News for a new year

I am as always a spotty blogger on this website, but I try to pop in when I have something I feel compelled to say (as per my last blog post today) and when I have some news to deliver.  This post is some news.

If you follow my Facebook or Twitter pages, you’ll already know the first bit, which was announced a couple of months ago now, I think:

In August I’ll be publishing a very short collection of three stories (plus one essay!) called, Birds and Birthdays, which will be produced by L. Timmel Duchamp at Aqueduct Press, a press I’ve always loved and for which I never thought I’d have a project that fits their mission, and then I surprised myself with a small book that does fit in.  Birds and Birthdays collects three stories–”The Creation of Birds,” “The Guardian of the Egg,” and “Birthday” all of which are my fictional narrative responses to the surrealist art work of the painters Remedios Varo, Leonora Carrington, and Dorothea Tanning, respectively. Along with the tiptrych of stories will be an essay entitled “Re-membering the Body: Reconstructing the Female in Surrealism” that provides a context for the women surrealist artists who were working in the Modernist period of Surrealism, when the men were exhibited but the women were excluded from public showings and thought of as mere attachments to their artist boyfriends or husbands or friends.

These artists have been a huge, huge influence on my writing, despite their work being visual, for years now.  I am so happy to have these three stories collected in one place finally (two had been published in separate anthologies in the past decade), along with the essay, as they were intended.

My other big news is that I’ll be publishing a full-length collection of short stories called, Before and Afterlives, with Lethe Press in March of 2013.  The table of contents will most likely collect around twenty stories I’ve published over the past decade, all of which revolve around characters just on the precipice of great change in their lives, or afterward–sometimes long after, beyond the grave.

I started out writing short stories before ever trying to tackle a novel, and the short story is still a favored form for me.  I am so grateful and excited to bring these two collections out in the coming months, after many years of endeavoring to make them.  I hope they’ll find a warm audience waiting for them.

Thanks,
Chris

Life on the lowest setting

On his blog, my friend John Scalzi has recently posted about the privilege of the straight white male in American society by using a decidedly clever metaphor to describe what is often invisible to others, especially to those who hold the most privilege:

Imagine life here in the US — or indeed, pretty much anywhere in the Western world — is a massive role playing game, like World of Warcraft except appallingly mundane, where most quests involve the acquisition of money, cell phones and donuts, although not always at the same time. Let’s call it The Real World. You have installed The Real World on your computer and are about to start playing, but first you go to the settings tab to bind your keys, fiddle with your defaults, and choose the difficulty setting for the game. Got it?

Okay: In the role playing game known as The Real World, “Straight White Male” is the lowest difficulty setting there is.

Please read his entire post, because what I’ll be doing here is furthering some of the conversation John raised, and which my friend Meghan McCarron already furthered (after she and I nitpicked with certain aspects of John’s argument on Twitter, and John said he’d be happy to have other folks take the ball and run with it).

One of Meghan’s additions to John’s metaphor for privilege in the game of life was this:

Finally, at the end of the post, Scalzi points out that one doesn’t “choose” one’s own setting – it’s chosen by the computer, and that receiving the easy setting is a stroke of luck. That’s a powerful message – that we did nothing to deserve our privilege, and the fact that we have it is in fact meaningless – but ending there strikes me as a missed opportunity to explore an essential aspect of privilege: its invisibility to those who have it.

All too often, Straight White Men do not see that their setting is easier, and they assume that those struggling against bigger challenges are simply poorer players. At first this is innocent – the Straight White Men are focused on surviving the game themselves, after all. They didn’t design it. But the “easy” setting’s invisibility breeds arrogance, not the humility necessary to acknowledge that you’re “winning” the game because a. the game is easier for you and b. the game itself is designed to benefit you most. The fact that privilege robs us of empathy and humility is nearly as poisonous as the advantages it brings, because humble, empathetic people would not gleefully skip through difficulty while leaving others to suffer.

I wholeheartedly agreed with Meghan’s furthering of John’s metaphor.  Part of the problem with privilege is that, when you have it, it’s almost invisible.  The same way you might not realize what your voice sounds like until you hear it played back in a message–it seems like it belongs to someone else, unless of course you’re used to hearing your own voice played back to you.

