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Author of queer, wry sci fi/fantasy books.
Showing posts with label thoughts. Show all posts
Showing posts with label thoughts. Show all posts

Tuesday, 30 October 2018

Solidarity and Other Dreams

One of the most subtle and painful things about the internet age - perhaps any age - is finding out that someone you admire has acted in a far less-than-admirable way. Reconciling that with continued affection can be tricky. For example, I've heard some mega-questionable things about Amanda Palmer, wife of Neil Gaiman - who has been thoroughly castigated ad nauseam in public and private.

And so it goes for many celebrities and important figures around the general Leftist/leftist/liberal community. You can probably think of someone you like who's done or said something insensitive, ableist, transphobic, racist, homophobic, misogynist, or otherwise disappointing. Someone who didn't take a strong enough stance, or too strong a stance, or said something that made your skin crawl.

Have I been this person? Probably. I try to hunt down and deal with my own mistakes, relying on the trauma-survivor skills of micro-self analysis. I count my sins and errors and mistakes like pre-reformation Scrooge with his money. I do not forget or forgive myself. This is not necessarily a character strength, either, nor something I recommend to others.

And of course, many of us do that with others.

But recently, after ditching a friendship that was bad for me, I went to my "blocked users" list on Facebook and really had a look at this. I remembered most people on it. Some were casually encountered, but some had become friends - who had, at one point or another, said something I really, really didn't like.

And I considered...is it really worth keeping someone blocked if you can't remember the exact nature of their infraction? 

What makes someone unsafe? 


I've seen my share of panicky, touchy arguments on Facebook, including one where an activist I looked up to accused someone else of "gaslighting" them for having a different opinion about interpretations of a Steven Universe character's race. I've been in those arguments, too. (Not that one in particular, but similar situations.)

Part of the problem for those of us on the left is that calls for solidarity usually result in a backlash of people saying, "we have to work with those we don't like? But that means supporting abusers!"

Well - sometimes it doesn't. It's tricky to talk about abuse, because those of us who've survived it in various ways tend to be extremely gun-shy - sometimes excessively or even unhealthily so.

And in the moment, it can be hard to tell if someone's comments about, say, a given woman or actress represent their feelings about All Of Womanity, or anything else.

Do we tolerate mistakes? 


This is such a tricky problem. Obviously, as a white woman - even a queer, plump, neurodivergent, partially disabled one - I have a giant swath of privilege that affects how I'm coming at things. I'm cisgender, and I'm white, and even femme - all things that can, in certain circumstances, give me a free pass that would not be afforded to others. Obviously, kyriarchy - hierarchies and power that exist outside of patriarchy - is a thing that exists. Dealing with it sucks. Some people get forgiven for their screw-ups a lot more readily than others, and the people forgiven are usually white. The people who don't get away with things are usually black, or other people of colour; men also tend to get away with more than women.

BUT - there are also times when we have to question whether conflicts or errors are as important as the general need to fight for our rights. And perhaps we need to be more honest about how dangerous or not-dangerous specific people are.

As one of my found-family siblings, Iskara, put it,

The left are collectivists and the right are individualists. We know this. But you can't use those traits to compete with others who have the same trait, you're pretty equal. So to establish a hierarchy within their respective groups, they use the opposite approach. The left will attack individuals who are below them to prove that they are the wokest. The right will attack entire groups of people who don't have the right values as individuals. Therefore, the right is willing to unite with people it disagrees with because those disagreements are part of the life of an individualist, but collectively they hate this other group more and they have that in common. Meanwhile the left is trying to figure out which single persons belong in or out of the collective which makes us far more likely to attack our allies over trivial matters, because we consider the purity of the person beside us to be a reflection on our own purity.

The hidden rules


The thing is - and trying to put this politely is difficult - white people who are queer tend to engage in this purity-testing a lot more often than others. Black people and people of colour, and those with multiple intersections of disability, are already used to forgiving others a lot or gritting their teeth and bearing things. As members of a visible majority in North America, we feel confident in our ability to reject others and replace them as need be. We're inherently comfortable, a lot of the time, in the belief that someone else will come around and fill the empty seat, because there are just so many white and queer people. This can be less true for transgender people, but the squabbles I've seen online suggest that the sense of white social complacency is still basically applicable. 

