I’m still in Cologne at the moment, but have some links to keep you amused. One: Paul Witcover’s Locus review of The Secret History of Science Fiction:
Kelly and Kessel have selected stories from inside and outside the genre to demonstrate that, in fact, despite the continued reliance of publishers on such marketing labels as science fiction and fantasy, “the divide between mainstream and science fiction is more apparent than real,” and that “outside of the public eye,” writers on both sides of the supposed divide have been producing work that, on the one hand, has the ambition and sophistication of literary fiction, and, on the other, makes use of the tropes of speculative fiction, though not necessarily labeled as such by writers, critics, or readers. This is the secret history to which the title refers.
It’s a bold assertion, and I have a lot of sympathy for it. In fact, before I read this anthology, I was inclined to agree with it. But as I read these stories, I began to doubt it more and more, and finally I became convinced that Kelly and Kessel are wrong in an centrally important way, and that there really are substantial differences between genre speculative fiction of literary ambition and what is written outside the genre, even if it contains speculative elements. And I think these stories prove it: that is the secret history of The Secret History.
Note that John Kessel turns up to discuss in the comments.
Two: Mark Newton and Dan Abnett discuss tie-in fiction:
I’ve never known tie-in novels receive so much fanfare and review coverage as [Sebastian Faulks' Bond and Eoin Colfer's Hitch-Hiker's]: because that’s the other bizarre thing – franchise fiction tends to be ignored by reviewers, especially in major genre magazines. They treat it as a lesser product, and hate to give it air time. I’ve heard some talk that, because it’s assumed tie-in fiction always involves a one-off payment and no royalties, the author gets little benefit. That’s certainly not the case for several franchises, and Some tie-in books make careers.
Sometimes I find that genre magazines are ignoring the very “brands” that sell hundreds of thousands of copies – brands, therefore, that readers want to know about.
I merely note that I was out at dinner the other night, and my colleagues were discussing Harry Potter and some other franchise I temporarily forget, and expected me to know all about them; when in fact neither interests me in the least. [EDIT: still can't remember what the other franchise/series discussed was, but I did remember the other thing I wanted to say: Faulks' and Colfers' books may have attracted a lot of attention, but not much of it was positive.]
Terry Bisson interviews Kim Stanley Robinson:
There are a lot of problems in writing utopias, but they can be opportunities. The usual objection—that they must be boring—are often political attacks, or ignorant repeating of a line, or another way of saying “No expository lumps please, it has to be about me.” The political attacks are interesting to parse. “Utopia would be boring because there would be no conflicts, history would stop, there would be no great art, no drama, no magnificence.” This is always said by white people with a full belly. My feeling is that if they were hungry and sick and living in a cardboard shack they would be more willing to give utopia a try.
And if we did achieve a just and sustainable world civilization, I’m confident there would still be enough drama, as I tried to show in Pacific Edge. There would still be love lost, there would still be death. That would be enough. The horribleness of unnecessary tragedy may be lessened and the people who like that kind of thing would have to deal with a reduction in their supply of drama.
I really must re-read Pacific Edge soon.
And for good measure, another KSR interview, this one by Alison Flood:
But this rapid change, in turn, leads to another sort of crisis. “Depending what we do in next 20 years, it’s very hard to be plausible, to say this is what’s going to happen. At that point you can’t write science fiction, [so] the genre is in a little bit of a crisis, and all the young people are reading fantasy.” Robinson himself, however, presses on undaunted. He’s considering future novels set around Saturn or Mercury; he’s looking into a book about Herman Melville, who “after his career as a novelist crashed had another career as a customs inspector”; he’s keen to put what he learnt from Galileo – the work ethic, “the tenacity of the man”, into practice.
But he worries about “the crisis for this tiny genre”, recently launching an impassioned defence of science fiction in the New Scientist, where he accused the Man Booker judges of neglecting what he called “the best British literature of our time”. “It’s a different situation than it was when I began, the relation between world and genre. Back then you could read science fiction and get a sense of what the world was going to be – now, I don’t think you can be prophets in the same way,” he says. “If the world is a science fiction novel then what do you read? What can the literature do for you?”
Oh, and Dollhouse has been cancelled, though all 13 ordered episodes will air. Not in the least surprising, and in some ways deserved, though I will still miss it; there are plenty of failures on tv, but very little ambition.