18th November 2009: New coat, also old coat

One day in the autumn of 1996, I bought a five pound bus pass that, in those days, enabled one to take buses all over the north-west. Since Kendal had a shoe factory, it was cheaper to take the bus to Kendal to buy shoes than to buy shoes in Lancaster — about half the price in fact. I did this — I went to Kendal and bought a pair of sandals. Then I got on another bus and went to Keswick. Feeling a little chilly, I went into an army surplus store and bought a dark gray Swiss army surplus greatcoat for ten pounds. I hadn’t been planning an expedition to buy a coat, but I felt smug that I had bought sandals, a coat, and had a walk around Derwent Water all for less than the cost of buying sandals in Lancaster.

The sandals have long since disintegrated, but I’ve worn that coat every winter for the last twelve years. All the buttons have fallen off at different times and had to be reattached. The cuffs have torn. It’s horribly shabby, the way things are when you wear them in all weathers and every day for years. But it’s also long and wonderfully warm, and in its own odd way stylish — it has been described as Stalinish chic, but there you go.

The last two winters I’ve been thinking I ought to replace it. On occasions where I’ve wanted to look less scruffy I’ve worn my gorgeous microfibre leaf pattern coat that James Nicoll gave me. That’s warm, but it’s also short — my greatcoat comes down to my shins, and also buttons up to my chin. But every time I’ve thought about replacing the greatcoat, I’ve failed to find anything that’s as nice. Everything I have looked at fails to match it. So I’ve kept on wearing it as it’s got older and shabbier, because even with ragged cuffs and non-matching buttons (some usually hanging by a thread) it was just better than anything else.

Today, when I came back from going to the bank and shopping, my downstairs neighbours had decided to use loud machinery outside my study window to tear out the parking spot. I’m generally in favour of it being returned to grass, but I would have liked some warning. I put the shopping away and went straight out again, as it was too loud in here to hear myself think, never mind think about Brokedown Palace. I didn’t actually have anything sensible to do, but I went round in a loop to CocoRico to buy some Portugese barbecue for dinner.

On the way, I passed the army surplus shop on St Laurent. I went in. Now I do try not to replace everything with an identical thing, because left to my natural inclination this is what I would always do, and it’s easy to get obsessive about it and it isn’t healthy. I’m bad enough with DOS computers and denim bag. I hate buying clothes, and I always tend to buy the same kind of thing, while trying to vary it a bit. Z’s girlfriend A, when shopping with me, despaired that I wanted something different but I wouldn’t buy anything that wasn’t the same because I didn’t like it. Yeah. Problem. I know some people love buying clothes, and buying clothes that are different from their other clothes, but not me.

Anyway, I have looked in plenty of army surplus shops between 1996 and now, without seeing my greatcoat including the one by St Laurent metro — last winter they had some but only in very small sizes. But today they had one in my size — slightly different lining, and the buttons look more securely fixed, otherwise identical. I bought it. I didn’t hesitate. My coat. My coat, new, renewed, reborn, risen again hosannah.

The usual trouble with buying something excellent and long-lasting is that when it does eventually need replacing the company who made it have gone out of business because they couldn’t keep going all that time without my support. I’ve been seeing this recently with kitchen things — a lot of my better kitchen things I bought in 1987 when I bought my house in Lancaster, and they’re wearing out. But the Swiss Army, having designed what’s close to being the platonically ideal greatcoat, haven’t changed it, and are still selling off their surplus. It cost $65, which is more then ten pounds but still incredibly cheap for a new Montreal-winter-quality coat.

In another ten years or so I’ll buy another, unless we’ve invented nanotech clothes by then, in which case I’ll buy Ellen Mae’s Swiss army coat from The Cassini Division, the one that changes into a spacesuit or a balldress. But when I go out in winter, this is what I’ll have it set for.

Posted in Life as it blossoms out in a jar or a face

1st December 2008 44 Today

Which seems like a nice round number.

I went out for dinner with Rysmiel on Saturday, we went to Kashima and had some nice sushi and a delicious grilled hamachi neck. Last night I went out with Zorinth and his girlfriend to Stash Cafe an awesome Polish restaurant in the Old Port, perhaps five minutes walk from where next year’s Worldcon is going to be held. We had a vodka sampler — three vodkas between the three of us, the winner was definitely Chopin for all of us, but the others were also complex and interesting and went with the food very well. Then we had awesome borsht with sour cream, salad (OK, Z’s girlfriend ate my salad) and I had wild boar in a rich sauce with sour cream, Z had the platter of assorted Polish delicacies, which is what I would have another time, and his girlfriend had cabbage rolls. We finished up with apple and peach strudels. And Z, as he had offered, and entirely uncomplainingly, paid half. It’s lovely having a grown-up son.

I opened my presents when we came home, because today is complicated and I wouldn’t have been able to open them with everyone until very late. My best present is still definitely the comfy chair.

Novels

Half a Crown, Tor, October.

Ha’Penny in mass market paperback, Tor, August.

Short Stories

Remember the Allosaur, Lone Star Stories, August.

Poetry

Sibyl, Lone Star Stories, June.

Translations

Farthing in Spanish, Hungarian and Japanese.

Also finished and sold this year but not yet published

Still Untitled ILE, coming from Tor sometime…

“Escape to Other Worlds With Science Fiction”, going to be at Tor.com in January 2009.

Poetry collection Sibyls and Spaceships coming from NESFA in February.

Pending From Previous Years

“Three Twilight Tales” in Firebirds Soaring which is now due out in 2009.

Lifelode, coming from NESFA in February 2009.

In Progress

Our Sea

Serenissima

Annoying SF thing.

Awards

Prometheus Award, Ha’Penny.

Award Nominations

Ha’Penny

Shortlisted: Sidewise Award, Lambda Award.

Honourable Mention: Sunburst Award.

Posted in My Books

23rd November 2008: The Bacchae

Last night we went to see a production of The Bacchae at McGill.

I’ve wanted to see The Bacchae since, oh, since I read The Mask of Apollo, so let’s call that an even thirty years. It’s not performed very often. The audience last night were an interesting mix of people who’d also clearly wanted to see The Bacchae all their lives and friends of the actors. The stage was pretty much circular, and the seating was chairs set up all around it with spaces between. The action took place in all the spaces, there were times when there was a whirling chorus of maenads weaving between chairs. This is a very kinetic production, very powerful, amazingly choreographed. The actors are all very good, especially those playing Dionysos and Agave. It’s well worth seeing, and it’s on again Wednesday to Saturday next week. I may see it again — it’s only $10.

The play is about the introduction of the worship of the new god Dionysos, god of wine, madness and inspiration. He comes to Thebes, his mother’s country, and those who refuse to worship him he drives mad. It’s cleverly paced so that in the first part you have the invitation, then the rejection, then the madness first of Pentheus and then of his mother Agave who has literally torn him limb from limb. (Offstage, but she comes in covered in blood and carrying his head, which is quite enough.) Dionysos is quite terrifying. Our sympathy is directed to him at first, when he is imprisoned, and Pentheus refuses to listen, but his revenge is quite implacable. This is a god unlike our conception of gods. I was thinking that especially with the imprisonment and the fetters breaking — it’s like Jesus being imprisoned before the Crucifixion, and it’s even more like the bit in Acts where Peter walks out of prison, except that it isn’t at all. This is a god who would laugh at the concepts of forgiveness and atonement. This is a god with a mortal mother who has come to offer a specific good and if it is rejected isn’t going to take that. You could really play up that contrast — they didn’t, this is all in my head, but you can count on a modern audience having some knowledge of the Passion story, and you really could.