This is not to excuse myself. When I was a teenager, and even in my early twenties, it seemed a lot more important to be strict about whom I interacted with, within the left, and how they perceived things. As much as micro-aggressions and macro-aggressions both matter, and as much as both can grind us down - those of us with the emotional resources and privilege to do so need to be aware of our padding. (That's not just a pun on my own weight, but hey! I can't resist a punchline.) 

Forgiveness and calling in 


Since our family expanded to a third person, our housemate and queer-platonic partner Kit, we've had a lot more small discussions about being offended and annoyed. Honestly, instead of making fights or tension worse, it tends to disperse them. Anyone who lives with someone else will be familiar with the struggle of doing dishes, making food, handling laundry, cleaning the house, dealing with work duties, and arranging transportation. But being clear yet tactful about one's feelings can handle conflict far better, and keep it from becoming "a thing."

The same is true of our long-running D&D group and some of my various friend groups. Learning to filter my communication to people, talk to them after the rush of emotions, and avoiding that ever-so-tempting duel of witticisms that is the Facebook philosophical fight, have all been really good for both myself and the people around me.

Ultimately, we have to ask ourselves - what are we trying to accomplish? If the answer to that is "protection of people's human rights," then the only people really worth kicking out are trans-exclusionary radical feminists (TERFs), sex-work exclusionary radical feminists (SWERFs), and people who have exhibited a pattern of abuse without repentance.

Everyone else? Well, maybe we need to be honest about our hurt feelings, cool off a bit, and try to talk stuff out in private.

Does that mean we need to forgive abusers? 


Ooof. Even with a counselling degree and many years of sad-violin life experience, I don't know if I'm equipped to answer this one. Apart from saying, "it's a case-by-case basis, but worry about the people who aren't just rude, but really dangerous," I'm not sure what to recommend. 

Maybe we just need to stop sanctifying and demonizing people, and present them - both celebrities and individuals - as complex people with tokens on both the good and bad sides of the scale.

I do think that there are cases where people can reform. I hate to be mealy-mouthed or seem indecisive, but if internal politics were easy to handle, the left wouldn't be falling apart like an improperly-chilled gelatin dessert. 

Ultimately, all I can recommend are emotional self-validation, politeness, patience, and forgiveness with each other. We are stronger together, and since we, in multiple countries, have to fight to maintain our very existence, we need to defend each other's existence.

Maybe this means forgiving someone you're still mad at. Maybe this means going to apologize to someone. But with actual far-right activists, neo-nationalists, anti-choice activists, and violent racists and transphobes in the streets, and more active and internationally validated than ever, we simply can't afford the ephemeral and impossible luxury of complete ideological purity.

Does this mean allying with people we disagree with? Well, as long as they're not advocating for killing us...maybe yes. But again, my tired and beleaguered siblings and family, those of us who are white need to do the work on this. Reach out to others. Offer comfort. Give forgiveness - after you're done being mad. Sleep on things.

Nobody else is going to fight for our lives.

***
Michelle Browne is a sci fi/fantasy writer. She lives in Lethbridge, AB with her partner-in-crime, housemate, and their cat. Her days revolve around freelance editing, knitting, jewelry, and nightmares, as well as social justice issues. She is currently working on the next books in her series, other people's manuscripts, and drinking as much tea as humanly possible.

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Thursday, 15 June 2017

Where did the Magpie Go?

Hello hello!

This has been an interesting year. And admittedly, my longest blog hiatus in three or four years of running this thing. What have I been doing, exactly?

  • Mostly working on editing projects. A lot of manuscripts. Like, a lot. 
  • Trying to fix my sleep schedule. (For a while, it was untenable and I felt awful. This happens regularly. Cross your fingers for my ability to keep the current track up.) 
  • Knitting and listening to podcasts on days off (or when focus eluded me). 
  • Helping my partner look for a job
  • Staring at my drafts folder and wondering if there's any point in posting, given the state of the world and the arts, and whether what I have to say still matters
  • Reading articles on Medium, especially from The Establishment, and cowering in fear at the state of American politics 
  • Resurrecting my editing site from the grave
  • Wrangling my biological family 


That about covers it. However, I'm working on a bunch of scheduled posts right now, so you can start checking on Sunday nights/Monday mornings for your usual dose of SciFiMagpie.

