Clarkesworld #62

It is that time of the month again, and the new issue of Clarkesworld is online. Here’s what we have for you in November.

Our headline story is “A Militant Peace” by David Klecha and Tobias S. Buckell. David is a Marine combat veteran, which is a good start for writing stories about the military. There’s no audio version as yet. The east coast of the USA has been hit by some pretty bad weather and last I saw from Twitter Kate’s power was out, and not expected back on until Sunday. We’ll get the audio up as soon as we can.

The second story for November is “The Smell of Orange Groves” by Lavie Tidhar. Not Florida oranges, of course, or even California ones. The story is set in Tel Aviv.

Also in this issue is the second part of Catherynne M. Valente’s “Silently and Very Fast”. The final part will appear in the December issue.

If that’s not enough Cat for you, then Neil is also publishing a short collection of her work titled Myths of Origin. The contents include two books that I reviewed in Emerald City: The Labyrinth and Yume No Hon. Cat’s much better at plot these days, and her writing is accordingly much more accessible, but these are two magnificently lyrical works and well worth getting hold of if you love words. I see that in the review of Labyrinth I compared Cat to Dylan Thomas. I didn’t know then that she was a huge fan of the Welsh master poet, but I guess it came across in the words.

I’m not sure about ebook availability for Myths of Origin, but you can bet I want to sell that book.

Jeremy has gone all weird this month, and that’s hardly surprising given the arrival of the VanderMeers’ massive anthology, The Weird. To celebrate we have a round table featuring K.J. Bishop, Ramsey Campbell, Steve Duffy, Jeffrey Ford, Stephen Graham Jones, Garry Kilworth, Kathe Koja, Leena Krohn, Michael Shea, William Browning Spencer, and Gio Clairval. All of them are contributors to The Weird.

My own column features an article by British writer, Nathaniel Tapley. It is called “Tea, Robot?”, and as you might imagine it focuses on that terribly proper but fearlessly resolute British hero, the middle class chap. Read it with a cup of tea in hand. And try not to giggle while drinking it.

Neil’s editorial introduces the new non-fiction editor who will be taking over from me, probably in January as I have one more article in the pipeline. I’m delighted to say that Neil has acquired the services of the author of one of my favorites from the articles I have published: Jason Heller, who gave us “Moonage Daydream: The Rock Album as Science Fiction”. I wish Jason all the best with his tenure on the magazine, and look forward to seeing what he produces.

Our November cover is by the magnificent Julie Dillon. “Planetary Alignment” is the work that won this year’s Unpublished Color category in the Chesleys. Well, I guess it is published now. Yet more fabulous artwork for our portfolio. So proud.

Weird Fiction Review

The indefatigable Ann and Jeff VanderMeer have launched a new online magazine, Weird Fiction Review. It appears from the first issue that it will contain non-fiction, fiction, art, even a webcomic. This month’s fiction is a Belgian story newly translated by the excellent Edward Gauvin.

This is, of course, all tied up with the mindbogglingly huge anthology, The Weird, that Ann and Jeff have just produced. 750,000 words of fiction from all over the world, including some stunning new translations. At the speed I’m reading these days it would take me several months to get through it.

If you’d like to learn more about the book, and about Ann’s departure from Weird Tales, there is a fascinating podcast interview with the VanderMeers on Tony C. Smith’s Sofanauts show.

Urban Beauty – Bristol Style

All big cities have their areas of urban blight. Bristol is no exception. It is, however, the home of Banksy, and as a consequence the city council has a much more enlightened view of graffiti than is taken by most such bodies. Last week that view produced some glorious results.

Those of you whom I have shown around Bristol (Kevin, Glenda, Farah & Edward from memory) will doubtless remember walking down Broad Street to the ancient Church of St. John the Baptist where two mediaeval archways have been decorated with murals to discourage graffiti. Beyond that is Nelson Street, an archetypal concrete monstrosity, but now home to See No Evil, a magnificent exhibition of street-painting art.

You can learn more about the exhibition, and the artists involved, at the official website. My own photos are available below, and I’m sure that Google will turn up many more. There were certainly plenty of people taking pictures there yesterday when I took mine. Hopefully the art will be there for a long time to come. The site is about half an hour’s walk from the BristolCon venue.

