Authors in Quarantine – Julie Czerneda

With this this series, I am hoping to capture how this cultural moment is affecting our speculative fiction authors and how our authors are surviving during the COVID-19 outbreak

Spec Can: What have you been up to during the COVID-19 outbreak?

Julie Czerneda: It’s been work as normal for us in many ways, especially coming out of winter. I turned in a book in February and the next is due early June. That’s a good pace. My publisher, DAW Books, has all their staff working from home and eager to see material flow. As I’d already been driving hard to turn in my current WIP, SPECTRUM, early, to give me more time ahead for a “secret project,” I haven’t lacked motivation. Now? Because spring is like a tonic, especially to see the green things and birds, the struggle to balance outside and office is pretty familiar. It’s not a bad thing.

Spec Can: How are you adapting to social distancing?

Julie Czerneda: I’m very fortunate to live with my best friend and partner (coming up to 44 years, btw) Roger. We have offices and room to roam in our house, and much to do. For breaks and exercise, we love walks and biking, so that’s all good. I won’t lie, it’s agony at times being apart from the rest of our family and friends. Videos of loved ones are bittersweet. Sometimes I’ll sniffle a while afterwards. Not being able to help is the worst, but we know we’re protecting one another and are in it together. The end of this will come.

Like many, I can say we’re getting a great deal done on several fronts simply because we’re not leaving town or dividing our time. Oh, and I must applaud Roger for being our designated Seeker of Needful Things. I haven’t shopped since March 14th. (When I bought my wonderful new keyboard, so there’s that.)

Spec Can: How is the outbreak affecting your writing?

Julie Czerneda: I am grateful to be writing Esen. She’s family and joy, along with the suspense, and there’s a great release in finding new weird aliens around every corner. I don’t know if I could have written MAGE during this. Maybe. Glad I don’t have to find out.

The first week I couldn’t focus as well. The significance of the news was overwhelming–trouble with a science background, we both had a sense of how huge the problem would become. By the second, I’d regained my rhythm, but my daily word count was down maybe 20% overall until lately. (I track it) I do allow myself to walk away, then try again later. We leave the news till after our workday, as best we can. That helps. Plus we’re wary of what we watch or read for pleasure. Some themes cut too close right now and that’s normal.

Fortunately, the new book has hit the climatic portion–so much happens!–and that’s always the smoothest/fastest for me to write. I’m already seeing my numbers head back to normal. As for tone…that’s interesting. When I need to decompress, I’ve gravitated to rereading favourite mysteries, Rex Stout’s Nero Wolfe. Bonus? That tingly sense of oooh REVEAL CLUE!!!! has crept in to my story, which is fun.

Coffee and cheesecake from the local bakery

Interviewed by Derek Newman-Stille, MA, PhD ABD

A Call for Research

A review of Holly Schofield’s “Weight of the World” in Cli Fi: Canadian Tales of Climate Change (Exile Editions, 2017)

By Derek Newman-Stille

img_1083-5

 

Holly Schofield’s “Weight of the World” explores the role of science in humanity’s engagement with our ecology. Schofield brings attention to the way that capitalism is constantly placed ahead of ecological research, pointing out that we endanger the planet further by devoting government resources to areas that we think will be more profitable and provide short term benefits rather than long term research that could develop solutions to ecological problems.

 

Schofield’s tale centres on a scientist named Gurpreet who keeps getting shuffled from department to department while she tries to create solutions for humanity’s current eco crisis and food security issues. Changes in the gulf stream have meant that Canada has become a frozen wasteland where growing seasons are uncertain and always incredibly short. Gurpreet has to deal with misogyny from her male coworkers as well as corruption in funding models that takes money away from viable food production and funnels it into popular, but under-researched methods of producing food, even though these methods will likely have longer term ecological repercussions.

 

Schofield’s tale is timed at a critical moment when we see a conflict between scientists in the United States and a government that doesn’t want to change its ecological policies. Her tale is a reminder to all of us that we need to invest in long term scientific research and stop having stop-gap methods that cause further ecological danger.

 

To find out more about Holly Schofield, visit https://hollyschofield.wordpress.com/

To discover more about Cli Fi and other Exile books, visit http://www.exileeditions.com/

 

Evangelical Science

A review of Suzanne Chuch’s “The Wind and the Sky” in Elements: A Collection of Speculative Fiction (Edge, 2014)
By Derek Newman-Stille

In a future where humanity neared extinction and have become a hunter-gatherer society watched over by androids in space, science has become religion for the artificial life forms above our world. Suzanne Church explores a society where science has become dictatorial, a religious system that must not be questioned.

Cover photo of Suzanne Church's "Elements" courtesy of http://edgewebsite.com/

Cover photo of Suzanne Church’s “Elements” courtesy of http://edgewebsite.com/

Despite the threat of upgrade and memory erasure, Polnine has developed a fascination with humanity, with the wonders of a world beyond the artificial. His research into humanity is viewed as trivial at best and threatening to the social order at worst. His superiors believe that despite their mission to maintain human genetics and culture, their survival is enough to justify their role.

When Polnine escapes to the surface of Earth to temporarily escape software upgrade and experience contact with humanity and their planet. On the surface, he is even more convinced of the richness of experience on Earth, almost overwhelmed by the complexity of the ecosystem and intricacies of human interpersonal relationships.

Polnine must use the extents of his compassion to learn how to interact with humanity without causing offense or upset human beings who have mythologized his existence. Interacting with humanity, he is pulled into a space between the human and the artificial, challenging social perceptions of both.