One thing I didn’t like in this production was the chorus, which was done very rhythmically and in chorus. I liked their movements and dancing, I liked how they transformed from a chorus of maenads to a chorus of soldiers, but I didn’t like their chanting delivery. I’d have liked to have had their parts done as songs, as loud rock songs. I can imagine a very interesting film in which Dionysos is like Elvis with his music and wildness seducing the respectable matrons of the small town his mother left, with explicit Jesus parallels and where your sympathy is all for the people going to hear the music until they start ripping people to shreds. Talking about that afterwards Z and I came up with actual existing rock songs you could use for that.

And from that, I thought of Chocolat. (I’ve only seen the movie, not read the book, and I saw the movie on DVD a little while ago.) Chocolat is, plotwise, The Bacchae, except with chocolate instead of wine. Now that’s a perfectly sensible thing to do. There are only so many plots, and this one isn’t overdone. The chocolate is explicitly magical, she’s explicitly a demigod, driven on the wind, she comes to the town and opens the chocolaterie and they reject it. But it isn’t The Bacchae quite, because it’s cheapened by being sentimentalised, and by having a sentimental happy ending. That ending is made possible by the concepts of forgiveness that have run so deeply through Western society in the last couple of thousand years. And that’s a good thing, I mean forgiving people and all being friends is actually better for society than rending people limb from limb — well mostly. But it doesn’t make for such good art, because you get tragedy free, people’s brains are wired for tragedy, but you have to make them buy eucatastrophe. You have to earn it, and Chocolat doesn’t, for me anyway. It should end with a wild chocolate bacchanal, instead of a tame one.

The Bacchae is brilliant though.

Not even Necessity knows all ends,
the gods brings the unthought to be,
as here we see.

Posted in Theatre

18th August 2008: Epic Denver Trip Report

Nobody knows all of this story but me. Parts of it are common knowledge, and other people know parts of it, but this is the story of a journey I took alone. It’s my story, and yet it isn’t a story at all, it’s the truth. It isn’t the whole truth though. There are other people in this story, and I learned long ago that telling the whole truth where other people are concerned is usually a terrible idea.

Traveling alone is different from traveling with other people. There’s nobody there to encourage you when things are difficult, nobody to share jokes with, nobody to stay with the stuff for thirty seconds, but also nobody to irritate you and distract you and complain when plans change. I always like travel books best that are written by somebody venturing out with no companion. This was the first long trip I’d made alone for a very long time. I am good at travel, even though I don’t do much of it. It’s like one of those skills you put points into in character creation and then never use in play.

I set off from home on the morning of Saturday August 2nd, 2008. Rene, my next door neighbour and next year’s Worldcon chair, drove me to the station. He did this because he’s a very nice guy, but also because I was carrying a bottle of ice cider and a bottle of maple whisky for the post-Hugo party. He figured out that if he got everyone local to carry a litre of alcohol, nobody would have to pay duty.

I got to the station in good time, and onto the first train, the Adirondack, which left at 09h30. I had ribs with me from CoCoRiCo and bread from Premier Moisson and water from the tap. The US border was no problem, with already having a visa. After the border the train runs along Lake Champlain, and it’s lakeshore and trees and distant views of Vermont all the way to Schenectady, where we came in about an hour late. I was supposed to have two and a half hours to wait, but it turned out to be just about an hour and a half. It was long enough for an enormously pregnant Kate Nepveu and Chad to come down to meet me. We went out of the station across the road and I had some sweet potato fries and iced tea in an Irish pub. We had a good time hanging out and talking, then we went back into the station and waited for my next train, the Lake Shore Limited.

The Lake Shore Limited is an in-between train. It’s an Eastern train, not a Western train. It has only one level and no viewing car, but the seats have leg-rests so people can sleep. I started off at Schenectady with two seats to myself, but at Rochester a church group of teenagers got on, and one of them sat by me. A different one got in trouble for getting off to smoke at Toledo in the middle of the night (it’s always the middle of the night in Toledo) and they kept running up and down the aisle and teasing each other. I ate more ribs for supper, and more again for breakfast. We made it into Chicago not very late, and I met up with Ruthanna & Sarah Emrys and Cally quite easily.

This was Sunday morning, twenty-four hours from home. Twenty-four hours is a long way. America is big. You probably knew this, and so did I, but now I really know it down to my bones.

We went to the Field Museum, which has the most awesome exhibit on evolution you might ever want to see. They have a Burgess Shale animation — like a fishtank but with Burgess Shale creatures — and lots of dinosaurs. They also had an exhibition of mythical animals which was great. I wished Z was with me, because he’d have loved it. I felt slightly guilty for having taken him to the Art Institute last time we were in Chicago. Then we went back to the Emrys house and ate some delicious salmon and hung out and talked. Then I slept in their spare bed, which was wonderfully horizontal. I spent the morning online, and then chatting, and then picking up some brie and soft pretzels and grapes in Trader Joe’s for the next stage of my journey.

Chicago Union Station is practically the only real station in America. This is an exaggeration, but it’s one of the few stations that has lots of trains leaving all the time and they’re not mostly commuter rail. Denver station, for example, has two trains a day, the California Zephyr once in each direction. Chicago Union Station feels like a great Victorian railway station. It feels like a hub, and it is a hub. Unfortunately, it’s the only hub Amtrak has, which is odd, when they have such a large country to run trains in. I’ve mentioned before that they’re not running a system, only trains. Their trains are great. Their system is… weird.

The California Zephyr is supposed to leave Chicago at 14h00. Only they call it 2pm. Among the other things Amtrak don’t have is 24 hour time. This is especially weird in a company running trains that run west for three days before getting to California. Denver is about half way.

Trains west of Chicago don’t have power outlets. Well, let’s be specific, they have one, in the middle of the observation car. They have an observation car. They have a dining car. They have ice water in every carriage. They’re very very comfortable, and they have a top speed of 80 mph.

Illinois has more cornfields than I can quite believe. I was starting to get worried about all those barbeques and popcorn machines, when someone I was chatting to explained that they use maize for oil, for fuel and for high fructose corn syrup. We came to the Mississippi, the border between Illinois and Iowa, in the early evening. It had flooded, and there were a lot of flooded cornfields, with some broken flooded houses. I hope all the people whose houses they were are safe with relatives and have good insurance. We crossed the Mississippi with some children daring each other to spell it. (“You said pee-pee!”) I stayed in the observation car watching the sun set over Iowa (more cornfields, with some soybeans) and writing my acceptance speech for the Prometheus Awards.

