Speculating Canada on Trent Radio Episode 23: An Interview with Jason Loo

Continuing my exploration of Canadian Comics, this week I interviewed Jason Loo, the creator of The Pitiful Human Lizard, a Toronto based superhero.

Along with our interview, I had a chance to do a brief discussion of The Pitiful Human Lizard volumes 1 and 2, talking about some of the key features of Jason Loo’s art and narrative.

Jason and I talk about the power of naming a superhero “pitiful” and the potential this has to shift assumptions about superhero narratives. We discuss the normalcy of the Pitiful Human Lizard’s life around his crime fighting and Jason’s ability to take on the hypermasculinity of the genre and suggest some alternatives.

Click below on the icon to listen to a recording of the radio programme!

Stay Tuned: Saaaame Lizard Time…. Saaaame Lizard Channel!!

Explore Trent Radio at www.trentradio.ca

Explore Trent Radio at http://www.trentradio.ca

This audio file was originally broadcast on Trent Radio, and I would like to thank Trent Radio for their continued support. I would also like to thank Dwayne Collins for his consistent tech support and help with the intricacies of creating audio files.

Make sure to allow a few minutes for the file to buffer since it may take a moment before it begins to play.

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Speculating Canada on Trent Radio Episode 14: An Interview with Suzanne Church

In this episode of Speculating Canada on Trent Radio, Waterloo author Suzanne Church swings by the studio as part of her book tour for her new collection Elements: A Collection of Speculative Fiction (Edge, 2014). Suzanne Church’s work stretches across genre boundaries between Horror, Science Fiction, and Fantasy. She has published in several of the Tesseracts anthologies, in collections like When the Hero Comes Home 2, Urban Green Man, and Dance Macabre. She has also published in speculative magazines like Clarksworld, OnSpec, and Doorways Magazine. Suzanne is an Aurora Award winning author and her short story “Living Bargains” is currently up for this year’s Aurora Award.

Suzanne Church and I talk about fiction’s role in bringing attention to domestic violence, pushing genre boundaries, the stretches of human relationships, ideas of displacement and home, and the power of short fiction as a medium. Prepare to hear about aliens, fuzzy green monsters, sentient coffee cups, androids, ghosts… and so many other otherworldly beings that tell us more about what it is to be human. Take a listen and I hope you enjoy our chat.

Explore Trent Radio at www.trentradio.ca

Explore Trent Radio at http://www.trentradio.ca

 

This audio file was originally broadcast on Trent Radio, and I would like to thank Trent Radio for their continued support. I would also like to thank Dwayne Collins for his consistent tech support and help with the intricacies of creating audio files.

Make sure to allow a few minutes for the file to buffer since it may take a moment before it begins to play.

 

An Interview with Michael Kelly

An interview with Michael Kelly by Derek Newman-Stille

I was very pleased when Michael Kelly was willing to share some insights with readers of Speculating Canada. I have been reading his work for years, and was impressed at the depth of his insights and thoughts about Canadian horror. I hope that readers enjoy our conversation as much as I did.

Author photo courtesy of Michael Kelly

Author photo courtesy of Michael Kelly

Spec Can: To begin our interview, could you tell readers a little bit about yourself?

Michael Kelly: Thanks, Derek. I’m an author, editor, and publisher based near Toronto, originally hailing from Charlottetown, Prince Edward Island. My work has appeared in a number of journals and anthologies, including Black Static, The Mammoth Book of Best New Horror, Postscripts, Space & Time, Supernatural Tales, Tesseracts, and others. I’ve been a finalist for The Shirley Jackson Award, and the British Fantasy Society Awards.

Spec Can: What inspired you to become a horror author? What appeals to you about horror?

