Book Received...Peter Watts

Arriving on my doorstep (actually, the mail carrier rang the doorbell, as he always does when there is a package to be delivered) is the most recent release from Tachyon Publications: the short story collection from Canadian SF writer Peter Watts.

I worked on Beyond the Rift back in June, and you can read more about that in my blog post entitled "Wattsworld," published on June 25, 2013.

The collection includes 13 of the author's most notable stories, including the Hugo Award-winning novelette "The Island." In "This Fall's Must-Read Science Fiction and Fantasy Books," Annalee Newitz for io9 writes:

A new book from crazy genius Watts is always cause for celebration — and this collection of short stories brings together some of his greatest work, including his mind-altering retelling of The Thing called "The Things." Known for his pitch-black views on human nature, and a breathtaking ability to explore the weird side of evolution and animal behavior, Watts is one of those writers who gets into your brain and remains lodged there like an angry, sentient tumor.

And author Paul Di Filippo, in his book review column for Barnes & Noble, had this to say about Beyond the Rift:

Canadian author Peter Watts is a biologist by training and a visionary by inclination. His novels are hard-edged yet coolly psychedelic extrapolations of our gene-modded future. Possessing the stern moral acuity of James Tiptree, he also exhibits the intellectual zest of Arthur C. Clarke. His afterword to his new story collection, Beyond the Rift, is one of the best essays in recent memory about the nature of the kind of science fiction that mates these qualities. Watts is expert at inhabiting the mind of the Other, whether it's a Cambellian shape-shifting alien in "The Things," a future soldier high on techno Rapture in "A Word for Heathens," or a deep-sea dweller with mysterious origins in "Home." His killer opening sentences ("First Contact was supposed to solve everything"; "Wescott was glad when it finally stopped breathing") are rabbit holes to strange futures.

Earl Kemp's Who Killed Science Fiction?

Paul Di Filippo, in a recent column in Barnes and Noble Review, recapped the state of science fiction and its various subgenres through the first decade of the twenty-first century. I'll leave the details of Paul's reviews and commentary for you to indulge in at your leisure, but Paul does mention that some continue to proclaim the demise of science fiction. Paul writes:

Of course, as we all now realize, the twenty-first century is proving both more and less science-fictional than the literature imagined, in strange and perhaps essentially unpredictable ways. This condition bedevils SF to some extent, as both its continuing credibility and utility come under question. Some authors and critics have recently even gone so far as to pronounce the mode deceased. Such statements regarding the death of SF are eternal. In 1960, for instance, a famous seminar was conducted under the heading "Who Killed Science Fiction?"

So for more than 50 years now, we've been hearing about the death of SF, especially with regards to genre magazines. I even freelance for one such magazine -- Realms of Fantasy -- that has seen three different owners/publishers in as many years, and yet the magazine's 100th issue will be published in June!

I was intrigued by the "Who Killed Science Fiction?" seminar -- actually, it was a survey rather than a seminar -- to which Paul referred, so I followed the link he provided to a fanzine -- eI29, December 2006; this particular volume is entitled The Compleat and Unexpurgated Who Killed Science Fiction? by Earl Kemp¹. eI29 includes the original 1960 edition of WKSF? plus the updates Kemp wrote in 1980 and again in 2006, all with new introductions.

In mid-1960, Kemp put together a questionnaire on the state of SF magazines (keep in mind that by 1960 the earlier, prolific pulp magazines had all ceased to exist) that he sent to 108 individuals, a virtual Who's Who in Science Fiction at the time: Isaac Asimov, Poul Anderson, Alfred Bester, James Blish, Robert Bloch, artist Hannes Bok, Ray Bradbury, Marion Zimmer Bradley -- and that's just a few of the names and only from the first two letters of the alphabet!

Picasso on Art via Pablo Cortez

Another story that I've recently read, which I am seriously considering for my Alien Contact anthology (forthcoming from Night Shade Books in November), is "Guerrilla Mural of a Siren's Song," by Ernest Hogan. See my previous blog post, "We Have Alien Contact," for background on this anthology, including a complete listing of the stories (so far) that have been submitted and/or recommended to me, in addition to stories that I myself have added to the list.

