dolorosa_12: (Default)
I've added a bunch of new people as a result of [personal profile] st_aurafina's recent friending meme, so I thought it was high time to introduce myself.

Feel free to skip if you've had me in your circle/flist for a while )

I'm really looking forward to getting to know you! Please feel free to ask whatever questions you like.
dolorosa_12: (emily hanna)
This week has been absolutely excellent for people saying brilliant, eloquent, important things.

To journey is to be human. To migrate is to be human. Human migration forged the world. Human migration will forge the future, writes Ishtiyak Shukri in 'Losing London'. This was the post of the week for me, and affected me deeply.

We already have the table of contents, but now we have the cover of Athena Andreadis's To Shape The Dark anthology, illustrated beautifully by Eleni Tsami.

I really loved this interview of Aliette de Bodard by Rochita Loenen-Ruiz: I’ve come to realize that “appealing to everybody” is a codeword for bland, unobjectionable stuff; or at the very least for something that doesn’t challenge the reader; and, just as I like to be challenged when I read, I would in turn like to do that to my readers!

Speaking of Aliette de Bodard's writing, she's put 'In Morningstar's Shadow', the prequel short story to The House of Shattered Wings, up online for free. I read it last weekend and loved it.

I liked this essay by Marianne de Pierres on Australian myths in contemporary SF, but I've been worrying away at some of its conclusions for reasons I can't quite articulate. Certainly I appreciate the recognition of Australian writing's emphasis on the dystopian and post-apocalyptic, but I worry about her characterisation of the Australian landscape as universally barren, inhospitable and predatory. Let's just say it is not so to all inhabitants of Australia, and is not represented as such in the stories of all Australians, although it is a really significant theme in Australian literature.

Sophie Masson wrote on authors in a changing publishing landscape. I smiled a little ruefully at this quote:

When my last adult novel, Forest of Dreams, came out in 2001, I was commissioned to write a piece for a newspaper on the historical background of the novel (a paid piece), and reviews of the book appeared in several print publications, despite its being genre fiction. When The Koldun Code, also genre fiction, came out in 2014, I had to write several guest posts for blogs, do interviews for online publications (all unpaid) and reviews only appeared online.

I did not review this book, but I did interview Masson and review several of her YA works for print publications, where I was paid for my work. Now I retweet links to her articles and review things exclusively online for free. Oh, how times have changed!

Authors who are parents have been posting about the experience. There are too many posts to include here, but you can find links to all of them at the #ParentingCreating hashtag.

The latest of Kari Sperring's 'Matrilines' columns, on Evangeline Walton, is up. I've been finding these columns both illuminating - in terms of introducing me to many authors whose work sounds right up my alley - and disheartening, in that almost all of them were entirely new to me, instead of well-known figures in the SF canon.

I found this post by Samantha Shannon on judging a literary award to be a very interesting read.

In a departure from these posts' usual content, I have a music recommendation: CHVRCHES' new album Every Open Eye. It stops my heart, in the best possible way.
dolorosa_12: (pagan kidrouk)
One of the first places I ever hung out online was obernewtyn.net, a fansite for Isobelle Carmody's longrunning Obernewtyn series. The first book was published in 1987 - I was a relatively late starter, and only began reading the series in 1999.

Most of the members of the site are Australian, as the series is not widely known elsewhere. Most of us are also no longer the teenagers we where when we began reading the series, but rather in our late twenties, early thirties, or even older, and many of us no longer actually hang out at Obernet, staying in touch through Facebook, Twitter, email or in real life. Most members live in Australia, although due to the nature of Australian immigration patterns, there's small outpost of us in the UK, almost all Australians who moved here — like me — for education or employment.

And after nearly thirty years, the last book in the series is finally out. I feel a bit ambivalent about the books now, for reasons I've laid out at length on my Wordpress blog. But my feelings about the people I met through those books remain the same: they are wonderful, they are great fun, they are a symbol of the passage of time from adolescence to adulthood.

Isobelle Carmody is well aware of the site, and is on friendly terms with many of its members, and as a sort of reward for keeping the faith during those long years of waiting (a length of time that would put fans of A Song of Ice and Fire to shame, as I never tire of pointing out), she has organised a masked ball in Melbourne for the fans. I was invited, but as I now live on the other side of the world I was resigned to missing out.

That's when some of the UK-based Obernetters popped up and started talking about hosting an alternative event in London. For about an hour I was blissfully, joyfully happy. And then the date of these events finally registered.

On the day when the Australian fans will be donning masks and hanging out with Isobelle Carmody, and when the UK-based people will be sipping cocktails in London, I will be in the air somewhere over Indonesia, en route to Sydney to visit my family. And if that doesn't sum up my immigrant existence — split between two places, belonging to neither — I don't know what does.

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rushes into my heart and my skull

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