Michael Kelly: Horror’s appeal is that it is, to me at least, the broadest and most inclusive of all literary forms. It truly has the widest canvas. If we are to categorize literature into genres, then certain works of science fiction, fantasy, thrillers, and mainstream literature can easily fit under the horror umbrella. Douglas Winter famously opined that horror is not a genre, it’s an emotion. Though that is a bit simplistic, I do ascribe to that basic notion, somewhat. Horror is a mode of literature more than a genre.

When I write, I don’t actually aspire to genre. I don’t sit down to write horror. I just write. What comes out, I guess, can loosely be described as horror. But, if we are to categorize (and I understand people’s need to do so), then I guess you could call my work horror, for the most part. I prefer Robert Aickman’s term “strange stories.”

Spec Can: What do you hope your readers will take from reading your fiction?

Michael Kelly: I hope they experience a shift in their perceptions, a slight subversion of the every day, a queer unease. Whether my approach is ontological or psychological, hopefully I can reveal to readers some small insight into human nature.

Spec Can: What is different about Canadian horror from that of other nationalities?

Michael Kelly: Is Canadian horror different from other horror fiction? Well, some say my raison d’etre is promoting Canadian horror. It’s the reason I edit the Chilling Tales series for EDGE Publications. Volume 2 will be out soon.

Canada is certainly fertile ground for imaginative minds.  What I’ve discovered is that Canadian writers explore the same themes as their contemporaries. Stories of corporate horror; side trips into surrealism and modern supernatural horror.  Tales of loss.  And the all-too-real horrors of everyday life, of existing in harsh climates, whether literal or psychological.  Not unlike any good horror fiction, then.  Except I sense a distinctly Canadian worldview, a disquieting solitude, perhaps, or a tangible loneliness, that permeates these stories and makes them truly chilling Canadian tales. There is definitely a Canadian aesthetic.

Cover photo of Scratching The Surface courtesy of Michael Kelly

Cover photo of Scratching The Surface courtesy of Michael Kelly

Spec Can: What can horror do to inspire readers or challenge the status quo?

Michael Kelly:  Hmmm, well, other than to entertain, much of horror fiction is grounded in philosophical treatises. Horror is, to me, so inclusive of themes and ideas, the outré, that by it’s very nature it challenges the status quo. Much of it is reliant on mood, atmosphere, and the unknown. It is a mode, especially, I think, in the short form, that tests our meager existence.

Spec Can: You have been instrumental in creating Undertow Publications, a small press that produces horror work. What is the virtue of small independent presses?

Michael Kelly:  I am a very small press, a micro-press, to be sure. I prefer the term independent press, though. Years ago, the independent press was a vital outlet for writers; a place where you could find literate, daring, and avant-garde fiction that bucked the mainstream, and eschewed commerciality. You can still find that, to be sure, but with the proliferation of DIY publishing, and the publication of four-hundred new eBooks every twelve seconds, it’s become increasingly difficult to find that fiction. It’s almost not worth looking for, but, like finding that needle in a haystack, the small amount of pain is worth the discovery. There’s good, bad, and terrible writing in both the traditional and self-publishing arenas. The independent press still plays a role, to be sure, and the savvy reader, whether by word-of-mouth, recommendations, or simple sleuthing, can usually find those innovative works. Hopefully, out of the morass of the DIY culture, we still have some savvy readers.

Spec Can: Could you tell readers a little bit about the anthology Shadows and Tall Trees that you edit? What are some of the key things that you hope the anthology will focus on?

Cover photo of Shadows and Tall Trees Autumn 2012 issue, courtesy of Michael Kelly

Cover photo of Shadows and Tall Trees Autumn 2012 issue, courtesy of Michael Kelly

Michael Kelly: I’ve just published issue 5 of Shadows & Tall Trees. It’s a journal of weird fiction, and strange stories. I’ve had the pleasure of publishing a number of distinguished authors in its pages, including Robert Shearman, Alison Moore, Steve Rasnic Tem, among many others, and Canadian writers Sandra Kasturi, Richard Gavin, Ian Rogers, and Simon Strantzas.