At least, that's the plan. In the meantime, reach out. Leave a comment, ask a question, let me know what you want to hear about. Let me know that you're reading! I've seen the page views, which have been surprisingly steady for years, so I know some of you are definitely having a look at my tiny blog.

***

Thanks for returning to the nest. Leave a comment and say hi! I want to hear from you. Keep up with the new releases by getting on the mailing list. Buy my books on Amazon, and keep up with me on TwitterFacebookTumblr, and the original blog. This is the one and only SciFiMagpie, over and out!

Wednesday, 4 May 2016

Pretty Things

Pretty Things by
David Bowie was rattling around in my head like a penny in a tin can
late at night I was

building tenuous struts from imaginary castles to real skyscrapers
linking the family I'd been born into with
the friends I had chosen
family is a concept made tenuous by distance and made real by our choices
that's just how connections work

Earl Grey was on my tongue and silver oxide on my fingertips as I
untangled and broke a dozen tiny chains, trying to fix what
errant neglect had done and

I contemplated the Grand Unified Theory of Female Pain 
like a scab or like a lost blood clot left in the tub from a shower that was too quick
a new period in my life, and one that kept going--
damn the hormones

I

considered being a mermaid for half an hour or an hour
whiling away time under a red light, in a few litres of heat and enlightenment


and I
I

remembered the days when pain was an option and a quaint memory, something that
I

had assumed was part of my past; that

brief

moment of confidence that heartbreak and ache and soreness were behind me was
a long time ago

we
talk about the arrogance of youth all the time but I
knew better then.

And now--
I know better
than to know better.

***

Thanks for returning to the nest. Leave a comment and say hi! I want to hear from you. Keep up with the new releases by getting on the mailing list. Buy my books on Amazon, and keep up with me on TwitterFacebookTumblr, and the original blog. This is the one and only SciFiMagpie, over and out!

Sunday, 17 March 2013

An Unexpected Backlash: A Tolkien Commentary

Hello hello! 


So,by now, most of you have probably seen 'The Hobbit'. I finally caught up to it in theatres just recently. I wanted to touch on the relevance of that, but I'm going to splice an analysis of Lord of the Rings in here too, and look at why the series has been so instrumental in creating the fantasy worlds of writers today. However, I also have a few choice remarks to make on culture and possibly colonialism, so don't expect an entirely comfortable post. Get your sword, your bow, and your axe; this could get ugly. 

For the sake of expediency, and because I don't have time to reread the entire trilogy AND The Hobbit AND The Sillmarillion (blech!) before writing this review, there may be a few factual detail errors. However, given my 'to be read' shelves on GoodReads and Amazon, I figured it was best just to get on with it. 

Photo belongs to the internets.


So, what makes the series so special? Let's have a look at some common misconceptions and ideas while we're trying to figure it out.

Lord of the Rings was the first book of its kind! Well...actually...


It's more than just clever marketing, certainly. Although The Lord of the Rings series was written during WWII and published in three volumes between 1954-55, it wasn't the first high fantasy work ever written. Before The Hobbit in 1937, Robert Howard's Conan the Barbarian hit the shelves in 1932. Weird Tales, the magazine that started it all, had hit shelves back in 1923, bringing stories of horror, science fiction, and the fantastic to pulp readers everywhere. Reading these contemporary works definitely reveals some very common themes. If you've read H.P. Lovecraft's work and a bit of Howard--which I have--you can see the overlap in the style of the antagonists, as well as in other elements. The spooky and mysterious forces even return in modern game narratives, such as DragonAge, The Elder Scrolls, and World of Warcraft. 

What LoTR did, though, was refine the style and give it a voice, a look, an emblematic work that encompassed new ground. Only children's stories had been written about knights and beasts and dragons, and before that, the mythology of a people. Tolkein managed to combine children's stories, folklore, and the organization of mythos into a single work. There's no getting around it--the Middle Earth stories are the sort of creation myth territory that had previously belonged to whole cultures. 