When I contacted Ernesto about a possible contribution to the anthology, here's what he had to say about "Guerrilla Mural...": "It's about a Chicano muralist/graffitist who turns out to be the person who breaks through to communicate (sort of) with telepathic microbes that live in Jupiter's Great Red Spot. Later I expanded it into my first novel Cortez on Jupiter."¹ Sound intriguing? Indeed. "Guerrilla Mural..." involves art, and a Zulu, and Aztecs, and alien contact, and is written from the POV of a Chicano -- and is pure zany Ernest Hogan. The only other author with whom I can compare Hogan's writing would be Paul Di Filippo.

"Guerrilla Mural of a Siren's Song" was originally published in issue four of Pulphouse: The Hardback Magazine (Summer 1989), edited by Kristine Kathryn Rusch; this particular issue was devoted to "Science Fiction," as noted on the cover above. The graphic is a bit difficult to see/read because all the Pulphouse magazine covers were stamped using an iridescent ink, thus reflecting the light. (According to former Pulphouse publisher Dean Wesley Smith, the process is called "foil stamping.") Each issue of the magazine was published in an edition of 1,000 numbered trade hardcover copies and 250 signed (by all contributors) and numbered leatherbound copies. I bought a copy of the first issue (#19 of 1,000), liked what I read, and then subscribed; so all of my later editions have matching numbers: #71 of 1,000. The last volume, number twelve, was published in Fall 1993. Pulphouse Publishing just may have been the first press to self-publish at that time.

But back to "Guerrilla Mural..." Here's the protagonist in the middle of one of his rants:

Me, Pablo Cortez, infamous guerrilla muralist from the wild, crumbling concrete and stucco overgrowth of L.A. -- who refused to be absorbed into the decaying society I satirized in my work long after my fellow wall-defacers were caught, arrested and offered a chance to become honest artists who paint on neat, clean canvases that are displayed in sterile galleries, and bought by the affluent to show everybody how sensitive they are by what they choose to decorate their expensive, prestigious apartments with. I, who tattooed the Picasso quote, "PAINTING IS NOT DONE TO DECORATE APARTMENTS. IT IS AN INSTRUMENT OF WAR FOR ATTACK AND DEFENSE AGAINST THE ENEMY" on my own left arm with a felt-tip pen and a safety-pin. The guy who really meant it when he helped paint -- fast, so we could get it done and get the hell out of there before getting our heads busted -- Quetzalcoatl choking on smog, Uncle Sam holding up the heart of a draftee for the "disturbance" in South Africa (soon to be Zululand -- again) to the gaping jaws of a Biomechanoid War God, mutilated/spacesuited corpses and countless mass portraits of the ever-growing throngs of the homeless to decorate the featureless, empty walls of the blank architecture where Mr. and Ms. Los Angeles could see as they did the freeway boogie to work. Siquerios and Orozco and every spray-can wielding vato would’ve been proud!

Personally, I'm not much of an art aficionado; when I read the Picasso quote I immediately searched for it on the web -- and was shocked to learn that it was, indeed, a legitimate quote. Picasso dissing apartment art! Who woulda thought....

Ernest Hogan, the author of this story, and I go back a ways; he contributed an original story, "Coyote Goes Hollywood," to my co-edited Witpunk anthology, which was published by Four Walls Eight Windows in 2003. So when I was looking for a previously published, over-the-top "alien contact" story that involved another culture (Earth culture as opposed to alien culture), I immediately thought of Ernesto.

One final comment on Pulphouse Publishing:

My most prized set of books from them is The Collected Short Fiction of Robert Sheckley -- five slipcased volumes, signed by the author as well as the introducer of each volume. My set is #282 of 300. I haven't really thought about this set of books until now, so I did a web search just to see if there were any sets available "out there": I found a few hardcover sets like mine (the set was also published in trade paperback), ranging in price from $600.00 to a high of $1,240.00. Whew.

I bring up Robert Sheckley because if there ever was a witpunk, Sheckley is (was) it. And I have to believe that Sheckley's sardonic writing had a direct influence on both Ernest Hogan and Paul Di Filippo.