My focus is thoughtful, intelligent weird fiction. Fiction that gives you that genuine frisson. So far, I think I’ve accomplished that. It’s been very well received, with praise from Ellen Datlow, and Peter Straub. Five stories from the first four issues have been selected for reprint in six different “Best Of” anthologies.

Spec Can: You have written about and published stories about ghosts. Why do ghosts inspire our fascination as a society? What appeals to the human imagination about the idea of haunting?

Michael Kelly: Most of us have a good dose of empathy. Ghosts are mostly born from trauma or tragedy. When they return, when they haunt us, we still empathize with their circumstance, their condition, whether malevolent or not. It’s an interesting dichotomy — empathy for the dead. Ghosts, you see, aren’t about the dead, they’re about the living.

Spec Can: As a horror author, what frightens you? What inspires your fear?

Michael Kelly: I suspect the things that frighten me – loss and abandonment – are the same things that frighten many writers. My fears are less tangible, perhaps. It isn’t spiders or snakes or dolls or clowns. Those things are creepy, yes, but I am not afraid of them. I fear losing my children, my wife. I fear loneliness and aging. Death. Who doesn’t, on some primal level, fear death?

Spec Can: How does fear inspire your work?

Michael Kelly: It spurs me to write while I’m still among the living.

Spec Can: What mythologies inspire you? What mythical themes and ideas imbue your work?

Michael Kelly: I wouldn’t say any particular mythology inspires me. My fiction is often reality based, psychological in nature, with an emphasis on characters, mostly flawed.

Spec Can: What can horror do that realist fiction can’t?

Michael Kelly: Oh, gosh, that’s a good question. The short answer is ‘I don’t know.’ I think of my fiction as realist. If you say “horror,” a set of readers are going to have certain expectations. Mostly blood and viscera. That’s not me. My definition of horror is broad. “Alien” is a horror movie. “The Road” is a horror novel. Weird fiction that takes an ontological approach can open a new philosophy to some. But realist fiction can do the same. It’s all in the writing.

Spec Can: Why is so much of horror literature fascinated with the body? What can horror reveal about the body?

Michael Kelly: We’re made of blood and bone, skin and gristle, teeth and tissue. These are the fragile vessels that propel us around this fragile world. Bodies give us pleasure and pain in equal amounts. When the body is invaded and hurt, when it is mutilated or begins to erode, when disease attacks, it reminds us of our mortality. But there’s also, to some, something inherently deviant and taboo about seeing unnatural things happening to our bodies. Body horror brings a new level of intimacy to our lives.

Spec Can: In what ways do you hope your fiction will inspire readers? What do you hope readers will take away from reading your work?

Michael Kelly: Other than what I mentioned further above, I just hope readers enjoy the tales, and that the themes and ideas resonate. Hopefully the stories will linger a little with the reader.

Spec Can: Where do you see Canadian horror going from here? What does the future of Canadian horror look like?

Michael Kelly: Canadian horror fiction is having a renaissance. It’s definitely in a good place, thanks to publishers like ChiZine and EDGE, and authors like Craig Davidson, Gemma Files, Richard Gavin, Sandra Kasturi, Lisa L. Hannett, Helen Marshall, David Nickle, Ian Rogers, Michael Rowe, Simon Strantzas, Tia Travis, and Halli Villegas, to name a few. The future of Canadian dark fiction is bright.

Cover photo of Shadows and Tall Trees Summer 2013 courtesy of Michael Kelly

Cover photo of Shadows and Tall Trees Summer 2013 courtesy of Michael Kelly

Spec Can: Is there anything further that you would like to add to this interview or any other ideas that you would like to share?