[shashin type=”album” id=”47″ size=”medium”]

Congratulations, Julie Dillon

As I reported back in May, Clarkesworld had three covers in the running for the Magazine category at this year’s Chesley Awards. I was kind of hoping that Julie Dillon would win. Well, sadly none of our nominees were successful. The prize went to Nick Greenwood, for his cover of Orson Scott Card’s Intergalactic Medicine Show #17. However, Julie did win the Unpublished Color category, with this:

Planetary Alignment - Julie Dillon

That’s called “Planetary Alignment”. I guess it is available if any art directors are interested.

A full list of Chesley winners, with pictures, is available at Tor.com.

On A Lighter Note

Today has been pretty sombre, so I thought you could do with something to cheer you up. And what better to do so than a painting of a giant squid destroying a town?

Giant squid

Sadly this particular squid does appear to have come off the worse in the encounter, but it wreaked an impressive amount of havoc on the way.

The painting is “The Belly’s Ocean” by Matt Rota, and the original is apparently available for a mere $1500. My thanks to my fellow Cephalopod fans at Deep Sea News for the link.

Revisiting Jeffrey Catherine Jones

The July Locus contains a couple of obituaries for the trans artist, Jeffrey Catherine Jones, who I wrote about briefly here. Both authors (Arnie Fenner and Robert K. Wiener) were good friends of the deceased; both consistently use the name “Jeff”, and both consistently use male pronouns. I am not, however, going to get ranty about this. After all, these articles have been written by people very close to Jones, someone I have never even met. I have no idea what the truth of the matter is. I do, however, think it is necessary to address the issue. It is human nature to assume that high profile members of a minority group are typical of that group, and reading the two obituaries people could easily come away with the idea that most trans people are tragic, crazy, and will come to regret their transition.

I’d like to state from the start that there’s nothing wrong with someone turning back from transition. There can and should always be an exit route, up until the point that the person concerned is convinced that what they are doing is right for them. Doctors and psychiatrists who encourage transition in the expectation of fees are just as culpable as those who peddle aversion cures. It is perfectly possible for trans people to find equilibrium and happiness without full transition, and if that’s what works for them we should support it. But equally there are reasons why transitions might fail, and by no means all of them mean that the person concerned was “not really trans” or that, as radical feminists allege, the whole concept of gender identity is a lie.

As I said, I can’t ever know the truth of the matter. What I can do, however, is draw on my experience of transitioning relatively late in life, and thereby hopefully explain the pressures that trans people are sometimes subjected to. Please note that what follows is very personal. Other trans people may have had very different experiences, and I am not trying to speak for everyone, just explaining how things did go, and could have been so much worse, for me.

Let me start with a couple of quotes. First this from the autobiography on Jones’ website.

Some of my early memories come from about the age of 4 or 5. By then I knew I wanted to be a girl. Maybe I was born with a kind of gender inversion — some call it a birth defect. I know nothing of these things. I do know that my identification has always been with females — in books, movies, art and life.

Now this from Arnie Fenner’s obituary in Locus:

Though he lived the rest of his days as a transgendered person he told me candidly in 2006, ‘‘It was a mistake. I still think like a man and desire women like a man does. I thought it would make me less depressed and I was wrong. I drove down a dead end road and now I can’t back up or turn around; the only thing I can do at this point is accept things as they are. And I think I have. Besides, what other choice do I have?’’

I want to try to explain how these things can both be true.

The first thing to note is that Jones was born in 1944. Back in those days, things were very different for trans people, especially in Georgia. This again from Jones:

In the south, in the ’50s there were no gays and no lesbians, and certainly no one like me. So I became secretive. In my own mind I became ashamed, guilty and worthless — this was the road I started down so long ago.

It wasn’t that bad for me. By the time I reached adolescence there were people like Christine Jorgensen, April Ashley and Caroline Cossey who I could look to as role models. The guilt, the shame and the feelings of worthlessness, however, are very real. April and Caroline had enough bravery and self belief to transition early. I never did. Many trans women have done things that look like running away from femininity, perhaps in a desperate attempt to “cure” themselves. Calpernia Addams joined the Navy. Jan Morris climbed Everest with Hillary and Tenzing. I wouldn’t have lasted 10 minutes in the military, nor have I ever been fit enough for mountain climbing. There were times, however, when I would have given anything to be “cured” of the way I felt.

