SeeLight

ID This Book!

Hey guys,

My sister was given a book as a young teen by a friend, which I read, and I just now remembered. Can anyone tell me the title/author?

It involved a beautiful, dark-haired princess or chieftain's daughter, who was a spoiled brat and had an affair with some dude and got pregnant. He bailed and she shamed her family with her bastard son. The son had red hair, which was a sign of magic, and punishable by death. I can't remember what happened next, but they both ended up as slaves under the protection of some other chieftain and she had to dye the son's hair dark to hide his magic. She ended up becoming the chief's concubine. Meanwhile, there's another slave there (male, of course) who also has magic and he starts teaching the boy.

Don't remember most of the plot, but at some point it comes out that she herself is the one who passed magic on to her son (not the dude who bailed on her) and, if she would only learn it, she could become a powerful magician herself. Or something.

Any clues?

Did a little work on da nobble over the weekend and got through quite a bit today. I only have the last two or three chapters to go now, and these'll go fast. I've noticed, actually, that the beginning third and the end third don't need a lot of work (just minor edits), but the middle third is a mess and I'm going to have to go back in after this pass and rewrite a whole bunch of stuff. Argh. But good. I'm progressing.

Reading Update and Check In

Argh! My writing time yesterday was hijacked by a FIVE HOUR MEETING that wasn't supposed to start for another two hours when I arrived at the cafe. ARgh.

I did finish reading Timmi's Alanya to Alanya two nights ago, and am anxiously awaiting the arrival of the next installment. Awesome (that is a comment, not a review. No-review rule holds.)

Cell Phone Assholes

I did not work on da nobble today. I was in my favorite cafe during my writing time, and there was one too many assholes talking on their cellphones. Yes, inside. Yes, in a room in a cafe where people mostly sit and work, not talk. I can manage to ask people to take it outside at most once a day. Today the third cell phone user drove me outta the cafe. When I got home there was netflix. Argh.

However, I did go to netflix and put myself on vacay for two months, to see if I can do without. If I can, I might just cancel it altogether. It should at least get me reading more.

Check In

Didn't work on the MS yesterday, but it's okay, because I spent my writing time thinking about what I posted about in my previous post, and that was a really, really important realization for me. I've been able to get granular about what setup I need to have to get writing again.

Really got rolling on the MS today and worked through probably about 60 pages (I didn't count) including the most sticky chapter of all, the one I know is completely wrong and out of character, but which needs to happen in some way for themes to get played out and for the character to get moving across the geography again. I figured out, in general, how I'm going to rewrite this, and it's good. It'll kill about three birds with one stone. I been killin' lotsa birds today.

I'm starting to get excited about finishing the editing phase and getting back into rewriting. Hope it's soon.

Good writing day. And now a friend is coming over with wine and we're going to have the awesome dark rye/fig/olive/nut crackers I got at Whole Paycheck and it'll be a good evening as well.

Creating Writers: MFA Industrial Complex

Via Barb, this article in the New Yorker, by Louis Menand, about the creative writing program.

One thing I've been realizing lately -- as I've been tamping down temptation to apply to a creative writing PhD program, despite my contempt for, even hatred of, creative writing programs -- is what the real purpose of a creative writing workshop is. In the past I've been too caught up in my anger at the workshop's uselessness to notice that the point of the workshop is not what happens in the workshop, but the existence of the workshop in whatever form. The lack of a universal program or vocabulary or set of concepts isn't the point. The existence of the workshop is the point.

Which is all by way of saying that the reason we have workshops is to give apprentice writers the structure to write.

That sounds simple, but it's immensely complex. When I was in my MFA program, I seemed to write enormous amounts (I estimated that in 3.5 years I probably spent about 5000 hours writing.) Being able to -- simply and easily and without thinking or agonizing -- sit down and write appeared natural and effortless. It has now been 3.5 years since I graduated, and the enormous difficulty I've had just sitting down and writing regularly has been ... instructive.