Through the lens of the android, Suzanne Church explores the nature of religious extremism, and the religious nature of science as a discourse.

To find out more about Elements and other Edge books, visit their website at http://www.edgewebsite.com/ .

To discover more about Suzanne Church, visit her website at http://suzannechurch.com/wordpress/ .

Malicious Math

A review of Matt Moore’s “Delta Pi” (from Torn Realities, Post Mortem Press: 2012)

By Derek Newman-Stille

Matt Moore’s “Delta Pi” is an Aurora-nominated short story that plays with the idea that math can be a spell as powerful as any invocation. Math is a language, a coded system, and reality imposes strict rules upon it, but math is also something that is seen to govern reality, a system that provides guidelines for interpreting the world. What happens when those guidelines shift? What happens when technology changes the basics of math? Does reality itself shift? “Delta Pi” explores technology that fundamentally questions and alters the nature of Pi, the mathematical constant that represents the ratio of every circle’s circumference to its diameter. When that number shifts, when technology alters it, the world, a fundamentally circular space changes and shifts. Our universe is left in a state of question when things that are structured as constants begin to change – the altered Pi is a gateway to the unknown.

Matt Moore sets his story at a research lab where new technology is being tested. His protagonist is a teacher for the children of the lab techs and researchers in the experimental lab attached to the school. Gradually, through an experiment with the children, he finds out that Pi is shifting, the number ramping up from 3.14159 to 3.26, and then to 3.71… the coding underlying the universe’s constants is changing and this could have meaning for the entirety of reality. Moore explores the danger of experimentation and the power of math as a coded system, a language that has the capability for describing the nature of reality.

In particular, Matt Moore’s protagonist fascinated me because of his disability, since few SF narratives deal in depth with disability. His disability is not revealed until later in the story unlike many narratives about disabled people that generally reveal disability early on and structure the entire person and their personality around their body. The significance of his protagonist’s disability is revealed most prevalently when the plot makes it relevant – when the nature of the circle, and thus the wheels on his wheelchair, are fundamentally shifted.

To find out more about Matt Moore, you can visit his site at www.mattmoorewrites.com . To find out more about the Prix Aurora Awards, visit their website at http://www.prixaurorawards.ca/

Zombie Soldiers

A review of Silvia Moreno-Garcia’s “Cemetery Man” in This Strange Way of Dying (Exile Editions, Forthcoming 2013).

By Derek Newman-Stille

Cover photo courtesy of Silvia Moreno-Garcia. Artwork by Sara K. Diesel

Cover photo courtesy of Silvia Moreno-Garcia. Artwork by Sara K. Diesel

When you are in a battle against an enemy that keeps bringing forth the resurrected dead, the worst thing that can happen is when you find yourself tended to by their doctor. In “Cemetery Man”, Catalina finds herself under the ministrations of a Frankensteinian doctor, affectionately called Cemetery Man. Pain runs through her body as Cemetery Man conducts experiments on her, changes her to suit his own ends and those of the military units that support him. He is the ultimate expression of the ability of science to be forced to express political ends. Research is placed above patient needs and the push of politicians for results causes a total abandonment of the statutes of medical care.

In a civil war, like in any war, bodies become disposable, food for the war machine, and Catalina finds herself trapped between allegiances, being used in multiple ways and having her agency ripped from her while struggling to maintain some form of selfhood separate from the political agencies that rob her of power. The zombies surrounding her in Cemetery Man’s lab are the ultimate expressions of the disempowerment of people that often accompanies war – they become the ultimate soldiers, feeling no pain, unable to question their circumstances or their orders, and relegated to the position of murderous machines. But no one is really free of the zombieism that accompanies war, the march with one foot in the grave and control taken into the hands of another.

To find out more about Silvia Moreno-Garcia’s work, you can visit her website at http://silviamoreno-garcia.com/blog/ . To read this story and others from This Strange Way of Dying, you can explore it athttp://silviamoreno-garcia.com/blog/this-strange-way-of-dying/ . This collection will be available in the fall.

Spectral Reality

A review of Sandra Kasturi’s Come Late to the Love of Birds (Tightrope Books, 2012)
By Derek Newman-Stille

In her poetry collection Come Late to the Love of Birds, Sandra Kasturi creates a spectral reality, an assemblage of words that makes the familiar strange and the strange familiar. She reveals the extraordinary in the natural, taking scenes of everyday life and introducing an otherworldly quality, a nuance of language and image that breaks down the notions of what is real.

The figure of the bird provides a framework for this strange-making process, an animal that is both fundamentally natural and present, but also simultaneously distant, ethereal, coded with otherworldly flights of fancy.  She fixes the reader with the animal gaze, a gaze that is both common and completely Other, and that gaze finds humanity wanting. She helps to estrange us from our hegemonic ideas of humanity – our belief that we are superior to nature – and makes the reader question their taken-for-granted beliefs about the appropriateness of their impact on the environment.

Come Late To The Love of Birds is an interplay of the mythic and the evolutionary, revealing that neither in science nor in mythology can one find a complete picture, but it is through the interplay of the critically realist and the transcendently fantastic that we are able to see the complexity of the world around us.

She titled a section of the collection “Hieroglyphs of Wind”, and in that phrase, she reveals the key to her poetic craft – the infusion of her breath with an occult quality of words, beyond simple meaning or singular expression. Her words are imbued with complexity, multiplicity, and a deep interplay of meanings. Her poetic art is simultaneously completely natural and wholly transcendent.