Unfortunately, despite a considerable amount of snake oil peddled by dishonest psychiatrists, all the evidence suggests that trans people can’t be “cured” in this way. We simply don’t know enough about how human brains and bodies work to make those feelings go away. What we can do is allow them to transition — a cure of a very different sort — and it seems to work very well. The number of happy trans people appears to vastly outweigh the number of unhappy ones (see here for data).

Transition, however, is a difficult process, especially if you do it late in life, and even more so if you are already famous.

The late in life thing is partly a matter of biology. The further you are post-puberty, the more entrenched your physical appearance becomes. Trying to transition at the age of 55, as Jones did, means that you have to be quite lucky to end up looking convincing as a woman. Of course people shouldn’t judge by appearances, but they do. Trans women are often held to a far higher standard of beauty than cis women. People who are kind will sadly tell you that you just aren’t making the grade; people who are less kind will laugh at you. And of course you always have dreams. I would have loved to end up looking like Debbie Harry, or even like April or Caroline. There was never any chance that would happen. But if you don’t meet people’s expectations of appearance, feelings of failure are inevitable. If things are really bad you will routinely be insulted in the street by complete strangers. I have heard of trans people who are afraid to go out of their homes, because they know they will be followed by a gang of neighborhood kids shouting abuse.

Late transition is difficult in other ways too. I know this doesn’t fit with the general desire for things to be black and white, but actually gender is a product of both nature and nurture. If it wasn’t a matter of nature, trans people would be easily cured by the sort of brainwashing techniques peddled by the snake oil salesmen. But nurture plays a part as well. The longer you live in a male role, the harder you try to conform, the more you start to think and behave like a man. Personally I tried hard to hang on to my identity. I might have been utterly terrified of the prospect of transition, but I was already experimenting with interacting with society as a woman when I was in college. I had male friends, but not “laddish” friends (well, apart from the various cricket clubs I hung around with and kept score for, but even then I was effectively one of the WAGs, not one of the team, and delighted to be so).

When Jones says, “I still think like a man”, that sounds to me more like an admission of failure to resist conditioning, rather than an admission that one is not really trans. The follow-on comment, “and desire women like a man does”, suggests a world view in which trans women are supposed to be gender-stereotypical in every way, including being androphilic (fancying men). That’s a world view that was often forced on trans people by doctors in the early days. We’ve mostly got away from that sort of thing now. Many of my trans woman friends are enthusiastically lesbian, and don’t see this as a failing. I don’t see it as a failing either. Jones may not have believed women had to be gender-stereotypical, but it is a message that is often thrown at trans women by those around them, and failure on your part to live up to their expectations can result in their failure to accept your transition.

That leads us into the whole question of the environment in which you transition. One of the rules of thumb that I quickly learned to go by is that the closer a relationship you have with someone pre-transition, the harder it will probably be for that person to accept your transition. That’s because your identity is more firmly rooted in their mind, and they have an emotional attachment to the person they believe you to be. Some of my family still sometimes accidentally mis-gender me and call me by my old name.

In the obituaries Fenner and Wiener both state that Jones’s friends continued to use the name “Jeff” long after Jones had started living as a woman. They say that Jones was happy with this, which may well have been true. For me, however, every mis-gendering, every use of the wrong name, is a sign of at least failure on my part, and possibly of lack of acceptance of my identity. To have that message reinforced day-in, day-out when I was starting to transition would have been unbearable. It would have driven me crazy.

In the autobiography Jones says:

People have been unimaginably supportive, and slowly that shame is passing away. My wife, Maryellen, has been my backbone through all of this. I’ve never known such acceptance and love.

That sounds great, but it doesn’t sound like the unhappy, regretful person described in the obituaries.

I should note here that I’m not trying to point the finger at Fenner and Wiener, and accuse them of lack of support. Both sound as if they were very fond of Jones, despite that fact that their friendship came at a cost. It is pretty clear that Jones was not an easy person to befriend. In any case, coping with the transition of someone you know is hard. Even I get it wrong at times. A case in point is Poppy Z. Brite, who is in the process of transitioning from female to male. (I’m not outing anyone here. Poppy has been very open about the process online.) I’ve never met Poppy, though we have many mutual friends, but his books have been known to me for years, and until a few months ago I always associated those books with a woman writer. These days I have to constantly remind myself to think of Poppy as a man. With time it will become easier, but if I can get these things wrong I can’t blame other people too much for occasionally doing so.

