Archive for the ‘criticism’ Category
As I mentioned the other day, my blog post ‘Why I Think Author Eligibility Posts Are Selfish, Destructive And Counter-Productive’ is available in Speculative Fiction 2014: The Year’s Best Online Reviews, Essays and Commentary, edition is edited by Renee Williams and Shaun Duke. The subtitle is pretty self-explanatory and I’m very pleased that my piece has been selected. Looking back, if I was to select my own favourite from y writing in 2014, it would be this review and this commentary (and this comment).
Since my post about my draft BSFA Awards nominations, two things have happened. First, Best Fan Writer-in-waiting Nina Allan has posted her recommendations for the BSFA Non-Fiction Award. Second, I’ve signed up with Pocket, got the plug-in for Chrome and activated En2Kindle to allow me to automatically save webpages to my Kindle. Since most of my free time is spent away from a computer and my phone is a little too small to make reading articles or stories a pleasure, I’m hopeful that this will allow me to better keep abreast of things rather than bookmarking them for later and never returning. I’ve started by whacking a load of Allan’s recommendations over, including the following pieces from Jonathan McCalmont:
- Short Fiction And The Feels
- ‘Deep Forests And Manicured Gardens: A Look At Two New Short Fiction Magazines’
- ‘A Perspective On Perspectives’
McCalmont should be another Best Fan Writer-in-waiting but I suspect he will be waiting in perpetuity. Over the course of these five posts, he makes a broad ranging assessment of the contemporary SF short fiction that mixes big, bold theorising with a close reading of individual stories. Allan notes that she “remains undecided as to how much of Jonathan’s argument I agree with – all mulchy middle ground, me – but I find much that interests me in his viewpoint, and the gutsiness of his writing always leaves me feeling liberated and inspired generally.” For me, it is not just his gutsiness but his ambition; I quite often disagree with his theories but this big picture approach, grounded but not mired in academic thought, is vanishingly rare.
In terms of the BSFA Awards, I do worry that his vote will be split. Like Allan, I think the three middle posts are essentially a single piece and the strongest individual part of the total argument. But I know Ian Sales in his nomination post went for ‘Short Fiction And The Feels’. Sales also rightly praises Allan’s own non-fiction and says nice things about ‘The State of British SF and Fantasy’, the Strange Horizons symposium both her and me contributed to. I was proud to be a part of it so I’m glad others found it worthwhile.
Speaking of Strange Horizons, I’ve just been commissioned for my first review under the new triumphivrate of editors who have taken over from Abigail Nussbaum (another Best Fan Writer-in-waiting but the one who probably won’t be waiting that long). It will be my first review in a while but hopefully this year I will be producing a bit more non-fiction as well as reading more.
In advance of Loncon 3, Strange Horizons have published ‘The State of British SF and Fantasy: A Symposium’ which includes an article by me on the boom in non-genre science fiction over the last decade:
This is because the last decade or so has seen an acceleration of what can uglily but accurately be described as non-genre SF. I don’t think that it is a coincidence that this trend has occurred in parallel with the emergence of the New Weird since it points to a generation shift. Just as contemporary genre authors are writing in the context of several mature subgenres and so are influenced by all of them, so too contemporary literary authors have increasingly been immersed in science fiction through their formative years. (Equally, you could probably say the same about non-genre fantasy but that has always been a less rigidly demarcated and fractious boundary.)
Genre fantasy is probably a bit overlooked by the symposium too. This is understandable since it takes place in the context of comparing the current state to that in the boom year’s of British science fiction in the previous two decades. However, as Andrew M Butler notes ‘Thirteen Ways Of Looking At The British Boom’, the essay that provided the springboard for this symposium:
“It is asserted that there is currently a boom within British science fiction… The Boom is thought of mostly as a British Science Fiction Boom, and to limit it to this genre is clearly within the parameters of a journal named Science Fiction Studies. But there is also a parallel boom within fantasy and horror, as well as within children’s fiction.”
It strikes me that we have seen a British fantasy boom over the last decade but we lack the critical infrastructure to discuss this in the same way as we discussed the earlier British science fiction boom. So perhaps this symposium will act as a bit of a challenge in this respect. And I wonder if this boom will have a similar effect in shifting non-genre fantasy further from its comfort zone (say the magical realist, lightly supernatural end of the spectrum) in the same way non-genre SF has gradually expanded from dystopias and post-apocalyptic scenarios. After all, literary historical fiction is extremely popular and it is only short hop over the fence into epic fantasy. Yet a book like The Kingdom Of Fanes by Amanda Prantera (1995) which does this is extremely rare (the author notes, “Ignored by critics and readers alike, I stubbornly maintain this is the best thing I have ever done.”)