The MFA program is compelling; i.e. it compels you to follow its dictates. You've paid for it, you've applied for it, people are expecting things of you, and you must deliver. It is also immutable: it is what it is and it's up to you to fit yourself to it or get off the pot. So -- in subtle and blatant ways -- you reshape your life around the MFA program. You don't necessarily notice yourself doing this ... particularly if you're a single woman with no children who is changing jobs and apartments (for separate reasons) right around the time she starts school, as I was. But you do it.

You organize so that you have time to do your homework (which is writing). You organize so that you have time to do your reading for class. You organize traveling time to and from classes. And you find, slowly or quickly, ways to structure your working day so that the thought that goes into work doesn't interfere with the thought that goes into reading and writing. In doing so, you organize your world so that you can think about writing, or write, throughout most (or the majority) of your waking hours ... not to mention your sleeping ones.

My living/working situation during my MFA program was a perfect storm for writing. Everything I did after my MFA program was -- unintentionally -- a perfect storm of cluelessness. I took myself out of the Bay Area and away from any friends, support network, or artists community for six months, basically situating myself in a cultural and social desert for a half year, and somehow expected myself to be able to produce. I didn't produce.

When I returned, I moved to the East Bay, where my social and professional network wasn't, thereby ensuring that I wasn't surrounded by the inspiring presence of other people doing creative work. I took on a full-time office job that had nothing to do with arts or creativity, in a sector that had nothing to do with arts or creativity, thereby ensuring that the largest portion of my day was spent thinking about anything but writing, and doing everything but writing. I also, in the name of freeing up more time to write, cut myself off from most of my volunteerism and freelance work in creative and arts organizations, thereby ensuring that I had no easy and natural contact to creative communities, except what I cobbled together, meeting by meeting, through my social life.

My life in the 3 years after graduating from my MFA program was basically the opposite of an MFA program ... and the opposite of a writing life. And I did not write.

The one aspect of my former writing life that I could have slipped easily and unobtrusively into my nonwriting life was a weekly or monthly writing group or workshop. I had many opportunities to join a workshop, and did not: becausse of my contempt for workshops and the writing they produce, because of my need for a long break from group dynamics, after seven solid years of working in creative and cultural collectives and seeing those pitfalls firsthand. I was looking, as I said above, at what happened within a workshop. I wasn't looking at what happens around a workshop.

And what happens around a workshop is very simply that you write around a workshop. It gets you writing. It gets you to write.

MFA programs can't work without workshops because, for people to learn to write, they have to actually be writing and have recent writing to talk about. So the MFA programs have to have a way to ensure that everyone is actually doing constant, steady writing. Otherwise the discussions about writing will be silly and hollow.

But it's more than that. Because, more than anything, you learn about writing in an MFA program because you spend the whole time writing. Enormous amounts, in fact. Even if all your teachers are assholes and idiots, all your classmates are cretins, you'll still learn a lot from doing so much writing (and reading.) And the MFA program has to make sure you're doing that.

So a few conclusions:

• MFA programs are still the best way we have to make sure that people who want to become writers shut the fuck up, sit down, and spend a couple, three years writing a lot. That means something very important.


• Creative writing workshops are a great opportunity to do something cool with learning, but they don't have to take that opportunity. Because the classroom opportunity is not the point of the workshop: the outside-the-classroom coercion is the point.


• If almost all writing -- that is, almost all writers -- come through creative writing programs, that simply means that we've found a really effective, regularized, and reliable way of creating writers. If the workshop seems a ridiculously simple way of conquering American letters, all I have to say is that it so obviously works that we need to stop yammering about it at that level. (And by that I mean that I have to stop yammering about it at that level.)


• As Barb points out, the discussion around MFA programs loves to ignore the other structures and communities writers develop for themselves. I tend to think, based on nothing but anecdotal, personal evidence, that the writers who continue to write after their MFA programs are over, are the ones who use the MFA program to learn how to set up their lives to facilitate writing. They can do this by recreating the structure of their lives during the MFA, after the MFA. They can do this by connecting with a community in the program and keeping that community together after the program. Or they can do it by using MFA certification to join academia and make The Writing Life their paying job. However they do it, the MFA offers tools to create The Writing Life, which tools then become invisible after the MFA program is over.
  