For my transition I took fairly extreme steps. I moved to Australia, and built up a whole new network of friends who had never known me as anything other than Cheryl. This worked very well for me. As it turned out, as I gradually resumed contact with (non-family) people who had known me pre-transition, it mostly went fine. Neil Gaiman was one of the first, because he came to Australia for a convention. I will always be grateful to him for the warm and friendly reaction I got.

The point here is that I had a circle of friends who accepted me as the person I presented as. There was no mis-gendering, no wrong name, not even any sympathetic concern. I was just me, and that did wonders for my self-confidence. I don’t claim that this will work for everyone, and of course many people won’t be lucky enough to have such an opportunity. It is also true that these days, with public attitudes towards trans people having changed significantly, the pressures I faced, and that Jones may have faced as well, will be a lot less. Nevertheless, I believe that I would have found things much more difficult if I had been surrounded by people who were having difficulty accepting my transition.

The final point is that of fame. I was pretty much unknown, except to friends, family and work colleagues, when I started to transition. I am so grateful that the Internet wasn’t very widely known back then. Jones, on the other hand, was world famous, as Jeffrey.

I’d like you to stop for a moment and consider what it would be like if Neil Gaiman suddenly announced that he was transitioning to female. (I use Neil as an example here because I know he won’t mind, and he provides a usefully extreme example.) No matter how confident he was about this, no matter how supportive Amanda, the kids, Lorraine and so on were, Neil would still have to deal with the rest of the world. There are many women fans who are in love with him, hours of TV showing him as a man, thousands of photos showing him as moodily handsome. Jones didn’t have that level of fame, but didn’t have anonymity either. Jeffrey Jones was a famous, much loved, much awarded artist. I can’t begin to imagine the sort of stress that must have caused.

In short there are all sorts of reasons why transition for Jones must have been a much harder process than it was for me. That the process might not have gone well is no great surprise. Even for someone as apparently successful as me (and I am very happy with how things have gone) there are always disappointments. Had I not transitioned I would probably be much more financially secure than I am now. There’s the sexism. There are members of my family who will never speak to me again. There are people I feel that I have let down badly. But equally if I hadn’t transitioned I would never have met and fallen in love with Kevin, and I would probably never have had the self confidence to do the things that won me three Hugos, or to write posts such as this. I would still have been very much ashamed of who I was, and regretful of a chance missed.

These days, I suspect, things are rather easier. The reason that people such as Jones and myself transitioned fairly late in life is because we were born in a time when trans people were barely known, and feared and hated when they were. The world has changed a lot since then. I confess that I occasionally view young people like Kim Petras with a somewhat jealous eye. But, as Jones said, the only thing that I can do is accept things as they are, and be happy that many young people today will be spared the shame, guilt and agony that the likes of Jones and I suffered.

So, if you are a Locus subscriber and have been wondering about the Jones obituaries, the good news is that things have got better. Tragedy, at least in the short term, is no longer an inescapable doom for trans people. Also, please don’t immediately condemn Fenner and Wiener for their apparent mis-gendering. They knew Jones better than we did, and like Jones they grew up in a time when trans people were almost universally regarded as freaks. Transition is a complicated and messy business, and I don’t envy anyone trying to cope with it late in life.

Women Artists

Although the issues with women authors we have been discussing recently are very real, the situation with artists is much more severe. We hardly ever see a woman on the Best Professional Artist ballot for the Hugos. I was very pleased to see Kinuko Y. Craft, Julie Dillon and Irene Gallo on the Chesley ballot, but I think they are the only women on the whole thing (excluding Lifetime Achievement, of which much more later).

I was reminded of this today because Jeff VanderMeer did a post about Leonora Carrington who was a surrealist artist and also a writer (she was a friend of Angela Carter). She died last week. I’d never heard of her. I should do better.

But my real failure came to light with another death a few weeks ago. Jeffrey Catherine Jones was one of the leading lights of fantasy art. Frank Frazetta apparently called her “the greatest living painter”. She was also, as you may have guessed from the name, a trans woman.

There’s a very nice obituary for her in the June Locus, from which I learned that she has four Hugo nominations, and two World Fantasy nominations, one of which turned into a win. These all occurred before she came out as trans and added the Catherine to her name, but I’m very happy to acknowledge her as being there before me. (Other people may have been too, of course, but I only talk publicly about people who I am certain are publicly out.) More recently, she won a Spectrum Award and was named a Spectrum Grand Master. I see she’s up for the ASFA Lifetime Achievement Award, and I very much hope that she wins.