The California Zephyr was full, every seat taken, which meant that when I left the observation car for my seat and discovered that my leg-rest didn’t come up, there was nothing to do about it. I slept very badly. I had breakfast in the dining car with Steve Miller and Sharon Lee, who had a sleeper and were very comfortable, and we got into Denver about three hours late. Clark Myers met me at the station and showed me the way to my hotel on the free bus. In the hotel, I had a shower and napped all afternoon on the bed that was horizontal and not moving anywhere.

I woke up in time to wander through the Hyatt lobby to see if I could find anyone wanting dinner. I saw a number of people, but they all had plans. I had a great conversation with Robert Silverberg, who was on top form. There’s going to be a French film of Dying Inside, and not only that but it’s being reprinted (by Tor!) along with The World Inside. He has no objection to my characters discussing it in ILE. I also saw Charlie Stross and said hello. I went and grabbed a burger by myself, then went back to the hotel where Bill and Kelly Higgins were just arriving. I went out again to watch them eat dinner, and we ran into Eugene Heller.

Wednesday I was up early, had breakfast and hung out awhile before Registration opened with Tom Whitmore, this year’s fan GoH. Then I registered and we hung out some more and checked where everything was going to be. I had an 11h30 Tolkien panel and a 13h00 reading, and had a panic when I found out that my reading was scheduled to be in two different places at once, and dashed around from the green room to Ops trying to get that sorted.

The Tolkien panel was pretty good. David Louis Edelman is an incredibly smart guy. (N.B. Must read his books.) We talked about reading LotR before they were all out, and before they were a phenomenon in the US, and before The Silmarillion was out, and we talked about the pirate editions and the phenomenon, and about reading them as kids. Ed Meskey on the panel and Wombat in the audience actually remembered the pirate editions and all of that. Pretty cool.

I went to my reading very unsure that anyone would be there at all, and found about 20 people. “You must be the most organised people in the convention,” I said. Carl Rigney went off to get me some water — Denver’s a mile high. I had no altitude problems at all, probably because of coming on the train, but I had a terrible time with dehydration. Fortunately, the con gave everyone water bottles, or “fan hydration devices”. I read the first chapter of Half a Crown, and then the first chapter of ILE — which remains untitled. Everybody loved it. I mean they quite enjoyed Half a Crown, but they loved ILE. Look for it from a Tor near you sometime next year or the beginning of the year after. It’ll have a title by then. Maybe Fairies and Librarians.

Then I went to find Elise to see if she needed any help, and hung out at her table for awhile. At 14h30, or a little before, I headed down to the room where the Prometheus Awards were being held. I saw Harry Turtledove there first thing, and we decided to grab some dinner together with his family a little later. Harry’s such a nice guy, and so interesting to talk to. Then they had the awards, and I gave my speech. It was pretty much the speech I wrote last year and posted here, but I did add some specific stuff — the line I worked on was “I’ve had a lot of disagreements online with Libertarians about such things as a national health service and handicapped parking spaces. But you giving me this award clearly shows that when it comes to some very important issues, our hearts are in the same place.” I also mentioned being the first woman to win it. It’s a very fine ounce of gold, with the word “Liberty” written on it, affixed to a plaque with details. Very cool. Afterwards they took photos, and then offered to take us to dinner — but at 19h30, which is very late for me to eat, and too late for Harry, so we declined. I can’t find any of the photos online, but maybe I’m looking in the wrong place. So Harry and his family and I had a nice dinner, and then I went to the Scandinavian party, where I met up with Cenk and (briefly) Andrew Plotkin and some other friends. Then Elise dragged me off to the bar to hang out with the Viable Paradise crowd, which was lots of fun. I got to bed at a reasonable hour.

On Thursday morning I woke up early and wrote a post for Tor.com. I was just posting it when PNH started talking to me in Gmail chat asking if I was up and wanted breakfast. I said I was, and we collected some breakfast at the Corner Bakery and took it back to TNH in their hotel room. After some breakfast and conversation I wandered over to the convention center with Patrick and had half the conversation I wanted to have with him about ILE. Then I went to my 10h00 Kaffeeklatch.

Now the way the Kaffeeklatches were organized was sub-optimal. Kaffeeklatches are a great thing, they’re a way to hang out with a writer for an hour and chat in a small group. I always enjoy them. Because of the small group bit, there’s a sign up sheet. At Denvention, you couldn’t sign up until the day of the kaffeeklatch, and not before 09h00. I sort of understood why they did it that way, because otherwise people who got there early would sign up for all the popular authors at once. But there was no way for me to know in advance if anyone would be there, and I felt that maybe people wouldn’t get out of bed on the offchance of getting to talk to me for an hour, whereas they might if they knew they could. However, I took chocolate and felt confident in seeing David Goldfarb and Carl Rigney.

As with the reading, I needn’t have worried. It was full. There was a nice mix of people I knew, people I knew online, and total strangers. It was great. I had a lovely time, and I hope they did. And the thing they did with their kaffeeklatches that was much better than Glasgow was that they were in a reasonable sized room (with a ceiling!) with decent acoustics.

I had a signing at 13h00. I hadn’t asked for a signing and didn’t want one. I hate signings. I always sit there doing nothing and feeling like a dork while the people next to me have long lines. I don’t mind signing books, but I prefer doing it in a reading or a kaffeeklatch or just randomly as I’m walking along. However, they’d put me down for one, and I didn’t want to disappoint the three people who’d want signed books, so I went along… and there was a line. I was signing for about forty minutes solid. I’ve never had that experience before. I’ve obviously hit some critical mass in terms of number of books or something. Very cool.

Then I went to lunch with Beth Meacham and Jon Singer, which was just lovely. Beth had read ILE and had some very perceptive things to say about it. We brought back some dessert for Elise and I stayed at her stall for a while as she got some stuff done, colour matching people.

I had dinner with Kate Elliott and Michelle Sagara and her husband. That was fun. Afterwards Michelle went off to the SFWA suite and Kate and I hit the parties, where we ran into Joyce at the Reno party and had an interesting conversation about Kathleen Norris, author of Through a Glass Darkly, the weirdest book in the world.

Incidentally, I disapprove of the SFWA suite. It sucks authors and editors out of the general convention, to everyone’s detriment. I appreciate that the same is the case of any specific group suite and that people want to hang out with their friends, but they could have a party for that, one night, the way most groups do. A suite that’s there all convention and where they retreat when they’re not performing helps to perpetuate an us/them thing between writers and fandom that I don’t like to see. I think the absence of a SFWA suite equivalent is one of the things that makes British conventions and smaller US cons friendlier and more fun.

I got back to my room at a reasonable time to go to bed, and talked to Bill and Kelly until a quite unreasonable hour. It was a great conversation though.

On Friday I had a ten o’clock panel on Canadian SF. I took my copy of Lady of Mazes, which I happened to be reading, and propped it up on the table to represent the absent Karl Schroeder, who couldn’t make it to the con for health reasons. As I was putting it back in my bag afterwards, I realised that this is the only time I’ve ever put a book up on the table like that! Some interesting things came up in the panel. Rob Sawyer has left Tor because they won’t pay him more or make US and Canadian book prices the same, although the dollar is at par. He now has separate Canadian and US publishers. I wonder if we’ll be seeing more of that kind of thing. I know I’m really noticing the 25% pay cut because of being paid in US dollars. He also said the reason there are proportionately more Canadian SF writers than American is because Canada has a health service. When talking about great Canadian SF writers, Christian and I competed for the number of times we could mention Yves Meynard, and I also mentioned Candas Jane Dorsay rather frequently.