---------------
Footnote:

¹ Unfortunately, Cortez on Jupiter has been out of print for quite some time; it was originally published as a mass market paperback by Tor Books in 1990. This is another example in which a midlist author's books have gone out print long before their time. I would suggest to Ernest Hogan that he consider releasing the book in a variety of eBook formats as well as print on demand (POD). There are a myriad of cost-effective resources now available to authors for eBook and POD publishing.

E-Paper: A Precursor to Protean Paper

In my previous blog post on "accidental plagiarism," I included the full text of the story "How to be a Fictionaut, Chapter 19: Safety Check" by Ian Watson; the story was originally published in the April 1996 issue of Interzone. And if you hang in there with me on this blog post, you'll find the text of yet another story included in its entirety.

I was going to include the following entry in my month-end Links & Things, but I decided, instead, to dedicate an entire blog post to the subject....

As reported in the Asian journal Tech-On!, Sony Corp exhibited a 13.3-inch flexible electronic paper (e-paper) device at Eco-Products 2010, a trade show on green technologies held in Tokyo, December 9-11, 2010. This was the first time that the e-paper device had been displayed publicly. Sony evidently had little to say of this new device. However, Alan Henry, in an article for Gearlog.com, writes: "The [device] is designed to be a prototype for a gadget that could display images and text in high resolution and possibly someday replace traditional paper in a thin, flexible, and portable way.... Sony also didn't note whether the technology would be coming to any future product, but we can assume they wouldn't put it on display if they weren't thinking about it." Alan states in the article that he used to work in lab "helping design and test thin-film circuitry" that could be used to create "flexible displays that could be mounted on clothing or on other malleable surfaces like backpacks or briefcases."

Sony's e-paper, and Alan Henry's comment about flexible displays mounted on surfaces like backpacks and briefcases, all reminded me of a story by Paul Di Filippo entitled "What's Up, Tiger Lily?" This story was Paul's contribution to anthology The Silver Gryphon, which I co-edited with publisher Gary Turner (Golden Gryphon Press, 2003). The Silver Gryphon marked the twenty-fifth book -- as in the silver (25th) anniversary -- from the press and included contributions from all the authors who comprised the first twenty-four books. These authors included Kevin J. Anderson, Kage Baker, Michael Bishop, Andy Duncan, Jeffrey Ford, James Patrick Kelly, Joe R. Lansdale, Robert Reed, Kristine Kathryn Rusch, Lucius Shepard, Howard Waldrop, and others -- 20 authors/20 stories, with cover art by Thomas Canty.¹

October Links & Things

This is my monthly wrap-up of October's Links & Things; you can receive these links in real time by following me on Twitter: @martyhalpern. But in these month-end posts, in addition to the links themselves, I include more detail and comments. Note, too, that not all of my tweeted links make it into these posts.

• If you read short fiction, then you are most likely aware that, early last year, Sovereign Media ceased publishing Realms of Fantasy magazine. Warren Lapine and Tir Na Nog Press then purchased the rights to RoF and, after a few months hiatus, resumed publication with the August 2009 issue. I copyedited the next eight issues -- from October 2009 through December 2010, which has since become the magazine's final issue -- yet again, unfortunately. Warren Lapine has posted a Farewell Message explaining the magazine's demise. There are rumors of interested parties, one of whom may inevitably purchase RoF, but only time will tell if we will ever see another new issue. In the meantime, through the courtesy of the publisher, you can view/download the December 2010 issue of Realms of Fantasy. If you're not familiar with this magazine, I think you'll be surprised at the quality of the material, particularly the short stories. Enjoy! I'd like to take this opportunity to thank editor Doug Cohen: he respects his staff, which is most important, and every other month I could always count on the next issues' files arriving in my inbox on the specified date.

• Sheila Finch's novel Reading the Bones was the first major freelance project I worked on for Tachyon Publications. The book, published in 2003, was an expansion of Sheila's Nebula Award-winning novella of the same name, originally published in the January 1998 issue of The Magazine of Fantasy & Science Fiction. The novella is part of the author's Xenolinguist (aka "lingster") series of stories. The online Oxford English Dictionary (OED), credits Sheila with coining the term "xenolinguist" in 1988. Read more of the Xenolinguist series in her recent blog post: "The Evolution of a (Fictitious) Universe."