But I do wish I had known more about her earlier so that I could cheer her on, and I would have loved to meet her. Mea Culpa.

Clarkesworld: Home of Great Art

One of the things I love about working for Clarkesworld is the quality of covers that Neil manages to find, often from artists in far-flung corners of the world. You may remember that a Clarkesworld cover won the Chesley Award for Best Magazine in 2009. Last year we had a nominee again. Sadly it didn’t win, but we were beaten by an Asimov’s cover by John Picacio, so I have no complaints there.

This year’s Chesley nominees have just been announced. There are six of them, and three, yes three, are from Clarkesworld. Here they are:

“Honeycomb” by Julie Dillon (Issue 48)

Honeycomb - Julie Dillon

“Warm” by Sergio Rebolledo (Issue 40)

Warm - Sergio Rebolledo

“Soulhunter” by Andrey Lazarev (Issue 50)

Soulhunter - Andrey Lazarev

Click through on the pictures for bigger versions.

I am so proud. Best of luck to all three.

Miéville Cover Relaunch

So yesterday I went to London. I got to eat at Chipotle again. I bought a new microphone, which will hopefully do wonders for the quality of my podcasts. And I attended a party at Pan Macmillan for the launch of a cover redesign for China Miéville’s books. Cover design is a controversial subject in the blogosphere, and as usual people often assume that their personal taste must be, and should be, universal. There is, of course, a variety of tastes, and a variety of purposes for particular designs. I’d be interested to hear your views.

Photos of all of the covers are in my Twitter feed. My apologies for forgetting to tag them, but Aidan Moher has usefully blogged the full set. (The photos are actually of a set of postcards that the PanMac PR people were giving away at the event, and were taken on an iPhone with a close-up lens on Paddington station, which only partly excuses my crappy photography.)

E-Books: Two Sides of the Coin

These days it is necessary for me to take note of debates about the effects of ebooks on the publishing industry. I therefore took the time to read recent posts by Paul Cornell and Gary Gibson. They take very different positions. Paul explains how illegal downloading is theft, and is killing the ability of creative people to make a living. Gary explains that piracy has always happened (though in the past we called it things like “second hand bookstores” and “libraries”) and always will happen.

Now Paul is a good friend of mine, as are Lou Anders and John Picacio who supported him in comments. And as someone trying to make a publishing business cover its costs (not make any money for myself right now) I have a great deal of sympathy for what they say. Equally, however, I find myself in agreement with much of what Gary says. This is not a simple matter. I shall now make a fool of myself by trying to navigate these difficult waters.

Firstly I have to say that some of what Paul’s commenters said is very odd. How can someone simultaneously complain that published ebooks are of very poor quality and that there is no cost to the production of an ebook? Really, there is a disconnect there.

On the other hand, Gary is right. Much of the current rhetoric against “piracy” by big corporations is aimed at exactly the sort of behavior that second hand bookstores and libraries indulge in. Your modern media company wants every consumer to pay for every work that they consume, in every different format that they consume it, preferably each time that they consume it. As far as Amazon is concerned, you don’t buy books from them, you borrow them, and they can take them back any time they want. Yet you are expected to pay as much as you pay to own a paper book, sometimes more.

Because of this, we are all pirates in some way or another. One particularly annoying example is that in the UK it is still illegal to copy a CD that you own to a computer disc, either for backup, to play from your PC, or to download to an MP3 player. Anyone in the UK who has done this is a pirate. Mea culpa. And, as Gary says, things that used to be perfectly legal to do with paper books are held up as terrible crimes if you do them with ebooks. This is unhealthy, and I’ll come back to it later.

The problem with what Gary says, however, is one of scale. A given copy of a book can only be resold to one person; it can only be in one library, and loaned to one person at a time. A pirate copy of an ebook can be downloaded by thousands of people, and potentially cost thousands of sales.

Here, however, there’s another problem. Someone like Paul tends to see every pirate download of his work as a sale lost. Equally the defenders of illegal downloading see every pirate as someone who would never have bought the work in the first place, and is therefore simply an additional reader. The truth, inevitably, is somewhere in between, but we’ll never know exactly where because a) it can be very different for different books; b) it is very hard to measure; and c) because this is Internet debate we are talking about, no one wants to take the middle ground.

