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What Comfort There Is

In the near future, I’m entertaining the thought of self-publishing some odds and ends as an e-book. One project I enjoyed being part of a few years ago was the Daily Cabal, a mad exercise in masochism where our group produced a new piece of flash fiction every day. In practice our individual contributions were a new entry every week or fortnight.

And it was HARD. I think there’s a truism somewhere that shorter writings are more difficult than longer. I can blurt whole chapters of dribble out of my brain, but encapsulating an entire entertaining idea in 400 words or less? Bloody difficult, that.

Anyway, here’s one of my favourite short-short stories for your enjoyment. The working title for this kinda-sorta gonna happen collection is “Day One of the Fog”, I’ll keep you posted here on how that’s going.

WHAT COMFORT THERE IS

By Jason Fischer.

Old Syd disproved the rumour with one mad dash; it ended in a bloody game of cat and mouse, those bastard machines chasing him from street to street, finally cornering him in a neatly presented cul-de-sac. They toyed with him for hours before his screams stopped. Wet weather does nothing to dull their sensors.

So yes, we are in the end times. Our species fails, huddled indoors, dreading each sound. My frightened cadre are hiding in an opulent mini-mansion, though we haven’t eaten properly in days. An old suburb lies just within walking distance, and it’s a race between us and humanity’s killers. We do our best to scavenge from the old places, even as the suburbs are recycled and turned into neat streets, freshly painted town-houses, acres of immaculate lawns.

It seems ironic that we are being wiped out by a cliché. An uprising of artificial machines, sure. But these are not the instruments of war, rather those of peace. Construction crews, serving a purpose that our laziness corrupted, simplified. Build. Gather. Build more.

What seemed a great solution to the housing crisis turned into unguided madness. Materials gathered from existing structures. Whole forests razed for lumber. When the builders began to destroy suburbs and cities holus bolus, these mad machines were destroyed. This achieved little, given the machines’ instructions to “generate sufficient crews to achieve the task”, and those left built themselves quicker than we could take them out. They looked upon our actions as a genocide, and the best we could do simply raised their madness to apocalyptic levels.

With intelligence came survival traits, so they’ve done their level best to grind us out of existence. But still, they continue the task, and one by one we die surrounded by perfectly designed streets, neat commercial hubs, empty warehouses and marinas.

Our enemy is simple, but amazingly efficient. They prowl the old highways, pouncing upon those cars which brave our dead nation’s asphalt veins. Nowhere to go anyway. Forklifts and dozers lurk in each street, blood running from their tines, while the yellow necks of diggers and cranes lurk overhead, watching for us. Waiting patiently for runners.

Our final creations have outdone us, yet in our twilight hour we are as gods. For our killers are truly alive, and we have created this life. I have seen them mourning the machines which our partisans have destroyed, metal buckets clanking together sorrowfully as the construction crews give comfort to each other. They attend their dead, dismantling them reverently, engines and sirens roaring into the night.

Whenever they hold a funeral, we know it’s time to leave the neighbourhood. They get really vicious afterwards, which tells me they’ve discovered revenge and are more human than we.

Some cautious thoughts on conflicts and fandom

If you’ve got any stake in speculative fiction writing and publishing, you’re most likely aware of the frequent conflicts in that community. What once might have occupied a few heated pages on LiveJournal, or the leisurely back and forth at conventions and via mimeographed zines has changed forever. What we have now are live rolling arguments on venues such as Twitter and Facebook – and that’s just how it is now.

Blogs now seem to serve as some sort of halfway zone between an author/pundit platform, and a repository for lengthier arguments and essays on these topics.

The most recent development in fandom is that our internal conflicts are now external, and in recent times have even hit the pages of USA Today, the Guardian, The Huffington Post and the Washington Post(and probably others). There is a lot of bad blood, entrenched positions, and an almost even division on the old left/right fault lines. Quiet online rumblings are now open hostilities.