• During my one year as an acquiring editor for Fantastic Books, two of my acquired titles saw publication: Judith Moffett's long-out-of-print first novel Pennterra, and gonzo novel Fuzzy Dice by Paul Di Filippo, which had been previously published only as a limited edition by a British small press. [Note: I use the cover of FD as my icon for both Twitter and Fasebook.] John Berlyne has a review of Fuzzy Dice in the October issue of SFRevu: "Where he is most successful is in his depiction of abstract and/or abstruse ideas. He is able to convey these illustrative situations without straying into the surreal and it is a testament to Di Filippo's skill and imagination that he is able to share his visions with the reader with such extraordinary clarity."

• Before you start whining about all your rejection letters, about the fact that you're not some hugely popular author, you just might want to read Robert "Bob" Weinberg's account of his experiences in publishing and why Hellfire: Plague of Dragons may just be the best damn dragon art book you will never see.

Readercon Recap

As I wrote in a previous blog post, Readercon 21 was the official book launch for my anthology Is Anybody Out There? which I co-edited with Nick Gevers for Daw Books.

When I saw the programming schedule for the convention I became quite apprehensive: the book launch was scheduled for 2:00 p.m. on Friday, July 9. I repeat: a Friday afternoon -- a workday, following a three-day holiday weekend. When I shared my concern earlier that Friday with contributing author Paul Di Filippo, he essentially told me to have faith: he said the Thursday evening panels were well attended and Fridays have historically been well-attended at Readercon as well.

I had flown the JetBlue red-eye direct from San Jose to Boston, leaving at 9:10 p.m. Thursday evening and arriving in Boston around 5:30 a.m. Friday -- a five-and-a-half-hour flight, but the loss of an entire night. By the time I arrived at the Marriott and checked in, it was nearly 7:00 a.m. Shortly after arriving, I made my way to the convention area, and posted flyers that I had printed to advertise the book launch. I taped these to a couple con tabletops, spread them across the tops of three hallway console tables, and placed the remaining flyers in the freebie handouts section. I knew that con attendees would arrive Friday afternoon -- and most likely head straight for the dealers room; I wanted to catch their attention in time for the event.

I arrived at the meeting room for the book launch about fifteen minutes early. A panel was still in session, so at the 1:55 p.m. mark I opened the door and gave the panelists the "time" sign. With me in the hallway were a dozen other people whom I assumed --  hoped! -- were also waiting for the book launch. And if all twelve actually attended the launch, then I would be satisfied.

Well, by the time the event actually started, there were more than fifty people in the audience -- and standing room only. (I did a quick headcount and stopped after fifty, though there were still others in the audience.) What was even more rewarding to me, as the organizer and moderator of this event, was the fact that only one person walked out of the panel (at about the fifteen-minute mark) before it ended.

In addition to me and author Paul Di Filippo, contributing authors Yves Meynard and James Morrow were also present.¹

12 Stories Do Not a Collection Make

The big announcement last month concerned my friend Alastair Reynolds, author of the superb space opera novels Revelation Space, Redemption Ark, and Absolution Gap, among others -- all part of his Inhibitors-Conjoiners (aka Revelation Space) universe. According to the announcement and mini-interview in the Guardian, Reynolds has signed an unprecedented contract with publisher Gollancz in the United Kingdom: the contract calls for ten books over a span of ten years for 1-million pounds sterling [that's $1,620,660.00 as of this writing]. Congratulations, Al!

Al and I have worked on a couple of projects together over the past few years: a limited edition chapbook novella (Turquoise Days, Golden Gryphon Press, 2002) and a short story collection (Zima Blue and Other Stories, Night Shade Books, 2006). [I'd love to link to additional information on Zima Blue but all NSB editions are out of print.] And hopefully there will be another project in the foreseeable future. If all the authors with whom I've worked, or will work, had the professionalism, moral integrity, care and respect for others that Al Reynolds displayed during these two projects, I would be in editorial hog heaven.

With this new multi-book deal, Al no longer has to worry about sample chapters and outlines and pitches for his next book contracts (at least for the next nine years), he can now devote that time to the craft of writing. And we, his readers, will continue to delight in the fruits of his labors. If you're not familiar with Alastair Reynolds's short fiction, check out his story "Spirey and the Queen" available online (included in Zima Blue); and if you're into audio, Al reads his new story "Scales," his first military SF story, as part of the original Guardian Books Podcast series.

