I wrote an appreciation of Philip Ridley’s novel, In the Eyes of Mr Fury over at The Lost Library: Gay Fiction Rediscovered Facebook page. Go over there and check it out!
Below is my Capclave (sponsored by the Washington Science Fiction Association) schedule, which occurs October 6-8, 2017.
Toward A More Diverse Genre
How do authors portray persons of color, the disabled, and gender in their stories? Science fiction and fantasy have come a long way and have often been at the forefront of these issues and sometimes not. What more needs to be done? What’s the next step in portraying a more diverse universe?
K.M. Szpara, Craig L. Gidney, Vanessa Phin (m),Michelle Sonnier, Sarah Avery
Reading – Craig L. Gidney (3:30-4pm)
LGBTQ Speculative Fiction
Panelists will discuss where to find the best LGBT fiction being written today and what they think are the dos and don’ts of writing LGBT characters.
Craig L. Gidney, Sarah Pinsker, Vanessa Phin (m)
Due to a personal emergency, I could not attend today’s session of the Baltimore Book Festival.
I will be able to attend tomorrow! Looking forward to it.
I just saw the back cover copy of Tanith By Choice, a forthcoming anthology from Newcon Press that collects the favorite fiction selected by TL’s friends and colleagues.
I picked “The Crow,” from Disturbed By Her Song. Tanith by Choice should be available later this month.
I wrote an article on Tanith Lee’s weird fiction on Weird Fiction Review in honor of her 70th birthday.
While Tanith Lee (1947-2015) is mostly known as a fantasy writer, much of her short fiction existed in that interstitial region between genres. Not quite horror, or fantasy, her work in this mode would most comfortably fit in the weird tale category. Lee’s ‘weird’ fiction had a distinct gothic tone, and was often underscored by her eccentric wit.
You can read the rest of the article here.
A week or so ago, a Facebook friend of mine in the composer world shared an image of CD he’d recently received, called The Great God Pan: An Opera in 2 Acts. I ended up chatting with Ross Crean, the composer of the opera based on Arthur Machen’s work. I had just come home from NecronomiCon, where there was a panel on Machen’s work. I missed that panel, but people who had attended mentioned that a panelist spoke about the “psychedelic nature” imagery that shows up in Machen’s work.
Crean’s opera uses unorthodox instrumentation (prepared piano) to bring Machen’s trippy masterpiece to life.