The other ommission I acknowledge in my piece is the lack of coverage of children’s SF. I simply ran out of time and space but reading Maggot Moon by Sally Gardner (2013) immediate afterwards made me regret this more than usual. It is a brilliant novel, sharing something of the tone and setting of Jed Mercurio’s Ascent and making equally few consessions to the reader. It was also eligible but not submitted for the Arthur C Clarke Award the year it had an all male shortlist. The problems with the genre science fiction market for women over the last decade have been much remarked upon but what is interesting is that over the same period the literary and children’s markets offer a counterfactual in which high quality science fiction is regularly published by women. The pendulum is starting to swing back but it is an important reminder of th eneed to look beyond our doorstep.
My review of Burial At Sea is up now at Strange Horizons.
Astonishingly, it is my fiftieth review for them. To celebrate, I wanted to do something different so I’ve written my first ever review of a computer game. In a way, Burial At Sea is a bizarre choice: the sequel to a game I didn’t like and the prequel to a game I haven’t played. I’m glad I picked it though, both because I enjoyed writing about the game and because it partially redeemed the hours I put into completing Bioshock Infinite.
In other words, Episode 2 raises the gameplay bar considerably but only as high as a solid B. Grading the narrative proves harder because if Episode 1 is the epilogue to Bioshock Infinite then Episode 2 is the prologue to Bioshock. Given I was lost when the story was self-contained, I had no chance when the head of this mega-text looped round to swallow its own tail. So, if you have followed the series from the beginning, I imagine Episode 2 is as satisfying a coda as its creator has claimed. If, like me, you are a late arrival then it only offers a frustrating glimpse into an alternative dimension, one where Bioshock Infinite actually lived up to the praise lavished on it.
I also thought I’d take the opportunity to look back at the last nine years I’ve been writing for Strange Horizons. As I’ve said before, I was motivated to start reviewing by the poor quality of online reviews. I knew I was better at writing about books than other people being published. When I started writing for Strange Horizons, I soon realised that wasn’t enough. I needed to up my game, both for myself and for the magazine, and become a good reviewer in my own right. I’ve now achieved this so, in recent years, I’ve used Strange Horizons as a platform to keep stretching myself.
2005 – 2006: Change
At this point I had been reviewing for four years but I was still very much finding my feet as I moved away from my then preferred length of 500 words towards the greater depth and breadth of essay length-reviews. You can already see a substantial change between the first and the last of these but I’m not really sure I could recommend reading any of them.
1) Nova Scotia: New Speculative Scottish Fiction edited by Neil Williamson and Andrew J. Wilson (Strange Horizons: November 2005)
2) The Clock-King and the Queen of the Hourglass by Vera Nazarian (Strange Horizons: January 2006)
3) Life On Mars 1.1 – 1.3 (Strange Horizons: February 2006)
4) A Darkling Plain by Philip Reeve (Strange Horizons: May 2006)
After an eight month gap, I knuckled down and turned out almost a review a month for 2007 and 2008 before slowing down and stabilising. Practice makes perfect and this is really where I learnt my trade (under the gentle whip-hand of then reviews editor Niall Harrison). Looking back, I’m pleased that there is a good mix of novels, films, short fiction, television and non-fiction here and this was definitely helpful in terms of developing as a writer. I am fond of a lot of these reviews and I’d describe some of them as very good but there are also others I’d revisit. Some particular milestones: my first multi-text review (The Nines, Southland Tales and Doomsday), (The Red Men) and what was for a long time the most commented upon review on the site (Night Of Villjamur).