Since Meghan had brought up what had been, for me, a salient defining point about privilege that had been left out of John’s metaphor, I was not going to write my own blog post about it.  Well done, Meghan!  But then today I came across an update from John on his blog, in which he further discusses his definition of privilege by way of responding to some of the general reactions various commenters on his blog post shared.  John is always spot on with so many things–he’s a smartypants, for sure–but one piece of his extended discussion of the Life on the Lowest Setting blog post was a sticking point for me.  Here it is:

3. Your description should have put wealth/class as part of the difficulty setting.

Nope. Money and class are both hugely important and can definitely compensate for quite a lot, which I have of course noted in the entry itself. But they belong in the stats category because wealth and class are not an inherent part of one’s personal nature — and in the US particularly, part of our cultural sorting behavior — in the manner that race, gender and sexuality are (note “inherent” here does not necessarily mean “immutable,” but that’s a conversation I’m not going to go into great detail about right now). You can disagree, of course. But speaking as someone who has been at both the bottom and the top of the wealth and class spectrum here in the US, I think I have enough personal knowledge on the matter to say it belongs where I put it.

This is where he sort of lost me (only partially, and on this one issue, to be specific).  John had been defining privilege and how some people start out in life (or the roleplaying simulation game) with various benefits due to race, gender, and sexuality, which is all true.  We don’t have terms like “the glass ceiling” to describe women’s perpetual inability to break through to the top of their various professions as easily as men for no reason, and we know that women still generally make less than men for doing the same work in many professions.  We know that many GLBTQ people are not protected in their workplaces (or outside of them), and we know that systems like Affirmative Action were created to combat an entrenched system of prejudice and bias that had withheld opportunities for people of color.  These are no-brainers (except for, I’m sure, people who have their ideological blinders on–hello, Privilege).  But John’s dismissal of wealth/class as categories that affect one’s privilege because wealth/class in his estimation is not part of our “cultural sorting behavior” which might determine whether a person receives more privileges in the game of life than others.  He discounts wealth/class because it is not “an inherent part of one’s personal nature.”

But this is not true.

First, I need to take apart John’s wealth/class hybrid category.  These are two different things.  Wealth is material goods and knowledge resources and access to social networks.  Class is a cultural identity steeped in more than resources such as those, though it is intimately connected with those items that define wealth.

Class is something different than wealth.  It’s a cultural identity that is connected in some cases to wealth but is not defined entirely by wealth alone.  Socioeconomic identity is constituted by various social class values, attitudes, and mannerisms.  It is something that we are judged on every day, just as an African American or a GLBT person or a woman faces judgments based on their identity every day.  I know this because I come from a working class background, and though I have “risen” into the middle class, I do not feel as much a part of the middle class because I have a certain amount of money in the bank or more social networks at my fingertips as I do a part of the working class, which defines how I see the world.  Though I crossed out of my working class background into a middle class life, the way that I learned to see the world, and to think of how the world saw me, is still with me.  Rings on a tree don’t go away just because new layers grow over them.  They’re there, inside, the heart of the tree really.

I have a friend who once told me about a study her Harvard classmate once participated in, where the social scientists observed the differences between working class educational institutions and private upper middle or upper class institutions.  One of the clear differences, she told me, was that in the private upper middle and upper class institutions, the students were being taught how to conceive of ideas, how to execute them, and how to direct others in helping you execute your plans.  But in the working class institutes, the students were being graded on how well they followed directions.  Or, in essence, they were being trained to be the followers–the worker bees–for those students learning how to direct them.

That story was told to me probably a decade or more ago.  In the years after I heard it, I finished a Master’s degree at the same university where I received my Bachelor’s degree–a university that is technically labeled as a research institution but generally behaves as a community college, because of the nature of the region in which I grew up:  mostly working class, unprepared for college life.  Youngstown State University offered (and still offers) heaps of remedial course work that most research institutions leave to community colleges surrounding them to do, because there were few other educational institutes in this region that could fill that role at the time.  It’s odd, really, for a person to receive both undergrad and graduate degrees from the same institute–if you’re planning on being an academic, it “looks better” if you move from institute to institute, which can broaden your knowledge based on each institute being different from one another and offering different tracks and themes of study.  But I had done both, because I didn’t know that at the time, and because I believed that I couldn’t succeed at another university–as a student, I’d overheard some professors talk about the nature of the working class student body, and how they’d never do as well in other settings.  This hurt, but I do think there is truth to it, due to unpreparedness many working class students face.  We haven’t been taught to be active learners, after all.  We’ve been taught to follow directions.  To do what others tell us.