Then I had lunch with Farah Mendlesohn, Graham Sleight and Karen Burnham. (Thanks, Graham!) This was to talk about the Anticipation program, but we also talked about reviewing and awards and all sorts of things. We found an adequate Vietnamese place, of the kind there are twelve within two blocks of the Anticipation convention center. The food was fine in Denver, but it will be better next year.

I was going to go to a panel I wasn’t on, but I checked in with Elise and she wanted to go to the art show, so I watched her table for a while, and had fun colour matching necklaces and people. Then I went to the Sidewise Awards, arriving only just on time because I was confused as to which hotel they were in. They were at the Sheraton. There was a little discussion about alternate history, and then the awards were presented. The Yiddish Policeman’s Union won, as we all knew it would, and Kristine Kathryn Rusch and Michael Flynn tied for short form. I hung around talking to KKR and Sheila Williams and Steven Silver for a while, and then took the free bus back to the Hyatt where I was meeting my dinner group.

There was too much space between things at this convention. The convention center was huge and we were only using part of it, and the hotels were quite a long way apart. It was mostly hot, though sometimes it rained, and I tended to get very tired.

I had dinner with Madeleine Robins, Elise, and Ellen Klages in a sushi place. Again, great conversation. Afterwards we bought chocolate at the Rocky Mountain Chocolate Factory, where we had excellent and well informed service. Elise bought a chocolate apple covered in stars for the Making Light party, whither we all repaired.

The Making Light party was full, and fun, and I was too tired to really appreciate it. There were wonderful chocolates made by Xopher, and odd things to drink, and lots of people I never see enough of, and I was just sitting in the corner practically falling asleep. I eventually gave in and went to bed, without even trying to drop in on the Tor party.

Saturday morning I had the “Social Control Technology: You Controlling Society Controlling You” panel. That was odd, but turned out pretty well. The thing with putting me on random panels is that I can talk about lots of things. We talked about how people make stories to control the narrative and that the way people look at facts is conditioned by the story they’re telling. There’s a pretty good summary of the panel here.

Afterwards I looked around the dealer’s room, and then hung out at Elise’s table (where all the cool kids are) until lunchtime, when I went off with Pat Wrede for lunch at the Corner Bakery. Pat Wrede is one of my favourite people, and she gives the best writing advice in the world. She told me how to fix Our Sea, and we’re going to do a writing game, just for fun, and we talked about her new project and just had the best time. We hung out all afternoon. It was great. This was one of the highlights of the con.

I only left because I had a panel — the poetry panel. I’d found out that morning that we were supposed to read some poetry as well as discuss some, so I ducked back into the room and quickly downloaded some from my LJ memories so I’d have some. We talked about poetry for a while. All the others — Geoffrey Landia, Mary Turzillo and Elissa Malcohn — were SFPA people, and seemed to have a very different view of publishing poetry from mine. They published in journals and applied for contests all the time. I had the feeling they, very politely, thought I was a bit weird. All the same, when it came to reading poems it was great, everyone had lovely work to read, and I especially enjoyed Mary Turzillo’s, because I hadn’t come across her at all before.

I had to dash off because I had another panel directly afterwards, the “Editing and Being Edited” panel, where we mostly talked about copyediting.

After that, I went to get changed and help with the set-up for the Hugo Losers Party. I delivered my bottles and said I’d do anything I could do sitting down, and at first that was trimming ribbons, and later spreading cream cheese on about a million pieces of pumpernickel, while Ctein put salmon on top. (“We’re like a well oiled machine. With fish oil.”) Then I helped cut a million slices of cake. I didn’t mind missing the Hugos, as I had fun hanging out. We got the results from Christian about thirty seconds after they were over. Then all the winners and losers came to the party, all looking very splendid, and that was fun. I saw lots of people and had a great time. I had a very late night.

Sunday morning I hung out a little with Pat Wrede and Lois Bujold in the Green Room, and then went off to my 10h00 panel. I was moderating. I started “Welcome to the 10am Women Who Read Heinlein panel, to be followed by the 11am Men Who Read Heinlein panel, the noon Kids Who Read Heinlein panel, and the 1pm Little Green Furry Aliens Who Read Heinlein panel, because really, anything else would be sexist.” However, go me, we had a Heinlein panel that did talk a little about sex and incest, but never got onto either guns or politics. We also stayed generally positive and upbeat.

I had another panel right after, “Telling Lies for a Living”, with Connie Willis, Jay Lake and Bill Mayhew… and I wasn’t at all sure what that was supposed to be about. As it turned out we talked about the difference between fiction and lies, and the things nobody would believe, and again, the way we shape our experience with stories. Connie Willis used to write True Confessions stories. Wow. There were a lot of laughs, but it was a much more serious panel than I’d imagined beforehand. I enjoyed it.

And at that point, the con was essentially over. If that seems a little abrupt to you, it did to me too.

I helped Elise for the last hour of frantic selling, and then I helped her pack up and get her stuff back to the hotel. Then we hung out for a while talking, and went out to dinner with PNH & TNH, and I managed to have the other half of the conversation I wanted to have with Patrick, so that was good. We had dinner in a terrific German restaurant recomnmended by Jon Singer, where all the food was just stellar. Then we went back to the bar in the Crowne Plaza for a little while, and I retired to bed early because I was falling over.

In the morning, Monday 11th, I got up early and packed and had breakfast with Bill and and Kelley.

A note on packing. Packing for a two week trip that included so many trains and five days at a convention with two semi-formal events (Hugo losers and Prometheus) plus books for two weeks, isn’t easy. I managed it with just my pack (Milletts, 1983, highly recommended) a food bag and denim bag, which is what Americans would call a purse. I took three pairs of trousers, one of them always on when traveling, one skirt and one dress, plus a sufficiency of shirts, many of them silk for packing smaller. I also took a sufficiency of underwear. I thought about taking less and doing laundry, but couldn’t figure where it would fit in. Playtex used to pride themselves on making an eighteen hour bra. Nobody has ever claimed to make a 48 hour bra. I knew that I’d be doing 48 hours on the train without a chance to change clothes, and decided to go for an old bra.

After breakfast, I loaded my pack into P&T’s car, and we went off into the Rockies to have lunch with Clark.

The Rockies are a very abrupt mountain range. From Denver, they look photoshopped in. The Front Range appears to leap up to snow-heights from a totally flat plain. I’ve never seen anything like them. Up in them, they’re lovely mountains, sandstone with a lot of volcanic bits, firs, aspen (great trees) and lots of ground vegetation and sticking out rock. I’m very glad I had the chance to go up into them, but in them they’re not as bizarre as they are looking at them from the city. It was wonderful to have a destination, and to see Clark’s cabin and hear the cicadas and see a hawk swoop through in the gulf of air in front of us, almost close enough to reach out and touch. We had a very pleasant morning there, and headed back after lunch so people who were flying could make their flights.