5) The Fountain (2006) (Strange Horizons: February 2007)
6) Black Man by Richard Morgan (Strange Horizons: April 2007)
7) 28 Weeks Later (2007) (Strange Horizons: June 2007)
8) The Prefect by Alastair Reynolds (Strange Horizons: June 2007)
9) Red Seas Under Red Skies by Scott Lynch (Strange Horizons: August 2007)
10) Spaceman Blues by Brian Francis Slattery (Strange Horizons: October 2007)
11) The Red Men by Matthew de Abaitua (Strange Horizons: January 2008)
12) The SFWA European Hall of Fame, edited by James Morrow and Kathryn Morrow (Strange Horizons: February 2008)
13) Black Sheep by Ben Peek (Strange Horizons: March 2008)
14) What It Is We Do When We Read Science Fiction by Paul Kincaid (Strange Horizons: May 2008)
15) The Nines (2007), Southland Tales (2006) and Doomsday (2008) (Strange Horizons: June 2008)
16) Lost Boys by James Miller (Strange Horizons: July 2008)
17) Everything Is Sinister by David Llewellyn and The Heritage by Will Ashon (Strange Horizons: August 2008)
18) Anathem by Neal Stephenson (Strange Horizons: September 2008)
19) The Knife Of Never Letting Go by Patrick Ness (Strange Horizons: November 2008)
20) Dead Set (Strange Horizons: December 2008)
21) The Chronicles Of The Black Company by Glen Cook (Strange Horizons: January 2009)
22) Subtle Edens, edited by Allen Ashley (Strange Horizons: February 2009)
23) Lost In Space by Toby Litt (Strange Horizons: March 2009)
24) A Thread of Truth by Nina Allan (Strange Horizons: May 2009)
25) Nights Of Villjamur by Mark Charan Newton (Strange Horizons: June 2009)
26) God Of Clocks by Alan Campbell (Strange Horizons: July 2009)
27) Paprika by Yasutaka Tsutsui and Paprika (2006) (Strange Horizons: July 2009)
28) The Ask And The Answer by Patrick Ness (Strange Horizons: August 2009)
29) The Lord of the Sands of Time by Issui Ogawa and All You Need Is KILL by Hiroshi Sakurazaka (Strange Horizons: September 2009)
30) Fifty Key Figures in Science Fiction, edited by Mark Bould, Andrew M Butler, Adam Roberts and Sherryl Vint (Strange Horizons: October 2009)
31) The Year Of The Flood by Margaret Atwood and The Rapture by Liz Jensen (Strange Horizons: January 2010)
32) Kick-Ass (2010) (Strange Horizons: April 2010)
33) Monsters Of Men by Patrick Ness (Strange Horizons: June 2010)
34) Scott Pilgrim vs The World (2010) (Strange Horizons: September 2010)
Another long gap (during which time I concentrated on reviewing older novels for this blog). When I returned to Strange Horizons, my focus was less on developing my criticism than on my style. A lot of SF novels are outright crap but an even bigger chunk are simply unambitious and make no attempt to engage with the possibilities of literature, particularly with respect to style. That goes double for reviews of SF so I wanted to practice what I preached. I’m pretty pleased with the results and I think you can particularly see this from 2012 onwards.
35) Source Code (2011) (Strange Horizons: April 2011)
36) Twilight Robbery by Frances Hardinge (Strange Horizons: June 2011)
37) In Other Worlds by Margaret Atwood (Strange Horizons: October 2011)
38) Blood Red Road by Moira Young (Strange Horizons: February 2012)
39) Artemis by Philip Palmer (Strange Horizons: April 2012)
40) Angelmaker by Nick Harkaway (Strange Horizons: May 2012)
41) Osiris by EJ Swift (Strange Horizons: October 2012)
42) The City’s Son by Tom Pollock (Strange Horizons: January 2013)
43) Science Fiction: The 101 Best Novels, 1985-2010 by Damien Broderick and Paul Di Filippo (Strange Horizons: March 2013)
44) No Return by Zachary Jernigan (Strange Horizons: May 2013)
45) Sea Of Ghosts by Alan Campbell (Strange Horizons: August 2013)
46) Dark Waters Of Hagwood by Robin Jarvis (Strange Horizons: September 2013)
47) Drakenfeld by Mark Charan Newton (Strange Horizons: January 2014)
48) Wolves by Simon Ings (Strange Horizons: February 2014)
49) Astra by Naomi Foyle (Strange Horizons: March 2014)
So what next? Another nine years of writing for them, I hope. But I also want to write more away from Strange Horizons. Firstly, having spent years writing 2,000 word reviews, I find myself missing 500 word reviews. The space the internet allows to talk about texts is a huge boon but sometimes a bit of constraint can also be productive. I very much enjoyed writing 500 word reviews for Vector before I took over as reviews editor and it is a form I’m increasingly thinking of returning to. Secondly, I’ve long though a reading diet that consists solely of SF is stunting but that is exactly what has happened with my reviews. Whilst I read a wide range of literature, I only review SF so I’m going to make an effort to actually achieve the last of these resolutions.
