I’ve barely finished talking about the partnership between Undertow Publications and Chizine Publications that the cover for the 6th issue of Shadows & Tall Trees was revealed. Once again Shadows & Tall Trees grabs the reader’s attention from the first glimpse of the cover and reflects the constant growth of this excellent magazine, in content and presentation, from the first issue (although I must admit I am not much of the fan of the first cover, but I am willing to overlook that one since every such beginning can prove to be difficult) until the upcoming one. This time the artist responsible for the wonderful cover is the Argentinean Santiago Caruso. It is not the first time when Santiago Caruso grabs my attention, after all, he is responsible for the covers of books such as Ramsey Campbell’s “Holes for Faces” (Dark Regions Press), John Langan’s “The Wide Carnivorous Sky & Other Monstrous Geographies” (Hippocampus Press) & “House of Windows” (Nightshade Books), W.H. Pugmire & Jeffrey Thomas’ “Encounters with Enoch Coffin” (Dark Regions Press) or Ellen Datlow’s series of “Best Horror of the Year” (Nightshade Books) among plenty of others published in Argentina, Spain, United States and the United Kingdom. And with this latest cover Santiago Caruso proves again that he is one of the best modern artists of eerie and fantastic, a cover with the mesmerizing touch of surrealism that he masters so well, an excellent choice for the cover of the upcoming issue of Shadows & Tall Trees. Issue that does not come only with the promise of this great cover, but once more with the guarantee of strong content since Kaaron Warren, Alison Moore, Conrad Williams and Ray Cluley are already among the writers confirmed for the 6th issue.
Wednesday, December 18, 2013
|Photo by David Pollitt|
Angela Slatter is an Australian writer of dark fantasy and horror currently living in Brisbane. She has a Master and PhD in Creative Writing and is a graduate of the Tin House Summer Writers Workshop 2006 and Clarion South 2009. In 2010 Angela Slatter published two collections of short stories, “Sourdough and Other Stories” and “The Girl With No Hands and Other Tales”, followed in 2012 by “Midnight and Moonshine”, the collaborative volume with Lisa L. Hannett. Her works have been selected for various year’s best anthologies and received numerous awards’ nominations. In 2010 Angela Slatter has won the Aurealis Awards for the Best Fantasy Short Story, “The February Dragon” co-authored with Lisa L. Hannett, and the Best Collection, “The Girl With No Hands and Other Tales”, and in 2012 her story “The Coffin-Maker’s Daughter” won the British Fantasy Award for Best Short Story.
This interview was initially published in Revista de suspans.
Mihai A: Thank you very much for the opportunity of this interview.
In the introduction of your short story collection “Sourdough and Other Stories” Robert Shearman says that: “We are shaped by stories we’re told. And the first stories we’re told are fairy tales.”Are the fairy tales of your childhood at the root of your desire to become a writer? Did the fairy tales shape your writing career?
Angela Slatter: I don’t know if they’re at the root, but they’ve certainly played a part. I love storytelling - I always loved to listen to stories, and as I grew older I found myself re-telling tales in my imagination, changing them for my own ends and amusement. Fairy tales are such a huge part of the fabric of childhood for most people, but I guess some of us hang onto them a bit longer!
Mihai A: Besides the fairy tales that are an obvious influence and inspiration for your writings what other stories, novels and writers did influence and inspire you? Is the written word the only influence on your writings so far?
Angela Slatter: Writers whom I’ve loved over the years include Umberto Eco, Jane Gaskell, Bram Stoker, MR James, Barbara Hambly, Charlotte Bronte, Wilbur Smith, John Connolly, Joan Aiken, Angela Carter ... the list would go on forever! I also love art and music (even though I totally lack talent in either area, I’m an enthusiastic viewer and listener!), and I find a lot of inspiration in the works of Rembrandt, Michelangelo, Goya, Bosch, Rubens. I also love the sort of music to come out of the Middle Ages, Loreena McKennitt, Kate Bush, Peter Gabriel, Dark Sanctuary, Of Monsters and Men ... again a really eclectic collection. I think art can influence other art, no matter what its form.