After I finished my MA, I moved to Japan for a couple of years to teach English.  This was a huge event in my life.  I had lived for a short time in Southern California and for a couple of years in Lansing, Michigan, but the majority of my life had been spent in the general region where I’d grown up.  I’d moved from the country to the town, but the town was an old, dying steel town, and it was small.  A decent stepping stone for a kid who grew up on a farm learning how to break beef cows to lead behind him with a rope halter.  It provided me with something different, but not completely out of my realm.  Going to Japan, though, changed my life in incredible ways that I hadn’t even understood were possible, and most likely I didn’t understand those possible changes because I had grown up in such an isolated working class environment, and one of the things about that culture is this:  we don’t tend to travel.  Some people say it’s because we don’t want to leave what we know, and there is some truth in some cases to that, but it’s also because travel costs a lot of money, and working class people don’t have a lot of that.

So how could I have known just how much travel could change a person’s life, since I hadn’t done a whole lot of it, and what travel I had experienced had been minimal and in not-so-different-places in the U.S. from what I knew (Lansing, Michigan, for instance is an old industrial town that lost a lot of its industry too)?

While I was in Japan, I finished a novel, started a second one, learned a second language, and through the good fortune of having been a published short story writer that a Japanese translator of fiction recognized when I began to blog about life in Japan, I began working part time for a publishing company in Tokyo.  The translator had reached out to me through email and brought me to Tokyo for dinner and conversation, and eventually he began finding work for me in his company.

This is all necessary background, trust me.

One evening, late into my two years in Japan, my friend Jodi and I went to a town festival, where we met a group of other ex-pats who were teaching English in nearby towns, and we hung out with them for a while.  One of these other foreigners was a 23 or 24 year old African American male who had just graduated college and moved to Japan. We got to talking.  He’d grown up upper middle class in Cincinnati, gone to a private school in New England, then did his undergrad degree at an Ivy League university, Brown.  At one point in the evening, he told me he’d really come to Japan not to teach but to eventually get a job in a Tokyo publishing house.  He had a plan, he said, and figured he could find work in one within a year.  His dad knew someone who worked in publishing there, he said.  He had an in. And also, he said, there’s always a Brown student who worked at this one company–they sort of held the position for a Brown student, in his description, which for all I know could have been completely inaccurate, but how would I know?  No positions are reserved for YSU students, but maybe they are for Brown students?  Or for students from other Ivy League schools.  When I eventually told him that I was working part time for a Japanese publisher, he seized on me and shook me down for any information I could supply him, and asked whether or not I could get him work.  I told him what I could, and said that I’d see, but that I was mainly only working by way of my personal contact.

Later, when Jodi and I went home, I grew upset and started to rage and storm a little bit about that guy.  Jodi got me to talk about why I was so upset.  Before I’d started talking, she was feeling me out, trying to see if she could touch on what I couldn’t say.  She assumed it was because I thought all of the things that guy had received as he grew up seemed unfair.  But really it wasn’t because of that.  It was because I realized that night that he expected so many things with great confidence, and talked about his achievements with a grandiosity that was completely foreign to me.  I didn’t expect much out of life.  I was worried, by all accounts in my blog records of that time, that I couldn’t ever return to America because I hadn’t been able to find work there prior to leaving (I left America not because I had some kind of geek-on for Japanese culture, but because it was where I could find work), and I expected that that would never change.  What I realized that evening that upset me so much was that I HAD achieved certain things in my life, but I discounted them all as good fortune that had befallen me, or as hands-up others had extended me.  I didn’t see any of my achievements or successes in life as belonging to me, being rooted in my own endeavors, in my own inherent abilities.  Here was this other guy living in Japan, doing the same thing I was doing, teaching English, but he’d chosen to go there because of his interests, whereas I’d gone there because I needed work and couldn’t find any back home.

I was self-effacing, which is a trait of many working class people.  No, no, not me.  Please don’t pay attention to me.  I’d been taught to be invisible, and whatever I have I have by the grace of god or my benefactors/employers, etc.  I had absolutely no confidence in my ability to change my life purposefully. Any good thing in my life “happened to me,” in my worldview.  It’s not for nothing that working class people generally rack much of their lives up to fate, luck, chance, or other religious/cosmic forces.  There’s a lack of agency for most working class people’s personal natures, and that is built into their identities culturally.  It’s as inherent as a boy performing what his culture expects from male gender performance, in order to fulfill his identity as a male, etc.

