Posts Tagged ‘the kitschies’
Abigail Nussbaum, reviews editor for Strange Horizons, has just launched a new feature at the magazine providing in-depth critial reviews of recent short stories:
In what I hope will become a permanent feature here at Strange Horizons, we will be dedicating one review every other month to an in-depth, essay-length review of short fiction. These reviews will function much like our book reviews. They could be of stories we loved, or of stories we hated. Most of all, they will be of stories we find interesting and worth talking about at length. For our inaugural installment, I looked at stories published in the last three months of 2012, and have chosen to discuss Charlie Jane Anders’s “Intestate,” from Tor.com. A critical conversation won’t emerge out of one column in one magazine, but I hope that this new feature will help to encourage that conversation—among other things, I’d like this feature to become its own short story book club, with readers invited to read the story and start their own discussion in the comments to the review
If you are interested in reading and thinking about short fiction, I’d recommend checking out the discussion. Nussbaum kindly mentions my short story club for last year’s BSFA Award for Short Fiction. I am planning to run the club again this year once the booklet containing the stories has been sent out to the members of the BSFA. To tide you over, Niall Alexander, the Speculative Scotsman, has already been reviewed the shortlist for Tor.com:
- Part 1: Tim Maughan and Rochita Loenen-Ruiz
- Part 2: Ian Sales and China Meiville
- Part 3: Chris Butler and Aliette de Bodard
Speaking of award, the Kitschies were announced last night. The Golden Tentacle for best debut novel went to Redemption In Indigo by Karen Lord. I think this was the right choice, a really consensus had built up around the book, but it was also a strong shortlist with the much praised Seraphina by Rachel Hartman (which I’ve just started reading) and The City’s Son by tom Pollock (which has the Kitschies written through it like a stick of rock, even if I wasn’t that impressed). The Inky Tentacle for best cover went to Dave Shelton’s illustration of his own book, A Boy And A Bear In A Boat. I think this was the wrong choice but then I would say that.
The Red Tentacle for best novel went to Angelmaker by Nick Harkaway. It’s a tricky one. When the shortlist was first announced, it was my immediate choice – it has the same spirit that I associate with the Kitschies. But the criteria for the award are “progressive, intelligent and entertaining” and, as I mention in my review, Angelmaker mets the last two but fails at the first. So it was very pleasing to see Harkaway today posting his thoughts on the concept of progressive speculative fiction. Given the subject, there obviously isn’t a nice simple pull quote but this should give a taster:
With both Angelmaker and its predecessor The Gone-Away World, I wrote about ideas in the borderlands of (unapplied?) science and philosophy as if they were Newtonian and tangible: the intrusion into the human realm of cognitive things. (It’s a great way of creating apocalypses, and I think it’s also on some level a truth: perfect ideas don’t sit well on our messy organic societies – hence the inevitable unintended damage to one vulnerable group or another whenever the tax laws change.) In Angelmaker, in particular, I started out trying to explore an idea my friend Tom Coates threw at me years ago: that superheroes are inherently conservative, seeking to maintain the status quo, while the villains always have an agenda for change.
I was looking out on a sea of white people. Of familiar, talented, friendly and wonderful people, yes, editors and publishers, agents and writers. Who were, predominantly, British (obviously) and some Americans. And outside, the receptionist – the one black woman at the event. Of course, the debut novel award went to Karen Lord – a black woman from Barbados – but she couldn’t be there. And the shortlist included one translated novel, too. The Kitschies try very hard to be a more inclusive award, and it’s hard, with so few international authors published in the UK. But it bothers me, because how can I accept an award for promoting, or trying to promote, diversity, when it is not present in the body of the judges? And it is not present in British genre publishing, and was so glaringly missing from the audience last night?
Tidhar points out that greater diversity can be found in short fiction which brings us back round again to the importance of fully engaging with this part of the field.
SF awards season has begun and, to be honest, I imagine you are already well aware of this. So I’m not going to post the shortlists for the BSFA Awards or the Kitschies. I would, however, like to discuss the Best Artwork category for the BSFA Award and Inky Tentacle for the Kitschies. The BSFA Award is open to all artwork, not just book covers, but this year it happens to be made up of five covers so a direct comparison is possible. I am going to start with that award since, as a BSFA member, I get to vote for this award so these comments also represent my ballot. (I’m going to reproduce small images to give some context but it is worth checking out the award sites to see the full details of each cover.)