To discover more about Sandra Kasturi and her work, visit her website at http://sandrakasturi.com/ .

Quote – Any Evil that Entered the World Contaminated the World

“No cure was worth torturing cats and mice. It was like arguing that inventing, then using, the atom bomb was justified because it ended the war and diminished suffering. Any evil that entered the world contaminated the world.”

-Scott Fotheringham – The Rest is Silence (Goose Lane Editions, 2012)

Science and Speculative Fiction

An editorial on Science and Speculative Fiction By Derek Newman-StilleCanada Day

Although as a society, we often create an impenetrable barrier between the arts and sciences, seeing each as separate and distinct from one another, these barriers are historically created and are social inventions. The origin of science is through philosophy, remember. Science Fiction (or more widely, Speculative Fiction) is one of the arenas where there are still obvious bridges between the arts and sciences – being a production of artistic endeavor, but also dealing with ideas coming out of technology and sciences.

Several Canadian SF authors including Julie Czerneda, Scott Fotheringham, and Nina Munteanu have operated in the field of science, noticing the opportunity that SF provides to explore critical questions around science. Czerneda has even used science fiction as a mechanism for teaching students about science, allowing them to play out scientific ideas in a science fictional setting.

SF allows authors to explore the social implications of science, the social contexts and ideological underpinnings that accompany scientific endeavors. SF explores the social ramifications of scientific ideas and developments, exploring what could happen, where things could go, what social issues could develop in correspondence with technological invention, seeing the sociocultural aspect of science rather than viewing scientific ideology as separate from the social sphere and divorced from its ideological implications. SF can provide a critical lens to scientific pursuits, providing writers and readers the opportunity to insert the deeper questions into scientific explorations: asking “Why?”, “What happens if…?”, and “What could come from this?”.

So often, scientists are wrapped up in the act of invention, in the process of discovery, that they ignore what the implications of their research could be, how it could be used (and for whom), and how it could be made to serve purposes for which it was not intended. The research for research’s sake mentality sometimes cultivates an ideology that ignores social implications. SF can provide social warnings about where things could go, bringing ideas back into the world and seeing how they could play out within a political, societal sphere.

SF often displays scientific ideas magnified, extremified, exaggerated to illustrate possible implications, highlighting the dangers as well as the potentialities that could be embodied in the process of discovery, and the hazardous places that society could take scientific invention to. SF can be a place to explore moral issues in relation to technology – what are the implications of invention? How will inventions shift our consciousness and the way we view the world? Will we still capture what is fundamentally human if we switch our basic behaviours, our patterns of thought, or even our bodies themselves?

Writers can use SF as a medium for exploring whether the social or the technological will be a greater mechanism of change. Scott Fotheringham’s The Rest is Silence explores whether social change or technological change will be the thing that will deter the destruction of our natural environment and deal with the development of pollutants. Will we be able to shift our way of thinking about the world to be more ecologically safe, or will we once again try to rely on a technological invention to solve our problems?

SF can illustrate the limits of science to repair our social problems. We tend, as a society, to put a lot of faith in the idea that science will solve our problems, whether they be environmental (as illustrated by our trend to introduce new species into ecosystems as an attempt to control those ecosystems) or medical (believing that the medical profession can solve our bodily ills).We often take science as a given solution, as an ideology founded in concepts of “Truth”, rather than a set of theories that is open to challenge and is historically contingent (formed from a specific line of thought that has developed over time). SF provides a space to question the unquestioned authority of science and our social belief that science can solve our world’s ills.

One of the fora of scientific exploration that SF has been doing a great job of critiquing is the field of medicine, and, particularly, the ideologies that are created from viewing the body mechanically (as something that can be fixed through forced normalisation). One of the areas that is most affected by the medicalised ‘normalcy’ forced on bodies is the area of diverse bodies, and people with disabilities, who are often subjected to painful procedures in an attempt to normalise their bodies rather than shifting social ideologies to allow for more diversity and more accessible spaces for diverse bodies. Leah Bobet does a great job of critiquing the medicalised body in her YA novel Above, where she presents readers with a group of individuals who are mutated or bodily different in certain ways (either with crab arms, the ability to transform into a bee, lion feet, or the ability to speak to ghosts) who have escaped from medical facilities that broke their feet, cut off their arms, and subjected them to harsh medical drugs in order to force their bodies to resemble the human ‘norms’. These people created a community called “Safe”, a place of safety away from the “Whitecoats” (doctors, scientists, psychiatrists, and other medical practitioners). The ideas of healing used by the Whitecoats were shaped by the idea that only certain bodies are normal, and any others are threatening and would be changed (even in painful and destructive ways) to represent that norm.

Camille Alexa, in her short story “All Them Pretty Babies” (from OnSpec Vol 24, No 3) takes this idea even further, presenting a future in which the population is limited, and yet, the society that is fighting for its own survival is still willing to cast out those who are bodily different, those mutations that threaten ideas of the normal. Scientists cast bodies out into areas of intense radiation while they try to preserve their ideas of what is and should be human, allowing anyone who deviates from that idea of humanity to rot in radioactive woods.