What I’d like to add to John’s and Meghan’s furthering of Life on the Lowest Setting, the metaphor of privilege as a function of how easy or difficult life is based on character aspects, is that class does indeed count.  If you’re a highborn mage instead of a lowly farmer’s son who happens to have a small knack for casting magic, you’ll receive all the best teachers, all the best training in the arcane arts, will have access to all of the materials you might need to cast a spell, which can be quite expensive.  Or likewise, if you’re a highborn knight, you’ll receive all the best armor and weaponry and training in arms and defense, whereas the pub master’s kid will mainly know how to throw a punch and will swing wild without any really access to training.

Those are material considerations–the wealth aspect, or knowledge resources–to which a person of a certain socioeconomic identity generally has little access.

But class cultural considerations can also severely restrict some people, by learning your place, by taking direction because that’s what you were rewarded for, rather than learning to plan and set goals, rather than being among people who value reading and education or even networking beyond one’s own family in order to have greater opportunities in the warp and weft of our social order.  And these are inherent to one’s personal nature if you have grown up in those conditions.

We judge people by the way they talk.  Most people where I grew up say, “I seen,” instead of “I saw,” for instance.  And are judged to be rubes by others because of it.  The style or manner of appearance is different–the deeply casual is the mark for most working class people.  I still cringe at putting on a suit and tie, and in fact didn’t learn how to tie a tie until I moved to Japan, where I had to wear one every day at the school where I taught.  Even simple things like that cannot be taken for granted as we suit up for our various roles in the game of life.

Class does matter.  Wealth does, too, but class is an identity, an invisible identity in some cases, like mine.  Many of my friends now say that they can’t imagine me having grown up on a farm, that I once took part in a 4-H contest to catch a greased pig when I was eleven, that I seem too intellectual and worldly for a background like that.  They can’t put my past and my present together, because I’ve crossed over into their world, and I’ve learned their language and mannerisms, much as I learned how to speak Japanese.  I can switch codes from the academic circles I work within to the circle of service industry oriented childhood friends who are waiting tables and retailing and fixing cars.  And all of those features are part of my inherent personal nature, a personal nature that was nurtured in a working class environment in my formative years.

I’d add class to that list of identity categories that determines privilege.

Me at Better World Books

Another short post that actually points you to a longer post I wrote for Better World Books, a truly revolutionary online bookseller with an important mission. Several months ago, Better World Books featured my first novel on a list of books for readers who want to “travel around the world” via books.

 I was surprised and excited to be named on a list that also featured Steinbeck and Fitzgerald!  In this blog post at Better World Books, I meditate on why place is so important to my writing. Here’s an excerpt of the blog post:

Place, I think, is the reason why One for Sorrow might have been selected for the list.  As a writer, I’m inspired by the places I’ve lived and those I visit for any length of time that allows me to sink my roots into the soil for a bit, to draw on the stories that surround and infuse any particular patch of earth.  My second novel, for instance, The Love We Share Without Knowing, is set in Japan, where I lived for two years teaching English in rural elementary and middle schools.  If I’d never lived in Japan for that long, I might never have written a story set there.  Some writers can write about anywhere, but I don’t think they always capture the feeling or spirit of a place as a writer who has been somewhere in particular, or especially lived somewhere.  They capture a setting, but not the place, and these are two different degrees of narrative, I think.

To read the entire post, click here.

Turning Points

This post is short, but I wanted to point any of my readers over to the blog of writer Nova Ren Suma (author of the fantastic novel, Imaginary Girls), where I’ve guest blogged in Nova’s Turning Points series.

My turning point:  turning from writing the short story to the novel, and then from the novel to a novel-in-stories.

There’s also a giveaway for copies of both of my books, so do leave a comment to be entered!

Taking Stock: 2011

Well, it’s that time again.  End of the year and all.  Every year I try to write down the various things I’ve done–written, published, won, been nominated for, sold for the future, etc–and lay it out like I might in a proper journal.  It’s been a while since I’ve kept a proper journal, but most likely those who read this can tell I pop up regularly when university is not in session, and when it is in session…well, I’m usually up to my ears with work to sit down and gather my thoughts about myself and what I’m working on (or wishing I could be working on) as easily.

Still…I am on break (even though I need to write a loooooong document narrating just why exactly I should be tenured next year–still pretending I don’t have to do that for another day or two) and will take the time instead to write this, for myself.