So on the one hand people are pirating books and feeling OK about it, while on the other desperate industry professionals are trying to persuade them that they are doing something morally wrong and should stop. Here’s where things get really murky.

Remember what I said about “unhealthy”? Here’s the problem. Lovers of authoritarianism like to push the line that the law is the law and that breaking it is always wrong. That, however, doesn’t really work. Copyright law was not handed down from on high on tablets of stone, it was written by humans, and like anything else to do with running human society it requires negotiation and agreement to work.

Modern societies have all sorts of laws, some of which are more successful than others. No matter how hard we try, no matter how many children are killed, we can’t stop drivers from breaking the speed limit. We can’t even stop them from driving when drunk. Heck, we often can’t even get effective prosecution of people who kill through driving when drunk. Everyone (except possibly Jeremy Clarkson) knows it is bad, but vast numbers of people think it is OK when they do it.

For a law to be successful it has to be accepted as reasonable by the vast majority of people in the society in which it is being applied. If you try to criminalize actions that people think are only sensible, if you try to criminalize things that used to be perfectly legal using older media, people are not going to respect that law. They are going to think that it is OK to break it, and they will break it.

Back in the Middle Ages large portions of farm land were owned communally and any local person had the right to graze animals on them. Through the 17th and 18th Centuries (roughly, I’m not an historian, so please excuse my lack of detail) much of this land was enclosed by rich landowners. The country people were very unhappy about it, but in the end they lost and many of them ended up moving to towns and working in factories. Something very similar is happening now. We used to be able to own books and movies. Big media companies want to put an end to that. They want ownership of entertainment to reside only with them, and for us to have to pay them every time we want to be entertained. This is making people very unhappy, and disrespectful of the laws that media industry lobbyists are busy pushing though various national legislatures.

It is hard to say what will happen in this fight, but history, sadly, is not on the side of the little guy. What’s more Julian Assange, bless his little anarchist socks, has just given national governments all over the world the perfect excuse to try to clamp down on Internet use in the name of “national security”. You can bet that the media industry lobbyists are rubbing their hands with glee.

So what can we do about this? Well keep an eye on what our governments are doing for starters. But that’s hard. After all, as every anarchist knows, no matter who you vote for, The Government always gets in. We can, however, vote with our credit cards. We can make a point of buying books if we can afford it, not pirating them because we can. We can try to buy books that are not protected by DRM. Even if you have a Kindle you can buy DRM-free books as long as you don’t buy from Amazon. Buy books direct from the publisher, or from stores that sell DRM-free. (Yes, that does include mine, but it also includes many others.) Buy direct from the author.

In addition I think we need to think long and hard about how the creation of art is funded. It is tempting to think that the idea of full-time writers who make books that individuals buy has always been true and always will be true. The novel, however, is a relatively recent invention, and other forms of art don’t work that way.

When the creators of The Illiad or Beowulf sat down in some great hall to perform they didn’t require a ticket from everyone who attended. Some people may have thrown coin, but the poet’s wages were probably paid mostly by the local lord. Great musicians like Mozart and Beethoven didn’t live solely off the proceeds of concert tickets, they had wealthy patrons who commissioned them to create new works. Even today, very many science fiction and fantasy authors have day jobs that keep them from poverty, or have a spouse with a day job who can pay the mortgage. And when someone like Anthony Gormley creates a work of public art, it may be paid for out of local government taxes, but it would never happen if every person in the street had been asked to stump up their share.

The whole process of funding art is very complicated, and it seems that in many cases the better you are the less likely your work is to be understood or liked by the bulk of the population. Sometimes the public will buy books by the likes of Stephen King or Neil Gaiman in huge quantities, but often what they really want is the new Dan Brown novel, or the next installment of Wayne Rooney’s biography.

I don’t pretend to have any answers here, but I’m pretty sure that demanding that everyone who wants to consume a particular piece of art should pay their fair share of the cost is only going to result in lowest common denominator art. If we want better art to thrive, then those of us who appreciate it have to find ways of financing it ourselves. If the government is not prepared to do so, and in this country at least arts funding is being brutally decimated, then we have to do it ourselves.

Finns Get Culture

On Friday morning I attended a press conference at the home of the Finnish Ambassador (a very splendid house in Kensington Palace Gardens). The purpose for the event was to launch the tenure of Turku as one of the two European Cities of Culture for 2011 (the other is Tallinn in Estonia).