This makes me cautiously optimistic. I’m serious. No matter what your differences, conflict is always better than apathy. An old model of group performance goes like this

  • Forming
  • Storming
  • Norming
  • Performing

So the Storming (and perhaps the beginning of the Norming) that we are currently seeing is part of an observed trend in group behaviour. (By group, I mean in the broader sense that Fandom=people who have a shared interest)

I’m not sure if step 4 periodically goes back to steps 2 and 3 when Performance isn’t working, but history seems to indicate that it does. So it goes to suit that once this stuff gets sorted, a group Performs.

Whether this means a political fracture is inevitable (as the Norming) and then the Performing means two or more loose socio-political organisations/groupings will emerge is anyone’s guess. But there is change in the wind, thanks largely to the internet and social media. For those with a stake in speculative fiction writing and publishing, we definitely live in interesting times.

Maybe the Norming means that online salvos and attacks will become a normal part of the speculative fiction experience. Which is sad, but if that’s how things are meant to go, maybe some rules of engagement will emerge, unspoken or otherwise.

I’d like to think that maybe things will end up the way the Aussies do things. We’ve got a fairly small and spread out fandom, but we’re as connected as anyone else. Also, as vibrant and talented as anyone else – several Aussies have made it to the 2014 Hugo shortlist, taking up roughly half of the podcast shortlist. So we’ve got some knowledgeable commentators here, and they’re getting some well-deserved global recognition.

And you’d better believe that there are online spats here. All the time, over all the usual things that these communities argue about. But most of the time, folks of differing viewpoints/philosophies get along, and rub elbows at cons etc.

We’re a weird little pond, and it’s quite notable that unlike elsewhere, our award shortlists are more often than not female-friendly in recent years. Basically everyone gets a go, and I’d like to think that we’re a petri-dish of how things could be everywhere.

(note: of course we’re not perfect gender-wise and other-wise, but things are humming along nicely Down Under)

So it was interesting to observe a mini flare-up in Australian SF circles yesterday, between two people disagreeing over a “state of genre fiction” article. It followed the usual pattern of these online conflicts – innocuous article is posted, the little blue birds of Twitter begin to fly, and Facebook posts sprout underfoot with the beginnings of bad feelings.

But then these people took ownership of their disagreement, and a couple of well-stated apologies later and the whole thing was over. It was beautiful to see, and the cause of ire was addressed. Said apologies were both along the lines of “Wow, Twitter really escalated that. Our bad.”

In a diasporic community with all sorts of bad blood and current nastiness, this is the sort of Norming that I can live with. At the risk of sounding like “Can’t We All Just Get Along?” this may only be one example of online fandom etiquette as it  could be. But it was great to see. Hopefully the future will bring constructive conflicts, and all of this energy and passion can be harnessed towards positive ends.

Again, we live in interesting times.

EDIT:

Okay, with all respect to those who have participated, I’m (regretfully) going to have to shut down new comments in this thread. I don’t want people to feel unsafe here, and I think things are starting to go circular anyway. Sorry, I’m not usually for censoring people but I have to stop this now. Hope folks understand!

Vale Sue Townsend

Just found out on the interwebs that Sue Townsend, author of the Adrian Mole books has died after a short illness. She’d struggled for a number of years with diabetes and blindness, but every few years she still managed to finish another instalment in the Adrian Mole series, which I would pounce on and devour the moment it hit the shelves.

It’s sad that she’s passed on, but she has left behind a sizeable backlist of books and plays, and by all accounts was a fantastic presence whenever she got to a book festival or panel. Only wish I’d seen her speak about her writing.

Some of you may remember reading The Secret Diary Of Adrian Mole Aged 13 3/4 in school. It’s a book crammed to the brim with pubescent awkardness and background social commentary, and it does brilliantly what films like Napoleon Dynamite and TV series like the In-Betweeners later managed to capture on the screen.

But the later books are where all the magic happens. If you never managed to read beyond the first one or two books, do yourself a favour. Hunt the other books down, and enjoy the journey of this poor kid through awkward adolescence into an even more disastrous adult life.

