STORIES FOR CHIP: A TRIBUTE TO SAMUEL R. DELANY, Edited by Nisi Shawl & Bill Campbell

Just up today, my latest review for Skiffy & Fanty

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“Publishing since the age of twenty, Samuel R. Delany is a highly respected novelist and literary critic alike. Familiarly known as “Chip”, Delany has written science fiction and fantasy (SFF) known for pushing boundaries, for challenging the notions of speculative genres, and experimenting with approaches to literature in general. Delany’s writing both subverts conventions and transcends fiction to explore social realities, most notably the existence of the Other. Indeed, as a man who could be described with terms such as academic, homosexual, polymath, African-American, and intelligent, Delany writes from the point of view of the Other, a spectrum of under-represented perspectives within SFF.

Both Delany’s fiction and nonfiction have been hugely influential, inspiring, and appreciated, partly due to this unique vision. However, his works have also resonated so strongly because Delany’s vision is not just unique, but uniquely brilliant, honest, and perceptive. With all of its challenges and transgressions against comfortable familiarity, Delany’s work strikes universal human chords, conveying both beauty and progressive encouragement…” Read the entire review on Skiffy & Fanty here.

Disclaimer: I received a free advanced reading copy of this novel from the publisher through NetGalley in exchange for an honest review.

TRASH CINEMA, Edited by Andrew J. Rausch and R.D. Riley

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Trash Cinema: A Celebration of Overlooked Masterpieces
Edited by Andrew J. Rausch and R.D. Riley
BearManor Media – 5th June 2015
ISBN 9781593938215 – 242 Pages – Paperback
Source: NetGalley


Back when I was in high school I found a copy of a VideoHound guide called Cult Flicks and Trash Picks. Armed with this reference source and memberships to some video stores (the small-town independent ones were always the best) I discovered the wonderful world of cult movies, the B- to Z-grade fare of trash that spans the entire age of film. I was, am, a huge fan of Mystery Science Theater 3000 and still miss it. Some nights nothing hits the spot and helps fight insomnia or an overactive brain like a good piece of cinematic pulp.
Even still, there are a large number of films covered in this collection of essays, Trash Cinema: A Celebration of Overlooked Masterpieces, that I wasn’t too familiar with. Including thoughts on over fifty movies (arranged by title alphabetically) the collection edited by Rausch and Riley is useful just as another reference list of cult movie titles that a fan may want to look up.
Trash cinema (or B movies, cult classics, low budget dreck, or whatever-you-want-to-call-it) is still a highly variable beast. The spectrum runs from movies that are considered works of significant art to works that are barely watchable. In between are a lot of movies that are simply average and dull, having no particular infamy to even allow them to be ‘good’ trash. The essays in the collection tend to run a similar spectrum. As is fitting the genre, the essays are not remotely academic. Most are written in a colloquial language like the author is just talking to a friend at the video store. But they still vary in quality or usefulness in reading. A few I thought did little more than provide a film synopsis. The ones I enjoyed most got far deeper into some kind of analysis, and most entries at least did some.
The movies discussed also run a spectrum across genres within this category of trash, from older movies to newer, SF to noir to horror, ones that are relatively tame to ones that have more adult violence or other depravity. Some trash movies of course try to push the envelope of depravity – or at least shock.
One of the interesting points that came up throughout the essays dealing with this type of cult picture is that they often elicit very different responses between viewers, and even within a single viewer. Some days I can watch Cannibal Holocaust without a care. Other times I get hung up with troubling aspects. When is the shock used as artistic commentary on the society of the day? When is is just crass exploitation? When is it something that should revolt and offend beyond reason? Sometimes an extreme film is a bit of all of these things simultaneously.
Movies that fall in the extremes of the trash camp won’t be for everyone. For instance, I personally can handle a great deal, but my limits are reached with much of the ‘torture porn’ variety. Yet Bloodsucking Freaks proves an exemption for me, the overall subversion and gender themes of the movie make it more interesting and watchable for me. But obviously not for all. But again, a large number of the films in this – the kind for instance that also have been on MST3K (like Manos, the Hands of Fate) aren’t particularly shocking to an audience of this day and age. Apart from perhaps their quality 🙂
The advent of DVDs killed off the wide range of trash availability I could find with VHS. Recently I’ve found some Roku streaming options for these kinds of movies (Netflix is poorly lacking for the most part). So this collection was welcome and gave me good ideas for titles to put on my “to watch” lists, and also forewarned me of a few that I can tell won’t be for me. Overall a good resource for a trash digging fan.

