Nonfiction
Book Reviews: March 2017
Amal El-Mohtar takes a look at Mishell Baker’s Phantom Pains and N.K. Jemisin’s The Obelisk Gate in an examination of powerful sequels.
Amal El-Mohtar takes a look at Mishell Baker’s Phantom Pains and N.K. Jemisin’s The Obelisk Gate in an examination of powerful sequels.
My dreams love to kill me off. They kill me off in intensely gory ways, in highly cinematic ways, in highly mortifying ways. I am well-used to dreams where I am in a car that plunges off the edge of a mountain road into water many hundreds of feet below, and indeed have them so frequently that my dreaming self is occasionally able to say, “Oh, this. I’ve been through this already. I don’t need to worry about this.”
The role of the fictional detective is to strike at the unknown and restore order to the universe. Someone has stolen something or killed someone or otherwise gone outside the bounds of statutory, moral, or, in some cases, natural law, and it is up to the detective to resolve the tension of this trespass.
top nattering around the edges and reading every single “advice on writing” book or essay you come across—I am convinced that this is a pernicious form of writer’s block and the only way to avoid it is to hold your nose and jump in. Remember that if your first drafts stink, that’s a good thing: It means you have something to work with in subsequent drafts, which is where the real writing happens.
One way I deal with fear is to write about it, or try to imagine it. I’m comically afraid of blood, for instance, so the idea of fetishizing it makes my stomach do a flip—that’s why I wrote a story in grad school about someone who does. Trying to write about an act like this is a way of staring directly into that fear.
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The pain that is called “phantom limb” is caused by the loss of a major part of someone’s body; it consists of physical pain in the illusory presence of a body part that is gone. The emotional pain that my protagonist feels when he thinks of the people he loved that he’s lost—his mother, his brother, his daughter—is analogous. He’s not remembering the good times with any of those people, only the pain of the loss of what was.
NuTay believes that “dunyshar had no planet, no cultures to imitate, no people”—but I wonder, did you have any specific origin of the dunyshar in mind? I didn’t have anything too specific in mind beyond what’s offered in the story (that offworld humans help sustain their population by becoming surrogates and donating babies to the Port, […]
Connie Willis is the author of novels such as Doomsday Book, Passage, To Say Nothing of the Dog, and Blackout/All Clear, as well as dozens of short stories including “Firewatch,” “Even the Queen,” and “The Winds of Marble Arch.” She’s won more major science fiction awards than any other author, and in 2011, she was named a Science Fiction Grandmaster by the Science Fiction and Fantasy Writers of America. We’ll be speaking with her today about her new novel, Crosstalk.
The plot assumes, of course, that most people are inherently vicious; whether or not that qualifies as insanity depends on your definition of sanity.