5) Ben Baldwin for the cover of Dark Currents (Newcon Press)
This is, as far as I’m concerned, a nothing image. The content is uninteresting, the execution is poor (the relative sizes of the different elements are all out of whack and look like dodgy photoshop layers) and its got a crap ‘pirate’ typeface slapped on the top. If you look on Baldwin’s website pretty much everything on there is better than this.
4) Dominic Harman for the cover of Eric Brown’s Helix Wars (Rebellion)
A traditional science fiction cover and my response to traditional SF covers is much the same as this. You wouldn’t catch me reading this on the train. We have explosions, we have a fancy spacesuit, we have a lot of lazers and even more orange. I also can’t help but notice that our stalwart hero is looking directly at the reader whilst rather caverlierly firing his gun at something out of his (and our) line of sight. And why does a laser rifle need a massive banana clip? Appropriately, this is worldbuilding every bit as shoddy as you’d find in a Brown novel.
3) Si Scott for the cover artwork for Chris Beckett’s Dark Eden (Corvus)
A good match for the novel which takes place on a planet without sun is therefore illuminated only by bioluminence from its flora and fauna. The specific image of the insect is then embellished with abstract whorls which make the whole thing appear uncanny and disquieting.
2) Blacksheep for the cover of Adam Roberts’s Jack Glass (Gollancz)
An inspired idea to translate the iconography of science fiction into the iconography of Christianity. I’ve no idea if there is any relevence to this beyond the title of the novel but it works perfectly.
1) Joey Hifi for the cover of Simon Morden’s Thy Kingdom Come (Jurassic London)
Joey Hifi is, simply put, the best cover artist currently working in SF (Hugo nominators, take note). His work for Lauren Beukes and Chuck Wendig has been outstanding and this cover doesn’t disappointing. He layers two simple images – the radiation symbol and an atomic explosion itself – over other and then sketches the results of these into the image itself. I particularly like the little details where the rifle and the mushroom cloud break the line of the symbol. Nice placement of title and author too.
This makes an interesting link to the Inky Tentacle since, due to the relationship between Jurassic London and the Kitshies, Hifi’s cover is ineligible. This is a shame and makes me doubly keen for it to win the BSFA Award. In contrast tot hat award, the Inky is a juried award which this year was judged by Gary Northfield, Lauren O’Farrell and Ed Warren. They are all professionals so you would imagine it to be judged to different criteria than those used by the members of the BSFA but I was still surprised that there was no overlap. I had thought the Blacksheep cover for Jack Glass might make it.
I’d like to start by discussing two images: Peter Mendelsund’s cover for Flame Alphabet by Ben Marcus (Granta) and Dave Shelton’s cover for his own A Boy And A Bear In A Boat.
Both are bold images that lack any genre reference point. The cover for The Flame Alphabet, in particular, fits very neatly into contemporary literary fiction design and conveys little about its contents. The novel itself is obviously science fiction so the cover is equally obviously eligible but is this enough? A Boy And His Bear In A Boot is less abstract – a clever joke, in fact – but the same applies. Well, if it is good enough for the judges.
Next we have two of my favourite cartoonists: Tom Gauld’s cover for Costume Not Included by Matthew Hughes and Oliver Jeffers’s cover the Terrible thing That Happened To Barnaby Brocket by John Boyne.
Gaunt is just Gaunt which is to say marvellous. God on his laptop is a classic Gaunt touch and I love the reptillian hood smoking a fag at top right. Just a shame it has to have the Angry Robot logo (even re-drawn) on the front. Unfortunately, whilst I am a fan of Jeffers’s own work, this image does nothing for me. Which leaves La Boca’s cover for The Teleportation Accident by Ned Beauman.
This has really grown on me. As with Thy Kingdon Come, the designer has taken a classic image (in this case the famous Lousie Brooks profile) and repurposed it. By simply stuttering the image, La Boca manages to evoke the setting, genre and tone of the novel whilst creating a memorable cover that stands on its own feet. This is my undoubted winner and I suspect the judges will agree with me. Rash, I know.
My personal shortlist for a combined award would have been Si Scott, Blacksheep, Joef Hifi, Tom Gaunt and La Boca. But what were the deserving covers that were missed off both shortlists?