They dropped me at the railway station at about 13h00. The California Zephyr was due to leave at 20h15. I’d just had a con full of intense socialising, and I wasn’t scheduled to talk to anyone for two whole days. I felt a little lonely as I walked through the utterly deserted station. I left my pack at the left luggage office — OK, it wasn’t called that. I left my pack with some Amtrak baggage person. He didn’t charge me anything. I went back out onto the 16th Street Mall, realising I could take the free tram back up to the bit of town I knew. There was also a bookshop right there. I went in to breathe some soothing air of bookshop, and right away saw Eugene. About five minutes later, I ran into Geri Sullivan, who I’d barely seen all convention. We sat down and had a cold drink and a chat and arranged to meet for an early dinner before my train.

I went off in search of food for the trip, and found a very nice deli where I got enough for the next day. Then I went to Peets where I had a pot of tea and some free WiFi and wrote another post for Tor.com until it was time to meet Geri. We had dinner and talked about the my poetry book she’s editing for NESFA — we’re thinking of calling it Sibyls and Spaceships. Back at the station I ran into Steve and Sharon again, and also some people I’d met on the trip out, who showed me their photos of the mountains. The train was slightly late, about half an hour.

Denver to Chicago remains full of corn, with the occasional soybean for variety. John Denver is the only music for the way the distance is out there. There were white cranes in the floods by the Mississippi. I saw hawks, and deer, and lots of poddys, and prairie dogs right by the side of the train. I’d only seen them in the Biodome before. I read. I slept — better than before, my leg-rest worked. I wrote another post, and a reply to a letter from Pat, and worked on the Farthing Party program. There was still only one plug, but a technically minded young man who had gone the other way to San Francisco and was going back had bought a cable splitter so three people could plug in their laptops. The train got late, and later. I was supposed to have a four hour layover in Chicago, but I started to worry.

My four hour layover became a ten second sprint. I made it onto the Capitol Limited (don’t Amtrak trains have lovely names?) just in time. I found a seat with a working leg-rest and read and slept on and off all night. It was dark by the time we were out of Chicago. We were twenty-four hours from Denver. We went through Toledo at midnight, as usual. I missed all the stuff that was the same as the Lake Shore Limited and woke up when we were just coming in to Pittsburgh, at about breakfast time.

Pittsburgh is the only place in North America that looks like where I come from. It may not be the only city on more than one level, but it’s the only one I’ve seen. I like it.

I was out of food, except for chocolate, and parsnip crisps, so I went to the breakfast car. Amtrak do this thing where they seat you with other people. I like it. You get to chat. This time I was seated with an elderly man who introduced himself as Moss O’Connor, and his grand-daughter. They’d just got on and were going to DC for a few days. They asked where I was from and where I’d been and where I was going, and we talked about the river we could see from the window and the route the train took, through West Virginia and Maryland. When the waitress brought the checks, Moss insisted on paying for me, because he’d enjoyed talking to me. This is the first time this has ever happened.

I spent most of the day sitting in the observation car looking at the scenery and reading. The scenery was spectacular. We were back in the land of green growing things, we were in mountains and river valleys, it was wild and beautiful. I can’t believe any American writer ever wrote an overpopulation dystopia. Most of the country is totally empty. You can see one house far off in the distance, and that’s all, and they call it crowded. America isn’t just big, it’s enormous. It’s big enough to fit in several civilizations. You could practically fit in another half a dozen civilizations between Schenectady and Denver without the one already there being inconvenienced by it.

The other thing I thought, looking at those distant occasional houses, was that somebody lives there. Somebody lived there yesterday and lives there today and will still be living there tomorrow when the train has gone and another train is passing, and they’ll look at the train, maybe, and that’ll still be their life. And tomorrow’s train will be full of people looking at that little house, and they’re all people, and their lives stretch out in all directions from the train and the house and they’re all real lives and real people with connections and changes and oh, the complexity of that reaching out from that point! And I can’t know them, I can’t hold them, I can’t even make them up.

The Capitol Limited got later and later. We had to pick up a stray Amtrak engine in Cumberland, Maryland. Janet was in DC hoping to meet me in my wait there, but the wait disappeared, and I missed the connection to Baltimore. Fortunately, there are lots of trains between DC and Baltimore, and I made a different one, and also fortunately, Rivka is organized and sensible and despite my not having her phone number she looked on the web and figured everything out and came to meet the train I was on.

Rivka’s house is lovely, and the chairs stay still in one place and do not move forward all the time endlessly through the scenery. Amazing, really. I couldn’t believe I didn’t have another overnight trip to do, that I could make it all the way home from Baltimore in one day. It felt like being practically next door. This is the North American thing about distance. I finally get it. If you are less than twenty-four hours away, you are near.

Rivka made a delicious dinner, and we ate it. Her Alex is just adorable, even cooler than when they were here at New Year’s. Michael brought me a glass of wine and a glass of water. Nothing was moving. We read stories and hung out and had a good time. I had a shower (which I really needed) and slept in an incredibly horizontal bed.

The next day was Thursday, 14th. Rivka drove me around Baltimore, which seems like a very pleasant city, actually old enough to have some nice old buildings, and a very nice harbour, which connects to Chesapeake Bay and hence to the other side of the sea, a concept that still gives me goosebumps. Then, after a little hassle with Amtrak about my pass, I went in to DC and met Marilee Layman (who had made me a barette!) and Manny Olds and Janet for lunch in Union Station. After lunch we said goodbye to Marilee and walked over to the Library of Congress, because there wasn’t really time to see the pandas. I caught the same train back to Baltimore I had the day before, and Rivka and family met me and we went to have dinner with Jon Singer and Lisa at a very nice sushi place indeed in Baltimore.

I talked to Rivka and went to bed at a reasonable hour, because the train, a Regional from DC to New York, went through Baltimore at 04.45. Rivka woke me from an uneasy sleep and dreams of missed trains at 04h00. I had the tightest connection of the whole trip in New York. I’d deliberately allowed an extra day on my pass so that if I didn’t make it I could spend a day in NYC and go home the day after. But I did make it, with half an hour in Penn station to buy some onion bagels and cream cheese. Back onto the Adirondack I went, to watch herons out of the window and doze and read Farah Mendlesohn’s Rhetorics of Fantasy.

Did you know that in Quest fantasies, people tell stories all the time? They tell their stories and other people’s stories and history, which is always relevant, and the act of relating is one of the distinguishing things about them. I hadn’t noticed this, though now it’s been pointed out to me I’ll probably never be capable of missing it again. I thought about this, coming up the Hudson valley and along Lake Champlain, and wondered if people ever do this in reality. I mean people definitely do shape their experience as story, but do they relate it? If they put it formally into the form of a story and told it in the kind of way you tell a story, with a proper story beginning and end, would that look peculiar, like the kind of thing people do in quest novels? And what kind of story would a story like that be? Boy meets girl, man learns lesson, the Little Tailor? Man vs man, man vs plan, man vs canal? Or the three that came up in the kaffeeklatch, which I posted to Tor.com — Pride and Prejudice, Belisarius and Hamlet? I suppose the story of a journey is usually a quest story, but what if there wasn’t any quest? Or is there always a quest?