This past year I published four short stories, each of which presented their own challenges, some due to the genre necessary to work within, some because I did that thing where I followed a voice–one line alone that set me going–and chased it until the end.  Which is a difficult and challenging sort of story to write, because you have to trust your instincts instead of toying with your knowledge of a particular genre and its conventions–that has its own challenges, but uncertainty is generally not one of them, because you have those conventions of a particular genre there, acting as sort of guideposts to the territory those genres have conquered and the rules they’ve established for the conduct of their citizens.

The first story to be in 2011 arrived in the April/May issue of Asimov’s Science Fiction.  “Smoke City” was one of those stories I chased after, by voice alone.  Here is its first paragraph:

One night, I woke to the sound of my mother’s voice, as I did when I was a child.  The words were familiar to my ear, they matched the voice that formed them, but it was not until I had opened my eyes to the dark of my room and my husband’s snoring that I remembered the words were calling me away from my warm bed and the steady breathing of my children, both asleep in their own rooms across the hall.  “Because I could not stop for death,” my mother used to tell me, “he kindly stopped for me.”  They were Dickinson’s words, of course, not my mother’s, but she said them as if they were hers, and because of that, they were hers, and because of that, they are now mine, passed down with every other object my mother gave me before I left for what I hoped would be a better world.  “Here, take this candy dish.”  Her hands pushing the red knobbed glass into my hands.  “Here, take this sweater.”  Her hands folding it, a made thing, pulled together by her hands, so that I could lift it and lay it on the seat as my car pulled me away.  Her hand lifted into the air above her cloud of white hair behind me.  The smoke of that other city enveloping her, putting it behind me, trying to put it behind me, until I had the words in my mouth again, like a bit, and then the way opened up beneath me, a fissure through which I slipped, down through the bed sheets, no matter how I grasped at them, down through the mattress, down through the floorboards, down, down, down, through the mud and earth and gravel, leaving my snoring husband and my steadily breathing children above, in that better place, until I was floating, once more, along the swiftly flowing current of the Fourth River. 

“Smoke City” was written after I’d read a bottom-up history of Pittsburgh, Pennsylvania called The Point of Pittsburgh, by Charles McCollester, which began at its geological foundations and moved forward to the present.  I read all 500 pages in a couple of nights, and because I took it in so quickly, I began to dream about the history of the place, but in that typically surrealist fashion that dreams take on.  I was mostly caught up with the Guilded Age, when the steel industry had both made the place wealthy and ruined at the same time.  The depiction of the city was mostly in line with what many imagine Hell to look like.  And while I was reading it, I kept thinking, this is the same time period that Steampunk often settles in, but most steampunk stories and books I’ve read seem to revolve around the lives of movers and shakers, people in power or who have access to power, rather than those on the bottom, toiling for others.  “Smoke City” came out of meditating on our connections to that period of time.  The writer Paul Cornell (of Dr. Who fame!) called it “a furious critique of Steampunk.”  Thank you, Mr. Cornell!

The second story was “Gap Year” in the Ellen Datlow/Terri Windling edited anthology, Teeth.  This was also a voice oriented piece for me, but because the anthology was dictated by the genre of vampire stories, and vampire stories specifically in the category of YA fiction, I had a lot of those guideposts I mentioned earlier to work with.  Working within particular genres and within particular age categories does create a certain amount of things to push off from, or interact with.  You know the type of story you’re telling, and even if it’s as diverse as vampire fiction is, it’s all still there to work with:  you’re not creating out of a void, you’re not following a voice and hoping it leads you to gold instead of nowhere.  Here’s the first paragraph of “Gap Year”:

When the vampires came to town, there was an assembly in the high school gymnasium.  Retta and Lottie sat next to each other on the bleachers, like they did every day in study hall, their hands folded between their pressed-together knees.  The three vampires who stood on the stage had something to tell them.  “We’re people, too,” said the head vampire, if that’s what you call a vampire who speaks for other vampires.  He couldn’t have been more than eighteen.  A splash of freckles on his face.  Mousy brown fauxhawk.  A tight, too-short Pixies concert t-shirt showing off a strip of skin above the waistband of his boxers.  He wore jeans with a snakeskin belt hanging loose in the loops.  If you saw him in the hallway, you wouldn’t suspect him of being a vampire.  Retta and Lottie weren’t sure if they suspected him of being a vampire now, even though he said he was.

You can probably tell that the voice of this piece is just a tad bit ironic.  I think I went for the ironic voice because so much YA vampire fiction takes itself sooooo seriously, to the degree that it sometimes hurts to read it.  And also because a lot of vampires in vampire fiction have seemed to have lost their sense of danger, and can come out in the daytime nowadays, I thought they’d lost a bit of their allure (for me).  So I began writing a story where vampires are out, and fairly boring to the rest of society.  Until Retta, the heroine of the story, discovers what being a vampire can mean for herself.