  Writers like myself -- who indulged in magical thinking about MFA programs or MFA periods as times when The Writing Just Flowed like manna and ambrosia, and other things that rain from heaven without effort on the part of recipients -- are left gasping for air on the shore, refusing to just jump back into the water a few inches away. That is to say: I am mixing metaphors. That is to say: we stop writing when the MFA is over.


• I need to get myself a writers group. Stat.

Write-A-Thong

I'm not participating in the Clarion West Write-a-thon because I do other fundraising among my friends and family throughout the year and need to choose where I spend that energy.

But I think it's a great idea, both as a fundraiser, and as a writing initiative. So I made a private commitment to write every day during Clarion West-time. Today was my first day. Officially it started yesterday, but Clarion West officially starts the night before classtime starts when the first instructor is introduced, and NOT when your writing needs to start. So I took advantage.

Anyhoo, I'm going through a printed out MS of da nobble right now, editing. And by "editing," I mean both line-editing and hefty, more structural stuff. When I'm done with this phase, I'm taking the heavily marked up MS back to Scrivener and doing the rewrites there. After this rewrite, I think I'll actually be ready to show it to some first readers.

I'm hoping this phase will be done by the end of the Write-A-Thong. But I'm not holding my breath. Will make an effort to post daily about my progress but, again, no breath-holding.

Up(Yours!)Dike's Rules for Book Reviewing (And Why They Suck!)

John Updike's Golden Rules for Book Reviewing, via (you'll have to catch this link quickly, since it forwards after a few seconds):

1. Try to understand what the author wished to do, and do not blame him for not achieving what he did not attempt.
2. Give him enough direct quotation--at least one extended passage--of the book's prose so the review's reader can form his own impression, can get his own taste.
3. Confirm your description of the book with quotation from the book, if only phrase-long, rather than proceeding by fuzzy precis.
4. Go easy on plot summary, and do not give away the ending. (How astounded and indignant was I, when innocent, to find reviewers blabbing, and with the sublime inaccuracy of drunken lords reporting on a peasants' revolt, all the turns of my suspenseful and surpriseful narrative! Most ironically, the only readers who approach a book as the author intends, unpolluted by pre-knowledge of the plot, are the detested reviewers themselves. And then, years later, the blessed fool who picks the volume at random from a library shelf.)
5. If the book is judged deficient, cite a successful example along the same lines, from the author's ouevre or elsewhere. Try to understand the failure. Sure it's his and not yours?
6. To these concrete five might be added a vaguer sixth, having to do with maintaining a chemical purity in the reaction between product and appraiser. Do not accept for review a book you are predisposed to dislike, or committed by friendship to like. Do not imagine yourself a caretaker of any tradition, an enforcer of any party standards, a warrior in an idealogical battle, a corrections officer of any kind. Never, never (John Aldridge, Norman Podhoretz) try to put the author "in his place," making him a pawn in a contest with other reviewers. Review the book, not the reputation. Submit to whatever spell, weak or strong, is being cast. Better to praise and share than blame and ban. The communion between reviewer and his public is based upon the presumption of certain possible joys in reading, and all our discriminations should curve toward that end."

Okay, let's just be clear here: these are "golden rules" insofar as they are John Updike wishing reviewers would do unto him as he would have them do unto him. I know he wrote reviews himself, but he was primarily a fiction writer and had no benefit coming to him for developing a reputation as a strong and honest reviewer. Rather, the opposite: he had a stake in not pissing anyone in the industry off and in building goodwill among writers, publishers, and other folks with cookies.

I'm a writer as well, though a barely published one (no book yet, so no nasty reviews yet, so grain-o-salt it.) I also write reviews for my blogs and for more ... er ... legitimate venues. And I, openly, thoughtfully, and advisedly don't follow Updike's rules (with a few exceptions), even though I know it could hurt me as a writer in the long run. Here's why, point for point:

1. Try to understand what the author wished to do, and do not blame him for not achieving what he did not attempt.
   
   Really? So if we've seen -- in the past decade -- twenty, or fifty, or two hundred debut novels by white, male writers in their late twenties about rediscovering their and their family's place in the universe by backpacking around ________ (fill in foreign locale here), we don't get to blame the 201st writer for not attempting anything different? That's bullshit. Book reviews are part of a larger conversation analyzing our culture by examining artistic and artificial products of that culture. The writer's choice of subject is absolutely fair game. If we're bored by a book not because it's horribly written but because it's the five-thousandth iteration of that particular subject -- stale, clichéd, and unoriginal -- the reader needs to know ... and we need to say so.
   
