2017 in Review

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Anthony Gottlieb, Arthur C Clarke, Becky Chambers, Benjamin Black, Bruce Sterling, C.J. Sansom, China Mieville, Christopher Priest, Colin Greenland, Dave Hutchinson, Edmund Crispin, Emma Chambers, Emma Newman, Gerry Canavan, Gwyneth Jones, Helen MacInnes, Iain Banks, Iain R. MacLeod, Joanna Kavenna, John Banville, John Crowley, John Kessel, John Le Carre, Judith A. Barter, Kim Stanley Robinson, Laurent Binet, Laurie Penny, Lavie Tidhar, Lily Brooks-Dalton, m john harrison, Margery Allingham, Mark Fisher, Matt Ruff, Michael Chabon, nina allan, Octavia Butler, Patrick Leigh Fermor, Paul Auster, Paul Nash, Rick Wilber, Rob Latham, Steve Erickson, Stuart Jeffries, Tade Thompson, Tricia Sullivan, Ursula K. Le Guin, Yoon Ha Lee

It’s that time of year again, when I dust off this oft-forgotten blog and post a list of my reading through the year, along with other odd comments.

2017 has been, in some respects, a very good year. My first full-length book not composed of previously published material, appeared in May. Iain M. Banks appeared in the series Modern Masters of Science Fiction from Illinois University Press, and has received some generally positive reviews, much to my relief.

Also this year I signed a contract with Gylphi to write a book about Christopher Priest, which is likely to take most if not all of the next year. In addition, I’ve put in a proposal for another volume in the Modern Masters of Science Fiction; the initial response has been quite good so I’m hoping I’ll have more to report in the new year. So, in work terms, it looks like the next couple of years are pretty much taken care of.

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We’ll always have Paris

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Aleksandr Sokurov, Alice Rahon, Anton Chekov, China Mieville, Franz Wolff-Metternich, Grace Pailthorpe, Jacques Jaujard, James Joyce, Jindrich Styrsky, Jo Baker, Leo Tolstoy, Marcel Duchamp, Samuel Beckett, Suzanne Dechevaux-Dumesnil

Sometimes, connections come at you in completely unexpected ways. By chance, you read something that sticks in the memory; months later, you see something more or less unrelated; then a little after that you read something else and an unlikely (if frail) bridge seems to be formed tying all three together.

Reprint: Whose History

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Adam Roberts, Aldous Huxley, Carolyn See, China Mieville, Darko Suvin, David Karp, Edgar Allan Poe, Edgar Rice Burroughs, Erskine Childers, George Orwell, George R. Stewart, Gordon R. Dickson, H.G. Wells, Hugo Gernsback, Ignatius Donnelly, Joanna Russ, Johannes Kepler, Jules Verne, Karel Capek, Kenneth Mackay, Margaret Atwood, Mark Bould, Mary E. Bradley Lane, Mary Shelley, Michael Crichton, Philip K. Dick, Pierre Benoit, Robert Heinlein, Sherryl Vint, Stanislaw Lem, Stephen Baxter, Strugatsky Brothers, Thomas M. Disch, Yevgeny Zamiatin

This review of The Routledge Concise History of Science Fiction by Mark Bould and Sherryl Vint was first published in Journal of the Fantastic in the Arts, Volume 23, issue 2, 2012:

BSFA Short Fiction Award

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al robertson, China Mieville, David Mitchell, kameron hurley, nina allan, paul cornell, Robert Holdstock

Still trying to decide how I will vote in the BSFA Awards when I go to Eastercon tomorrow. I’ve made my mind up about the novels, but the short fiction category foxes me. I didn’t read a huge amount of new short fiction in 2011, but was it really such a poor year? My choice, I think, is going to come down to a matter of the least worst, which is not how I like to make award decisions.

Astonishing Stories

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Ayelet Waldman, Charles D'Ambrosio, China Mieville, Daniel Handler, David Mitchell, Heidi Julavits, Jason Roberts, Jonathan Lethem, Joyce Carol Oates, Margaret Atwood, Michael Chabon, Peter Straub, Poppy Z. Brite, Roddy Doyle, Stephen King, Steve Erickson

Let us assume, just for a moment, that ‘genre’ delineates a mode of story rather than a mode of telling, in other words that it refers to science fiction and romance and crime and the like rather than to prose and poetry and drama. With me so far? Let us, then, also imagine that there are two approaches to genre. For the sake of argument I shall call them the ‘resident’ and the ‘visitor’ approaches. Those of us who are ‘resident’ in a genre, its habituees, its authors and critics and devoted readers, want the genre to grow and live and change. Thus, although we delight in familiar landmarks, we also like exploring new neighbourhoods, new ways of doing the genre, because that is what keeps it fresh. Those who are visitors to the genre, however, here to see the sights, want it to stay the same because they are here only to see the familiar landmarks, indeed they define the genre in terms of those landmarks, they orient themselves on those landmarks (TM Maureen). Anything that does not conform to the pattern set by those landmarks is not noticed by the visitor because, by definition, it is not what drew them to the genre in the first place. The residents are happy to see change, the visitors are in search of the static.