The Cities of Culture programme is a splendid EU initiative that, each year, puts money into encouraging two cities to promote cultural events. Glasgow and Liverpool have both been beneficiaries. The Finns, as I have come to expect, take this very seriously. And I was there because I have cause to be in Turku in July and wanted to see what would be on offer. Others amongst you may also be heading there (I’m looking at you, Nalo).

Sadly we’ll miss the opening ceremonies, an extravaganza of acrobatics and pyrotechnics to be staged by a Manchester company that was also responsible for Liverpool’s opening event. Turku still has a thriving ship building industry, and the shipyards are an ideal venue for such a production.

What we should be able to see is Cirque Dracula, a new circus production from the Finnish company, Art Teatro, headed by Cirque du Soleil veteran, Pauliina Räsänen.

Sadly I think we will miss the Accordion Wrestling, but I did promise people on Twitter that I would explain what it was. It is essentially an accordion concert with “dancers” who get a little more physical than you would normally expect. It was invented by a Finnish musician, Kimmo Pohjonen, and you can learn more from his website.

Running throughout the summer will be a major art exhibition featuring the work of Tom of Finland. Touko Laaksonen, to give him his real name, was born near Turku and created a style for gay erotic art that pretty much established what most people probably now think of as the Freddie Mercury Look. Most of Tom’s work is now housed at a foundation based in Los Angeles, but a large amount of it is being brought over for the exhibition.

Of particular interest to me (because I’m still an oceanographer at heart) is the Contemporary Art Archipelago project, based in and around the beautiful islands off the Finnish coast near Turku. According to the folks at the press conference they are making a film speculating on the future of the islands. It will be called Archipelago Science Fiction, and as they are filming in the spring it may be available to be shown by July.

Finncon 2011 will take place in Turku over the weekend July 16/17 (with the usual academic conference preceding it). Confirmed as Guests of Honor are Nalo Hopkinson and Richard Morgan.

Fear of the Imagination

In the feed of book reviews I got this weekend was an article in The Guardian by Greil Marcus. It talks about a book he has written called Listening to Van Morrison. The book is based on interviews with audiences at Van Morrison concerts. Consequently much of it is about how people interact with art. This section stood out for me:

One of the themes of the book I wrote has to do with the fear some people have for the imagination, for their resistance to being moved by something that is invented: made up. It’s the desire to reduce anything that affects them to the biography of whoever it might have been who made the work.

It seems to me that this is applicable to far more than just music. It touches on the determination that so many readers have to interpret a book in terms of “what the author intended”. Heck, people even judge the abilities of celebrity sportsmen such as David Beckham or Tiger Woods on the basis of whether they view them as “good people” or not. The phenomenon also has connection with diversity politics, because so many people try to defend works of art on the basis of whether or not the creator intended to cause offense. I find this all very odd. A performance — any performance — has a life of its own way beyond that of its creator.

The Pride of Bath

Those of you following my Twitter feed will know that I have been photographing lions during my recent trips to the city. This is one of those animal art installations that have become so popular in recent years. Eventually 100 different lions will appear all over the city (and nearby locations). Thus far I have only found 16 of them. If you want to learn more about the lions and their creators, check out the official web site. In particular check out the news page for some of the celebrities who have got involved and a couple of great stills of one of the lions meeting its relatives at Longleat house.

Here are the photos I have taken thus far, plus one of a little friend who asked to come home with me.

[shashin type=”album” id=”33″ size=”medium”]

Catch-Up Linkage

Because I have been busy for the past three days…

– One of the reasons I love cosmology is the timescales over which things happen. This story, about a star eating a planet, explains that the poor planet may only have 10 millions years left to live.

– Over at Deep Sea News Dr. M discusses what the effects of the massive oil spill in the Gulf of Mexico might be.

– Oliver Morton has a round-up of interesting discussion about the “artificial life” story, including Ken MacLeod’s article for The Guardian.

– Rose Fox has a fun new book out.

– That “gay couple” prosecuted in Malawi? Apparently not a gay couple at all. Natacha Kennedy explains.

– There will be a Tolkien Art Exhibition in Gloucestershire in August.

– Tero explains why Ã…con is so much fun (hint: chocolate!)

– There’s a new issue of Yipe! out.

