various reasons is learning to tell stories, a process that, among other things, helps it sort through and make sense of details. This conceit furthers Robinson's interest in exposition, an interest apparent at least since the Mars trilogy and explicit in 2312 . As a writer, he seems most at home narrating scientific processes and describing the features of landscapes, which does not always lead to the most dynamic prose or storytelling, and he seems to have realized this and adjusted to make his writerly strengths into, if not his bo