In Sparkle Hayter’s naked brunch, a doctor tries to medicalise the werewolf. Rather than accepting it as a figure of legend, he ascribes a disease to this different body: “Lycanthropoic Metamorphic Disorder”. He treats these medically diverse bodies as threatening, trying to force the werewolves to pass as human, subjecting them to harsh treatments that lead to chemical addictions and often death in an attempt to have them be more like ‘normal’, ‘regular’ human beings. He and his society deny the possibility that diverse bodies are useful and even necessary in a social system, that this diversity can be healthy.

Margaret Atwood’s Oryx and Crake illustrates the extremes of danger that could be involved in the economicisation of medical technology. Her future is one in which pharmaceutical companies have solved all of the medical problems, but periodically release viral epidemics to spur the social need to buy more advanced cures and spend more money on medical advances to fuel the pharmaceutical industry. She shadows the issues we see in our society now where a great deal is medically possible, but the access to that medical technology is often restricted by wealth, and where often research is focussed on treatment (which is a greater long term investment) than on cures.

Canadian SF can also point out our reliance on technology. Joseph Macchiusi’s The Betelgeuse Oracle shows a world after the release of a massive EM pulse and the challenges of a world without technology. Urban spaces become deserts cut off from the modes of production, and characters have to adapt to a world that is different from the one that suffused their existence since birth. One character is so dependent on his connection to technology and particularly to communications technology and the need to be connected that he carries his dead cell phone everywhere with him and spends precious moments alternating batteries to try to re-activate it. Scott Fotheringham’s The Rest is Silence illustrates the world’s reliance on plastic and the social breakdowns that occur when plastic is removed from our society.

One of the issues with science is that it often limits things into easy (and uncritical) categories (such as binary notions of gender), and good Canadian SF complicates these theories, disrupts this boundaries and categories and shows the complexity of the issues involved. It questions the foundations of categorization altogether.

SF doesn’t just critique scientific endeavours, SF also provides the opportunity for creative thought. So often people become limited in their outlook, navel-gazing within their own field and looking only at what is currently possible instead of what is impossible. Often it is in the sphere of the impossible where new ideas are found, new visions of things, and new ways of considering things outside of what is ‘normal’. Reading and writing SF allows for the development of insights into the impossible, the places of new innovation and new ways of thinking about the world.

SF explores the “what ifs” that are the foundation of scientific hypothesis building.

Science and SF can provide a powerful conversation with each other, changing, questioning, and challenging each other.

Here are some points that SF authors have raised about Science in their Interviews on Speculating Canada:

SCOTT FOTHERINGHAM

(https://speculatingcanada.wordpress.com/2013/03/08/interview-with-scott-fotheringham/ )

Scott Fotheringham: I wanted to use what I had learned of biology to perform a thought experiment: What would happen if plastic began to disappear? Because

Author photo courtesy of Scott Fotheringham

Author photo courtesy of Scott Fotheringham

that probably won’t happen because we choose to make it happen, I wondered if organisms could digest plastic.

Scott Fotheringham: “much of science is goal-driven or product-driven. Scientists create things that are worth a lot of money but have little social value or actually harm us.”

Scott Fothertingham: “The questions I’d like to see asked – particularly by the scientists themselves – are, What value does the work I’m doing have to society? How will this be used and, if it has potential for harm, should we pursue the research at all? So often scientists shrug their shoulders and say it’s not up to them how their inventions and discoveries are employed. This is a grievous abdication of their responsibility.”

Scott Fotheringham: “Right now our intention is to use technology to make money. Only if that changes will we able to work to heal what we’ve wrought.”

Scott Fotheringham: “Reading gives us insight into how other people view the world. If all I had was my experience, and that didn’t include reading, my view of how the world works would be narrower than it is.“

JULIE CZERNEDA

(https://speculatingcanada.wordpress.com/2013/02/28/interview-with-julie-czerneda/ )

Julie Czerneda: “From the beginning, to me, biology and science fiction differed in degree, not substance. Biology filled me with wonder and curiosity.  All science

Photo of Julie Czerneda by Roger Czerneda

Photo of Julie Czerneda by Roger Czerneda

does. The universe does. Reading science fiction did that. Writing it? Ah, there was the legal, moral, and fun way to answer my own questions.”

Julie Czerneda: “what I write, the stories I tell, come from what interests me. So there are cool real bits of biology everywhere in my stuff. I couldn’t make up the weirdness of real life.”

Julie Czerneda: “Because nothing lives in isolation, an ecological approach gives a writer the opportunity to fit the puzzle together. To have alternative points of view and unintended consequences. All the intricate and messy ways things happen.”

Julie Czerneda: “The more the merrier! Or, in the case of living things, the more stable and resilient the community. It’s interactions that interest me. The interface between any two or more creatures is full of change and adaptation and lovely icky bits. In storytelling — and real life — I’d rather toss a problem at a group of people (or whatever I have in mind at the moment) who’ll each have a different approach to a solution, if they see it as a problem at all.”

Julie Czerneda: “I believe, passionately, that science fictional thinking is a crucial survival skill. We all need to ask questions, to speculate about possible consequences in an imaginative, yet as close to real fashion as possible, and to become able to assess incoming  information in a critical, not cynical manner. Imagination is of immense use, too often undervalued. We who live and breath SF rarely appreciate what a strong and active muscle our minds have developed. I’d like everyone to have the same advantage. To ride society’s changes, rather than be swept away. To decide where and how technology best fits our needs, before it’s in our homes.”