That’s the fun part of working within established genre conventions:  finding ways to twist what’s already there, to write against the grain instead of with it, looking for something new.

The third story of the year appeared in Holly Black’s and Ellen Kushner’s anthology Welcome to Bordertown.  The anthology is a reintroduction to the Bordertown world created by Terri Windling in the 80s and 90s for the new generation.  I was thrilled to be invited to write in this world, as it was one I entered into with great excitement as a teen reader.  The writing process for this story is somewhat related to how I went about writing “Gap Year”.  Instead of working with a particular genre and its conventions, however, working in Bordertown provided me with the conventions of a particular world to write within.  And with any world, there are rules and regulations.  They can be broken, or twisted, of course, but you have to know them in order to break and twist them.  When it came to writing this story, I wanted to approach some of the aspects of the race and class strife that was always part of the ambient energy in Bordertown–creatures of the fae world living side by side with humans, and those born of the relationship between the fae and humans–in a fairly direct way.  So I created the character of Marius, a late teen from the human world who came to Bordertown several years before the “Way” between Bordertown and the World closed off.  So any potential for him to return to the life he fled–rejection from his family after coming out to them–was closed off as well.  When the Way reopens, all sorts of newcomers from the World arrive, and one of them is Aleksander (or “Mouse” as he comes to be called), a young man who is ready to take on Bordertown and its various social ills almost like an Occupy Wallstreeter.   Here’s the first paragraph:

I saw him again tonight, while out walking the streets of Soho: Alek or Aleksander, whatever it is he’s called now.  He’s had plenty of names since I first knew him when he arrived almost a year ago, fresh and green from the World.  One of the newcomers after the Way reopened.  Mouse.  Alek.  Aleksander.  Voice of the Nameless, voice for those who drink from the river whose waters curse them to return to it daily to forget their troubles, those who came and didn’t find what they’d been told would be a glorious place free of the World’s restrictions, where they could be themselves more than anywhere and wouldn’t have to fight for it.

Right.

Clearly, Marius is a bit jaded and cynical.  But he has a happier ending than the one he expects.

Finally, the last story of the year appeared in Apex Magazine.  “The 24 Hour Brother” is, as reviewer Lois Tilton described it, “A strange and sad fantasy of children whose lives are like mayflies.”  It’s the story of Lewis, fifteen years old, whose mother gives birth to his little brother, Joe, who grows up and goes through the various phases of life all within 24 hours.  Here’s the opening:

My little brother Joe grew up too fast for his own good.  My mom was the first to see what we were in for.  Soon after Joe’s birth, when the nurse put him in her arms, the first thing he did, still pink and slimy, was smile the gummy, wry smile of a little old man.

     “Joseph, Joe, my baby boy,” said my mother, “we’ll try our best if you will.”  She kissed his cheek and handed him back to the nurse, trying to keep herself from falling in love with someone who she realized, at their very first meeting, would only break her heart.  The first sign was in that first smile:  the old man Joe would soon become, the old man Joe would become too soon.

This is a story more in line with “Smoke City”.  A story in which I create my own world, follow the voice of the narrator, and found my way through based on the rules I was making for myself.

That’s it for publications this year.  My story “Map of Seventeen” was nominated last spring for the Nebula Award for Best Novelette, which means I’ve been nominated for a Nebula three times now.  I can no longer say “Third time’s a charm!” unless I adopt a sarcastic tone of voice. ;-)

Right now, I’m looking forward to putting 2011 behind me, and working into the future.  2012 and beyond.

Happy holidays, and happy New Year.

 

New Music Crush

Robyn is weird.  I barely remember her former early 90′s self, which was largely forgettable over-produced, mediocre dance music/love ballads that sounded like the dance music/love ballads of the time.  But thanks to the most recent episode of Saturday Night Live, I was turned on to Robyn’s reinvented contemporary self, and she made some really cool choices.  She still is a pop dance type, but she’s a totally weird diva, instead of trying to fit in.  This is probably made more possible by the Coming of Gaga, but after obsessively reading interviews with Robyn, this sound and look was a long time in coming.  I look forward to listening to all three parts of her 2010 triptych, Body Talk.

Try out a few other songs after this one:  Indestructible, Call Your Girlfriend, and Be Mine (the Nobel Convention performance of this last one is fantastic).