As a character, Adrian grew from an object of pity into a somewhat detestable and pretentious loser, to his eventual redemption. For my buck, the later books are a brilliant study in developing a character. Reading the later books in the series is like a squirming exercise in schadenfreude, and I took great joy in watching Adrian lurch from one disaster to the next.

Sue Townsend’s has left behind quite the legacy, but the most important thing she’s left behind is a character we got to grow with over the years, and I don’t know what more you can ask for as a writer. Poor old Adrian was often a source of comfort, wry tutting, and always the thought “there but for the grace of God goes the Fisch.”

Apparently there was another book in the works, it will be interesting to see if it comes to light. In the current age of self-publishing and aspiring authors embracing every flavour of social media, frustrated author Adrian Mole would have truly come into his own. Lo! The Flat Hills Of My Homeland would have been an amazing 99c special on Smashwords.

RIP Sue Townsend, and thanks for all the stories 🙂

Interview – Marianne De Pierres on “Peacemaker”

Today at the Fischblog I have the brilliant Marianne De Pierres, come to chat about her new book Peacemaker.

Peacemaker-CR_web

JF: Much like in your Parrish Plessis series, your new book Peacemaker is set in a future Australia. What is the draw for you to write fiction set locally, when so many Aussie authors play it safe and set their pieces in Somewhere USA?

MDP: I feel a strong connection with the Australian landscape, Jason. My dad was a Western Australian wheat and sheep farmer. His father cleared the land that they farmed and he grew up with a fierce passion and sense of place that he passed on to me. I then spent ten years of my early married life in the Pilbara. That vast, harsh and beautiful environment imbued me with such an appreciation of how frail and temporary we were, that it still informs everything I write about. This is a wild and amazing country. Why wouldn’t I write about it?

JF: Your idea of a densely populated Australia is perhaps the most terrifying to me – anywhere up to 7.5 million square kilometres of land built out (and presumably up). That’s one hell of a lot of people that can be packed into that space. When you did your worldbuilding for Peacemaker, did you posit this expansion as an extrapolation of the FIFO (fly-in-fly-out) mining lifestyle, the spread of these mining towns/settlements, or more a forecast of immigration and population growth?

MDP: Immigration and population growth, I think. I see it as more of a statement about asylum seekers. It’s easy to imagine a future where we simply must take in refugees and people from countries who can no longer sustain them.

JF: SFF Westerns are one of my favourite sub-genres, and I could reel off a list of canonical works that I’ve enjoyed, such as the Dark Tower series, Firefly, and video games like Fallout: New Vegas. What are some of your own influences, and what drew you towards writing your own SFF Western?

MDP: I grew up on Westerns (my dad again!) and I was totally convinced (at 14) that being a cowboy was the life for me. I read mainly Zane Grey, Louis L’Amour, a little J. T Edson, and of course “Shane” by Jack Schaefer. As I got older, I also researched a lot about the “real” West which was far less glamorous. My reading and writing got side tracked after that, but I always knew I would somehow find my way back to this beloved genre. And I did … thirty years later! I decided that if I wrote PEACEMAKER with a heavy science fiction slant that it would just garner endless comparisons to Firefly, so I went for a genre blend that interested me – mythical fantasy. That’s not to say that there aren’t any Sci-Fi elements, but they are revealed with subtlety, over time, in book 2.

JF: It is SO flipping cool that you’ve had an RPG based around Nylon Angel! What are some of the other memorable highlights of your writing career?

MDP: Honestly, I really think that the highlights have been the people that I’ve met along the way because of my writing career, the relationships I’ve forged – both writers and readers. But there have been some lovely moments as well. Winning awards is always nice, so picking up my chunk of wood for the Davitt award, and my shard of plastic from the Aurealis Awards was pretty cool. Getting to film a segment for a TV show in a mock-up of a space shuttle was also fun. Oh … and being Cuthulu’ed by Morag and Charlie. It explains a lot about what’s happened since.

Back Camera

JF: Apart from your work on this series, do you have anything else in the pipeline? Cyberpunk, Crime, YA, and now SFF Westerns, so what’s next for Marianne De Pierres?