Mihai A: If I am not mistaken you said that some of the familiar fairy tales were colonized and influenced by the storytellers. Is this one of the reasons for your desire to reshape and retell fairy tales?
Angela Slatter: Absolutely. It’s a pleasure and a privilege to be part of that process of reclaiming the storyteller’s voice and telling tales the way we (women) want to, instead of feeling we have to conform to a particular shape of story. It’s also about giving our female characters agency to make decisions and act, and live with the consequences of whatever they choose to, rather than simply being passive and waiting to be rescued by random princes.
MA: Since the appearance of your collections “Sourdough and Other Stories” and “The Girl with No Hands” there seems to be a new market for such fiction, with several novels and anthologies of reinterpreted fairy tales. Does modern literature and readership need such new stories? New perspectives for the old fairy tales?
AS: Again, absolutely - fairy tales are a connection between our past and our future stories. Adapting them, allowing all of their tellers to shape the stories to their own needs is part of their intrinsic value. They can be for both amusement and education, and I think fairy tales should always make us think because they speak very directly to who we have been and who we can be. One of the utter delights for me in the writing I do is the sense that I’m a link in a very long chain of storytellers! Marina Warner says that old taletellers used to finish with “This is my story, I’ve told it, and in your hands I leave it”, and I love the idea that the tale is being passed on to the next generation of tellers, who will put their own spin on the stories.
MA: Speaking of perspectives, your stories benefit from the presence of strong female characters, characters for which the readers feel sympathy although some of them are not on their best behavior. How important is for a story to have strong female characters? How important is the balance between various characters of a story?
AS: As I said earlier, the idea of giving agency back to female heroines is really important to me. Post-Perrault and Post-Grimm, the fairy tale heroines were reduced to helpless twits who stumbled into trouble and had to wait for a prince to rescue her (Little Red Riding Hood, Snow White, etc) - but the earliest versions of those tales had independent heroines who saved themselves - I’ve written about Little Red Riding Hood here and about the idea of the “Chosen Girl” here.
I think it’s also really important for telling these stories to kids, that the little girls have good, strong, independent role models in front of them, and that little boys see that there are little girls who are tough and strong as well, girls they might later regard as equals and partners instead of just the people who do the ironing and put dinner on the table!!
As for balancing characters - I think I generally have one main character and everyone else moves around them in a kind of complex dance pattern, giving and taking information and advantages, or giving handicaps to that main character. It’s important that that main character be strong so the rest of the tale can hang off them, and their desires and their actions.
MA: For quite a while there is a debate that despite the presence of plenty of very powerful horror female writers they seem neglected in comparison with the male writers. Do you believe that horror fails to acknowledge the women writers within the genre? What makes female writers of the genre such strong storytellers?
AS: I don’t think it’s confined to Horror - I think recent internet brawls have shown that Science Fiction, Fantasy, and all the hybrids in between have a lot of (soon-to-be) Dead White Men in charge who don’t like to allow girls into the treehouse. Unfortunately for them, there are so many amazing women in Horror, past and present: Shirley Jackson, Flannery O’Connor, S. P. Miskowski, Lisa L. Hannett, Kirstyn McDermott, Alison Littlewood, Sarah Pinborough, Kaaron Warren, Barbara Hambly ... and an equal number of amazing women writers in Science Fiction and Fantasy, et al.
Why are the women in the genre such strong storytellers? Well, we tend to be the ones rocking cradles and telling stories to kids, and our lives are often filled with everyday horror (domestic violence, abuse, we’re more often the victims of crime, general discrimination - and, let’s face it, our bodies turn against us once a month for about 60 years), so I think those things all feed in to the kind of work we produce.