Julie Czerneda: “I’ve had success using science fiction with students to get them “talking science.” SF provides useful vocabulary, presented in context.  Story dialogue gives examples of conversations centred about science as something immediately important to the characters.“

Julie Czerneda: “I’ve also worked with a professor who, for many years now, has used science fiction as an integral part of his first year astronomy course. Students take what they’ve learned about the science and apply it to alien world-building as an SF writer would do it. I’m proud to say this class has been using Beholder’s Eye (my second novel) as part of this process.”

Julie Czerneda: “We need people who can bring science to life, who can clearly express complex ideas in meaningful ways to a varied audience. SF? Does it all the time.”

Julie Czerneda: “What we can’t imagine, we can’t create, so there’s one. What we can’t imagine, we can’t prepare against or for, so that’s another. Imagination is essential to our survival, as individuals and as a species, and has been for eons. The sad thing is that it can atrophy from lack of use or be stunted by those who’ve lost their own. The best? The more it’s used, the stronger it becomes.”

Julie Czerneda: “What technology is to science, I suspect curiosity is to imagination.”

Julie Czerneda: “I take pleasure and pride in what makes science fiction a speculation about the real world, by asking that one “what if …” then building a story framework that lets me play with an answer, while keeping as much of what we know factual and true to life. I’ve no problem inviting a reader to play along with FTL and aliens, but I won’t mess with anything more and there’s always a science question at the heart of my plot. What if life evolved this way or that? How might biological imperatives affect technological civilizations? Who might we become in the future? What cost is too high or risk too great, when manipulating genetics? I love how science fiction gives me insight into these and any other questions I might have.

KARL SCHROEDER

(https://speculatingcanada.wordpress.com/2013/01/23/interview-with-karl-schroeder/ )

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.”

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). That’s what the muggles do in the Harry Potter stories… 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.”

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.”

Karl Schroeder: “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.”

Karl Schroeder: “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?”

NINA MUNTEANU

(https://speculatingcanada.wordpress.com/2012/11/27/interview-with-nina-munteanu/ )

Nina Munteanu: “The literature of the fantastic: speculative literature, science fiction, fantasy… explore—nay—celebrate and bridge the gap between logic and

Author photo courtesy of Nina Munteanu

Author photo courtesy of Nina Munteanu

imagination, the mundane and the extraordinary, the known and the strange, order and infinite possibility.”

Nina Munteanu: “Speculative fiction predicts consequence to current conditions. It projects into the future or alternate reality from current paradigms in science, technology and society. Speculative fiction uses the premise, “What if?”:  “What if this continued?” “What if we used that this way?”; “What if this caused that?”. It provides the proverbial “canary in the mine” on society. Where realist fiction makes commentary on our current society, speculative fiction takes that commentary into the realm of consequence by showing it to us in living colour. It is the ghost of future, present and past to our Scrooge. The arm of speculative fiction reaches far. This is its power over realist fiction and why, I think, mainstream realist authors like Margaret Atwood have discovered and embraced this genre (her latest three books are all speculative fiction). Speculative fiction doesn’t just “tell us”; it can “show us”.”

Nina Munteanu: “Both ecology and science fiction explore consequence in a big way.”

Nina Munteanu: “My ecological interests and experiences have influenced my writing in every way: in providing me with ideas, in world-building, and in the interactive fractal nature of plot, theme, character and premise. For me, the two are intertwined. Writing science fiction has opened the doors of creative problem solving in my scientific pursuits; and my science has opened windows of possibilities in my writing. It’s a win-win situation, really.”

Nina Munteanu: “Most science and technology presents itself in literature through premise or plot, which influence various characters in their life journeys. Ecology—like setting—manifests and integrates itself more in theme. This is because, while most of the hard sciences study the nature and behavior of “phenomena”, ecology studies the consequences of the relationship of these phenomena and the impact of their behaviors on each other and the rest of the “world”.”

Nina Munteanu: “Environmental issues are largely a global phenomenon—concerns like water quality and quantity, air pollution, resource acquisition, allocation and sharing, wildlife extinction, etc. Science fiction is the literature of consequence that explores large issues faced by humankind; it can provide an important vehicle in raising environmental awareness. Literature in general has always served as a cultural reporter on themes important to humanity….The science fiction genre—and speculative fiction particularly—explores premise based on current scientific and technological paradigms. What if we kept doing this?…What if that went on unchecked?… What if we decided to end this?… These are conveyed through the various predictive visions from cautionary tales (e.g., Atwood’s “Oryx and Crake”) to dystopias (e.g., Huxley’s “Brave New World”).

JEROME STUEART

(https://speculatingcanada.wordpress.com/2012/12/18/interview-with-jerome-stueart/ )

Jerome Stueart: “Speculation is about seeing natural consequences, about thinking about choices and figuring out where they will lead, and about large-scale

Author photo courtesy of Jerome Stueart

Author photo courtesy of Jerome Stueart

societal consequences.  I think speculative fiction is the reason we don’t condone cloning, or have nuclear war—science fiction showed us that there are no good ways of having those, and we believed them.”

Jerome Stueart: ““I would put MORE speculative literature in the classroom…. I would teach kids to imagine their own futures—what will they be doing 20 years from now, and what will society be like.  What do they WANT society to be like?  And where do they see the forces in control trying to lead us?  Kids can be taught to think speculatively and use it wisely. “

Jerome Stueart: “I think SF can help us get ready for change, and see change as positive and desirable.  We get in our ruts.  If we want the Star Trek universe—we’re gonna have to work for it.  LOL.  But I think it can examine multiple paths for us—examining all possible scenarios and showing us a positive path.