Michael Kelly: Thanks, Derek. I’d just like to point readers to Shadows & Tall Trees, the journal I edit. As a one-person operation it is hard to get the word out. I think lovers of weird and strange fiction will enjoy the journal. As a very small independent press the only way to keep afloat is to sell copies. Issue 5 is now available at all the major online retailers. I do hope you’ll take a look. I guarantee it’ll be worth your time and money. You can find more info and order back copies at:

www.undertowbooks.com/issues

I want to thank Michael Kelly for this incredible conversation about Canadian Dark Fiction and being willing to share his passion for the dark and the thoughts and speculations that come out of pondering the dark.

Interview With Karl Schroeder

An Interview With Karl Schroeder
by Derek Newman-Stille

Karl Schroeder is the author of several novels including “The Claus Effect”, “Ventus”, “Permanence”, and The Virga Series. In the following interview, much as in his fiction writing, Mr. Schroeder asks his readers the tough questions, calling on them to question their limited views of reality and helping readers realise that they have a role in making the world a better place. He calls on us to think about a possible future in which humanity develops better decision-making capacities. I hope that you find this interview as enlightening as I did.

Spec Can: To begin our interview, could you tell readers a little bit about yourself?

Karl Schroeder:  I’m an author and futurist based in Toronto, though I was born and raised in the prairies. My family comes from the same southern Manitoba Mennonite community that A.E. van Vogt came from. In 2011 I acquired a Master’s degree in Strategic Foresight and Innovation; as well as writing SF, I consult about technology and social futures for clients such as the provincial and federal governments, and the military.

Spec Can: Do you characters ever take you to places you didn’t intend to go? Do they take on personalities of their own?

Karl Schroeder: No, and yes within limits. If you’re writing novels of character, then letting your heroes and villains take on lives of their own is good. If you’re writing any other kind of story, character, like setting, plot and style, is subordinate to what you’re trying to communicate. Characters should seem real to the reader, just as the settings and situations you write about should seem real; but there’s no advantage in them seeming real to you.

As with everything else to do with writing fiction, you must remember that it’s not a sign of success if you get swept away by your own storytelling; that’s actually a sign of poor discipline. If your characters are taking on lives of their own, you’re too close to them and need to step back to objectively assess whether they’re properly serving the story you’re trying to tell. If they are, then great. If they’re not, then you probably need to rein them in.

This probably sounds cold and heartless to beginning writers who feel that there’s something romantic about writing. The fact is, you want your readers to feel the romance of storytelling, but it’s utterly unnecessary—and often counterproductive—if you do.

Spec Can: What inspired you to write Speculative Fiction?

Karl Schroeder:  No one thing; there was no Damascus Road moment that made me a writer. Above all, it was my family, and specific incidents when I was growing up.

My mother published a couple of novels when I was very young, so I grew up with these in the bookshelf. Becoming a writer was obviously a viable option. My brothers and sister also inspired me at different times with their creativity and the possibilities of storytelling.

To give just one example of the many small events that pushed me into being a writer: when I was about eleven my dad brought home a big roll of brown wrapping paper from work. My brother and I unrolled this on the basement floor and began covering it with doodles, art—and cartoons. From there I started filling notebooks with short graphic novels, and after a couple of years of that, began writing in prose. I started my first novel when I was fourteen, and I finished my first one when I was seventeen.

Spec Can: In what ways does your Canadian identity influence your writing?

Karl Schroeder: I’m sure there’s lots of ways that being a Canadian influences me, but somehow the question seems odd. Do we ask American authors how being American influences their writing? Or British authors how being English influences them?

One clear discovery I’ve made is that I was never influenced by certain key authors who loom large in the reminiscences of some American SF writers that I know. I never read Heinlein, for instance. –I tried. His attitudes and politics were too alien to me, even at age fifteen, for me to feel comfortable in his stories. On the other hand, I was avidly reading Stanislaw Lem at that time, so I never missed Heinlein.