At the Canadian border, I honestly declared my Prometheus Award, along with the books and t-shirt I had acquired along the way. The customs guy didn’t know what to make of it. I don’t think anyone had ever tried to declare an ounce of gold that was an award before. You’re only supposed to bring in $750 worth of stuff acquired abroad. He eventually decided to let me bring it in without paying duty, because I’d been honest about it and because it was an award that was staying in Canada.

The sun had set and the moon, which had been nail-paring new the first night, on the Lake Shore Limited, was full over Montreal as we came to the bridge. Emmet came down to the railway station to meet me.

“Well, I’m back,” I said.

Posted in Life as it blossoms out in a jar or a face

24th July 2008: OMG, it’s full of tea!

So, I think I’m awake enough to post about a funny thing that happened on the way home. I’m not very awake, mind you, but anyway.

Bristol airport have unilaterally decreed that nobody is leaving there with more than one piece of hand luggage. We all had one piece of hand luggage plus a laptop each. The others managed to repack so that their laptops were in their hand luggage, but I couldn’t. Caliban is a fairly hefty laptop as laptops go, and anyway, my hand luggage was smaller and already full of fragiles. Now Caliban is a hefty laptop and his carrying case is very sturdy — it was the original case with the original Caliban, which was one of the first 386 laptops in Europe in the early nineties. The padding is very good. It survived the journey absolutely fine, (“Arthur bruised his upper arm…”) though I did hate the thought of checking him and I did worry all the way that someone would steal him or he would get damaged.

Zorinth’s checked bag was a very heavy backpack, with straps. Because of that, and because I’d made a bit of a fuss about being forced to check Caliban, they asked us to take these two bags down to the x-ray machine for special x-rays and gentle treatment as odd-shaped pieces of luggage unsuitable for conveyer belts. Because the pack was Zorinth’s and I was juggling three people’s passports and boarding cards, he was holding the papers for both bags when we got there. They went through the machine, and then they called him forward to Caliban’s case. The rest of us waited a little way away and watched what happened.

The baggage guy, a huge fellow, pointed at Caliban and asked Z to open the case. Z sensibly opened the central compartment where the actual laptop was, not the sides, which are special bits for the wires. It was evident in every motion of Z’s body that he was horrified to have the baggage guy believe that this antique laptop had anything to do with him. “It’s my crazy mother’s,” he was probably saying. “It runs DOS. I have a much better laptop than this!”

The baggage guy nodded and asked him to open the side compartments of Caliban’s case. Z did, clearly expecting only the wires and powerbox and USB A-drive. But I had — well, it seemed like a good idea at the time — stuffed the sides with Somerfield red berry tea bags. They’re foil wrapped, and there wasn’t any need to take the boxes because they were going into a tin when they got here. I’d bought ridiculous amounts of them because Somerfield have been bought by the Co-Op and I’m worried that they’ll stop making their terrific own brand tisanes. (This always happens to me. I’m in a permanent state of having plenty of teas to drink, but several instances in the apartment of the last teabag in the world of some particular tea.) So anyway, I’d opened the packets and stuffed a lot of them into my pack, and when I’d run out of room there I’d had the brilliant idea of stuffing them around the wires in Caliban’s case.

The baggage guy laughed and said something. Z looked mortified. He zipped the case up again and the baggage guy gently put it with some other bags. Z came back to where I was chortling. “Did he say Oh My God It’s Full Of Tea?” I asked. “No,” Z said. “He just said: well why not.”

Indeed.

Posted in Life as it blossoms out in a jar or a face, Whimsy

2nd May 2008: Fast and dirty fantasy names

I’m expanding this from a comment in Naomi Kritzer’s journal. I thought I’d put it over here so I could save a link to it so I wouldn’t have to write it all out again next time I wanted it, because I’m pretty sure I’ve done this before but I couldn’t find it.

You don’t have to make up languages the way Tolkien did, you have to make up words and names and the illusion of languages. But those names and words have to be right, because names are threads in the tapestry, names need to work with the picture, or at least be neutral and not pull against it. Names are part of incluing.

If you make them all up, they sound bland and generic (or stupid) and it’s hard to distinguish different cultures by naming.

In a book like Melusine or Fires of the Faithful where the author has done names by the Runcorn Method of taking them from real world maps, you get names that look like real names from different cultures, but you also pose the question of how they got them. The first time I read Melusine (before it was published) I came up with (and emailed to Sarah) a ton of different theories about how they got them. You do not usually want your reader to be solving non-mysteries instead of concentrating on the story.

There is a simple way of getting round this.

What you want is the random fantasy name generating program. You set it going and it generated fantasy names until you have ones you like. You can do it without the program (fortunately, because it doesn’t run on modern computers) — it’s also how to fake a language.

First vowels — eliminate one, and decide which of the others is the favourite.

Then consonants — decide between:

B-V
V-W
W-R
M-N
B-M
C-K
C-G
C-S
S-Sh
Ch-Sh
TT-Th

When you’ve decided, write down the alphabet without the ones you don’t want, with the favourite vowel twice and with “Ch” or “Sh” or “Th” if you want them. (If you chose to have two Ms and no B at all, that’s fine, put two.) Then randomly (roll dice?) select consonants (no more than two together) and vowels, stopping when you have stuff that feels nice.

If you want, add “ia” or “land” to the end for country names.

Also, if you want to have two fantasy countries that are different from each other, make all the different choices for the other language. (Excluded vowel becomes favoured vowel, etc.) That way their names and words sound different from each other, even if the reader can’t tell exactly how, but the patterns will be consistent for each one.

The Gonovians and the Camavese really will seem like different people.

And my real program asked at the beginning for inputs, it offered you the choices and you chose, and then you put in some syllables to be prefixes and suffixes if you wanted, and then it would happily run forever scrolling new 4-8 letter words up the screen.

If anyone would like to do this in a modern language and put it on the web, I’d be really grateful, and I expect other people would too.

Ken and I once made an alien language for a RPG using this program. The aliens were called Xanfd, and they rocked actually. But I defined so many of their words that eventually when I ran the program it was as if I was getting messages from them, full of words I knew, or half-knew, and other words I didn’t. The screen would fill up with things like “Human attack /something/ spaceship /something-plural/ size-comparative something-highstatus FTL communications /something/ broken /something/ /something/ light something something-plural survivors”. I could therefore use this for plot generation. I do not actually recommend this, as my memory of sitting in a darkening room reading yellow text on a blue screen that told me of battles far away and alien secrets is a little too realistic for comfort.

Posted in Writing

9th March 2008 Arcadia

SEPTIMUS: When we have found all the meanings and lost all the mysteries, we will be alone, on an empty shore.

THOMASINA: Then we will dance….

Some things are worth making a little effort for. Other things are worth going out into a howling blizzard for. No sane person would have gone out last night to see Arcadia, especially when they’d already seen it on Thursday (with Rysmiel) and on Friday (with Isaac).

But there was a direct bus from the end of the street, and what is forty centimetres of snow to the last night of a play?