   Or to get more granular: if a writer chooses something hot-button and difficult as a subject and displays her huge blind spot in doing so, do we not get to point that out? Say she's writing about prejudice against the disabled in a city like, say, Oakland (to get really blatant) but there are no characters of color anywhere in her narrative. In Oakland. It's bullshit to say "she didn't want to address race so she left the POC out." You can't address anything in a mimetic scenario that in real life would include X, if you don't include X. And reviewers get to call writers on this.
   
   Maybe I'm laying too much weight on reviewing, but I consider it part of cultural criticism, which I consider to be something of a sacred trust (or a profane trust?) I consider cultural production itself a sacred trust: people talking to other people about what they think is important; telling stories about what it is in our society we should be paying attention to. If they leave stuff out, ignore stuff, or choose not to address stuff, they get to be called out for it, one hundred percent, you betcha.


2. Give him enough direct quotation--at least one extended passage--of the book's prose so the review's reader can form his own impression, can get his own taste.
   
   Ar to the Gh. Seriously? This explains a lot about Updike and about how MFA lit fic is written. It's written so that it can be quoted, sentence by sentence or paragraph by paragraph, in reviews! Think about it, folks. What's the point of writing (or reading) a 80,000-word work of prose if you can get an adequate "taste" of it in 50 words? Doesn't that basically tell you that the 80,000 words are written in (bo-ring) equal, like increments of 50-100 words? Why would anyone wanna read that?
   
   A book is long-form prose. It should not be quotable, that is: it should not be tastable via quotation. It should be so integral and complete a piece that you have to read the whole fucking thing to get a real "impression" of it. This is not to say that enjoyment -- "mouth feel" -- of the language is unimportant. It is, however, to say that insisting that a quotation be included will disadvantage books that were written as wholes, and not as excessively long and plodding and plotless prose-poems by people whose prose poetry would never be accepted as such by the poetry industrial complex. And, in my not-humble opinion, all books (excepting collections) should be written primarily as wholes, with the lovely language taking second priority to the integrity of the piece. (Unless, of course, the writer specifically chooses a project that deconstructs novel or book structure and focuses in on the moment of language, in which case the writer should be prepared to be called out for it.)
   


3. Confirm your description of the book with quotation from the book, if only phrase-long, rather than proceeding by fuzzy precis.
   
   Again, this means that you can only describe the language of the book, and not character, structure, plot point, theme, setting, action, thought, or that indescribable something that animates (or fails to animate) the whole and makes it a living piece of art. The only things that are quotable in a review are small increments of language. You can't quote a plot, or confirm a plot by quotation. You can't quote a character, or confirm a book-length characterization by quoting a phrase. And, let's be clear: a characterization that can be confirmed by quoting a phrase? My people call it "stereotype."
   
   And "fuzzy precis?" Eat me, Updike. The typical review is 500 - 1000 words. You can't give anything but a general summary of a novel or book in that space. You just can't. The succinct precis is the reviewer's most basic tool, you tool. In fact, I would even say that the "art" of the review is being able to convey a sense of the book without having to hack up the book into pieces to do so. Casting contempt upon this "art" by referring to it as a "fuzzy precis" doesn't do anything. Reviewers won't, and can't, stop using it, and whole books will become no more quotable thereby. Asshole.
   


4. Go easy on plot summary, and do not give away the ending. (How astounded and indignant was I, when innocent, to find reviewers blabbing, and with the sublime inaccuracy of drunken lords reporting on a peasants' revolt, all the turns of my suspenseful and surpriseful narrative! Most ironically, the only readers who approach a book as the author intends, unpolluted by pre-knowledge of the plot, are the detested reviewers themselves. And then, years later, the blessed fool who picks the volume at random from a library shelf.)
   