Nowadays, my Canadian identity—like my Mennonite background—probably shines through most in my attitudes toward violence as a valid political tool. I.e., it isn’t one. I do write ripping pirate yarns, such as the Virga books, but those are cartoonish in their depictions of war. When I’m serious—as in books such as Lady of Mazes or the forthcoming Lockstep—I am careful to present nonviolent paths to resolving conflict as the superior option.

Spec Can: What do you see as distinct about Canadian Speculative Fiction?

Karl Schroeder: The fact that it asks itself what makes it distinct.

Spec Can: What role can Speculative Fiction have in changing the way people think about the world around them?

Karl Schroeder: We spend much of our lives programming ourselves to react automatically rather than to think. It’s faster, costs less energy. Part of that process involves the ossification of our basic categories: man/woman, human/nonhuman. SF deliberately blurs these categories in order to almost literally wake us up. It’s strangemaking, which is a very valuable capacity, especially in the present situation when the world needs innovative new solutions to some pretty dire problems. It’s not that SF presents, or even can present, the solutions to big issues like global warming or global poverty; it’s that it helps educate us in the kind of thinking that can lead to them.

It’s important to know that the style of thinking SF promotes isn’t limited to science fiction. If you read current thinkers such as Timothy Morton, for instance, you’ll encounter the same strangemaking process, but highly honed for specific purposes and politically and socially pertinent.

Spec Can: Your work alternates between various Speculative genres. Is it tough to alternate between genres? Are these genre categories that separate?

Karl Schroeder: Genre is a marketing tool. I don’t think in terms of genre, only about what ideas I want to communicate (or strange-make). This determines the kind of story it’s going to be. I’d say the only reason that my novels have, to date, all been science fiction, is that I’ve had particular things to say that SF is optimized for.

I could simultaneously write a hard SF novel and a fantasy epic, without the stories interfering in any way with one another.

Spec Can: What can Speculative Fiction do that “realist” fiction can’t?

Karl Schroeder: Describe the real world.

Realism, in literature, painting, and science, is just the rule of the lowest common denominator.  It’s not actually a successful stance in science, for instance; strictly realist approaches to quantum mechanics fall into paradox pretty quickly. Realism achieves some stability in understanding the world by simply discarding 99% of all the available data (whether that be measurements, opinions, or political stances). That’s what the muggles do in the Harry Potter stories: it’s not actually that they lack some magical gene or other that wizards have (like the midichlorians in Star Wars); it’s that they literally can’t see the magical in the world around them. They only think about, and therefore can only see, those things they’ve decided are ‘real.’ What’s that saying? “If all you’ve got is a hammer, everything looks like a nail.” That’s muggle thinking. (And by the way, having the Force be created by midichlorians makes the Star Wars universe a very muggle place.)

In contrast, there’s some very interesting philosophy these days that goes way beyond realism to engage with both science and society in new ways. Bruno Latour is a good one to read for this: his Irreductions presents the idea that everything, from atoms to Santa Claus, is equally real: nothing can be reduced to anything else… and, anything can be reduced to anything else (if you’re willing to put in the work to connect them). As an artist, that’s much more like the world I live in than any realist world.

Spec Can: You collaborated with David Nickle in writing The Claus Effect. What is it like to collaborate with another author? What were some of the benefits and drawbacks?

Karl Schroeder: Collaboration is easy, with the right person. Also, attitude is everything. David and I wrote The Claus Effect for fun and we weren’t under contract. The deadline was tight, though: three days, because we were doing it for the Three-Day Novel Contest, which was held over labour day weekend. That explains some of the zany energy in the book, because parts of it were written at 3:00 a.m. on some very questionable formulas of caffeine and sugar.

Spec Can: In The Claus Effect, you tackle the issue of over-consumption around the holidays. What inspired you to write about the figure of Santa Claus and, in particular, the concept of greed surrounding the holidays?

Karl Schroeder: Oh, Lord, there was no cunning calculation to this! We were just both sick and tired of the overcommercialization of the holidays, and Santa is the perfect symbol. Anyway, anything precious gets distorted when filtered through David’s mix-master of an imagination; it didn’t take us long to come up with our present vision of Santa once we turned our attention to him. Maybe a minute.