Disclaimer: I received a free electronic copy of this from the publisher via NetGalley in exchange for an honest review.

Black and Brown Planets: The Politics of Race in Science Fiction, Edited by Isiah Lavender III

Black and Brown Planets:
The Politics of Race in Science Fiction
Edited by Isiah Lavender III
Publisher: University Press of Mississippi
ISBN:1628461233
256 pages, hardcover
Published 1st October 2014
Source: NetGalley

CONTENTS:

Introduction:
“Coloring Science Fiction” by Isiah Lavender III

Part One – Black Planets:
“The Bannekerade: Genius, Madness and Magic in Black Science Fiction” by Lisa Yaszek
“The Best is Yet to Come; or, Saving the Future: Star Trek: Deep Space Nine as Reform Astrofuturism” by De Witt Douglas Kilgore
“Far Beyond the Star Pit: Samuel R. Delany” by Gerry Canavan
“Digging Deep: Ailments of Difference in Octavia Butler’s The Evening and the Morning and the Night” by Isiah Lavender III
“The Laugh of Anansi: Why Science Fiction is Pertinent to Black Children’s Literature Pedagogy” by Marleen S. Barr

Part Two – Brown Planets:
“Haint Stories Rooted in Conjure Science: Indigenous Scientific Literacies in Andrea Hairston’s Redwood and Wildfire” by Grace L. Dillon
“Questing for an Indigenous Future: Leslie Marmon Silko’s Ceremony as Indigenous Science Fiction” by Patrick B. Sharp
“Monteiro Lobato’s O presidente negro: Eugenics and the Corporate State in Brazil” by m. elizabeth Ginway
“Mestizaje and Heterotopia in Ernest Hogan’s High Aztech” by M. Rivera
“Virtual Reality at the Border of Migration, Race, and Labor” by Matthew Goodwin
“A Dis-(Orient)ation: Race, Technoscience, and The Windup Girl” by Malisa Kurtz
“Yellow, Black, Metal, and Tentacled: The Race Question in American Science Fiction” by Edward James (updated with additional reflections ‘Twenty-Four Years On”)

Coda:
The Wild Unicorn Herd Check-In: The Politics of Race in Science Fiction Fandom” by Robin Anne Reid

Disclaimer: I received a free electronic reading copy of this from the publisher via NetGalley in exchange for an honest review.

Women Destroy Science Fiction!, Edited by Christie Yant

Women Destroy Science Fiction!
Lightspeed Magazine #49 (June 2014)
Edited by Christie Yant
Publisher: John Joseph Adams
ISBN: 1499508344
488 pages, paperback (special ed.)
Published 1st June 2014
Source: Personal purchase

Fiction Contents:

“Each to Each”, by Seanan McGuire
“A Word Shaped Like Bones”, by Kris Millering
“Cuts Both Ways”, by Heather Clitheroe
“Walking Awake”, by N.K. Jemison
“The Case of the Passionless Bees”, by Rhonda Eikamp
“In the Image of Man”, by Gabriella Stalker
“The Unfathomable Sisterhood of Ick”, by Charlie Jane Anders
“Dim Sun”, by Maria Dahvana Headley
“The Lonely Sea in the Sky”, by Amal El-Mohtar
“A Burglary, Addressed By a Young Lady”, by Elizabeth Porter Birdsall
“Canth”, by K.C. Norton
“Like Daughter”, by Tananarive Due
“The Greatest Loneliness”, by Maria Romasco Moore
“Love is the Plan the Plan is Death”, by James Tiptree, Jr.
“Knapsack Poems”, by Eleanore Arnason
“The Cost to Be Wise”, by Maureen F. McHugh
“Salvage”, by Carrie Vaughn
“A Guide to Grief”, by Emily Fox
“See DANGEROUS EARTH-POSSIBLES!”, by Tina Connolly
“A Debt Repaid”, by Marina J. Lostetter
“The Sewell Home for the Temporally Displaced”, by Sarah Pinsker
“#TrainFightTuesday”, by Vanessa Torline
“The Hymn of Ordeal, No. 23”, by Rhiannon Rasmussen
“Emoticon”, by Anaid Perez
“The Mouths”, by Ellen Denham
“MIA”, by Kim Winternheimer
“Standard Deviant”, by Holly Schofield
“Getting on in Years”, by Cathy Humble
“Ro-Sham-Bot”, by Effie Seiberg
“Everything That Has Already Been Said”, by Samantha Murray
“The Lies We Tell Our Children”, by Katherine Crighton
“They Tell Me There Will Be No Pain”, by Rachael Acks