MDP: OMG goodness! Now this answer could go on for a while! I am definitely one to have a few projects on the boil, so here’s a link to a breakdown of my current projects, In a nutshell though, I‘m working on three crime novels (all series), a near future dystopic adult SF novel and a YA magic realist novel. Then there’s some side projects as well that aren’t novels but are film and game related.

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Marianne’s new novel Peacemaker can be found at all good book stores, and here is a link to her book on Amazon if that’s how you roll.

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Marianne de Pierres is the author of the acclaimed Parrish Plessis, the award-winning Sentients of Orion science fiction series and the upcoming Peacemaker SF Western series. The Parrish Plessis series has been translated into eight languages and adapted into a roleplaying game. She’s also the author of a teen dark fantasy series.

Marianne is an active supporter of genre fiction and has mentored many writers. She lives in Brisbane, Australia, with her husband and three galahs. Marianne writes award-winning crime under the pseudonym Marianne Delacourt. Visit her websites at www.mariannedepierres.com and www.tarasharp.com.au andwww.burnbright.com.au

 

Of Zombies, Dionysius, and eating the brains of Apollo.

I made a throwaway comment on social media the other day, how I believed that all zombie fiction is essentially the Apollonian and Dionysian dichotomy writ large. Having pondered on the idea for a day or two, I thought it worth expanding upon.

“The Apollonian is based on individuality, and the human form which is used to represent the individual and make one being distinct from all the others. It celebrates human creativity through reason and logical thinking. By contrast, the Dionysian is based on chaos and appeals to the emotions and instincts. Rather than being individual, the barriers on individuality are broken down and beings submerge themselves in one whole.”

(from http://en.wikipedia.org/wiki/Apollonian)

Now, if that doesn’t sum up the rugged individuals resisting the mindless zombie hordes, I don’t know what does. Broken down to its purest theme, the modern zombie narrative tells us about the struggle of the Apollonian holdouts, maintaining reason and logic against the overwhelming default state of chaos.

Throughout western literature, this idea has been used over and over, by everyone from Nietzsche to Stephen King. As far as the Greeks themselves are concerned, this dichotomy is probably a carry over from earlier Egyptian mythology (which is all about Order resisting Chaos) and seems to be a story as old as recorded history.

In George Romero’s excellent movie Land of the Dead, we see the complete destruction of one man’s Apollonian order, and as the dust settles, an uneasy accomodation between these two philosophies (the survivors of Fiddler’s Green and the evolving zombies). It should be noted that “the Greeks did not consider the two gods to be opposites or rivals, although often the two deities were interlacing by nature.”

In my favourite moment of this movie, the turncoat human Cholo DeMora (played by John Leguizamo) cops an infected bite. He is from that moment on doomed to turn into a zombie, and walk the earth in undeath. Even as his companion offers to end his life (and spare him from this fate) Cholo stops him.

Foxy: [Cholo is bitten by a zombie and Foxy hold a gun aimed at him] It’s your call man.

Cholo: [hesitates then shakes his head no] Nah, I always wanted to see how the other half lives.

And just like that, we realise that Cholo was a Dionysian figure all along. Rebuffed earlier by his employer, this character opens the floodgates to chaos, turning against his own kind, and dooming Fiddler’s Green. Stealing the ultimate weapon, he is ostensibly holding this gated community to ransom for what is effectively useless currency – there is nothing left to the United States but barter economies, walled enclaves in a new Dark Ages. This always bugged me about this movie, but I finally understand that it was never about the money for Cholo. This is the story of an Apollonian figure rejecting his Dionysian counterpart, who then behaves true to form.

 Finally, I’d like to really draw a long bow, and talk about the Maenads. These were the female followers of Dionysius, known for madness and chaos, for drunken revelries in the wilderness. In every story they are mindless, wild, individual creatures broken down and remade as agents of chaos – a mad group, never individuals from that point.

