Awards eligibility 2016

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So this is the time of year many SFF writers compose posts outlining what short stories (etc.) are eligible for nomination for awards. While more prolific writers than me usually have a long list for you to choose from, most years I only have two or three pieces you might consider. This year it is only one:

El Cantar of Rising Sun, which was published in Uncanny Magazine, issue 11, July/August 2016.

It is an unusual piece —a riff on epic narrative poems that follow the protagonist’s trajectory from birth to death with countless journeys and battles between … Only this epic takes place on Philly streets in 2014, and  at its heart is a very distinct set of journeys and battles.

A fast-moving, dizzying, tragic tale with magic tattoos, rhymes, love, friendship, and death. The language is powerfully alive, swaggering and moving to its own rhythm and its own beat. Original and skillfully crafted.

— from Maria Haskins’ monthly short fiction round-up.

If you believe it is worth nominating, El Cantar of Rising Sun is eligible in the short-story category for  Nebula, Hugo and Pushcart awards.

 

My Readercon schedule

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From July 7 through the 10, I’ll be in Quincy, Mass. at Readercon. For those of you who haven’t heard about it, here’s a description:

Although Readercon is modeled on “science fiction conventions,” there is no art show, no costumes, no gaming, and almost no media. Instead, Readercon features a near-total focus on the written word. In many years the list of Readercon guests rivals or surpasses that of the Worldcon in quality. Readercon is the only small convention regularly attended by such giants of imaginative literature as Gene Wolfe, Samuel R. Delany, John Crowley, Barry N. Malzberg, Kit Reed, and Jonathan Lethem. The program consists of two tracks each of panel discussions, author readings, and solo talks or discussion groups, plus kaffeeklatsches (intimate gatherings with an author) and autograph signings. The program also currently features the presentation of two major genre awards: The Cordwainer Smith Rediscovery Award for a neglected author and the Shirley Jackson Awards for dark fantasy and psychological suspense.

This year’s Guests of Honor are Catherynne M. Valente and Tim Powers; the memorial Guest of Honor is Diana Wynne Jones. I’m slated to be on three panels, and I’ll be giving one reading. If you are at Readercon, please stop in and say hello.

Friday, July 8, 2 PM:

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Cozy Dystopia

Gili Bar-Hillel, Bart Leib, Shariann Lewitt, Kenneth Schneyer (leader), Sabrina Vourvoulias.

When we think of the world of Harry Potter, what comes to mind first—the magic and childish delights of Hogwarts, with its cozy dormitories and feasts and flying lessons, or its numerous, creeping dystopian elements (even discounting Voldemort!), from the enslaved house elves to Umbridge to the Dementors, which are, frankly, the tools of a fascist state? Can we make an argument that HP is actually more like a dystopia than a fantasy? Even if we’re half joking, there’s still an interesting discussion here: how do these two sides of the wizarding world play off each other, and how do they compare with other dystopian YA? Maybe we need a new subgenre: Cozy Dystopia.

Friday, July 8, 3 PM:

Fantastical Dystopia

Victoria Janssen, Ada Palmer, Andrea Phillips, Sabrina Vourvoulias, T.X. Watson.

Dystopia is popular in YA fiction for a variety of reasons, but why do authors frequently base their future dystopian society on some flimsy ideas, rather than using history to draw parallels between past atrocities and current human rights violations? Is it easier to work from one extreme idea, such as “love is now considered a disease” rather than looking at the complexities of, for example, the corruption of the U.S.S.R or the imperialism of the US? If science fiction uses the future to look at the present, is it more or less effective when using real examples from the past to look at our present through a lens of the future?

Friday, July 8, 6 PM:

Who Gets to Tell My Story?

Keffy Kehrli, Mikki Kendall (leader), Robert V. S. Redick, Elsa Sjunneson-Henry, Sabrina Vourvoulias.

Some calls for diverse submissions focus on the identity of the author, while others focus on the identity of the characters. What are the differences between the stories that result? Is there something problematic in a cis/het writer taking on a queer character’s story, or a white author with a protagonist who is a person of color? Does it depend on the story they are telling? Their skill telling it? Their awareness/avoidance of tropes? What responsibility do they have toward their protagonist’s community?

Saturday, July 9, 1 PM:

Upcoming

Reading

Sabrina Vourvoulias reads either “El Cantar de Rising Sun” scheduled for the July/August issue of Uncanny Magazine, or “Sin Embargo” which is included in Latino/a Rising (early 2017)