Spec Can: What ideas of the mythic do you bring into your work? And what role can the mythic have for the modern Canadian audience?

Karl Schroeder: What we lack today is a mythic dimension of the real. There’s plenty of sense-of-wonder available from fantasy, but why should we have to escape reality in order to experience the mythic? Much of my work consists of examples of things that are perfectly possible, but as magical as anything you can find in fantasy. My world of Virga is an example: it’s a steampunk, gaslight environment complete with pirates and conspiracies, ancient monsters hiding in the forgotten corners of the world… and it’s a zero-gravity world where the hero rides around on a wingless jet engine with handlebars and a saddle on it. All perfectly possible.

Spec Can: What is the importance of imagination and a sense of wonder for our world?

Karl Schroeder: Everyone in the world today is caught between what they believe to be true, and what they know to be real. We’ve been taught that the real is not the realm of magic or of the imaginative. In fact, most of us are utterly incapable of reconciling what we believe to be true and what we know to be real. But if I said that for the most part, what I believe is true is also what know to be real; that for me, reality is the realm of the imaginative, and that magic and wonder dwell here with us and not in some separate realm… well, would you believe me?

Return again to Virga, and to the picture of Hayden Griffin arrowing through lemon-coloured skies on a wingless jet—or to Spire, a thousand-year-old, open-ended cylinder twelve miles wide rotating to provide gravity on its interior surface. Ancient, bits falling of it, holes in its surface known as airfalls, and strange isolated estates where ancient families enact eccentric rituals and shoot anyone who strays onto their decaying little patches of real estate… In the Virga books, the mythic dimension is explored by strictly obeying the rules of Newtonian physics. Spire is entirely at the mercy of Newton’s laws, which is what makes it so strange a place.

I wrote the Virga books to illustrate just how much novelty and wonder were still possible within science fiction with just what we knew a hundred years ago. The so-called ‘ordinary’ is an inexhaustible wellspring of wonder. To know that is to be comfortable living in this world.

Spec Can: What new technological advances most interest and excite (or frighten) you as an author of Speculative Fiction?

Karl Schroeder:  There’s lots of technologies that are flashy, or might have this or that big effect on the world. Nuclear fusion, augmented reality, nanotech… yeah, they’re all great. But we don’t need them. There’s only one development that we need at this point in our history: better methods and systems for decision-making, both individual and collective.

We have all the technologies—all the tools and capabilities and understandings—to create a Utopia on Earth now. We can absolutely solve the problem of global warming, for instance; we even know how to reverse it with technologies we currently possess. What’s become abundantly clear in the past couple of decades is that the only thing we lack is the ability to make, and follow-through on, the right decisions. So much of my work right now is dedicated to asking what we need to do to get to such capabilities.

It’s ironic and sad that people within the science fiction community can imagine any future—ones where robots run amok, where nanotech eats the planet or biotech creates new species or aliens arrive… any future, except one in which humanity redesigns and improves its ability to govern itself. This is a ridiculous blind-spot, a very telling prejudice toward what we think is possible; it’s a remarkable and disappointing failure of our collective imagination. So that’s what I want to address in my new work.

Spec Can: Is there anything further that you would like to add to our interview, any ideas or thoughts to close our discussion?

Karl Schroeder: Let me deploy that old, inflammatory question: are you part of the solution, or part of the problem? Do you imagine or write a future where anything is possible except the invention of prostheses to compensate for the inadequacies of human decision-making? Does your worldbuilding encompass universes with star flight, robots and nanotech—yet accept royalty, corporations and bureaucracies as inevitable? Is Terminator your only model for computer-assisted decision making? Or are you tracking developments like dotmocracy, statistical demarchy, decision support software and the iPhone SuperPAC app? Because to those of us following such developments, the future looks entirely different than it does to mainstream SF—even, dare I say it, any SF of the present generation.

