As I’ve said a number of times, it’s always interesting to see what stories catch in readers’ imaginations. “An Important Failure”— Clarkesworld August 2020– seems to be one of them. So far it’s collected attention from a few quarters. It’s been acquired by the Polish magazine Nowa Fantastyka for translation (it should appear later this year). It’ll be in Jonathan Strahan’s The Year’s Best Science Fiction, Volume 2.
And, finally, it found its way onto the Aurora Awards ballot in the novelette/novella category– this is a Canadian speculative fiction prize administered by the Canadian Science Fiction and Fantasy Association, so someone in the CSFFA must have liked it. In fact, if you’re a member of the CSFFA, you can vote for it, too.
I wonder what it is about the story. That it’s about adjusting to straitened circumstances as the world shuts down around us? That it’s about creation in the face of climate change? Maybe because it’s full of longing & fear for the woods, and none of us could go anywhere much this year.
All three reasons? None and something else I can’t identify. Once again, I’m just grateful that people want to read it.
Now available to read. You should check out all the other work, too. It’s a good issue.
For a few months, my partner worked in a call centre. I made notes. This sounds mercenary, considering the very very long hours he put in, but at this point he knows bits of his life will show up in my work. I try to be respectful, but some of his anecdotes about call centre life were so absurd, they snuck into a(nother) story about disaster. I’m really hard on Canada’s west coast, which I love, and which I continually destroy in one way or another.
Re-reading the story I’m surprised to see feelings I am now intimately familiar with: a slow-moving disaster traveling inexorably toward us; total helplessness; a combination of loneliness and intimacy that comes with hearing voices from far away. I think, though, this has a speck of hope in its ending– not that the disaster can be averted, but that we can help one another across those distances.
I was dealing with this woman on Vancouver Island who couldn’t generate invoices. We’d been at it for two hours and I could feel her getting upset when I told her to wipe the whole system and start again. I can help you do that, but she was like no we’ll lose two weeks of work, and there’s nothing I can say to that, so we keep troubleshooting even though it’s pointless.
“Okay, I said, can you go back to the root invoice and try—“
“—oh,” she said, “what—“
And that was it, I didn’t hear anything but the line itself, which just went dead, that kind of absence you get when someone hangs up on you.
I have in the past avoided eligibility posts, mostly because I assumed people who wanted to read my work would find it via either the magazines that published it or my earlier posts. But then I saw ACWise collecting 2017 eligibility lists on twitter, and talking about why they’re valuable. She’s right. There’s so much fiction being published now it’s very easy to lose stories. I certainly need the reminder of what I’ve read, so I’m assuming other people do, as well.
So here’s my list, and my contribution to keeping track of 2017 in SF/F. All three of these are Hugo/Nebula/Aurora eligible, and fall into the short fiction category in each case:
“Lares Familiar, 1981” appeared in Liminal Stories back in May. It’s about the Cowichan Valley and the logging industry and a family with an uncomfortable relationship to both. It’s another of my attempts to capture the uneasy feeling that certain legends give me– those stories about strange encounters that never quite resolve, but leave you with a sense of how how huge and complicated and strange the world really is.
“On Highway 18” (this takes you to an interview about the story and includes some buy links if you’re interested) appeared in the September/October issue of The Magazine of Fantasy and Science Fiction. Another one about strangeness on Vancouver Island, and about violence and the intensity of adolescent friendship.
“The Fall of the Mundaneum” appeared in Beneath Ceaseless Skies in September. It’s very close to my heart, and I used the story to organize and process a lot of thoughts about the First World War and how the world ends, about the beauty and frustration and vulnerability of archives. I love Oskar (the main character) who is smart and naive and resilient. I love the world, which is full of pre-FWW optimism and utopianism as it falls to the Guns of August.
And that’s my literary 2017: the rainy Pacific coast of Canada; strange meetings; genius loci; mal d’archive; our relationship with history both personal and political; memory; early 20th century optimism and early 20th century violence colliding in the First World War.
So social media is full of #metoo. Or, as one friend put it, “of course #metoo” and as many others have asked: is this any kind of a surprise?
A couple of years ago (at Clarion West) I wrote a story called “On Highway 18.” It’s about small towns and girls and cars and hitchhiking and the constant, pervasive, numbing threat of violence, which touches everyone directly or indirectly. It grew from my own experiences as a young woman, and I borrowed a few from other people as well.
It’s much easier to write fiction about this kind of pervasive, low-grade anxiety because in relating each lived example, I tend to downplay the hurt. They seem slight in retrospect, even if my skin crawled at the time, or prickled with anxious sweat, or I sprinted from the scene with my heart beating in my throat. If I described the facts of these sorts of events, I might add, I know other people have experienced much worse, or but you know I’m fine, or it wasn’t that bad… was it?
In fiction, though, I can try and capture the immediate, subjective experience, independent of whether the encounter was “bad enough” to count as trauma. In fiction there’s room for evocation and impressionism, to describe the way each encounter taught me something about what it means to be a woman, and the amount of power men had to define me, to tell me to smile, to demand my attention. To touch me. “On Highway 18” was therapeutic from that perspective, a whole catalogue of experiences that aren’t “that bad,” but nevertheless accumulate into a feeling of dread and smallness. At least, for one of the characters. Other characters aren’t so “lucky.”
I’m posting this paragraph, which is reportage:
Not that it was the first time someone had asked if she worked. It starts early. Fourteen on the sidewalk after the movie let out, waiting for Petra’s mom. A car pulled up close and the driver—some guy with a scrubby moustache and the ubiquitous baseball cap.
“You girls want to party?”
Jen giggled, and Petra said something like, Um. I don’t know? Her voice weak-sounding, the way it rose at the end. The guy pulled away without saying anything else.
Worse has happened since, and worse is happening this very moment, but I still hate that I didn’t know– as a fourteen year old– how to answer his question more powerfully.