It’s almost incidental that they throw the equivalent of wild parties, with drinking, mad dancing and crazy music. Discount these facts, and everything else points to the ancient Greeks inventing the modern zombie some 2000 years before Romero thought of it.

“Rather than being individual, the barriers on individuality are broken down and beings submerge themselves in one whole.”

In the maenads, we have women who reject their role, murdering their own children, turning from civilisation. Anytime they encounter man or beast, they attack it in a frenzy, tearing it limb from limb. Whenever they eat flesh, it’s not for sustenance, but in an attempt to consume the divine, to rise above their earthly forms. Much like the zombies, they aren’t eating to survive. It’s a communion, a frenzy that exists beyond the normal actions of life.

Maenads2

“Ack. I should have aimed all my javelins for the head.”

“The goal was to achieve a state of enthusiasm in which the celebrants’ souls were temporarily freed from their earthly bodies and were able to commune with Bacchus/Dionysus and gain a glimpse of and a preparation for what they would someday experience in eternity. The rite climaxed in a performance of frenzied feats of strength and madness, such as uprooting trees, tearing a bull (the symbol of Dionysus) apart with their bare hands, an act called sparagmos, and eating its flesh raw, an act called omophagia. This latter rite was a sacrament akin to communion in which the participants assumed the strength and character of the god by symbolically eating the raw flesh and drinking the blood of his symbolic incarnation. Having symbolically eaten his body and drunk his blood, the celebrants became possessed by Dionysus.”

(from http://en.wikipedia.org/wiki/Maenad)

So, in summary, whenever we tell a zombie story, we’re reverting to a very old mythology. If we do it properly, we’re exploring the Apollonian-Dionysian dichotomy each and every time.

Of launches and a pub full of rotters!

Wow, what a great weekend! Saturday started with the book launch for my new collection “EVERYTHING IS A GRAVEYARD”, which was great. Nice turn-out of locals at the SA Writers Centre, and the lovely Lisa Hannett did the honour of launching my book. She did an amazing job of analysing my stories and proved once more that she really REALLY knows her stuff. book_signingHere we see the author inserting the obligatory pun into his signature.

StackofBooks

 A fat stack of books with my name on the cover! Cool!

A few hours after the Adelaide launch, the Ticonderoga Publications road-show hit the airport, and we went straight over to Melbourne (via the Virgin Lounge – free food and everything!). We caught up with the lovely Angela Rega after her booklaunch (Her “The Cobbler Mage” is an absolutely gorgeous book, BTW – marbling on the in-leaf pages and everything).

Sunday brought us to the the inaugural Melbourne Zombie Convention. The event was sold out, and 600 guests converged on the Royal Melbourne Hotel, decked out as zombies, zombie-hunters, and the occasional bemused “normal”.

Sold a bunch of books (both “Everything is a Graveyard” and my zombie novel “Quiver”), chatted to heaps of folks, caught up with many excellent writers and publishers, and even sat on a panel with other writers to talk all things undead in literature. Had an absolute ball, and even got quoted in The Age:

http://www.theage.com.au/victoria/a-lively-day-for-the-undead-20131006-2v2ga.html

Many thanks to Russell B Farr and Liz Grzyb of Ticonderoga Publications for taking a leap of faith on my book, and for making this brilliant weekend happen. One very happy author, signing off.

michonne Michonne (excellent  Walking Dead cosplay) buys my books!

ticonderogacrew

 The bad-ass Ticonderoga crew. Most excellent publishers Russell Farr and Liz Grzyb, and yours truly.

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Some rotten bugger I bumped into.

Pick A Horse and Ride It

It is so easy to get distracted by the shiny things.

Some of us are born wired with the unique blend of creativity and discipline needed to become successful professional writers. Others of us frolic in the irresponsible Fields of Creativity, only turfing words over the fence when we can be bothered*. It’s essential to learn to focus, and if you don’t have a work ethic you will fall by the wayside.

Since I’ve been writing, I’ve had about a thousand false starts. I’ve largely based my career on instinct and opportunity, with little long-term planning apart from “I’m a gonna write this and send it here and then write the other thing and SUCCESS.” 

