Lynda Williams and I have been corresponding for a while, each visiting the other’s website and reading about various comments about Canadian SF. I was therefore very excited when Ms. Williams agreed to do an interview here. It is always very exciting to talk with an author who is comfortable deconstructing and analysing her own work, and whose keen observations add much to the discourse of Canadian SF.
Author and family photo courtesy of Lynda Williams
In our upcoming interview on August 2, 2013, Lynda Williams discusses the power of close observation for an author, religion, culture contact, imbalances of power, writing LGBTQ or queer characters and giving them personal complexity and depth, engaging with issues around homophobia, gender stereotypes, the question of medical intervention, writing about trauma, and the importance of fan participation in an author’s world.
Here are some teasers from our interview:
Lynda Williams: [Science Fiction] “makes us think outside the box. People can have petrified attitudes about a topic due to past associations which aren’t necessarily part of the package. In science fiction, we can alter the stimulus. We can identify exactly what we want to show the reader and see if he/she has the same reaction without the usual triggers.”
Lynda Williams: “I’ve always been an observer of life requiring a conscious effort to mimic what comes naturally to others, and felt most at home in fiction where everything has some kind of meaning.”
Lynda Williams: “My hope is that by examining fictional cultures in conflict, readers might learn to think through situations in their own world on a case by case basis.”
Lynda Williams: “If there’s a message in this for readers it’s a complex one about responsibility for one’s actions while, simultaneously, registering the non-trivial nature of finding oneself on the wrong side of a cultural norm.”
Lynda Williams: “My initial interest in sexual differences sprang from something like rebellion against male and female stereotypes.”
Lynda Williams: “Let the LGBTQ characters be fully realized, even if that means they won’t always be perfect role models. I’ve had readers express impatience with Di Mon, for example, because he can’t “get over” his dislike of being homosexual. Really? Given what’s at stake for him? When the idea of Di Mon jelled for me, back in the 1970s and 80s, it was radical to contemplate a gay hero. Now, it sometimes feels as if he’s lost the right to be a character with hang-ups because he has to represent something.”
Lynda Williams: “Real people aren’t perfect. Neither are believable characters.”
Lynda Williams: “Amel’s history in the Okal Rel Saga also dramatizes the question of whether science should be used to “fix” people. For example, my father used to hate being on anti-depression medication because it altered his sense of who he was. But he couldn’t cope without it, either. As we become more and more able to directly intervene to change ourselves, medically, the questions Amel and his Reetion doctor, Lurol, dance around in books 1 and 5 will get nothing but more important.”
Lynda Williams: “The Okal Rel experience evolved out of playing with others, so it invites participation naturally.”
Lynda Williams: “I’m arriving at a stage of life where I’m losing interest in complying with marketing imperatives to make out that one’s work is “just like” something better known in order to ride on its coattails, or to define an audience niche and conform to its standards for acceptance. I count among my favorite readers high school students and university professors. What they share is a love of rich cultural settings, intense human relationships, and well-plotted stories that are sometimes funny, sometimes dramatic and always emblematic of some dilemma or concern that preoccupied the writer.”
Lynda Williams: “The Okal Rel Saga is the sum of my life’s work of making meaning of my world through fiction.”
Lynda Williams: “The pleasure in writing, for me, has always been about creativity and ideas. The heroes. The questions. The larger-than-everyday feel of SF.”
If you have not already had the chance, check out my review of Lynda Williams’ The Courtesan Prince at https://speculatingcanada.wordpress.com/2013/07/25/the-in-between-space/. You can find out more about Ms. Williams and the Okal Rel universe at http://okalrel.org/.