I’ll retract that statement when I’ve read a novel that shows how new governance systems and methods solve global warming.

I want to thank Karl Schroeder for being willing to do an interview here on Speculating Canada and for asking readers tough questions, and questions that need to be asked.

As an educator who uses Speculative Fiction as a way of helping students to question taken-for-granted notions, I, personally, really appreciated Mr. Schroeder’s interest and incredible ability to evoke questions in the minds of readers and help us to expand our worldview. 

Upcoming Interview With Karl Schroeder on Wednesday, January 23

I first heard Karl Schroeder talk at The Academic Conference on Canadian Science Fiction and Fantasy in 2009 and have looked forward to the opportunity to talk to him. I am pleased that I will be able to share that conversation with all of you readers on Wednesday, January 23, when Karl Schroeder talks about his work consulting about technological and social futures, the role of SF in promoting non-violence, the flexibility of reality, collaborative writing, and the potential of SF to help readers to question the world around them and develop better methods for decision-making. This is definitely an interview that opens up new worlds of experience for readers.

Here are some teasers from our upcoming interview:

Karl Schroeder: “Nowadays, my Canadian identity—like my Mennonite background—probably shines through most in my attitudes toward violence as a valid political tool. I.e., it isn’t one. I do write ripping pirate yarns, such as the Virga books, but those are cartoonish in their depictions of war. When I’m serious—as in books such as Lady of Mazes or the forthcoming Lockstep—I am careful to present nonviolent paths to resolving conflict as the superior option.”

Karl Schroeder: “We spend much of our lives programming ourselves to react automatically rather than to think. It’s faster, costs less energy. Part of that process involves the ossification of our basic categories: man/woman, human/nonhuman. SF deliberately blurs these categories in order to almost literally wake us up. It’s strangemaking, which is a very valuable capacity, especially in the present situation when the world needs innovative new solutions to some pretty dire problems.”

Karl Schroeder: “It’s not that SF presents, or even can present, the solutions to big issues like global warming or global poverty; it’s that it helps educate us in the kind of thinking that can lead to them.”

Karl Schroeder: “I could simultaneously write a hard SF novel and a fantasy epic, without the stories interfering in any way with one another.”

Karl Schroeder: “Realism, in literature, painting, and science, is just the rule of the lowest common denominator.  It’s not actually a successful stance in science, for instance; strictly realist approaches to quantum mechanics fall into paradox pretty quickly. Realism achieves some stability in understanding the world by simply discarding 99% of all the available data (whether that be measurements, opinions, or political stances).”

Karl Schroeder: “What we lack today is a mythic dimension of the real. There’s plenty of sense-of-wonder available from fantasy, but why should we have to escape reality in order to experience the mythic? Much of my work consists of examples of things that are perfectly possible, but as magical as anything you can find in fantasy.”

Karl Schroeder: “Everyone in the world today is caught between what they believe to be true, and what they know to be real. We’ve been taught that the real is not the realm of magic or of the imaginative. In fact, most of us are utterly incapable of reconciling what we believe to be true and what we know to be real.”

Karl Schroeder: “I wrote the Virga books to illustrate just how much novelty and wonder were still possible within science fiction with just what we knew a hundred years ago. The so-called ‘ordinary’ is an inexhaustible wellspring of wonder. To know that is to be comfortable living in this world.”

Karl Schroeder: “Nuclear fusion, augmented reality, nanotech… yeah, they’re all great. But we don’t need them. There’s only one development that we need at this point in our history: better methods and systems for decision-making, both individual and collective.”

Check out Speculating Canada on Wednesday, January 23 for Karl Schroeder’s philosophical insights as well as his thoughts and speculations about the writing process. This is definitely an interview that will challenge the status quo and push the boundaries of the way we define reality.