Attack of the Killer Collections

Every year around this season of gift giving, I see lots of posts by writers and readers and online stores, advising people what books would make great gifts.  Usually, these lists consist entirely of novels.  I’m a big fan of novels, but I might be an even bigger fan of short story collections.  But even I can be swayed by novel-fever, and in the past (not the recent past, but back when I did blog regularly past), even I’ve recommended buying novel A and novel B, etc.  This year, I’m recommending three killer short story collections that I’ve read in 2011.  Of course they’re all published by small presses, because the large press publishing industry has this idea that people don’t want to read short story collections.  I think that’s a bit of a self-fulfilling prophecy, but that’s another blog post.  For now, here’s my advice:  buy these three collections.  They’re awesome, and they each have killer covers.

Collection A:  After the Apocalypse, by Maureen F. McHugh

Maureen McHugh is well known in science fiction circles, mainly in the circles that admire high quality, character centered scifi.  Back in the 90s, she debuted with a hugely awesome novel-in-stories (before that term was conceived of) called China Mountain Zhang (read that book, too!).  She went on to write a number of other novels, and one other collection (Mothers and Other Monsters, also recommended), and has been spending time writing Alternate Reality Games and is now writing film scripts.  So the scifi short story world is always very eager to read when a story of hers appears.  This collections revolves thematically around the idea of apocalypses, endings, both literal and metaphorical, both in the epic scifi sort of way, and in the ordinary individual’s self-implosion sort of way.

Cover comment:  Fantastic design that makes the book look old and battered, but isn’t in fact.  Very cool.

Collection B:  Unpossible, by Daryl Gregory

Daryl Gregory and I won the same award (the Crawford Award) for best first fantasy book.  Different years, of course!  His first novel, Pandemonium, reminded me of a newish, leaner, sometimes scarier (is that possible?  or unpossible?) Stephen King.  His follow-up novels were just as good as the first, but I’d never read any of Daryl’s short stories until this collection came out from Fairwood Press last month.  The stories range from good to great, and a couple are straight-up knockouts.  Really idea-oriented speculative fiction that doesn’t lose sight of its characters and the human drama unfolding around them.

Cover Comment:  Fantastic.  This is a wonderfully weird piece of art.  If Gregory’s previous books hadn’t already sold me on him in general, I would have bought this book for the cover alone (yes, I’m one of those sorts).

Collection C:  Sleight of Hand, by Peter S. Beagle

Does Peter S. Beagle really need an introduction?  Probably for some.  Can’t I just say, The Last Unicorn, and leave it at that? (And if you haven’t read The Last Unicorn, do yourself a favor and get it too).

Beagle has made something of a comeback in the last decade, publishing several short story collections with Tachyon Publications, and all of them bear the hallmarks of his wit, wonder, and deep sympathy for ordinary characters caught up in extraordinary fantastical events.  This particular collection seems to revolve mostly around magicians, dragons, gods and enchantresses.  There’s light and dark both in these stories, a wide range of types of fantasy stories.

Cover Comment:  Gorgeous.  That is all.

Now, go forth and buy short story collections as gifts.  For yourself, and for others.  Because, really, collections rock, and these ones are killers.

The 24 Hour Brother

Just a heads up for interested readers:  my short story, The 24 Hour Brother, is now available to read in the new issue of Apex Magazine.

You can read it by clicking here.

The story is an odd one.  Two things formed the story initially: one for form, one for feeling.  1.) I’d been wanting to write a story in which the life cycle of a human being was completed within a very few pages, and to hopefully, maybe, achieve some kind of emotional resonance over the occurrence despite the brevity of their stay.  2.)  With that in mind, I happened to read an essay by Joyce Carol Oates in which she talks about the “life-lie” we all tell ourselves.  The necessary delusion that lets us go on living as we live, doing what we do.

It’s not a terribly uplifting story, I’m afraid, but I hope it resonates, even if it doesn’t uplift.

 

Thanks for reading.

Magick for Terri

This blog is mainly just serving as a website for my work at the moment, and any big updates on what’s happening in my writing life, as I rarely have time to keep it as a personal blog any longer.  Here’s one of those big updates I just mentioned though.  Not for myself, but for someone else very special in my writing life.

Right now, there’s a fundraiser for Terri Windling, who’s undergoing health and financial problems at the moment.  For those not in the know, Terri is one of the most influential and generous editors/artists/writers in the field of fantasy fiction, starting in the late 70s and 80s, when she introduced the concept of contemporary/urban fantasy, which is now ever so popular.  She was the woman who made it happen.