MA: Although of the same language, the English market of speculative fiction seems occupied mostly by the British or American writers. Is it difficult for an Australian author to break into this market? Are there any particular challenges in reaching the wider audience of this market?
AS: I think if you’ve got an awesome story then an editor will pick it up, whether you’re an Australian and it’s in a US or UK market. One of the problems Australian authors have faced in the past is insularity - not bothering to send work overseas on the assumption that no one will want to read it. In some cases, this also means we’re just not bothering to compete outside of a very narrow Australian-focused field - that means your work doesn’t really develop, isn’t often challenged to stretch. I always tell new authors to make a point of sending work overseas as it’s a great proving ground, it gets your name out there, and maybe, just maybe you’ll make a great sale to a professional market with a lot of exposure. Size of market is also another factor: Australia has a population of about 22.5 million people, the US has almost 314 million, and the UK 63 million - the number of possible readers and potential markets grows - or shrinks - with the location you’re submitting in.
In the age of the internet, with more and more markets using online submissions systems, it’s less of a challenge to have to go to the post office and buy international reply coupons and send stamped, self-addressed envelopes, or, worse still, having to bother American friends to send you stamps!
MA: I do not believe in genre labels but your fiction is categorized in general as speculative fiction or horror. Why do you think that speculative fiction is seen as less serious than other genres? Do you believe that some readers are driven off your fiction because of these labels despite its literary qualities?
AS: I think there’s a long-standing bias on the part of literary writers and publishers against anything they think is less than “worthwhile”, that doesn’t deal with “serious” human issues. The thing is, speculative fiction/horror deals with very visceral human concerns: fear of the dark, the urge to live, how we react against forces that threaten us, how we interact with other people and how our relationships lift us up or cast us down. Games of Thrones is all about power and relationships - very visceral, very serious, very human, whether it’s fantasy or not.
And, of course, there is always the envy factor that more popular fiction authors actually manage to make livings from their work - as if they are somehow less deserving because they’ve not written a turgid, navel-gazing account of belly-button lint collector and his addiction to cocaine. Or some such.
MA: Even from your debut your fiction was nominated for genre awards and won Aurealis Awards in 2010 and British Fantasy Award in 2012. Are such awards the perfect encouragement for a writer? Or are sales figures or popularity to be preferred?
AS: Awards are just a bonus. You don’t know who the judges are and what their tastes are, you don’t know who the competition is, you cannot control anything about the process except the quality of your own story - and you know what? Maybe it’s not going to be the best story in the competition. I’m constantly amazed by people who whine because they haven’t won a particular award, or they think they’ve been “robbed”.
Awards are a nice thing to be able to add to your marketing strategy, but winning them doesn’t mean you’re a better writer, just as losing one doesn’t mean you’re a worse writer! They can be a lovely surprise and a lovely encouragement, but if you’re writing with the goal of winning an award then you’re doing it wrong.
Sales figures that enable you to make a living out of what you do are preferable, to me anyway, any day!
MA: Besides your collections of stories “Sourdough and Other Stories”, “Black-Winged Angels” and “The Girl with No Hands” you published a volume, “Midnight and Moonshine”, written together with Lisa Hannett with another collaboration, “Baggage”, due to be released by Twelfth Planet Press. How did this collaboration start? Which are the particularities and difficulties of working together with a fellow writer?
AS: Back in 2009 we wrote a story together called “The February Dragon”, which won an Aurealis for Best Fantasy Short Story - and we had a ball writing together! I never thought I would collaborate with anyone (too much of a control freak), but we just found that our styles matched so well, and when we write together we manage a seamless third voice. It’s all a matter of trust and we each know the other isn’t going to make a mess of our shared vision. We do a bit of skeleton planning together, then one of us goes off and starts the story, writes until the words run out, and then sends it to the other to run with it.
The only real challenge is making sure we’ve got time in our schedules to fulfill our commitments!