My review of Drakenfeld by Mark Charan Newton is up now at Strange Horizons.
Perhaps Drakenfeld is meant to be a dullard; perhaps, along with the hackneyed prose that abounds, this what the audience for Samson and all those other authors with gold embossed names crave. I just can’t see how a protagonist this uninteresting is going to sustain a series of detective novels though.
The backstory is that about four years ago, I started hearing interesting things about a writer called Mark Newton. He’d already published a short novel for a small press but his full debut, Nights Of Villjamur, was coming out shortly for PanMacmillan so I asked him for a copy so I could review it for Strange Horizons. Unfortunately, I didn’t think it was very good. Firstly, the book wasn’t sure what it wanted to be whilst simultaneously trying to be too many different things. (If you will allow me some speculation, I think that Newton’s split career as bookseller, publisher and author played a role here and that some triangulation and second-guessing occurred that was ultimately unhelpful to writing the novel.) Secondly – and at a fundamental level – it wasn’t very well written.
Now, you may assume that nothing gives me more pleasure than to write a negative review of a debut novel in a field I love by a person I am well disposed to. Certainly, that was the assumption of several of the people who left comments underneath my review. It didn’t and I resolved to make sure I read Newton again in the future, although I thought it would probably be best to skip the rest of Legends Of The Red Sun series. So when his new book came through the post, it went straight to the top of the pile. As the quote above suggests, I wasn’t able to write the review I had hoped to write this time either.
Drakenfeld has definitely solved one of the problems I identified: Newton has a very clear idea of the story he wants to tell and is equally focused in delivering it. This clarity is a welcome change to the mess of Villjamur but seems to come hand-in-hand with a suggestion that the ambition he signaled but didn’t deliver on early in his career has now been completely abandoned (the triangulation has succeeded, if you will). The bigger problem, however, is that the novel still isn’t very well written.
As it happens, a couple of weeks after I wrote my review, I bumped into Newton in a pub basement in Brighton. We had a chat and he predictably was a lovely bloke. So why am I publishing something that damns his work and threatens his livelihood? Surely, if you can’t say anything nice, you shouldn’t say anything at all? The answer is that the author and the work are two separate things and the only way to be a book reviewer is to successfully compartmentalise them. I can like Newton as a person and dislike his work and there needn’t – shouldn’t – be any connection between the two. Much online book blogging has been rendered pointless by the failure to grasp this distinction.
Of course, human nature is messier than that; intellect and emotion can’t be so easily divided. Creating art is a hugely personal endeavour and what is being criticised is the product of blood, sweat and tears so it is natural to feel wounded. On the other side of the fence, the whole reason I am writing this is because of a residual sense of sheepish hypocrisy. But the concept of manners simply doesn’t apply here and it is dangerous to import it from social situations. It goes without saying that I think negative reviews have value (to inform and entertain potential readers and to contribute to a wider discourse). It should also go without saying that criticising a professional writer’s published art is entirely different to telling someone that their shoes are ugly or the dinner they’ve just cooked you tasted of ass. Unfortunately this isn’t the case and negative reviews are often seen as direct attacks on the author – and, increasingly, their fans – unless they are couched in the politest and most equivocal terms.
My review is not polite and it is not equivocal; it baldly states that Drakenfeld is a bad book and it does so in pretty scathing fashion. This tone is not thoughtless rudeness, it is an integral part of writing a review that has value beyond merely telling a prospective customer whether they should spend their money on it. It is a public, performative piece of criticism to partner a public, performative piece of art.
Anyway, the next round is on me, Mark.
Once you’ve completed step two, go down the pub. The above photo is from the Rosemary Branch but the majority of this review was produced in conjunction with the Pembury Tavern and London Fields Wheat Beer. Once you have your pint, it is time to start putting flesh on the bones so that your nice neat outline…
By this point the structure will have changed again with sections having split and merged and there will still be lots of holes. So lather, rinse, repeat:
The opening is hard but the ending is harder:
750 words becomes 1,500 words becomes 2,000 but remember to keep cutting as you add. Not all lines of thought are necessarily worth pursuing, even if they do include a gratuitous pop at Dr Who:
Follow this advice and, after your third visit to the pub, you should have something that is pretty much a finished review.
