Editorial
Editorial, June 2012
Welcome to issue twenty-five of Lightspeed—our second anniversary issue! We’ve got another great issue for you this month, so click-thru to see what we have in store.
Welcome to issue twenty-five of Lightspeed—our second anniversary issue! We’ve got another great issue for you this month, so click-thru to see what we have in store.
Could any of us resist using [the Device] in some manner? I would probably pop across to an adjacent Earth so I could visit my parents and grandparents, or maybe buy Alfred Bester a drink. … Or would I become obsessed with using it to avert some disaster or personal pitfall? Even if it were nearly impossible to alter events on most Earths, it would be a wondrous tool for historians and scientists, but might be a very dangerous technology for any government to possess.
The tokens are just one of the million weird little details I don’t even try to explain—the story is full of “exposition around the edges,” little throwaway things that imply a vaster universe where the story takes place. In my mind the tokens are sort of like the coins that people used to put on the eyes of the dead to pay the ferryman to take you into the afterlife—some kind of magical token to aid your journey to the land of the dead, a last kindness that a colleague can bestow upon you.
[Science fiction and fantasy] were the kind of books that I loved to read, so at any given moment in my life from the point that I decided to be a writer forward, which was around this time—I discovered Burroughs and then Arthur Conan Doyle right around the same time, and those were kind of my first two crushes—I would imagine writing books that I loved to read.
The difficulty was in trying to make the time and place more real—all this happened more than a thousand years ago, and in a part of the world that we don’t usually learn much about. Set a story in Ancient Rome or 12th Century England, and the reader will most likely have a mental file of background information; medieval Kiev is pretty much a mystery.
The notion of basilisk images was something I’d had in mind ever since reading Douglas Hofstadter’s Gödel, Escher, Bach. Hofstadter’s favourite analogy for the impact of Gödel’s Theorem on mathematics is a music recording that can’t be played because its resonances destroy the playing mechanism.
[On coining the term “the singularity”]: I used that term first, I think, at an artificial intelligence conference in 1982. […] I made the observation that if we got human-level artificial intelligence, that would certainly be a world-shaking event, and if we got superhuman-level intelligence, then what happened afterward would be fundamentally unintelligible.
I obediently spent my childhood writing little stories, until I reached that age when you dig in your heels and tell your parents you hate them and you’ll never, ever be what they want you to be. And I more or less ran away with the circus for the next twenty years.
A couple years ago when I was actively blogging, some editorial minion had complained about their slushpile being full of stories with titles that spoiled the ending mixed with time-travel stories about people trying to kill Hitler. I commented that maybe it wasn’t a good time to submit my story titled “The Cross-Time Accountants Fail to Kill Hitler Because Chuck Berry Does the Twist.”
Rakhmatullin’s characters often confront the viewer head-on, whether the subject is an alien with skin as variegated as an artist’s palette, or a mechanic who is, beneath all of the technology, aging, grizzled, and subject to the wear and tear of time. The environments he creates range from the nearly abstract to the thoroughly-realized worlds of his concept landscapes and battle scenes.