Also including a novel excerpt, nonfiction, personal essays, artist gallery,  and author spotlights

 ‘Women don’t write real science fiction.’ ‘That isn’t what a story written by a woman should be like.’ ‘If women try to write science fiction they will just destroy it.’
Many things out there seem to be an all-male’s club (or predominantly so). It kinda boggles my mind that statements like those above were ever tossed around in the field – or that they even are still today. Compared to the past there are a lot of women science fiction writers out there, as this collection testifies. Part of any issues I feel come down to the matter of the definition of science fiction. What is ‘real’ science fiction? There is no single answer, and to some the answer is a sub genre that may be called hard science fiction which ultimately will come down to facts related to physics.
As there appears to be fewer women in the ‘hard’ sciences (a separate problem in itself) it comes as not too big a surprise then that there aren’t many female science fiction writers that could be put in that category of ‘hard SF’. Yet, even when they could, it seems like their inherent gender make people consider them something else.
Take Margaret Atwood – a writer whose stories feature reasonable futures based on present-day scientific reality (a relatively narrow, but common definition of hard SF as put forth recently for example by Norman Spinrad in Asimov’s). Her work is easily classified as hard science fiction. But she herself eschews the label, preferring to call her work speculative fiction to avoid the negative associations of ‘science fiction’ with a particular kind of space story and an interest in scientific details over a more human or literary picture.
Whatever the definitions and whatever the reasons why some have an issue with women writing science fiction, the stories here prove that one should be overjoyed if they continue to find voice in ‘destroying’ science fiction.
The stories included here make this easily a year’s best of collection in itself. They are varied in tone from the humorous to the serious, and in genre from hard and futuristic to the more fantastic (alternate) historical. As such, unless you enjoy a wide range of types of stories, there may be some stories in here that just don’t interest you despite each truly being top-notch. I personally had my favorites within each section of new fiction, reprints, and flash fiction. And there were some I just didn’t enjoy though I recognized their merits as intended. However, even if you only like a particular kind of story in the SF landscape, the collection is well-worth the cheap admission price.
I particularly liked the opening story by Seanan McGuire. Out of all the stories in this collection I feel this one significant to discuss due to its embodiment of what the entire collection represents.
There are conflicting expectations in a collection with the theme this Lightspeed issue has. On the one hand one has the expectation that the stories will relate the female-specific condition within the confines of the genre. They ‘should’ feature female characters that aren’t stereotypes, they ‘should’ deal with feminist issues, they ‘should’ focus on matters unique to female biology and social practices built around that.
Yet, on the other hand the point is that women writing science fiction should be no different, no less worthy or capable, than men writing it. And the point is that there is no single thing that women writing science fiction ‘should’ write about. If a female author writes a story with no female characters that says nothing about her gender, does that matter? Does it by virtue of her gender automatically become a feminist work even though the story itself is so devoid?
Seanan McGuire’s “Each to Each” is brilliant in its playing with expectations of what females are, the roles they ‘should’ serve, and how they are viewed both by others and by themselves. These sorts of themes echo throughout the remainder of the collection, whether explored implicitly or explicitly. The stories (and the nofiction in the issue) don’t offer any kind of clear answers to the matters of dealing with gender disparities, or of dealing with the general Other. Instead they offer a celebration of what all is possible with women writing science fiction. That celebration shows that women writing science fiction is just simply humans writing science fiction – a world of disparate experiences and possibilities, with aspects that no one really has a premium on beyond the fact that each is a personal story, unique and meaningful each to each.
They are women, but they are not just women. They are Charlie Jane Anders. They are Rachel Swirsky. They are Marissa Lingen. They are Nisi Shawl. They are. And listening to their voices is the closest we can come to understanding them, and for that their talented and competent voices deserve to be heard, however they choose to raise them.
One of the things I really enjoy with Lightspeed Magazine are the author interviews that accompany each story, that highlight the individual and personal nature of each story. These give insight into the author’s inspirations, writing process, and at times show interpretations which may coincide or be different from the reader’s. The other nonfiction here includes a host of personal essays. I found these okay by and large, though I do wish there were one or two longer and more in-depth essays or analyses rather than the more brief or superficial feel that some of these had.
If you haven’t picked up this issue yet, I really encourage you to do so, and to look for the two upcoming Women Destroy… issues featuring a Fantasy and a Horror focus, and the Queers Destroy… issue that will follow.
Decades ago a large part of science fiction was not just about technological or scientific speculation but also social speculation, a means to explore the disenfranchised and the Other. It is nice to see something returning in full force to this purpose.
Five Stars out of Five

Women Destroy Science Fiction!