With very little commentary and mostly for my own records, a few links on the topic of:
Firstly, Joe Abercrombie talks about the value of grit:
I have been observing for some time a certain tendency for people to complain about the level of grit in fantasy books. The dirt physical and moral. The attention to unpleasant detail. The greyness of the characters. The cynicism of the outlook… Grimdark is a phrase I’m hearing quite a lot, which seems by definition to be pejorative – excessively and unnecessarily dark, cynical, violent, brutal without purpose and beyond the point of ridiculousness. There’s often what seems to me a slightly weird double standard applied of, ‘I find this thoroughly horrible and disgusting therefore the author must have intended me to be titillated and entertained!’
But, he continues:
Lots of those who praise gritty writing talk about its realism. Lots of people who criticise it assert there’s nothing realistic about splatter and crushing cynicism. You’re both right! Realism is an interesting concept in fantasy. If we were aiming at the uncompromisingly real we probably wouldn’t be writing in made up worlds with forces that don’t actually exist. So things are often exaggerated for effect, twisted, larger than life. But we can still aim at something that approximates real life in all kinds of different ways. Where the people and their behaviour and the outcomes of their actions are believable. Real life is surprising, and unpredictable. Traditional fantasy is often the reverse. You know how to spot a certain type of character, and when you spot him/her you’ve a pretty good notion where their story is going to go. Grit attempts to shake up that relationship, to throw curveballs. Critics might say that grit is so prevalent we now can be sure our hero will be eating babies by the end of the prologue, but I actually don’t believe that. I think the palette of epic fantasy has grown broader over the last few years as a result of the movement to gritty.
Portraying your fantasy world in a way that’s like our world?” Abercrombie asks. “That’s only honesty.” And that’s often a fair point to make, when it comes to fantasy. But I find it extremely telling that while he goes on to apply this rule to the presence of death, drugs, sex, swearing, bad behaviour and excrement, he stops short of parsing its relevance to the default inclusion of sexism, racism and other such problematic behaviours in grimdark, crapsack worlds. Or, to put it another way: if your goal in writing gritty SFF is to create what you perceive to be an honest, albeit fantastic version of reality – and more, one where acknowledging the darker aspects of human nature takes precedence – then the likelihood is that you’ll end up writing victimised and/or damaged women, sexist and homophobic social structures, racist characters and, as a likely corollary, racist stereotypes as automatic defaults; which means, in turn, that you run an extremely high risk of excluding even the possibility of undamaged, powerful women, LGBTQ and/or POC characters from the outset, because you’ve already decided that such people are fundamentally unrealistic.
This ties in with a recent post from Sophia McDougall on sexual assault and “realism” in popular culture and why she stopped reading A Game Of Thrones:
That sense of history seemed to be dwindling away a bit in the second book, but in the end, that wasn’t what drove me away. Instead, it was all the rape. This surprised me. After all, I’d known going in that there was quite a lot of it, and though I was prepared to find its treatment at least somewhat problematic, I’d also expected to be able to handle it. I’m usually able to read fairly graphic scenes without getting more distressed than the story called for, and friends of mine who I thought were more readily upset by that sort of thing had read the books just fine. And, as it turns out, a lot of the rapes in A Song of Ice and Fire aren’t graphic at all.
But. There. Are. Just. So. Many. Of. Them.
And occasionally they are really graphic. But that they’re mostly not almost made it worse for me. That made it possible for the narrative to load that many more of them by the casual handful into chapter after chapter. Rape as backstory, as plot point, as motivation – however badly handled, I can usually cope with it. I found I couldn’t cope with rape as wallpaper.
She notes that this rape is always against women rather than men (the title of the post is ‘The Rape of James Bond’) and Liz Bourke follows up this point:
An observer may therefore venture to suggest that sexual victimisation of men in conflict situations approaches that of sexual victimisation of women in the very same situations. In reality. But not, for some reason, in male-authored epic fantasy. What statistics we have on the (severely underfunded and under-reported) prevalence of male rape in conflict zones today, suggest that in epic fantasy every in-conflict-zone deployment of sexual threat against women should be almost matched by sexual threat against men. And yet, in male-authored epic fantasy, it’s not.