Jerome Stueart: “Maybe that’s the greatest strength of SF—it has a wide angled lens.  SF is about commenting on societal problems more than character problems.  Maybe that’s why the characters can be more universal, and sometimes flatter, because SF is interested in the “what if” of the story—the what if of the society.  It can handle a universal character because the society is what we want to examine in SF, and the choices a society makes.”

Jerome Stueart: “I think the current problems with getting the world to understand climate change is directly related to an inability to speculate—or see the future from the evidence you have.  Society has equipped scientists to extrapolate from their research, but we don’t take their recommendations because we don’t trust science anymore, or intelligence.  Unless the majority of the population respects knowledge, has a healthy speculative mind, they can’t see consequences.”

DOUGLAS SMITH

(https://speculatingcanada.wordpress.com/2012/10/06/interview-with-douglas-smith/ )

Douglas Smith: “That’s the power of SF and fantasy (and I’d put SF as a specific subset of fantasy)–there are fewer (no?) limitations to the types of stories that I Douglas Smith with Impossibiliacan tell.”

Douglas Smith: “If there is a social issue that a writer wishes to explore and bring attention to, speculative fiction provides the freedom through its “distorted mirror” to let a writer bring whatever focus they desire to that issue.”

Interview with Corey Redekop

An interview of Corey Redekop
By Derek Newman-Stille

Author photo courtesy of Corey Redekop

Author photo courtesy of Corey Redekop

Wouldn’t the world be better if we just asked the monsters politely if they could please not eat us at the moment? Corey Redekop and I had a chance in this interview to explore the figure of the monster and its role as a representation of the social outcast, the rejected. It is great to talk to an author who shares my belief that horror and SF in general can be a medium of social change. I hope that you enjoy our interview as much as I enjoyed talking to Corey Redekop.

Spec Can: Could you tell us a little bit about yourself to begin this interview?

Corey Redekop: I was hatched in the Canadian north, and spent the next 18 years building up my strength to order to escape. After bouncing around for a few decades, I wrote my debut novel Shelf Monkey, which helped open some doors I didn’t know existed. Currently I eke out a living as publicist for book publisher Goose Lane Editions in Fredericton, NB.

Spec Can: Why is the zombie so appealing to people right now? What has led to the current excitement about the figure of the zombie?

Corey Redekop: It’s well known that people flock to monsters and horror in times of stress, which explains the popularity of giant radioactive monsters during the beginnings of the nuclear age. I don’t know why zombies in particular have taken off. I think it has to do with the fear that we are the ultimate monsters in our world. If we want to better this planet, we have to fight our own fears, our own weaknesses, and our own ignorance.

Spec Can: What are some of the things that the zombie can represent in our society?

Corey Redekop: Zombies are a terrifically malleable monster, the “jack of all trades” of symbolism, capable of subtextually representing almost anything we care to name. Crime, disease, ego, sexuality, bureaucrats, consumerism, class warfare, conservatives; you name it, they can do it.

Spec Can: What myths of the zombie influenced the type of zombie that you created in Husk and what zombie myths fascinated you most?

Cover Photo of Husk, courtesy of the author

Cover Photo of Husk, courtesy of the author

Corey Redekop: Much of my initial idea had to do with the resurrection myths that permeate modern and ancient religions. In a real sense, they may be the progenitors to the zombie of today. What was Jesus post-death, really, if not a zombie with functioning brain? In my original manuscript, I played a lot more with this theme, trying to push the rotting corpse of Sheldon into a messiah figure. By combining the two, I tried to find a way that Sheldon could be both a zombie in the b-movie Hollywood sense and a fully sensate individual.

Spec Can: What made you decide to write Husk from the perspective of the zombie?

Corey Redekop: I didn’t want another “us vs. them” story. I like stories about outsiders and loners, which all monsters are to some extent. I also like tales where protagonists have to adapt or fight against something completely out of their control. (Which, I suppose, is the basis for all fiction, now that I think about it).

I love body horror, which is horror of the most unsettling sort; the horror of being trapped within flesh, a prisoner of your own DNA. David Cronenberg — whose movies The Fly, The Brood, and Videodrome are required viewing for those who appreciate both the form and a great mix of gore and intelligence — is the preeminent purveyor of the theme, and I wish he’d go back to it. I also find the idea of a man continually trying to keep his innards in check very funny, as well as gross; I recommend Stuart Gordon’s Re-Animator and From Beyond as two examples of just absolutely grotesque transmogrifications of the human form that are horrifying and horrifying funny. It seemed natural that I combine the two.

Spec Can: Is there something distinctive about Canadian horror? How so? What distinguishes it?

Corey Redekop: All horror is about coming across some form of evil; Canadian horror is about confronting such evil with unfailing politeness. Why thrust a wooden stake through the heart of the vampire when a strongly worded letter can be just as effective? “Dear ancient evil; I must strongly object to your recent killing spree…” (joke)

Horror is horror, no matter who writes it. I don’t think that there’s a necessarily Canadian POV that permeates northern horror, other than possibly setting (which doesn’t even work, since fiction crosses borders with such ease; one of my favourite horror novels, Cabal by Clive Barker, is set in Alberta, yet the author is British). I think this may be because fear is a primal instinct, something shared between peoples across the globe. Authors such as Andrew Pyper, David Nickle, Gemma Files, Michael Rowe, Susie Moloney, Ian Rogers, and Tony Burgess stand firmly with the best horror fiction available in the world. This could be because horror authors are all of a similar breed, a sect of damaged individuals who yearn to explore the darker corners of the world. Some are darker than others, but all appreciate what confronting our demons can achieve.

