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my bony fealty
Oct 1, 2008

What about non-sff by sff authors

What Im saying is, please do Hogg next

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my bony fealty
Oct 1, 2008

Do one of those genre books that the 'literary establishment' fawned over while denying it was a genre book, like Station Eleven

my bony fealty
Oct 1, 2008

heres my fav

quote:

Station Eleven also uses some of conventions of genre — there is suspense, science fiction and elements of horrors — but this is undoubtedly a literary work.

like, its a sci fi book, and its OK to like that without having to qualify it as 'literary fiction'

my bony fealty
Oct 1, 2008

sometimes, when I go to the book store, Umberto Eco books are in the 'literary fiction' section and sometimes, at another bookstore, they are in the 'historical fiction' section. HELP

my bony fealty
Oct 1, 2008

there is one in Oregon I went to not but a few weeks ago and this I swear on my forums platinum

my bony fealty
Oct 1, 2008

Mel Mudkiper posted:

Was it Portland

Sounds like Portland

worse....Ashland....it's a lovely little town though (just don't drink the weird gross water)

serious posting: thanks for that list of lit crit reads on the last page, I am unfamiliar with all of those works except Said and I am wanting to learn more about academic lit crit, of which I know very little

quote:

University creative writing courses also tend to look down on fantastical elements, but there are often good reasons for that. Sure, sometimes the professor or the other students automatically associate fantastical elements with lowbrow genre fiction. But sometimes it leads to a more useful question, which one of my professors in grad school brought up: what are you doing with the fantastical element that you couldn't do without it? What purpose does it serve in terms of story, theme, and character? Does it distract from that, or does it enhance it? And the truth is, with inexperienced writers, it much more often distracts than enhances. It takes a lot of work to write a great story, and adding on magic or science fiction on top just makes that work even harder unless you really know what you're doing with it.

I'm about the read Empire of the Atom which as I understand it is a ripoff of loving tribute to I, Claudius, transposed to a sci-fi setting. I'm genuinely interested, any other examples of stories that exist in both fantastical and non-fantastical forms? Especially if the same author is writing both? That sounds like a great exercise for an author who works primarily in speculative fiction, see if you can take one of your stories and rewrite it without the fantastic elements, while still keeping it interesting and readable.

my bony fealty
Oct 1, 2008

Nnedi Okorafor is pretty great and she won a Hugo for something recently iirc, I'm sure there's more but idk off the top of my head

But yes obviously SFF has for a long time been a white-male dominated field, this we know. I mean it's an industry struggling with fuckin Vox Day and his ilk, any progress is better than none :unsmith:

my bony fealty
Oct 1, 2008

HIJK posted:

I hypothesize that this ties into the desire to reduce fantasy worlds to rote encyclopedias. The types that go in for this stuff are the types who want to reduce stories and characters to something plastic. Consumerism is cheap and very, very easy to copy. It doesn't challenge you and fantasy fans for the most part don't want to be challenged which is how they get conned by a hack like Rothfuss so easily. They want it to be this way and they don't want anything that's coherent or interesting, probably because you can't reduce coherent and interesting to a trading card game very easily.

And of course by making books into cheap plastic poo poo it encourages the delusion that writing is easy and you don't have to work very hard at it.

Don't forget that every fantasy story has to be at least a trilogy these days!

The biggest Rothfuss fan I know is a college-level English professor and this mystified me for a long time until I realized, she wants cheap hacky escapist bullshit. Maybe because she spends much of her working time in the academic/literary world, I dunno. But fantasy especially seems to excel at providing the literary equivalent of 4-chord pop music, and in droves. It's like superhero movies, they're all the same and they all suck.

Now if you'll excuse me, I'll be over here reading Jack Vance and pretending I'm better than those other genre fans...

my bony fealty
Oct 1, 2008

Ive made it through about 100 pages of Titus Groan in about a year, intentionally. Its the kinda thing you wanna savooorrrrr for a long time.

my bony fealty
Oct 1, 2008

Mel Mudkiper posted:

I question the value of being pessimistic about a political system and reality you yourself invented

All fiction is invented and any literary work thay pretends its systems and realities is otherwise is lying

my bony fealty
Oct 1, 2008

Tell me I'm wrong tho

my bony fealty
Oct 1, 2008

Mel Mudkiper posted:

you're wrong

gaahhhh

What's the line, when is it ok for fiction to be pessimistic, what's the rule

my bony fealty
Oct 1, 2008

Mel Mudkiper posted:

For a political or moral fable to be significant it must have an authentic connection to current experience.