   I mostly agree with this, but want to point out that Updike gives only the example of his own books being spoilered, and not having his experience of reading another's book spoiled thereby. That's pretty revealing.
   


5. If the book is judged deficient, cite a successful example along the same lines, from the author's ouevre or elsewhere. Try to understand the failure. Sure it's his and not yours?
   
   No and no! Comparisons are odious! This is the one, specific place where what Updike said above -- about not calling out a writer for failing to do what he didn't attempt -- applies. My rule number one: DO NOT COMPARE INDIVIDUAL WRITERS AND DO NOT CALL OUT A WRITER FOR FAILING TO ACHIEVE WHAT ANOTHER WRITER ACHIEVED. This is the best way to encourage people to imitate one another: by implying that there is a correct way to do something and an incorrect way to do something. Saying "this writer's way of addressing the subject is correct, yours is incorrect" only sets up an orthodoxy. Writers should rather be critiqued purely on the successes and failures of their own projects, and not on how their projects compare to those of others. If someone tries something and fails, yes, say so. But with an eye towards how THAT SPECIFIC ATTEMPT could have been more successful, rather than with an eye toward how that specific attempt is wrong, but hey, look at this one!
   
   The only thing I agree with is this: "Try to understand the failure. Sure it's his and not yours?" That goes double for me.


6. To these concrete five might be added a vaguer sixth, having to do with maintaining a chemical purity in the reaction between product and appraiser. Do not accept for review a book you are predisposed to dislike, or committed by friendship to like. Do not imagine yourself a caretaker of any tradition, an enforcer of any party standards, a warrior in an idealogical battle, a corrections officer of any kind. Never, never (John Aldridge, Norman Podhoretz) try to put the author "in his place," making him a pawn in a contest with other reviewers. Review the book, not the reputation. Submit to whatever spell, weak or strong, is being cast. Better to praise and share than blame and ban. The communion between reviewer and his public is based upon the presumption of certain possible joys in reading, and all our discriminations should curve toward that end."
   
   Yeah, yeah, fine. I can't really disagree with any of this. But I have to say, if a book fails to relay the "joys in reading," that needs to be said. Readers must become more discriminating through reading reviews. Readers must learn over time what makes a book ordinary, and what makes it challenging or interesting. They must be given a vocabulary they can use to talk about books. They must understand that some joys of reading, the ones they are always seeking, are not the only joys. They must learn that simply because a small joy may be discerned in a book, it doesn't mean that the book is worth reading. And they must ultimately learn that every mediocre book that is published, reviewed, bought, and read, means very specifically that another, much better book will not be published, much less read. Readers must learn how to improve the publishing economy for good writing, and poison the publishing economy for bad writing.
   

Breakin' Up Iz Hard 2 Do, Part II

So what I wanted to do -- about a month ago now, in the weeks leading up to WisCon, when I was considering "breaking up" with the antiracist blogosphere as a result of RaceFail and MammothFail -- was write a series of posts about how antiracist action online actually works, and why I have problems with it.

But a number of things intervened.

*****First, right before WisCon, Al Robles, an elder in my Bay Area Asian American activist community, died suddenly. His family organized a memorial event and I was asked to help, so I took over volunteer coordination for the six-hour event. The event took place at the venue where we had staged the Asian American arts festival I ran for its first few years; being there as a coordinator reminded me of that work and of the atmosphere of common purpose and mutual help that can arise out of creating a "real world" racial community. It also reminded me that I had a real world community in the first place, that I had been neglecting, partly in favor of my online stuff.

Also, being at Manong Al's memorial really made me think a lot about Al. The sort of elder whose memorial event draws thousands of people, requires ten tables to hold all the food, and has trouble restricting the stories, poems, and testimonials to six hours, is a very particular person. Al was a leader, not in that he put himself and his agenda first, nor in that he had great managerial skills he used to organize people. Al was a leader by example. He was everywhere he needed to be to get the work done. He was physically there; he put his hand on your arm when he saw you. He knew everyone in the community because he talked to them, partied with them, and remembered them whenever he saw them next. He never lost his interest in individuals, never lost his excitement about the new (and old) things people were doing, never failed to connect the creative life (he was a poet) with the activist life, and the activist life with the good life.