So, you wonder, why am I spending so much time chatting about Alastair Reynolds? Because I'm going to use his collection, Zima Blue and Other Stories -- and specifically how this collection came together -- as my example in this essay on short story collections.

In recent years I have noticed a trend among "young" authors -- particularly those published by small presses, and to be even more specific, the print-on-demand (POD) small presses -- to publish a new short story collection as soon as they've accumulated (and that's the correct word I wish to use) a dozen or so stories. If the writer is sufficiently prodigious, that could easily work out to a collection (or two) a year. As a point of clarification, I use the term "young" loosely here. Author William Gibson was thirty-six years old when his first novel Neuromancer was published in 1984; Lucius Shepard was thirty-eight and Jay Lake was forty when each won the Campbell Award for best new writer. In response to an age question on his blog, John Scalzi has written an excellent essay on why new, young writers are typically in their 30s when they finally get published; he even lays out his own writing career as an example.

I realize authors need income, and if they are primarily a short story writer, then a collection of said stories is one of the few (if only) income-generating options open to them once the stories themselves have been initially published. I understand the need, and the rationale, but...

In my tenure as an editor, I have worked on twenty short story collections; not a large number in the overall scheme of things, but not too shabby either for the small press business. I am referring to the full package here: working with the author to develop the collection, selecting the stories, determining story order, editing and copyediting the stories, and whatever else was needed to create the book. Authors included Kage Baker, Michael Bishop, Jeffrey Ford, M. Rickert, Lucius Shepard, Jeff VanderMeer, and, of course, George Alec Effinger, plus a handful of others. And though I'm far from being an expert on story collections (every author and every book always has something new to teach me), I have had a wee bit of experience.

Often, an author and/or the author's agent would send me a manuscript consisting of a predetermined set of stories and word count. In every instance I worked with the author to change the contents list and increase the word count. This was necessary because the author and/or the agent included weak stories and insufficient word count. However, had those manuscripts been sent directly to a POD press, they undoubtedly would have been published as is; possibly with little, if any, copyediting (and certainly no editing), which, depending on the press of course, is typically the responsibility of the submitting author.

What happens is, the author floods his own market with his short fiction collections. Each collection, without doubt, contains excellent, maybe even great, stories; but each collection also contains one or more stories that should not have been included in that particular collection, or should simply not have been collected -- ever. Consequently the author (and publisher) ends up with a good collection -- but not a great collection. The collection garners a couple or so reviews if the author is lucky, but nothing memorable comes of the book, and it is all too quickly forgotten. All the author's hardcore fans will most likely purchase the book, but beyond that? Sound familiar? I'm sure if you are a reader of short fiction, and short fiction collections in particular, an author or two comes immediately to mind.

As an acquiring editor for Golden Gryphon Press, I first contacted Alastair Reynolds via email on April 16, 2001, regarding a short story collection. Al had already published about sixteen stories as well as his first novel, Revelation Space. (Second novel, Chasm City, would appear about three weeks later.) At this point in time, I had read quite a few of Al's short stories: "Digital to Analogue" (In Dreams, edited by Paul J. McAuley and Kim Newman, 1992), "Spirey and the Queen" (Interzone, June 1996), "Great Wall of Mars" (Spectrum SF #1, February 2000), "Merlin's Gun" (Interzone, May 2000), and "Hideaway" (Interzone, July 2000). There was no doubt in my mind that Alastair Reynolds was going to be one of the preeminent SF writers in the years to come, and I wanted to be the first to snag a collection of his stories. Unfortunately, I was too late...

Al responded the following day. In the email, he raved about Golden Gryphon Press books (he said that he had just obtained a copy of the Robert Reed collection, The Dragons of Spring Place). Unfortunately, Al also informed me that about a month earlier he had made a commitment to publisher Night Shade Books for a short story collection. But here's the caveat: Al told me that he suggested to Night Shade that they wait another year or two for the collection to ensure he had a "sufficiently good core of strong stories to justify a collection." So Al chose to delay his own collection by at least two years (waiting a minimum of one year and publishing the book the following year) -- even though two small presses were clamoring for a collection now -- because he wanted to ensure a quality collection. Shocking!