1984 exists as an effective fable because while the universe is imagined, the political system in place is an authentic continuation of political principles already in place. There must be a fundamental and plausible connecting thread to current reality in order for the critique or satire within the text to have relevance to the reader.

If the author creates a reality or political existence that fails to effectively bridge the hypothetical system with the current reality, then any critique of that system is lifeless. If you are being pessimistic about a system you cannot justify actually coming into existence, than the critique is little more than an onanistic exercise in imagination.

Culture is just this, it's not like Banks came up with space anarcho communism but imperialist out of a vacuum. Are you familiar with 20th century leftist disillusionment re: the USSR. Culture is borne out of dreams of a true post-scarcity utopia and the realization that maybe that kind of magical thinking won't solve all humanity's problems.

Now I'm defending the merits of a series I don't even like that much ahhh

my bony fealty
Oct 1, 2008

Yes that's the part of the interest, it's not a 1:1 comparison but rather a chance to imagine familiar problems in a novel context. Fiction is very important for giving us that chance.

my bony fealty
Oct 1, 2008

BotL says Culture is a failure because it's not happy enough and Mel says it's a failure because it doesn't say anything, where oh where does the truth lie

Perhaps not in the spaceship books

But that does not make the spaceship books void of meaning. They are especially meaningful in the context of science fiction, which I gather does not factor much into this grounded discussion.

my bony fealty
Oct 1, 2008

Schwarzwald posted:

Okay, then. What is their meaning?

In the sci-fi context - offering a leftist-informed vision of a post-scarcity future that is neither a utopia nor dystopia, but rather a genuinely nuanced imagined society, is pretty important. There are probably precedents but I don't know any that had the impact of Culture, especially given the time it came out - the mid 1980s, when the prevailing sci-fi attitude was "hypercapitalist cyberpunk future will doom us all." Culture is not only a critique of idealism, it's a critique of both political and science-fiction pessimism (consider the state of the Western left in the Thatcherite 80s - Banks had a lot to be mad about).

Banks was wise to all of this. He wrote the Culture books to be exactly what they are. He acknowledged that the Culture is *his* ideal society:

quote:

CNN: Would you like to live in the Culture?
Iain M. Banks: Good grief yes, heck, yeah, oh it’s my secular heaven....Yes, I would, absolutely. Again it comes down to wish fulfillment. I haven’t done a study and taken lots of replies across a cross-section of humanity to find out what would be their personal utopia. It’s mine, I thought of it, and I’m going home with it — absolutely, it’s great.

but understood that for him to have his ideal society, someone somewhere would have to lose out. If he didn't understand that then the Culture really would be written as a utopia, for everyone. If that's too cynical, so be it.

Mel Mudkiper posted:

Saying sci-fi shouldn't strive for significance because its sci-fi does more damage to the genre than any of us could ever do.

If the response to a weakness in the text is calling it "a spaceship book" you are basically conceding that Scifi is "lesser" than "real" literature. You cannot simultaneously declare genre to be a prison for your favorite texts while also using it as a shield from criticism against them.

Correct and I phrased it poorly (mostly spaceship books is fun to say) - I am only emphasizing it's important to consider the traditions a work came out of in that context as well as whatever baseline ur-context there may also be. Culture wouldn't exist without decades of space opera precedent, but it wouldn't exist without decades of real-world precedent either. It has something to say about both.

my bony fealty
Oct 1, 2008

the old ceremony posted:

i'm hopelessly enmeshed in gormenghast and it's the best thing that's happened to me in a long time, i love it, i love botl

hope you have a version with peake's illustrations

my bony fealty
Oct 1, 2008

Jack Vance did magic the best in the Dying Earth stories

the only rule is that a person can remember no more than 4 spells at once beyond that who cares, you know if a dude memorizes some spells he'll use em in the story later to get out of some jam

then in his magician stories he just said gently caress it and gave em all godmode because all-powerful petty wizards rule

my bony fealty
Oct 1, 2008

Cugel stories are really great on a re-read because you realize, this guy's a dumbass and also a really bad dude. Rapist, murderer, thief, trickster, etc. But he's so likable!

my bony fealty
Oct 1, 2008


I think I was really high the first time I read Eyes of the Overworld ok

also I went right into it after finishing the short stories and was expecting more Guyal of Sfere and less Liane the Wayfarer - the Dying Earth short stories alone are good evidence that Vance wrote some nicely varied protagonists

my bony fealty fucked around with this message at 22:18 on Oct 12, 2017

my bony fealty
Oct 1, 2008

I think Vance is the only SF author I've read who can get away with footnoting his created worlds, and indeed use them in a legitimate, additive way. Works well with his balance of absurdity and formality.