She also selected my first professionally published story, “Plenty”, for the Year’s Best Fantasy and Horror back in 2000, and has been a champion of my work ever since.  I’m donating a manuscript critique (short story or first 40 pages of a novel) to the auction to raise funds to help her in this time of need.

The auction holds tons of treasures you should check out.  Stuff from Kelly Link, Catherynne Valente, Elizabeth Hand, Nalo Hopkinson, Cassandra Clare, Holly Black, Cherie Priest, Charles Vess, and many more folks who want to help Terri.

Please check it out by clicking here to go to the auction site.  The spotlighted auction items are listed on the left sidebar, but there are other items up for grabs in the feed for the site, so do forget to peruse the posted items in the center of the page either.

Let’s make some magic happen.

Thanks (and more from me in a couple of weeks when the fall semester is over),

Chris

A few items of summer

It’s been a while since I last posted the picture of my cat screaming, and various things have occurred both before and after that, which I am aiming to catch up with and report here, in this dusty corner of the internet.

Item One:  As of this summer, I have new literary representation in the very fancy domain of the Barry Goldblatt Literary Agency , with Barry Goldblatt taking up the cause of furthering the publication of books by Christopher Barzak.  For years, Barry and I had circulated among a lot of the same folks, and occasionally I would hear through those same folks about how much he loved my writing, and in particular my debut novel, One for Sorrow, at which I would always blush like a school girl and wonder how could he possibly?  And though we seemed to always be missing each other at conventions, when the opportunity arose for a change of representation, Barry was one of the first people to come to mind.  Very happy to finally have had the chance to hang out with Barry in person at length over the past weekend, when I spent four days with him and twenty-some of his other clients at an agency retreat in southern Illinois.  If you follow me on Twitter or Facebook, you might have caught me talking about owls and cats and cicadas, all of which were aplenty in that wilderness.  Along with many taxidermied creatures peering out from walls and corners of the lodge.

Along with that, I had the pleasure of a guest in the writer Richard Bowes for a week or so in June, when we explored the city of Pittsburgh a bit, and also further south of Pittsburgh, went on a pilgrimage to the Frank Lloyd Wright House called Fallingwater.  Here are some pictures of a.) Pittsburgh (from the very cool installation art museum called the Mattress Factory), and b.) installations within the Mattress Factory, and c.) Fallingwater:

a.) Pittsburgh

 

 

 

 

 

 

 

b.) Me, in an installation

 

 

 

 

 

 

 

b.) creepy masked musician installation

 

 

 

 

 

 

 

b.) cubes!

 

 

 

 

 

 

 

c.) Fallingwater

 

 

 

 

 

 

 

Another venture this summer was doing new things to the house.  If you’re someone who used to be a regular reader of this blog (back when I was an actual blogger and not just a irregular updater), you’ll know I purchased a home several years back, and have been restoring it slowly but surely, as I can afford it.  Here are some photo updates from various places in and around le maison:

Front patio

 

 

 

 

 

 

 

Front walk (patio hiding behind bushes)

 

 

 

 

 

 

 

Back patio (and new stone garden)

 

 

 

 

 

 

 

Various pots of things we’re growing, like asparagus and onions, and purple fountain grass!

 

 

 

 

A side garden

 

 

 

 

 

 

 

And another of the side gardens

 

 

 

 

 

 

 

Front gardens (this keeps changing, depending on the month and season)

 

 

 

 

 

 

 

And the front of the house (new trim as of last year)

 

 

 

 

 

 

 

Lots of other things are afoot:  novel writing, novel rewriting, story drafting, etc.  One thing that I wrote this summer was a blog post for the literary journal, Tin House, which features a series of articles on independent book stores throughout the country.  When asked to write one, I had few choices, as Youngstown only has one indie bookstore left in existence (as far as I know, that is, and I’m fairly certain at this point).  So I wrote about Dorian Books, a place near and dear to me, which I also featured as a set piece in my novel One for Sorrow.  You can click here to read my article in full.

And lastly, because I know how much so many of you like cat stuffs, I am including a short video of my cats upon receiving fish-shaped catnip holders from their grandma in Japan.  Clearly, they are crazy:

Until next time, which may be a while, as August is in gear.  Time to prep for classes which start in a few weeks, and to get as much writing done as possible in what’s left of the summer.  Cheers.  I hope everyone out there is staying cool