MA: Would you like to repeat this experience in the future with a different writer? Who would you like that author to be, if possible?
AS: Not really no. I don’t think it’s something that you can just recreate with just anyone. And this works so well - why mess with it?
MA: “Midnight and Moonshine” is a mosaic novel, but you are no stranger to such writings since your collections of stories share common characters or settings. Are such novels and collections more challenging to write?
AS: I love the mosaic form because it’s an extension of the short story form, taking it further without making it into a traditional novel. I love writing the interconnected tales in Sourdough, as it’s a real challenge to choose which characters and threads you follow up in new stories. I like the jigsaw puzzle nature of it all.
MA: So far you wrote extensively short fiction, with yet other collections on the horizon, “The Bitterwood Bible and Other Recountings” and “Lemarchand’s Dictionary of Tenuous Connections and Other Tales”, but if I am not mistaken you also finished writing recently your first novel. Do you feel more comfortable writing short fiction? Does a novel require another approach entirely and a different set of writing skills?
AS: The novel, “Vigil”, was a huge challenge and very confronting for me as an established short story writer. The form is different and what works in a short story doesn’t necessarily work in a novel, so it’s been a steep learning curve for me. The novel is now in a first draft form; I’m letting it sit until after I come back from World Fantasy - hopefully I’ll have gained some perspective on it, and my beta readers will have some helpful comments!
MA: I believe that some of your future plans included a duopoly, “Well of Souls” and “Gate of the Dead”, an alternative Crusaders saga and “Finbar’s Mother”, a Norse-Irish fantasy. Are these projects still on your working table or some of them were abandoned or postponed?
AS: The duopoly is still on the schedule, but I quickly realised that what I wanted to write was very, very ambitious for a first time novelist, and that I had a lot to learn about writing craft. So they are waiting for me to come back to them - I have been writing a lot of story notes and have worked out how I want to attack that particular part of storytelling, but I need to clear the decks of current projects first. I’m not sure about “Finbar’s Mother” - I need to think about it a lot more.
MA: What other future plans do you have? What are you preparing for the readers in the near and distant future?
AS: I have a novella about Jack the Ripper and an alternative London - and a couple of novels that use the same characters. I also have to write the book that follows “Vigil”, which is “Corpse Light”. And another collection, “The Tallow-Wife and Other Tales”, and another novella “The Witch’s Scale” for Spectral Press!
Thank you very much for your time and answers. It has been an honor and a delight.
Tuesday, December 17, 2013
I was very happy today to see two of my favorite publishers joining forces. Chizine Publications, the publisher of dark fiction and fantasy with one of the most remarkable presences on the speculative fiction market of the past several years, and Undertow Publications, responsible for one of the best genre magazines of late, “Shadows & Tall Trees”, entered into a partnership that, based on my experience with the works of these two small presses, I am certain would bring us even more wonderful things in the future.
ChiZine Publications Welcomes New Imprint
Undertow Publications and ChiZine enter co-operative agreement
TORONTO, Canada (December 16, 2013)
ChiZine Publications (CZP) and Undertow Publications (UP) are pleased to announce a co-operative venture. UP is now an imprint of CZP, an internationally acclaimed press.
Undertow Publications is best known for publishing Shadows & Tall Trees, a semi-annual journal of dark fiction that has been twice nominated for the British Fantasy Society Award for Best Periodical. UP was founded in 2009 by Michael Kelly, a Toronto-based author and editor. By becoming an imprint of ChiZine Publications, UP’s titles—including Shadows & Tall Tree and the upcoming Year’s Best Weird Fiction—will be available through CZP’s distribution channels: Harper Collins in Canada and Diamond Book Distributors internationally. As well, Undertow’s titles will be featured in the CZP catalogue.
Under the terms of the agreement, Kelly will remain as publisher of Undertow Publications and retain editorial authority over its contents.