I've had authors turn down my solicitation for a short story collection for a variety of reasons: they had promised a collection to another publisher (others authors, in addition to Al); they planned to include a collection as part of their next contract negotiation with their NY publisher; they could make more money with another publisher; or they were just too busy now to even bother. I've had an author respond that they passed my inquiry on to their agent, who then completely ignored me -- even after follow-up emails; some professional courtesy would have been nice, even if their response was simply to tell me to just go away. But I've never had an author turn down a short story collection because they felt they didn't have enough quality fiction to be included in the book. You have to understand my surprise because the five Reynolds stories that I mentioned above totaled nearly 65,000 words. And he had another ten or so stories in addition to these. Certainly enough word count overall, and the quality of these five particular stories was not to be questioned.

My follow-up email to Al that same day was a hardcore sales pitch. I did all I could to place Golden Gryphon in the spotlight and even suggested two different collections to Al so that both publishers would be satisfied: one collection now -- for Golden Gryphon, of course -- and a second collection in a couple years for Night Shade. Al's response? He still insisted that he didn't have enough strong stories and that he wanted to wait for another year or two, but he did like the idea of two collections, broken out by his "future history" stories (a la Revelation Space) and his other stories. I expressed my enthusiasm for either collection -- though I had a definite preference at the time for the "future history" stories. [Remember this two-collection idea for later reference.]

Fortunately, Al and I continued our email dialogue. But I'm no fool, and I anticipated Al's increasing popularity in the field, so in a May 10, 2001 email, I posed the following scenario: In a year or two from now, when Al (and Al's agent) is negotiating a new contract, his UK publisher, Gollancz, asks for a short story collection. What does he do now that he has already committed (albeit only verbally, but one trusts Al on his word) to a Night Shade Books collection? And though I didn't bring this point up, I was also concerned that Al's contract with Gollancz included first refusal rights, which would mean they would have first dibs on any collection proposal. That collection might not interest them now, with Al having published only two novels as of 2001; but what about one or two years from now? Thus my concern for delaying said collection.

In Al's response the following day, he wrote: "The points you make are good, and I can appreciate your argument about moving sooner rather than later. From what I can gather, though, there's not much enthusiasm among the mainstream UK publishers for short fiction collections, so I suspect this won't be that big an issue. Gollancz have never once mooted the possibility, or showed any interest in my non-novel activities. I suspect they'll be happy just to deal with novels from me (and if the current book stiffs, they may not want to talk novels either...!)."

I, in turn, responded to Al that I think he underestimates himself, given his newness in the field (only two novels to date), and referred to UK authors Stephen Baxter and Greg Egan (actually Australian but published in the UK), both of whom have had highly touted short story collections published by "mainstream UK publishers." Regardless, Al and I agreed to postpone any further discussion on a collection until after he completed work on his third novel.

Fantastic Books Acquisitions

In a previous blog post I announced my new working relationship with Warren Lapine and his imprint Fantastic Books. Well, since that annoucement was released to the press on February 3, I just wanted you to know that I haven't been resting on my laurels (what a ridiculous phrase -- this particular genus of evergreen contains black berries, not something I would choose to rest on!).

Here is a list of titles, and authors (in alphabetical order), that I have acquired reprint rights to for Fantastic Books:

Paul Di Filippo
Fuzzy Dice

Judith Moffett
Pennterra

Kristine Kathryn Rusch
The White Mists of Power
Facade
Heart Readers
Traitors
Sins of the Blood
The Devil's Churn
The Fey #1: Sacrifice
The Fey #2: Changeling
The Fey #3: Rival
The Fey #4: Resistance
The Fey #5: Victory
Alien Influences

Dean Wesley Smith
Laying the Music To Rest

In addition to these authors, I am also in talks with four others, who shall remain nameless until (hopefully) contracts are signed.

Our goal at Fantastic Books is to help authors make their out-of-print backlist available once again, so that the authors generate some income from the sale of their titles (whereas authors make nothing from the used book market).

I'm looking for OOP backlist genre fiction, preferably novels, but I will also consider collections (especially if you have been recognized for your short fiction) and even previously unpublished fiction. If you are an author and have out-of-print work that you would like to see in print again -- or new fiction in search of a POD publisher -- please do contact me.

Tweet This