He single-handledly defined orcs (inventing those himself), dwarves, elves, and halfings/hobbits for generations of fantasy writers. He defined the period and setting (a sort of sparsely populated mediaeval Britain/Germany/France amalgam) for what high fantasy would become. He defined the idea of a big bad scary villain working through armies of henchmen. He codified the Merlin-like figure of a wise old wizard and crafted many tropes and archetypes that we still rely on. High fantasy, as it currently exists, just wouldn't have come to be without Tolkein, or would have been markedly different.




Source. Some time, we'll have a long talk about my mixed feelings about dragons, but this is a pretty epic picture. 

So, what can you possibly say about LoTR's impact that could be negative? He invented the genre, right?


LoTR begat many other authors' works. Ursula Le Guin and her literary descendents have diverged a bit, but both Arthurian structure and LoTR dominate the flavour and types of worlds created by modern writers. Stories revolve around magic and whether it ought to be used (or not), kings and their courts, power struggles, fantasy racism and ancient grudges, looming evil forces or ideological conflicts, the role (or lack thereof) for women, and Epic Grand Battle Royales. Tamora Pierce, Terry Brooks, Robin Hobb, George R. R. Martin, and many other authors have all experimented with variations on this formula, with varying levels of success.

There is some really wonderful high fantasy out there, but as one reads the list, certain patterns emerge. Even from titles alone, a tendency towards the mediaeval is obvious. That's all right on its own, surely, but a second glance reveals more. The vast majority, in fact, almost every single book, is set in some sort of British/Germanic/French/Nordic world. Mongolians, Chinese, Arabs, or Africans are the antagonist forces--sometimes cloaked in scales or green skin or in various deformities. While some books do deviate and head to a Middle-Eastern world--Tamora Pierce's Circle, Guy Gavriel Kay's canon, or G. R. R. Martin's Fire and Ice quintet--most stay firmly in the classic mediaeval Europe zone.

Now, I am citing classics of the genre. I'm not all that keen on high fantasy, as stated in previous posts, but there are some books here that I truly love. Pullman, Zelazny, Martin, Bakker, Rowling, Pratchett, Nix, Gentle, Goodkind, and yes, Tolkein, are authors I've absolutely adored and who have influenced me. However, even these interesting and fairly diverse voices tend to gravitate to that European mediaeval standard I've mentioned. LGBTQ people are an endangered species, diversity is limited to a few strange folk and tokens, and everything is based on a muddy mix of the worst of 11th century daydreams.


So, why insist that I dislike the genre if I've read so much of it? 


The problem is that reading one or two books in the genre, by and large, is like reading all of them. Sure, some of the authors have the excuse of time on their side, but new authors are still imitating their forebears with religious accuracy. Simply put, if you're reading high fantasy these days, you can count on a lack of cultural diversity and different ideas, and there's not much point in picking up a new book in the genre. I'm not saying the whole thing needs to be chucked out, or that these books are bad, per se, but I do think there's a danger of intellectual bankruptcy and negatively influencing younger, newer authors.



Source.  This is basically how I feel when I pick up a book and find out that it's exactly the same as a classic fantasy work. This has happened recently. Multiple times. 


So, why has Lord of The Rings continued to keep such a hold on the public imagination? 


I think some of it has to do with not only the greatness of the work and the shocking faithfulness of its adherence in works that followed, but also with comfort zones. I'm not going to rant about American/Eurocentric media right now, but I will say that it's simply what we're used to--Britain and Germany as cultural centres, with blurred understanding of how much even these two nations have changed in modern times. We know Tolkien and we know the works of authors inspired by him, and their sameness and familiarity may actually be a selling point. When people like something, they want more of it. That isn't necessarily a bad thing, but when even smaller-name, newer authors feel compelled to repeat the same formulas--and the formulas come from only one or two sources--you're bound to encounter a lot of repetition. It's a standard epic escape route. 