There’s something so wonderfully ephemeral about a play. It’s not like any other art form, really. It’s a text, and it’s a production from a text. Before and after, there is the text only, and there may be other productions, but each performance is once and forever, and each production rises from the text as a recognisable but quite different phoenix. I like to see productions of good plays more than once, to hold what I can of them in my memory when they’re gone.

It was a Dawson drama school production with a superb Valentine, a solid Septimus, very good Lady Croom and Bernard, merely decent Chater and Brice, and alternating Thomasinas, Hannahs and Chloes — Thursday (and last night’s) Thomasina and Chloe were notably better, but both Hannahs were terrific. Seeing it with alternating female leads was odd, it did things to the theme, as if the men might go on dancing night after night with different women who were in essence the same women. Here and now don’t matter, bodies don’t matter, the phoenix will be consumed…

Arcadia is a very funny play about time, entropy, sex, gardens, integrity, science, romanticism, classicism, reviews, provenance, algebra, research, love, death and fractals.

If you get the chance, I highly recommend making any necessary effort to see it.

Posted in Human culture, Theatre

28th February 2008: The Industrial Ruins of Elfland

I grew up in a post-industrial landscape. I didn’t know it, of course. I thought it was normal. It took me a surprisingly long time to see it.

The South Wales valleys were empty until the industrial revolution, and then in the eighteenth and nineteenth century they abruptly filled up with people there to extract the iron and coal. If you’ve ever wondered why there was no massive Welsh immigration to the New World, on the scale of the Scottish and Irish immigrations, it’s not that they didn’t have the same problems farming, it’s that they had their own boom towns, their own industry, there own place to go. English people went there too — there’s a reason most people in Wales speak English.

There’s a reason they’re called “The Valleys” too. They consist of very narrow glaciated valleys with steep sides and not much flat land at the bottom. When they found the iron and the coal they built houses on the flat bits first, and then ran them up the sides in brick Victorian terraces — row houses, row on row, houses terraced like grapes on a hillside with barely room between them to hang out washing.

Aberdare, where I come from, has a twelfth century church, St John’s. In 1700, it probably also had a handful of farms and a population of maybe five hundred. You can see valleys like it in West Wales today, where they had no industrial resouces underneath. They’re beautiful. Aberdare is beautiful too, when you lift up your eyes to the hills. The hills are a bowl all around, they’re green, they’re lovely, there are sheep on them — grey sheep, because of the coal dust. When I was a kid the sheep would come down into the town and knock over people’s dustbins. I can never understand people being sentimental about sheep. They’re about as appealing to me as pigeons. They’re the reason you keep your gates shut.

Iron was discovered, and coal, people started building smelters on the spot, railroads to take it out, houses for workers, more smelters, more mines, more houses. The valleys were solid with houses and people and industry. They were like a city except for the actual city bit. Habitation was in solid strips. The towns and villages ran into each other, up and down, rarely over the mountains, and the roads were terrible. (For years I thought the song “She’ll be coming round the mountain” was about someone taking the narrow treacherous route over the Graig from Maerdy.) Then the iron ran out, or was cheaper to produce somewhere else, and while there was still coal mining in the seventies — though not today — it was a pitiful remnant of the boom of a hundred years before. Iron works were abandoned. Pits were closed down. The people stayed because they stayed, though sensibly there was nothing there for them. The valley ought to have a population of about a thousand, and it has about fifty thousand. Unemployment is still chronic.

I grew up playing in the ruins, and I had no idea of any of this history. It was a wonderful place for children. It was abandoned and grown-over and ignored, and when you got away from the houses it was wild. Wilderness was there in the cracks. You could always go up the mountain into read countryside, but there were these seams of trees and ruins running everywhere through the towns. There was a lot of away to get to very close. I never thought about what it was. It wasn’t the only landscape I knew — we went on holiday to Pembrokeshire every year, and we went up into the Brecon Beacons fairly often, and to the Gower, and to Cardiff, which is an actual city, with city shops — but it was the landscape of normality.

If there was a discipline of industrial archaeology then, I missed it entirely. I was in and out of the library. There was one summer where I went to the library practically every day (for complicated reasons, I only had three library tokens) and took the books up the river and sat in the ruins reading and never thought about looking for a book to tell me what was giving me shade, or more often keeping the rain off.

My Aunt Jane lives next to an abandoned ironworks. It’s notable because we actually knew what it was. We used to play in it, climbing over the walls. It was a great place for hide and seek, and for castles. I knew what castles were. We didn’t have one, but Wales is full of them, I’d been to lots of them. I had no idea what an ironworks was — if pressed, I’d have figured out from etymology it was somewhere one worked iron, but I wasn’t ever pressed about it. I knew the word, and I knew the thing. It was all over rosebay willow-herb in the autumn. I didn’t know who’d built it, or why, or how old it was. I just led groups of kids racing through it.

If the fallen bricks and stones could have talked, all they’d have said to me was : “Deep they delved us, fair they wrought us, high they builded us, but they are gone. They are gone. They sought the Havens long ago.” I knew that.

In the woods, there were lots more ruins, much more ruined than the ironworks. We played that they were witch’s cottages and giant’s castles and fairy palaces and Hitler’s last redoubt and the ruins of Angband. I still don’t know what they were. They might have been eighteenth century workmen’s cottages, but probably they were more ironworks, older ones. If they’d actually had magical inhabitants, they would have been kobolds.

The places of my childhood were linked by magical pathways, ones almost no adults used. They had roads, we had these, they were for walking, they were different and extra, wider than a path but not big enough for cars, sometimes parallel to the real roads and sometimes cutting from nowhere to nowhere, from an elven ruin to the labyrinth of Minos. We gave them names, but we knew unquestioningly that the real word for them was “dramroads”. I was fifteen and living in England before I turned that word over in my mouth and saw it for what it was. “Tram road”. Welsh mutates initial consonants of words — actually all languages do, but most of them take hundreds of years and Welsh does it while you still have your mouth open. Tram to dram. Of course. Once, there had been trams running on rails up those dramroads, trams full of iron ore, or coal. So empty and leaf-strewn, they’d once been little railroads. (One of them cut across Common Ake, where we used to picnic sometimes in the summer. It was an unenclosed common, full of meadow plants and butterflies. People have built very ugly houses on it now.)

It wasn’t that I didn’t know history. Even if you only count the real world, I knew more history than most people. I’d been taught about cavemen and Normans and Tudors. I knew about Greeks and Romans. I knew masses of personal stories about World War II. I even knew a lot of family history. It just didn’t connect to the landscape.

The bit of history that isn’t quite in living memory is hard to know. My grandparents were born in 1905, when the Valleys were already beginning their long decline. And history was kings and queens and wars and conquests, it wasn’t building ironworks and surrenduring them back to nature.

These days, the Valleys are an Industrial Heritage Zone. Coal mining is over, but there are coal museums, industrial museums. There’s a lot more awareness of all of this than there used to be. Also, history in schools makes much more connections to local landscape and actual places, not to mention social history. It’s also all been tidied up and tamed. And one of the dramroads has been made into a dual carriageway (two lanes in each direction highway) cutting around the town.

When I think about it now, it seems that I thought I was living in a fantasy landscape, when actually I was living in a science fictional one. In total ignorance, I played my way through what elves and giants had left me, rather than seeing what was there as post-apocalyptic. I named the dramroads after places in The Lord of the Rings when I should have recognised that they were from The Chrysalids.

