Nonfiction
Media Reviews: January 2018
Reviewer Christopher East digs into comedies with a fantastical bent: Netflix’s BoJack Horseman and NBC’s The Good Place.
Reviewer Christopher East digs into comedies with a fantastical bent: Netflix’s BoJack Horseman and NBC’s The Good Place.
Humans can obviously be connected to the environment and/or incredibly destructive towards it. But even if humans stop existing, if we wipe ourselves out, are driven to extinction, or just up stakes and leave, the environment will go on. It doesn’t need us nearly as much as we need it. I wrote this story in response to my own fears of nuclear war, which are a primal thing for me. I grew up in the 1980s when the possibility of a nuclear exchange with the USSR was still quite real, so that has lurked in my own psyche for many, many years.
This month Christie Yant reviews new novellas from Tor.com, including Beneath the Sugar Sky, by Seanan McGuire, Mandelbrot the Magnificent, by Liz Ziemskaand, and The Murders of Molly Southbourne, by Tade Thompson.
I definitely didn’t want to write anything tragic. I think in our world we always know that tragedy is right around the corner and always a possibility, and so it looms over Jamie like it looms over us all. But there are enough tragedies about transgender kids and adults, both in fiction and in reality. This didn’t need to be another one.
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I had the essential image, a metropolis as amoeba, extending pseudopods to locomote across a landscape, while sucking up people to function as its citizenry. I have absolutely no memory of this image entering my head, but everything else in the story proceeded from that genesis.
Louise Erdrich is the author of sixteen novels as well as volumes of poetry, children’s books, short stories, and a memoir. Her previous novel, LaRose, won the National Book Critics Circle Award for Fiction. The Round House won the National Book Award for Fiction. The Plague of Doves won the Anisfield-Wolf Book Award and was a finalist for the Pulitzer Prize. She lives in Minnesota.
The story was written in the summer, when the Florida heat tends to keep me fairly housebound, so the desire to escape the house for a bit seems to have crept in there. And of course, when I was a kid, I was always hoping that the next time I opened up a wardrobe door, I would be able to see Narnia. It never happened—and alas, the walls of my current closet seem all too solid—but I suppose I’ve never really given up that hope.
This month, Carrie Vaughn takes a critical look at Geostorm and the very idea of climate catastrophe as entertainment
When I’m writing I’m looking for characters that are different from me, but also familiar. I can see their motivations. I understand why they are doing the things they do. I connect with Henrietta through many of the matriarchs I’ve loved in my life. These women have guided me as a human being. My two grandmothers remind me a lot of Henrietta, and so it was important for me to tell a story that treats her as she should be treated: complex and deeply sympathetic.