Going back to an earlier point, not all the writings were intended to be this homogeneous. Arguably, a lot of these works cross into the real world, and when urban fantasy is lumped into High Fantasy (which it is on the Wikipedia page), you see a bit more wriggle-room and creativity. However, the idea of pushing boundaries isn't a welcome one in fantasy circles. Consider how many of the greats--even those writing in the present--have prominent gay or lesbian characters who are open about their sexuality. Answer: Very few. Even G. R. R. Martin's fiction, which does move away from the Euro-zone a bit, maintains misogyny (though it's explored) and 'European' main characters for all the named, prominent protagonists. 

It's also given people the wrong idea about the actual mediaeval era, which--according to scholarly research I've done--is essentially nothing like the books supposedly written to imitate it. Even without the more exotic and non-realistic aspects, the time between the fall of Rome and the rise of the Medicis in the Renaissance was a very busy period for human history, not just a wasteland of political struggle and plague. The myth has faded into legend, and some things that should not have been forgotten--such as the surprising diversity of mediaeval science and some tolerant attitudes towards gay people--were. However, it doesn't mean that it's the end of the world, or that the genre is doomed to continue cannibalizing itself and Tolkein. 



Okay, smartypants, how do we fix it? 


I've been leading up to this, but the answer isn't really that difficult: we need to diversify. I would read the living crap out of a book set in ancient China or Africa. Mediaeval setting and all. Most authors are Europeans or Americans (yours truly included, though I'm Canadian) and there are certain knowledge limits imposed by that. That said, we're running out of options; ideas are basically tapped dry, and being recycled at this point. Stretching beyond the classics and taking inspiration from other cultures--respectfully--could do a world of good. As well, adding new elements to the classic books, such as clashes over technology, LGBTQ and non-traditional marital structures, and different ideologies, would also change up the formula.  Some issues might arise from incompetent treatment of other cultures and LGBTQ people. That's going to be a problem as people expand their reach and subject matter, without question, and you can bet I'll have more to say about cultural appropriation in future. 

On the other hand, nobody really likes change as a process. It's uncomfortable. I can also anticipate a lot of screaming over destruction of the genre and that sort of thing. Given how well classic high fantasy has survived so far, I wouldn't describe that as a real problem. In fact, some authors have already started to mess heavily with the formulas, and to excellent effect. Bakker, one of the authors mentioned, does a pretty good job of changing around traditional elements in his Prince of Nothing series, in my opinion. Eve Forward's The Animist is another example of a book that bent a few rules by varying the races and species used.  

While there's a good discussion to be had about the realistic value about fantasy (and sci fi) stories for the real world, there's also a need for even the most fantastical works to relate to contemporary circumstances. Our circumstances are just so different from fifty or sixty years ago that travelling back to the make-believe mediaeval Disneyland setting designed in that era is no longer realistic. Real Britain has a very diverse population, women comfortably work in many different industries (and men demonstrate far more than mere combat skills, proving to be excellent solo parents), and equal marriage is becoming a very important issue worldwide. Fantasy just doesn't represent this very well, and a few updates will help the genre stay relevant and interesting for our children and children's children. And that's why we need to dethrone Tolkien as the one and only golden standard of fantasy, especially for new authors: if things stay the way they are, fantasy will fail to move forward. We'll have the classics, sure, but those little pockets of racism and sexism will remain, and no culture needs that. 

So, in conclusion: I actually like a fair bit of high fantasy, and have respect for many authors in the genre, but it's already suffering from some serious inbreeding. I haven't touched on the issues in science fiction, and I will get to that eventually. For now, it's time for you guys to tell me your thoughts: is fantasy oversaturated with a certain setting style? Is it just the traits of the genre? Or do we need to change things? Any recommendations of new and unique fantasy series are also very welcome. I want to hear your thoughts in the comments!

*****
Thanks for dropping by the nest once again. Don't miss any of the good kind of crazy. Find me on TwitterFacebook, and on Tumblr. Watch out for my fantasy-themed spring: interviews with fantasy authors, content related to fantasy films and reviews, and some political commentary--the phuquerie you've come to expect from me. Keep checking back to see those surprise posts, too. This is your darling SciFiMagpie, over and out! 



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