“We’re extremely pleased to welcome Undertow Publications into the ChiZine family,” says Sandra Kasturi, co-publisher of ChiZine Publications. “Undertow is a small but distinguished press, publishing exciting material.”
“ChiZine and Undertow share similar sensibilities,” adds Brett Savory, co-publisher of ChiZine Publications. “We’re both publishing weird and dark writing.”
Michael Kelly, publisher of Undertow Publications says, “I’m thrilled to be part of ChiZine. Brett and Sandra, like me, are aficionados of the strange and the surreal. I couldn’t think of a better fit for Undertow.”
About ChiZine Publications
ChiZine Publications (CZP) is a World Fantasy Award-nominated and British Fantasy Award-winning independent publisher of surreal, subtle, and disturbing dark literary fiction hand-picked by Brett Alexander Savory and Sandra Kasturi, Bram Stoker Award-winning editors of ChiZine: Treatments of Light and Shade in Words.
About Undertow Publications
Undertow Publications (UP) is an independent publisher of strange stories and weird fiction. Its flagship publications are Shadows & Tall Trees, and the Year’s Best Weird Fiction. Editor Michael Kelly has been a finalist for the Shirley Jackson Award, and the British Fantasy Award.
Brett Savory, Co-Publisher
Michael Kelly, Publisher
Monday, December 16, 2013
Last week-end, at Iași, a new edition of the RomCon, the Romanian National Fantasy & Science Fiction Literature and Arts Convention, took place. On this occasion, a jury formed by Mircea Opriţă (president), Cătălin Badea-Gheracostea, George Ceaușu, Mircea Liviu Goga and Lucian Vasile Szabo awarded the 2013 RomCon Awards:
NOVEL: “Citadela de fier” (The Iron Citadel) by Adrian Buzdugan (Tracus Arte)
COLLECTION: “A doua venire” (The Second Coming) by Marian Truţă (Nemira)
DEBUT: “Taxidermie” (Taxidermy) by Narcisa Stoica (Millennium Books) – reviewed here
VISUAL ART: Adrian Chifu
PUBLISHER: Millennium Books
SPECIAL AWARDS: Orizont (Horizon) magazine & Ştefan Ghidoveanu for his blog, SF Crone
Congratulations to all the winners!
On 14th and 15th of December in Quart de Poblet (Valencia) in a ceremony held at the 31st edition of HispaCon, the National Fantasy and Science Fiction Convention organized by AEFCFT (The Spanish Fantasy, Science Fiction & Horror Association), the winners of 2013 Ignotus Awards have been announced:
NOVEL: “El mapa del cielo” (The Map of the Sky) by Felix J. Palma (Plaza & Janés)
NOVELLA: “Ostfront” (Ostfront) by Eduardo Vaquerizo, José Ramón Vázquez y Santiago Eximeno (Ediciones del cruciforme)
SHORT STORY: “Neo Tokio Blues” (Neo Tokyo Blues) by José Ramón Vázquez (Prospectivas. Antología del cuento de ciencia ficción española actual)
ANTHOLOGY: “Terra Nova. Antología de ciencia ficción contemporánea” (Terra Nova. Anthology of Modern Science Fiction) edited by Mariano Villarreal and Luis Pestarini (Sportula)
NON-FICTION: “La ciencia ficción de Isaac Asimov” (The Science Fiction of Isaac Asimov) by Rodolfo Martínez (Sportula)
ARTICLE: “Ciencia-Ficción en español” (Science Fiction in Spanish) by Fernando Angel Moreno (Prospectivas)
ILLUSTRATION: The cover of “Terra Nova” made by Ángel Benito Gastañaga (Sportula)
AUDIOVISUAL MATERIAL: “Los Verdhugos” (The Verdhugos) by Miquel Codony, Elías Combarro, Josep María Oriol y Pedro Román (Podcast)
COMIC BOOKS: “Espinas” (Thorns) by Santiago Eximeno y Angel Manuel Sánchez Crespo (The End 2012)
POETRY: “Quiero comerme tu máscara de gas” (I want to eat your gas mask) by Santiago Eximeno (Groenlandia 14)
MAGAZINE: “Delirio” (Biblioteca del Laberinto)
TRANSLATED NOVEL: “La ciudad y la ciudad” (The City & The City) by China Miéville (La Factoría de Ideas)
TRANSLATED SHORT STORY: “El zoo de papel” (The Paper Menagerie) by Ken Liu (Terra Nova)
WEB: “La Tercera Fundación” (Asociación “Los Conseguidores”) (tercerafundacion.net)
Congratulations to all the winners!