The consideration that makes my eyes well up, both in love for Al and in shame for my own failures, is the memory of Al as someone who always gave respect, gave face, to everyone, from the most snot-nosed, fist-pumping teenager, to the oldest, out-of-commission elder.  He made you want to earn the respect that he gave you unconditionally. He loved whatever it was that you did. Thousands of people turned out to say goodbye to him because people like that are so rare.

It makes me really think about who is going to take over for Al. Less than two years ago we lost another elder, Manong Bill Sorro, who had a similar role in the community as Al Robles, had a similar way with people, although the two were very different. As I said, these people are rare. Manong Al and Manong Bill were my touchstones in the community and now that they're both gone, I'm all out of touchstones. They were it for their generation. Who will be it for my generation?

I'm not that kind of person, but I can try to be more of that kind of person. I don't have to be the Manong Al or Manong Bill of my generation, but I think we can split up those duties a little more evenly, especially if we believe in community and continuation. But to do that, I have to get off the fucking internet and get my butt down to where the community is.

***** Second, I went to WisCon. Given the atmosphere surrounding RaceFail and then MammothFail, I was expecting WisCon to be emotionally fraught, stress-filled, and conflict-ridden. Instead, what I found was that there were more POC there than ever before, and that the POC there were organizing, coming together, and also connecting outside the POC community with a confidence and interest and even joy that I hadn't seen at WisCon before.

I realized that the online fights that had stressed me out so much, make my stomach tie up in knots and feel like all was sick with the world, had energized a lot of other folks. I was forcibly reminded of how I felt eleven years ago, when I first joined battle -- in a very limited and constrained way -- with folks online on the multiracial list-serv and the Asian American writers list-serv I joined. It was energizing; it did make me want to do stuff. And, because I was in San Francisco, I just went right out and did stuff: joined orgs, started programs, etc. It was a wonderful cycle of discussion and action: I discussed ideas online, and then took those ideas out into the real world and acted on them.

Of course, the energizing aspect of the arguments and sometimes fights had a limited efficacy. They were only energizing as long as they were still new to me, and still had something to teach me about that particular way of viewing the issues. Once I had been through the cycle of argument once or twice (and had experienced intelligent, articulate opponents who just plain didn't listen to you) the argument stopped energizing me and started to stress me out. Eventually, I had to quit the two list-servs, and I didn't miss them much when I had. That was mainly because the people I "knew" on the list-servs were just usernames. I was also spending time with folks in meatspace and many of those folks are still my friends; I'm not still friends with a single person I interacted intensely with online at that time, even the people I met in person and tried to work with there. But what I got out of those discussions didn't go away. The results -- the ideas and ability to articulate arguments -- stayed with me.

***** Third, I went back to Berlin, where I spent much of my twenties, and saw a lot of my friends, ten and fifteen years later. I saw that my friends had taken one of three tracks: folks who hadn't quite gotten started on a career and were still struggling to figure out where to go and what to do; folks who had started a career, then started a family and were now negotiating the limitation on their career that a young family imposes; and folks who were well into a creative career, some simply moving forward and others wondering if they wanted to stay on this track or make an adjustment.

I'm with the last group. I've spent the last decade plowing ahead full steam in ethnic-specific arts and culture, and I've accomplished much that I'm proud of. But I've definitely reached a point where I'm trying to make an adjustment in my direction, and that's a difficult thing to do. While in Berlin, I got a rare perspective on where I am in life, by seeing my peers dealing with being in that same place. And I think I can take this adjustment more quietly -- be less manic and bewildered about it -- and focus in. I think that's the key: letting some options go, and focusing in on what's most important to me.

*

I came back to online antiracism a few years ago with my interest in speculative fiction, and with working with POC SF communities that I had connected with through Clarion West and WisCon. And the community here is wonderful, and vibrant, and full of energy and purpose. I've learned a lot from reading blogs, and getting into discussions ... and even from some of the less pleasant fights I've gotten into. Some things I've learned couldn't have been gotten at another way.