Spec Can: In your novel Husk, you wrote about a gay zombie. What inspired you to make your zombie character gay?

Corey Redekop: I actually didn’t know Sheldon was gay until (*SPOILER*) he killed his boyfriend. It just wrote out that way, but as soon as it did, I knew there could be no other choice. Sheldon has always been uncomfortable as himself, which may explain his striving to be an actor. He was never truly at ease with his homosexuality, a discomfort that can be placed at the feet of domineering religious mother. In our society, homosexuality is one of the last personal characteristics that some people feel very comfortable discriminating against because of their blatant fears and willful misreading of age-old texts that have very little bearing on the world of today (although this is lessening, thank God). Allowing Sheldon that experience informs his refusal to fully “monster up” and embrace his new identity as a member of the undead.

Spec Can: What can horror reveal about ‘otherness’ and the outsider experience?

Corey Redekop: In Richard Matheson’s I Am Legend, the hero Neville, after fighting vampires for what seems like ages, suddenly understands himself to be the outsider, the monster that preys on innocent victims. Similarly, in Cabal, Boone, filled with self-loathing and believing himself a monster, realizes that the monsters are in actuality the prey, living forever in fear of humanity. Like the best of any fiction, horror allows us to turn the mirror and see ourselves as others see us, as monsters in our own right. This isn’t meant to excuse the monstrous acts of others, of course, but is it right to condemn the monster (or the outsider) as evil simply for following its own instincts? A zombie isn’t intrinsically evil; it is simply following an impulse we do not share. A vampire is only trying to survive, the same as us, reacting in the same way as any animal that has its habitat threatened through civilization’s continuing encroachment.

Spec Can: Can horror be a medium for empowering people who have been oppressed? How so?

Corey Redekop: Storytelling can always be empowering, and using elements of horror in the medium is no different. Look at how many authors are imprisoned for their stories; there is great power in words and tales, which explains why some governments are so wary and distrustful of their artists. The more we discuss a subject, the more people begin to understand it, come to grips with it, and accept it. This is what some people find so dangerous. The world is a place of constant change and evolution, and that scares some people to the core of their being. This is why Harry Potter gets challenged and banned, because in its own way it challenges some people’s belief as to the way the world works.

Spec Can: Why does horror literature show such a fascination with the body? What does the body interest us so much?804381_10151519200179402_957214904_n

Corey Redekop: The fascination lies in the body’s fragility. The prick of a pin can lead to infection; the eating of a peanut may close our breathing passages. It doesn’t take much to kill us, really, and while we may fight disease, we all know that it is ultimately a losing battle.

There’s also the absolute unfairness of the body that terrifies us. When people die from outside actions, there is always a reason we can attach a form of blame to. The girder wasn’t built to specifications, the terrorist was angry at government inaction, the brakes on the bus failed. We get that; we can deal with it rationally. When our body rebels, however, we have no one to blame, no one to confront, no one to fight back against. That body you took such good care of is now a prison you never escape from. You could apply the term Kafkaesque to the process, although the machinations of the body is even more unfathomable that poor Josef K’s predicament.

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

Corey Redekop: When people read speculative fiction, they are already primed to accept anything that would, under almost every other circumstance, be viewed as ludicrous. Once you accept that (in the world you’ve just begun reading about) starships travel faster than the speed of light, the colour of your hair may lead to insanity, a society of frog-people live beneath the surface of the lake, Trafalmadorians can experience any point in time at will, and the dead get up and walk around and hold down a job, you’re up for anything.

Speculative makes the impossible possible and the subtext palatable. A reader may not want to read a treatise on the damaging mixture of religion and politics, but a reader will read an enormous set of volumes on just that theme as long as its set on Arrakis. A viewer will not care to sit through a documentary on racial violence, but will watch again and again a tale of space prawns unwilling trapped in South Africa.

I actually don’t care for the term, actually; by definition, all fiction is “speculative.” It feels like a cheat to me, a way of elevating a genre through semantics. I’m all for declaring all genre classifications null and void. However, the librarian in me protests that form of anarchy, because then where would we put the books?

Spec Can: What drew you to write speculative fiction? Why do you write it?

Corey Redekop: This is the only spec-fic I’ve ever written, and I’m not sure I’ll return to the genre soon (I’m now starting work on a crime novel). But I love it. My childhood was made up of equal parts Star Trek, Star Wars, The Prisoner, The Hitchhiker’s Guide to the Galaxy, The Wild Wild West, Stephen King, and Monty Python’s Flying Circus. I wasn’t popular as a kid, so most of my free time was spent in my imaginations, and the more outlets I could find, the better. I love stories that give you an alternate view of the world, a viewpoint you never considered.

Spec Can: What role can Speculative Fiction have in provoking people to think about new things and new ideas?

Corey Redekop: Fiction pushes at the boundary of what’s possible, and encourages readers to learn from example and then create themselves what they love in their stories. We dreamed of space travel through our stories, and then achieved it. Jules Verne and H.G. Wells were enormously influential, as is William Gibson today. Yet we’ve now advanced to such a point where such outward innovation has almost caught up to our imaginations. I think speculative fiction will have to look inward now, to expanding our consciousness beyond mortal limits. We see hints of this in talk of Artificial Intelligence and The Singularity.