It’s amazing the size of thing that it’s possible to overlook.

Posted in Among Others

6th January 2008: My review of Kenneth Branagh’s Shakespeare’s Arthur

Some time ago, Ken MacLeod asked me to write this review, and I did, and posted it on rec.arts.sf.written. This morning, on Ellen Kushner’s LJ, Kij Johnson was asking why Shakeapeare hadn’t written about Arthur, and I remembered it. I posted it there, and I’m posting it here too, in case it would amuse anyone.

I want to say that since I wrote this, I’ve seen Emma Thompson in Carrington and Sense and Sensibility and Love Actually and I’ve totally changed my mind and think she’d make an awesome Guinevere. However, clearly she was miscast, or perhaps misdirected.

Review of Kenneth Branagh’s Shakespeare’s Arthur, King of the Britons

Arthur is one of those plays we all know — we read it for class, we hear snippets of it quoted, we’ve seen it done. It’s easy to think of it as something dusty and irrelevent. It was good to see it performed uncut and looking as good as this — the language vibrant, Shakespeare at the top of his powers, the story so dramatic, so touching, and the funny bits (Kay – a John Cleese cameo – dropping the cheeses springs to mind) genuinely funny. The anachronisms – they didn’t have castles like that, or bishops, never mind cannons – aren’t the point, this is Shakespeare, not history.

It’s hard to review something which forms part of the cultural gestalt.

I think that must equally make Arthur hard to film. There are lines that are quoted and requoted out of context, so much so that delivering them in context, smoothly, as plausible dialogue, becomes almost as challenging as “To be, or not to be” or “A handbag?” It’s enough to make me wish for a time machine to have seen the first Globe production where I could have had an audience around me who would have shivered to Mordred’s “I will my father’s name trail through the mire” speech, rather than one that is expecting it. Which isn’t to say that Kline didn’t deliver it very well. That’s more than I can say for the other most famous line. Frankly, I think Emma Thompson was miscast as Guinevere. She didn’t bring out the essential pathos of the character. It’s a pity, especially as Branagh and Everett were such a good Arthur/Lancelot pairing. But without sympathy for Guinevere the whole story is idiotic — if her character isn’t sufficient to say “The two best men in all the world have loved me” and mean it, then the rest of it, all the chivalry, all the pageantry, all the betrayal is hollow. I can’t quite see why either of them (never mind both of them) would have wanted that Guinevere, and that isn’t a problem I’ve ever had with it before.

I loved Connery’s Merlin – in fact the Merlin/Nimue parts were my favourite in general. I’ll always see Merlin like that now, I think that was the definitive rendering of the part. And Paltrow was wonderful as Nimue — maybe she should have been Guinevere. The woman can act, she isn’t self-conscious about it. I know there has been some controversy about the way the immuring scene was done, but I really liked it — OK, maybe it’s usually done with Nimue holding an oak branch, and I once saw it done on stage with an entirely imaginary tree, but why not use CGI to show the tree? That way when he invites her to “embrace me for all time” we can see it with our eyes and Merlin’s, as tree and woman together. (It even moved like Paltrow.) Someone did giggle, but I don’t care. Having Mordred watching was a nice touch – and he does speak immediately after, after all.

I don’t think it will come as a spoiler to anyone if I say that almost everyone dies at the end. I found the way the last speech was done, Nimue’s voice-over as a tiny light moves over all the bodies and then slipping away along the stream through the dark trees, reminiscent of the recent film of A Midsummer Night’s Dream. That was odd, but also fitting, reminding me that this too is a fairy play, though the dark and not the light side of faerie.

You should definitely see it.

Posted in Theatre, Whimsy

4th January 2008: Ratcheting and POV

There’s a thing that mechanical gears do, where each one has a little set of teeth, and each little tooth has to grip on one on the other gear to move the thing forward, and when they’re going they mesh, but when they’re going slowly you can see each tooth move the next tooth on, and that’s called ratcheting.

When I use the term about writing, I mean that when you write POVs in order, alternating, it’s just like that. There are other ways of moving stories on, goodness knows there are other ways of gearing too. But when you’re using a ratchet you can’t stop and have two chapters from the same POV, and you can’t take out a scene because someone doesn’t like it without replacing it with something else. The rhythm will stutter. If chapter 15 doubles so it will need to be two chapters, then you need something else to go into chapter 16 from the other thread. If you’re keeping your POVs equal in time, the way I did in the “Small Change” books (I have another alternate series title for them now, incidentally, “The Tragickal Downfall of Peter Anthony Carmichael”) and your newly doubled chapter 15 takes place on Saturday, then your new chapter 16 has to happen on Saturday too.

Now this can be a pain in the neck.

But it has given me more than it has taken away. It gave me the best bit of plot in Prize in the Game. It gave me the tension in Ha’Penny, where what makes it interesting is what each POV knows and doesn’t know that you know, as you get towards the climax.

As you can see, it would be impossible to write out of order, because the serendipities and issues that come up with this, require getting it right in order.

I’ve now done this in four novels, I’ve also written one in true omni and one in bizzaro omni, and two in first. What I’ve never done is “bestseller omni” which is what’s normal in a lot of fantasy, where you have lots of POVs and threads but they’re used as is convenient to the writer… and come to think, I’ve never done a single tight third, either, not for a whole book.

Now bestseller omni is clearly what people like, because things that sell a zillion copies tend to be written in it. But I don’t like it, as a reader, it is my least preferred POV, because it encourages any faint tendency to sprawl, to give every angle on everything, and even when it isn’t intended as padding, some of it comes out like padding. And of course, when you have a zillion characters, some of them are more interesting than others (unless the author happens to be a genius like George RR Martin) and I’m chafing reading the duller ones and want to get back to the more significant ones, and that makes a book less fun to read.

I usually know, when I’m writing, every angle on everything, but the POVs I’m using filter what of that gets through to the reader, and while this is occasionally phenomenally frustrating, generally I think this is a good thing. For instance, something that came up recently with Marcus writing the RPG. The dragon flag is never mentioned in Tooth and Claw, but I happen to know it’s a mountain. It’s never mentioned because it doesn’t need to be, it isn’t relevant to that story. It would have been padding.

People sometimes ask how many POVs you need. You need as many POVs as your story absolutely requires, and no more. If that’s one, great. If that’s ninety-five, gosh, what a demanding story.

In Diane Duane’s Door Into… books, storytellers begin a story with “This is the story of whatever, and this is the way I tell it.” I find this formula really useful when I’m thinking about the shape of a story. What story is this, and how do I tell it? I usually don’t know at that point what is going to happen in the story, or only vaguely, but I need to know what story it is. “This is the story of Sulien ap Gwien, and how she made the Peace, and I tell it all in her own retrospective words.” “This is the story of how good people do bad things, and I tell it in the alternative POVs of a headlong ditzy girl and a well-meaning Scotland Yard inspector.” The POVs I’m using are an integral part of that.

Which is what I’m working on right now with Our Sea.

Posted in Unfinished book stuff, Writing