But there are also problems with it ... and it was my intention to tease out those problems in a series of posts, as I said above. But after Al's memorial, and after WisCon, and after my visit back to the site of my young adulthood, I think I'm realizing that I don't need to do that right now. What I'm feeling is particular to me and my situation. Maybe down the road I'll have some perspectives that will be useful to someone else, but I don't think I do right now.

I've been upset and angry at an argument that I've heard too many times before that doesn't have the power to inspire me anymore, but that doesn't mean that this discussion isn't inspiring anyone else to new and great things. I think I'm probably best off shutting up and getting out of the way.

*

One thing I do want to clarify: when I said in an earlier post that the best thing that came out of RaceFail was the smart posts published early in the incident, a few outraged people pointed to Verb Noire (which has just announced its first publication, which makes me want to pee with excitement) as a direct result of RaceFail. I was surprised by that perception. Having been involved in so many start-ups (APAture, Hyphen, the San Francisco Hapa Issues Forum chapter, the now-defunct Digital Horizon afterschool program) and seen so many from a peripheral viewpoint, it's second nature to me to assume that any start-up or initiative has its roots in longstanding dreams and long planning processes ... that then come together around a particular opportunity.

Yes, I believe that RaceFail brought on a convergence of a number of things that led to Verb Noire being launched right then, but I don't believe that without RaceFail there would have been no Verb Noire. (Please tell me if I'm completely wrong here; I have no telepathic connection to the publishers, and no idea what specifically got them going.) Furthermore, I'd be worried if I really thought that RaceFail was the only or main impulse to starting Verb Noire. Last straw, yes; main thrust, no. It's a terrific project, coming at the right time, but it's larger than just RaceFail. The language and direction of the project already seems larger -- seems to fill up a space that has to do with more than just a failure of the general SF community to understand cultural difference and appropriation.

Basically, until it was pointed out to me, I didn't connect Verb Noire directly with RaceFail. RaceFail to me is just an incident: an incident that got drawn out way too long and produced some good writing, some bad writing, and a lot of bad feeling ... but still just an incident. Verb Noire is ... an organization, a long-term program, an institution of new perspective in the making. The two are bound up together, certainly: all good organizations, programs, institutions have their roots in unacceptable circumstances, or ongoing failures, and series of incidents that demonstrate these circumstances and failures.

But the two are distinct. One is discussion; the other, activism. For me, there does come a time when the discussion that inspires activism starts to get in the way of activism, and I have to opt out of direct discussion for a while.

*

I don't know what this means for me on a practical level. I have an online presence that takes some work to maintain and that brings me a lot of pleasure, aside from other things. But it also, I have to admit, sucks too much time away from my writing and my working in my community. I might have to cut back on being present online for a while, but I'm not sure how or how much. I'm not making any quick decisions.

I have no conclusions yet, no declarations to make. I think I'm going to be reading less from blogs, and participating less in any sort of online discussions in this area for a while. But at this point, I'm just thinking out loud.

"Not Too Soon" Demo

Interesting early version of one of my favorite songs from the early nineties.

First Book Trailer!

Wow! I'm super proud of this book trailer we produced for Kaya Press (Sam Arbizo did the work.) After having a look at the field, it seemed there was a lot of room for improvement. What do you all think?

(By the way, I'm still working on some longer posts. Just recovering from jet lag and getting back into the swing.)

News from Asian America

Just a quick note to those interested in the broad trends of Asian America: Read this.

Reading Update

Two days ago read Timmi's De Secretis Mulierum: A Novella. Now reading a German book, which I'm too lazy to get out of my purse right now to remind myself of the title. Yeah.

Reading Update

Still in Berlin. Still on vacation. Still not ready to grapple with topics undertaken.

Just finished Distances: A Novella by Vandana Singh, which I picked up at Wiscon. Almost finished The Shadow Speaker by Nnedi Okorafor, but had to give it to my niece. Will have to buy another one to finish it when I get back. ;)

Distances interesting and rather lovely here and there. Feels like rather standard SF, but there's nothing wrong with that. I like the experiment with describing the art of mathematics. Not always successful, but fun to watch.

Now reading other Aqueduct Press offerings. We now return to our regularly scheduled vacation.