So, I sold a story a while ago. Not quite as long ago as I wrote the story in question, mind — that was during the second semester of my Masters, which feels like a lifetime ago.
Anyway, the sale went to Ian Whates at NewCon Press. Here’s as much as anyone other than Ian knows about the project in question:
“… the project that started life as ‘write me something featuring a femme fatale’ has evolved considerably. In fact, what began as a single anthology has subsequently budded, amoeba-like, and developed into two independent volumes; a duo-anthology (no, I’m not too sure what that means either, but it sounds impressive). La Femme and Noir, two thematically linked books, each with their own distinct identity.
Both books will be launched on the Friday evening of this year’s Eastercon in Glasgow, 6.00 pm on April 18th, unveiled at a launch party which will also see the release of a new collection from Eric Brown and “The Moon King”, Neil Williamson’s debut novel.”
Two books, two TOCs:
- Introduction — Ian Whates
- Stephen Palmer – Palestinian Sweets
- Frances Hardinge – Slink-Thinking
- Storm Constantine – A Winter Bewitchment
- Andrew Hook – Softwood
- Adele Kirby – Soleil
- Stewart Hotston – Haecceity
- John Llewellyn Probert – The Girl with No Face
- Jonathan Oliver – High Church
- Maura McHugh – Valerie
- Holly Ice – Trysting Antlers
- Ruth E.J. Booth – The Honey Trap
- Benjanun Sriduangkaew – Elision
- Introduction — Ian Whates
- E.J. Swift – The Crepuscular Hunter
- Adam Roberts – Gross Thousand
- Donna Scott – The Grimoire
- Emma Coleman – The Treehouse
- Paula Wakefield – Red in Tooth and Claw
- Simon Kurt Unsworth – Private Ambulance
- Jay Caselberg – Bite Marks
- Marie O’Regan – Inspiration Point
- Paul Graham Raven – A Boardinghouse Heart
- Simon Morden – Entr’acte
- James Worrad – Silent in Her Vastness
- Paul Kane – Grief Stricken
- Alex Dally McFarlane – The (De)Composition of Evidence
Very chuffed to be there… and very chuffed to have sold that story, which collected apologetic personal rejections from all of the best genre ‘zines on the interwebs. Just my luck someone was doing an anthology where grimly ambiguous tales of monumental self-pity, possibly fraudulent magic, police violence and certifiable drug abuse would be a good fit, eh?
In other writy-publishy news, I just finished a commissioned book chapter. Don’t congratulate me; it was originally due in November last year. Given it’s for a collection of scholarly essays, I expect it’ll take at least as long to get to press as the story above, if not longer… always assuming, of course, that the editors don’t wisely decide that the piece I’ve sent them is that little bit too much weirder than even my abstract had led them to expect. Guess we’ll see…
“Networks weird people.” Quinn Norton and Ella Saitta explain the yin-yang nature of network effects — and the complicity of hackers and “geek culture” in such — to the Chaos Communications Conference.
This is of considerable interest to me, for two reasons. First of all, because legibility is a big part of what my doctorate is about: the systems on which we depend are illegible to us, and in the same way that the state needs to “see” its citizens to interact with them effectively, we need to “see” our infrastructure; however, this would be counterproductive for those who own and control infrastructure, leading to the ironic endgame of the atemporal, wherein the illusion that society is separate from nature is both sustained by and projected upon the very metasystem which binds them inseparably together.
Secondly, because I’m increasingly convinced that an unexamined methodological positivism is at the root of solutionism and geek exceptionalism alike; it’s the dark side of scientific epistemology, a faux-empiricist position wherein that which cannot be quantified cannot exist. It’s also a central plank of neoclassical economics, and neoliberal political theory. Ironically, however, it has created the ultimate machine for forcing humans to confront the subjectivity of the human experience, namely the internet. This is the ideological paradox at the heart of atemporality: the more finely the metanarratives are shredded by our distrust, the more desperate we are for someone to stitch us together a comforting and authoritative story from the fragments. In such an environment, curatorship is power, as Rupert Murdoch knows very well; curation imposes a narrative on the fragments it collects together by excluding the ones it discards.
But what if you gave an exhibition and nobody came? Curation with no visitors is like art with no audience, a scream in the wilderness. So the complementary power to curation is that of distribution: the ability to not only shape the narrative, but to get it in front of the right audience.
He who owns the pipes controls the flow.
They’re mixing the Kool-Aid pretty strong in the Valley these days [via @moonandserpent]:
Julien Cuny and Louis-Pierre Pharand, former producers and creative directors at Ubisoft on Assassin’s Creed and FarCry, have formed a new development studio named PIXYUL. Their goal: to map our planet at 1:1 scale using drones, and use the resulting 3D recreation as the setting for a survival RPG called ReRoll.
Tell ’em how it goes, Georgie Borges…
In that Empire, the Art of Cartography attained such Perfection that the map of a single Province occupied the entirety of a City, and the map of the Empire, the entirety of a Province. In time, those Unconscionable Maps no longer satisfied, and the Cartographers Guilds struck a Map of the Empire whose size was that of the Empire, and which coincided point for point with it. The following Generations, who were not so fond of the Study of Cartography as their Forebears had been, saw that that vast Map was Useless, and not without some Pitilessness was it, that they delivered it up to the Inclemencies of Sun and Winters. In the Deserts of the West, still today, there are Tattered Ruins of that Map, inhabited by Animals and Beggars; in all the Land there is no other Relic of the Disciplines of Geography.