While you get a lucky break from time to time, bouncing around like a happy puppy is a really shitty way to plan a creative career.  While my brain has coughed out some fun stuff and I’ve achieved a few things, gunning for that sugar-high success is the falsest of all metrics. And boy, how I have learnt this the hard way.

Most anyone who is successful does one thing, and does it very well. Dilettantes tend to frolic around in that fun meadow doing leapfrogs and blowing bubbles. Bless their cotton socks, but they will end up doing fuck all of anything beyond the ephemeral and shiny.

In short, pick a horse and ride it. In some ways I’ve won this battle – moving away from short stories, my new default is longer form work. I find it exceedingly difficult to write anything under 8000 words, which tells me that my writing brain’s new default setting is chapter sized chunks.

Now, instead of shiny-hopping stories across the lilypond of short fiction markets, I’m planning 2, 3 novels into the future at any given time. Long term projects are the norm. Genres have been selected, and a market plan is in effect. Age and bitter experience will beat this long-term thinking into any wide-eyed newb, it’s just taken a few years in my instance.

Still, it’s been fun. I’ll be over here saddling up.

* For some reason, this makes me thing of Napoleon Dynamite feeding Tina the Alpaca. “TINA, EAT YOUR STUPID HAM.”

 

Conflux Was Awesome

Okay, so here’s my official con report for Conflux 9: AWESOME.

Perhaps I should elaborate with some highlights. In a bulleted list. 

  • 20,000 brilliant conversations
  • 1 or 2 awkward ones (don’t ask) but these become future anecdotes, so WIN.
  • the chance to hang out with my many brilliant writer/publisher/editor peeps. Usually they are mere electrons on the interwebz, but for one four day stretch they were molecular and great.
  • Several pitches to agents and publishers. Terrifying but a great feeling of accomplishment for getting through what turned out to be fine.
  • Getting on panels with people I admire, and chatting to folks about all sorts of stuff. I was on the “Zombies are Hungry” panel, the “Geeks are Cool” panel, and the “Australian Landscapes” panel.
  • Being in the audience at the Star Wars panel, and hijacking it to set up an elaborate pun. For what it’s worth, “ENDOR’S GAME” will happen, and it must happen.
  • Random bar and cafe of doom.
  • Ditmar Awards. Many worthy recipients, but I took special pleasure this year in seeing my mentee David McDonald pick up the Best New Talent award. Kudos dude, for your star is ascendant!
  • Book Launches GALORE. As Cat Sparks said “there is a launch approximately ever 4.5 minutes”. Many of these launched books then proceeded to sell out of all copies, which is all things good.
  • Speaking of book launches – I officially launched my zombie novel “Quiver”. Was great to meet a bunch of new readers, sign copies for my mates, and blushed in the background while Cat Sparks said a bunch of nice things about me into a microphone. The posters were a hit (thanks to Baden Kirgan at Black House) and by Sunday all copies of the book had been sold.

So here, have some photos of the “Quiver” launch (nicked from Cat’s Flickr feed). To summarise, it was a great convention. When it was all over I shuffled into the airport, tired, suitcase full of books, and very, very happy.

(images copyright Cat Sparks and purloined from http://www.flickr.com/photos/42956650@N00/)

Melbourne Supanova

Life has been a bit flat out here at Fisch Industries, hence the lack of updates. The weekend before last I was fortunate enough to get an author spot in the Dymock’s stand at the Melbourne Supanova. I was there signing copies of my new book “Quiver”, meeting new readers and rubbing shoulders with the other authors. Had an absolute ball, met some great folks and saw just about every configuration of cosplay it’s possible to see. Amazing how much effort con-goers went to with their outfits – it’s all I can do to roll out of bed and get dressed.

Anyway, a picture speaks a thousand words. So have several 🙂

In the thick of it – selling books left, right and centre.

Unwittingly, con-goers run the gauntlet of desperate authors….

One happy author, posing with a GIANT poster of his book.

The Black House Comics crew – top bunch of folks!