I am very excited about Lightspeed Magazine’s special June issue: Women Destroy Science Fiction!

“It could be said that women invented science fiction; after all, Mary Shelley’s Frankenstein is considered by many to be the first science fiction novel. Yet some readers seem to have this funny idea that women don’t, or can’t, write science fiction. Some have even gone so far as to accuse women of destroying science fiction with their girl cooties. So to help prove how silly that notion is, LIGHTSPEED’s June 2014 issue is a Women Destroy Science Fiction! special issue and has a guest editor at the helm.

The issue features original fiction by Seanan McGuire, Charlie Jane Anders, N.K. Jemisin, Carrie Vaughn, Maria Dahvana Headley, Amal El-Mohtar, and many more. All together there’s more than 180,000 words of material, including: 11 original short stories, 15 original flash fiction stories, 4 short story reprints and a novella reprint, 7 nonfiction articles, and 28 personal essays by women about their experiences reading and writing science fiction.”

Read the complete table of contents here.

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Real Teachers: True Stories of Renegade Educators, by Stuart Grauer

Real Teachers: True Stories of Renegade Educatiors,
by Stuart Grauer
Publisher: SelectBooks
ISBN: 1590799704
240 pages, paperback
Published February 2013
Source: Goodreads First-Reads

It’s been a little over a week since I finished this book, and am now finally getting to post a review amid the busy flow of teaching this semester. Upon finishing it, and since, I vacillated between what ‘star’ rating I should give this collection of essays. In terms of expectations it was a bit of a disappointment to me, but in terms of judging it solely on what its own being it warrants higher consideration; so I went for the latter.

I expected this to be a collection of essays about “Real Teachers”, stories of different in-class experiences, perhaps even from multiple points of view. In a very broad interpretation it could be considered to be so. But really it is more of a series of reflections, a memoir of sorts, of Grauer’s personal experiences and view. Because Grauer breathes education and allows the subject to intersect all aspects of his existence and interactions, the ‘educational lessons’ and ‘teachers’ he accounts in each essay come from all aspects of experience and position, whether a professor, a Native American high school teacher, a child relative, or the impoverished citizens of rural Mexico. Each chapter memoir focuses on key themes or ideas related to education, both theoretical and practical. They are each personal reflections by Grauer on what he learned from each experience regarding how education can, and perhaps should, proceed.

Within this framework, Grauer accomplishes, above all, inspiration and food for further thought. Nicely, he includes victories, failures, and those educational experiences that fall somewhere in between. Similarly, some chapters are long and assertive in their conclusions, while others are brief and more meditative. While the reader might not agree with all of Grauer’s conclusions and statements, I don’t see that as the point of this book. It is not written to convince: as a memoir, not an ‘academic’ work, it lacks extensive citations to backup all assertions. Instead the point seems to be for Grauer to get the educator thinking more deeply and more holistically about the art of their vocation. And perhaps to recapture some of that passion and joy.

The holistic aspects of education permeate the entire book, echoing the commitment of Grauer to his calling and underscoring the intense personal and deep connections involved in the education process between educator and student and the surrounding physical world and human culture. Being written by Grauer and prominently featuring his own private school, I feared the book would come across as self-serving and boastful. For the most part I didn’t find this to be the case. Most consistently, I found Grauer to be frankly honest and focused on a goal of increased personal learning. While Grauer comes across as particularly ‘liberal’ in the classic sense, the book is not remotely political, and Grauer likewise holds positions and ideas that are profoundly ‘conservative’ as well, all depending on what he has concluded engenders the greatest opportunity for real teaching.

At the end, I don’t actually know if there is a strict definition of what a “real teacher” is to Grauer, much as it is hard for a biologist like myself to come up with a simple one sentence definition of “life”. It would be interesting to read a book by Grauer that focuses more on solutions and firm facts regarding education, rather than relatively vague reflective meditations. But perhaps Grauer’s point is that there are no standardized solutions or universal firm facts of the teaching process, but a complex, adaptive relationship between people who require openness to getting things wrong and learning from one another through missteps.

Four Stars out of Five