Speculative fiction can also act as a warning by providing glimpses at what may happen should science go awry. Margaret Atwood’s books are terrific examples of real-world scenarios and advancements having devastating consequences.

Spec Can: Is there anything distinctly Canadian about the worlds and characters you create?

Corey Redekop: I don’t know. I write what I want, and leave the discussion on subtext and cultural influences to others. I like to think my protagonists so far have been polite, which works to their disadvantage.

Spec Can: In Husk, medical doctors are largely corrupt and disinterested in the human element. They privilege their research and economic factors over humane treatment. What influenced this image of science?

Corey Redekop: I certainly didn’t mean for my doctors to infer a distrust of the medical profession. I think doctors (the good ones) are some of the noblest people of the planet. I far more distrust corporations that underwrite research, politicians who suppress research and innovation because of ideological bent, and good old basic human greed. I also follow Vonnegut’s satirical writing rule, “Be a sadist. No matter how sweet and innocent your leading characters, make awful things happen to them—in order that the reader may see what they are made of.” I need bad things to happen to Sheldon, and uncaring scientists seemed a good way to test his mettle.

Spec Can: Why focus Husk on an actor? What is the significance of the acting profession and how does it relate to your story line?

Corey Redekop: I thought acting would be a fine way for Sheldon to avoid being himself. Acting can be a psychologically damaging profession (I know from experience), and I thought it a nice touch that Sheldon can’t seem to get anywhere either as himself. I also wanted to play with some of the themes of fame, or more specifically, celebrity. I hate that in this world you can become a celebrity by virtue of being an absolute asshole with no redeeming qualities who somehow lucked into having a television camera catch every revolting act. Sheldon wanted fame, but not celebrity.

Spec Can: Is there anything further that you would like to add to this interview?

Corey Redekop: Only that the response has been far greater than anything I could have hoped for. I’m truly gratified that people have so enjoyed such a deeply weird story.

I want to thank Corey Redekop for this insightful and thought-provoking interview, as well as for his sense of humour. It is always delightful to talk to someone who can ponder about the nature of the Outsider effect in our society and then also joke about Canadian politeness.

 

If you haven’t had a chance yet, you can check out my review of Husk at https://speculatingcanada.wordpress.com/2013/02/25/five-stages-of-grieving-yourself/  and you can explore Corey Redekop’s website at http://www.coreyredekop.ca/ to find out a bit more about him and his upcoming projects.

Upcoming Interview with Corey Redekop on Thursday, March 14

Even though I research the use of monstrous protagonists in Canadian SF to express ideas of the outsider and socially oppressed groups, for some reason I haven’t done much work on the figure of the zombie…. largely because they just creep me out too much. I had been hearing so many amazing things about this book Husk by Canadian SF author Corey Redekop, so I knew I had to check it out even though it was about the dreadful, rotting, cannibalistic undead. I picked up a copy, read through it and ended up with a book full of notes and knew that I had to interview Corey Redekop and talk in more detail with him about his take on the zombie.

I hope that you enjoy our upcoming chat about zombies, myths, Canadian horror, the ability of characters to express themselves to their author, the visceral feel of body horror, and the power of horror for giving voice to the oppressed. I hope you are able to check out our interview on Thursday, March 14 and enjoy Mr. Redekop’s incredible insights and great sense of humour!!

Here are some teasers from our upcoming interview:

Corey Redekop: “It’s well known that people flock to monsters and horror in times of stress, which explains the popularity of giant radioactive monsters during the beginnings of the nuclear age. I don’t know why zombies in particular have taken off. I think it has to do with the fear that we are the ultimate monsters in our world.”

Corey Redekop: “I like stories about outsiders and loners, which all monsters are to some extent.”

Corey Redekop: “All horror is about coming across some form of evil; Canadian horror is about confronting such evil with unfailing politeness.”

Corey Redekop: “Horror authors are all of a similar breed, a sect of damaged individuals who yearn to explore the darker corners of the world. Some are darker than others, but all appreciate what confronting our demons can achieve.

Corey Redekop: “In our society, homosexuality is one of the last personal characteristics that some people feel very comfortable discriminating against because of their blatant fears and willful misreading of age-old texts that have very little bearing on the world of today (although this is lessening, thank God).”

Corey Redekop: “Like the best of any fiction, horror allows us to turn the mirror and see ourselves as others see us, as monsters in our own right. This isn’t meant to excuse the monstrous acts of others, of course, but is it right to condemn the monster (or the outsider) as evil simply for following its own instincts? A zombie isn’t intrinsically evil; it is simply following an impulse we do not share.”

Corey Redekop: “Storytelling can always be empowering, and using elements of horror in the medium is no different. Look at how many authors are imprisoned for their stories; there is great power in words and tales, which explains why some governments are so wary and distrustful of their artists.”

Corey Redekop: “When our body rebels, however, we have no one to blame, no one to confront, no one to fight back against. That body you took such good care of is now a prison you never escape from.”

Corey Redekop: “Speculative fiction can also act as a warning by providing glimpses at what may happen should science go awry.”

Like his fiction writing, you can expect the upcoming interview with Corey Redekop to be a mixture of serious pondering and hilarity. Check it out on Thursday, March 14.

If you haven’t had a chance yet, you can explore my review of Husk at https://speculatingcanada.wordpress.com/2013/02/25/five-stages-of-grieving-yourself/