That's a great post BotL!

my bony fealty
Oct 1, 2008

Reading The Hunger Games is a revolutionary act

my bony fealty
Oct 1, 2008

Stuporstar posted:

Or empathize. I've heard of more than one midlist genre author who was told by an editor to make their protagonist not gay or less black because they thought it would alienate readers, as if being asked to peer into the life of someone too different from Standard was too big of an ask.



MY STORY!

It's true, though - readers often want comfort and not to be challenged by scary concepts like "reading about a brown person."

Picture a million nerds getting upset because they made Thor black or whatever is "controversial" these days.

my bony fealty
Oct 1, 2008

YA book is easier read for children than Camus book - a shocking controversial statement in this, The Book Barn

my bony fealty
Oct 1, 2008

The Belgian posted:

but camus is YA

I think we had to read The Stranger in 10th grade so you are right, poo poo!!

my bony fealty
Oct 1, 2008

Petitioning now to make The Chocolate War the July BOTM

my bony fealty
Oct 1, 2008

Oh do an 'urban fantasy' novel

I've never read any so no suggestions, what do goons like??

my bony fealty
Oct 1, 2008

I like genre fiction and also literary fiction and especially Baudolino but what I really like is BotL analyses, gimme more

my bony fealty
Oct 1, 2008

Who reads author bios lmao

Read the story they wrote instead

my bony fealty
Oct 1, 2008

Ccs posted:

It boils down to them accusing Wolfe of treating his books as a puzzle, and "subordinates thematic and conceptual integrity to the mere challenge of these games."

Yeah I call this "being too stupid to understand symbolism" - Wolfe's stories aren't puzzle boxes, they just frequently use symbols and allusions to convey info. Combined with important plot beats and characterization being mentioned casually, just once, in a place in the narrative you wouldn't expect it to be. If you wanna call that a puzzle then I guess that's fine.

A good example is the scuffle at the gate at the end of Shadow of the Torturer - we are told straight-up what to expect there and then what actually happens there later, but people miss that and think it must be some crazy puzzle with plot significance.

My fav puzzle box story is Pale Fire what's yours??

my bony fealty
Oct 1, 2008

Sham bam bamina! posted:

Are you ever not huffing your own farts?

It's a crucial part of this forum and thread

To me Wolfe is dense and opaque and highly allusive but I don't consider that a "puzzle." Like hes not sitting there writing whilst cackling "ha ha these pathetic readers will never figure out my grand design!!"

The "x is the y of z" is especially funny within the pure genre context e.g. "the American Tolkien" or "the expanse is the game of thrones of sci-fi"

my bony fealty
Oct 1, 2008

Somehow I think Kim Stanley Robinson has read non SF books

The first paragraph of that article acknowledges that the concept has been around for a while and cites Robert Frost and John Milton, noted SF authors

C'mon Mel

my bony fealty
Oct 1, 2008

Alright let's edit in some more examples to make it not just a few and then it will be valid

my bony fealty
Oct 1, 2008

The Vosgian Beast posted:

Who the gently caress reads Pale Fire and thinks Shade is a better writer than Kinbote

Realtalk. Who cares about a dumb poem about an even dumber bird I love the first two lines tho

David Auerbach is an idiot, every one of the questions he has in the Waggish piece are answered pretty thoroughly if you actually read the book! Imagine that!

my bony fealty
Oct 1, 2008

It's funny because reactionary regressive types usually like Wolfe

my bony fealty
Oct 1, 2008

The most exhaustive and comprehensive book of Wolfe criticism is published by an actual neofascist press

There's now published sensical readings of him too at least

my bony fealty
Oct 1, 2008

CestMoi posted:

I will critically review any sci fi, fantasy, or alternate genre book for the purposes of this thread.

Any?

Good luck Mel hope you find something to like

my bony fealty
Oct 1, 2008

Prose good so what

my bony fealty
Oct 1, 2008

Silver2195 posted:

Only if you make the oppressed group the one with the superpowers. The alternative cliche of aristocratic rear end in a top hat wizards comes up sometimes too. Although there's the risk of a related trap where the author or reader implicitly identifies with the rear end in a top hat wizards on some level.

Jack Vance wrote some very fun rear end in a top hat wizard stories and I freely admit to wanting to chill with Rhialto

He wrote some very personable, emotional wizards too tho. Shimrod my man.

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my bony fealty
Oct 1, 2008

Welcome back BotL

Is there any Marxist genre fiction that has a powerful praxis

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