Friday, December 13, 2013
My great attraction for post-apocalyptic stories, be them written or filmed, started with the Mad Max series of movies. I can’t recall a time before seeing these three films when I was connected to this sub-genre, but I do know for certain that my love for it only grew shortly after with the Fallout games. Ever since then I hungrily devoured almost everything with post-apocalyptic elements. So, when wastelands, unlikely survivors and heroes and societies brought to their knees and returned to the starting point are mentioned I am eager to jump to the occasion and see what else post-apocalyptic genre has to offer. And since I cherish Mad Max movies with something close to religious fervor when post-apocalyptic Australian landscape is part of the setting I am all ears. There is no surprise then that Andrew Macrae’s novel, “Trucksong”, grabbed my full attention the instant I set my eyes on its presentation, “In a post-apocalyptic Australian landscape…” Although Andrew Macrae’s short stories have been published in Aurealis, Orb, Agog! Ripping Reads and Fantastical Journeys to Brisbane, “Trucksong” is his debut novel and it would be my first encounter with his works. But I am ready to join this ride, not only because of my already mentioned love for post-apocalyptic fiction, but also because of the name of the publisher, Twelfth Planet Press. For me Twelfth Planet Press is a guarantee of quality and it cannot be otherwise since my experience with the titles read from this wonderful independent press, Kaaron Warren’s “Through Splintered Walls”, Deborah Biancotti’s “Bad Power” & “A Book of Endings”, Margo Lanagan’s “Cracklescape” and Kirstyn McDermott’s “Caution: Contains Small Parts”, has been nothing but the best. Therefore, for me, one book to be read by the end of 2013 must be Andrew Macrae’s “Trucksong”.
In a post-apocalyptic Australian landscape dominated by free-wheeling cyborgs, a young man goes in search of his lost lover who has been kidnapped by a rogue AI truck – the Brumby King. Along the way, he teams with Sinnerman, an independent truck with its own reasons for hating the Brumby King. Before his final confrontation with the brumbies, he must learn more about the broken-down world and his own place in it, and face his worst fears.
The strange and playful voice of the first-person narrator keeps the story kicking along as he comes to his final realisation that the only meaning to be found in a world in slow decay is that which you make for yourself.
This genre-bending work of literary biopunk mixes the mad fun of Mad Max II with the idiosyncratic testimony of works like Peter Carey's True History of the Kelly Gang or Irvine Welsh's Trainspotting.
About Andrew Macrae
Andrew Macrae lives behind a secret door on Brunswick Street in Fitzroy, Melbourne. He is a typewriter fetishist, a collector of plastic robots and a finder of lost dogs. He works full-time in his own freelance writing and editing business called Magic Typewriter. He plays in an instrumental rock band called The Television Sky, wherein he dowses for harmonic distortion and melodic flux with swamp ash and rosewood.
His short fiction has appeared in Aurealis, Orb, Agog! Ripping Reads and Fantastical Journeys to Brisbane. He attended the inaugural Clarion South writers workshop in 2004. Trucksong is his first novel, and sprang from a childhood spent listening to the mournful sounds of semi-trailers as they crawled up and down the Great Dividing Range.
Find out what he's up to on twitter: www.twitter.com/acidic