Frank Wu Recommends

Over at Tor.com my friend Frank Wu has been talking about the Best Fan Artist Hugo. This has always been something of a Cinderella category. It is the one about which I can pretty much guarantee people will say to me, “but I don’t know anyone to nominate,” and “I don’t know any of the people on the ballot.” Jonathan Strahan said that to me during the Hugos chat we did for StarShipSofa. Then I explained to him who one of those nominees was, and why he was on the ballot, and suddenly Jonathan had someone he very much wanted to vote for. Oddly enough, it is the same person that Frank is talking about.

I have been aware of Dave Howell’s fan art for some time. At the Toronto Worldcon I fell in love with his clock face design, “Constantly Ticking”, so I wasn’t entirely surprised to see him chosen as the Hugo base designer for Montréal. However, I wasn’t quite prepared for him to produce the most talked about Hugo base in years. When the 2009 trophy was unveiled, everyone in the pre-ceremony reception suddenly wanted to win one very badly.

Of course I was lucky enough to do so, and I am enormously grateful to you all for voting for me. But I am also enormously grateful to Dave for making such a beautiful trophy. I hoping that he gets one of his own this year.

Dave Howell designed Hugo Trophy

Frank promises to talk about the other Fan Artist nominees in later blog posts, so keep an eye on Tor.com if you have a vote.

Some Brief Linkage

Because yesterday I was offline most of the day and the RSS flood backed up again.

– My friend Roz gets her poetry published in The Guardian. Cool stuff!

– My friend Neil gets the first chapter of his Hugo Award winning novel, American Gods, published in The Guardian (which is, of course, all to do with the One Book, One Twitter thing).

– Michael Moorcock has a new non-fiction book coming out, and John Coulthart has done some utterly amazing design work on it.

– The BBC has been to Sci-Fi London and reviews a Swiss science fiction film (though sadly the director is dreadfully ignorant about science fiction in Switzerland — how can he not have heard of Maison d’Ailleurs?).

– And finally, Deep Sea News has a depressing but probably accurate assessment of how BP will get off the hook as regards environmental damage from the Deepwater Horizon spill because the Bush Administration gutted the country’s environmental agencies and fostered a climate of disbelief in science. (Then again, maybe because BP are “foreigners,” the Rethuglicans will support going after them. I’m waiting for Sarah Palin to demand that all foreign oil assets in the US be nationalized.)

Still With the Linkage

Tsk, lazy blogger than I am:

– People have known for a long time that animals seem to have some sort of sixth sense when it comes to earthquakes. Slowly but surely, we may be beginning to understand how it works.

– At The Guardian Book Blog Alison Flood considers the Clarke short list and David Barnett looks for real fear.

– Peter Murphy recycles an old review of the wonderful Godspeed You Black Emperor. (Can you imagine how bad music journalism would be if people like Peter had to put up with the same po-faced, self-righteous nonsense about “how to write reviews” that we get in science fiction?)

– I was going to nominate Greg Bridges for a Hugo next year because of this, but now he’s gone and done this as well.

Weird Cover Watch

There’s a fair amount of chat around the blogosphere about genre book covers. Mostly I don’t get involved, but when I saw Alex Massie blog about one I sat up and took notice because, well, see for yourselves.

The art is by Hector Garrido and you can find a review with a plot summary here. The book is still available, but with a much more boring cover [buy isbn=”9781587152368″]

The Little People - John Christopher

Hugo Reminder

I’ve just done my ballot. Today is the last day for voting. Please don’t forget.

If you are wondering who to nominate for Best Professional Artist (besides John Picacio who should be on every ballot), here are a couple of suggestions.

1. Charles Vess has a bunch of major award wins, but has never even been nominated for a Hugo. How wrong is that? His eligible work for this year includes the illustrations for Neil Gaiman’s The Blueberry Girl.

2. As I have been saying for years, John Coultart is awesome. Surely you have all seen this:

Finch cover

Eno Speaks

I’ve finally got around to watching the Arena special on Brian Eno (thank you, iPlayer). If I were asked to play the dinner party game, Eno would definitely be on my guest list. He’s great at off-the-wall ideas that are very thought-provoking. Here’s something he said during the program.

Asked what artists could do to help change/save the world, Eno replied: “Artists celebrate and draw attention to philosophical ideas.”

Obviously this isn’t true of all artists (though some may claim that it is true of everyone who deserves the title of “artist”). However, next time someone asks me why I read science fiction…