Black History Month: Black Genre Authors

February is Black History Month. In honor, I thought I’d put up a list of some of my favorite black genre writers, folks whose work really just blows me away. Note: as usual with this kind of thing, I do not intend this to be an exhaustive list. As I’m posting this kind of off-the-cuff as it were, I’m sure I’ll accidentally leave some wonderful creators out. It’s not intentional at all, and certainly not meant to be a slight.

Maurice Broaddus: I first became aware of Maurice thanks to his Knights of Breton Court trilogy, a modern-urban-gang-warfare take on the Arthurian mythos. His short story collection Voices of Martyrs is brilliant. His two most recent works are the middle-grade novel The Usual Suspects, and the steampunk alternate history Pimp My Airship. He’s also co-edited a number of anthologies including Dark Faith from Apex.

Nnedi Okorafor: Nnedi’s Binti novellas, hard SF mixed with fantasy, sheer blew me away, as did her post-apocalyptic novel Who Fears Death. Her short stories are great as well, and I’m about to read her graphic novel with Tana Ford, LaGuardia.

Tananarive Due: I should be embarrassed that I’ve yet to read one of Tananarive’s novels, based on how much I’ve enjoyed her short stories in various magazines and anthologies over the past few years. Ghost Summer: Stories is a few years old now, but it’s a great place to start on her short fiction.

Nalo Hopkinson: Another author whose short stories I love and whose novels I should have read long since. Some of Nalo’s best stories can be found in Skin Folk: Stories. She’s also the writer of the brilliant addition to DC Comics’ “Sandman Universe” called House of Whispers.

Nisi Shawl: Nisi’s alternate history Everfair, about the creation of an independent African state during King Leopold’s conquest of the Congo, is amazing and thought-provoking, and refreshing in that it’s alternate history that doesn’t center the US Civil War or World War Two. She’s also a great editor (New Suns: Speculative Fiction by People of Color, among others) and the co-author with Cynthia Ward of the non-fiction book Writing the Other.

Victor LaValle: Victor’s short stories are gut-punches of detail and emotion. His novella The Ballad of Black Tom takes on Lovecraft. He’s also a talented editor, most recently of A People’s Future of the United States with John Joseph Adams.

P. Djèlí Clark: The Black God’s Drums is another piece of amazing alternate history that combines steampunk with the supernatural. His other short fiction is great as well.

Nane Kwame Adjeh-Brenyah: Friday Black: Stories was one of my favorite short story collections of last year. Nane’s stories had me thinking about societal forces and systemic racism in ways I hadn’t done so before.

Octavia Butler: No list of black genres authors is complete without her. Parable of the Sower is coming up on my reading list during my next business trip, and as I said last week, Fledgling still disturbs me.

Tade Thompson: I just read Tade’s evocative supernatural poem “Komolafe” in the sixth issue of Occult Detective Magazine. I need to read more by him. A lot more.

Gary Phillips: Like many of the folks on this list, Gary writes in a number of genres, but I’m most familiar with him as a writer of “new pulp” adventure, in anthologies like The Green Hornet Casefiles (edited by Joe Gentile and Win Scott Eckert) and the recent From Sea to Stormy Sea (edited by Lawrence Block).

 

Okay, your turn readers. There are a lot of black genre writers I’ve read who aren’t on this list, sins of omission based on a deadline and work-loads and such, but there are also plenty out there I’ve never read. Who do you think I should be reading? Give me names in the comments!

Women In Horror Month

February is “Women in Horror” Month. In honor, I thought I’d put up a list of some of my favorite female horror writers. Note: this is not an exhaustive list. As I’m posting this kind of off-the-cuff as it were, I’m sure I’ll accidentally leave some wonderful creators out. It’s not intentional at all, and certainly not meant to be a slight.

Damien Angelica Walters: While Damien’s short stories may cross genres, her novels have been pretty solidly horror: Ink was about possessed tattoos, Paper Tigers about a possessed photo album, and her most recent, The Dead Girls Club, is about storytelling and the ways in which real-life and sleepover-story horrors relate and interact. Her two short story collections, Sing Me Your Scars and Cry Your Way Home, contain a number of psychological and supernatural horror stories.

Lucy A. Snyder: I haven’t checked out any of her novels (yet), but Lucy writes some of the most disturbing short stories I’ve ever read. “Magdala Amygdala” is one of the few zombie stories I will intentionally reread, knowing it is going to gross me out. Check out her collection Soft Apocalypses.

Mira Grant: Sure, some of the short fiction Seanan McGuire publishes under her own name contains horror elements, usually more on the “dark fantasy” side. But when she writes as “her own evil twin sister,” Mira Grant, the horror takes center stage and the other genre elements (science fiction and fantasy) are extra flavor. The Newsflesh novels (zombies); the Parasitology trilogy (medicine gone amok); ); and a string of novellas from Subterranean Press that cover mermaids, slashers, plagues, and Lovecraftian horror (including Rolling in the Deep, Final Girls, In the Kingdom of Needle and Bone, and In The Shadow of Spindrift House) are among my favorite horror books ever.

Elizabeth Hand: Just on the strength of Wylding Hall alone, Elizabeth Hand is one of my favorite horror writers. I need to read more of her longer work.

Sabrina Vourvoulias: Sabrina’s stories co-mingle Latinx life and legends with alternate history or every-day life, but her near-future novel INK is a horror potentially unfolding in front of us on a daily basis, and everyone should read it. Check out her short fiction in various magazines and anthologies as well.

Kaaron Warren: I reviewed Kaaron’s most recent novella, Into Bones Like Oil, a few days ago here on the blog. Every story of hers I’ve read had snuck into my hind-brain and stayed there.

Silvia Moreno-Garcia: From the near-future vampires of Certain Dark Things to the music-based magic of Signal to Noise and everywhere in between, Silvia writes some of the most compelling horror out there. She’s also the editor of The Dark magazine, cultivating horror from marginalized voices.

Shirley Jackson: The Haunting of Hill House. We Have Always Lived in the Castle.The Lottery.” Of course Jackson is on any list of favorite horror writers I might compile.

Octavia Butler: I am not sure how many years it’s been since I read Fledgling and I still can’t get certain scenes out of my mind. Butler is an author I long-since should have read more of, and I’m working to correct that.

Caitlín R. Keirnan: Caitlín’s short fiction, collected in volumes like The Very Best of Caitlín R. Kiernan, is phenomenal. Her novel The Drowning Girl haunted me for months after finishing it.

Ellen Datlow: Okay, Ellen is not an author. But she curates, both in anthologies like The Best Horror of the Year series and as a novella editor for Tor.com, a wide range of horror from the explicit to the classic to the subtle. No list of “women in horror” would be complete without Ellen’s name on it.

 

Okay, your turn readers. There are a lot of female horror writers I’ve read who aren’t on this list, sins of omission based on a deadline and work-loads and such, and plenty who I’ve never read. Who do you think I should be reading? Give me names in the comments!

SERIES SATURDAY: ARROW (2012-2020)

This is a series about … well, series. I do so love stories that continue across volumes, in whatever form: linked short stories, novels, novellas, television, movies. I’ve already got a list of series I’ve recently read, re-read, watched, or re-watched that I plan to blog about. I might even, down the line, open myself up to letting other people suggest titles I should read/watch and then comment on.

Arrow logo.jpg

Just about two weeks ago (by the time this is posted), fans said “goodbye” to The CW’s Arrow, the flagship show in what has become an expansive, if not always consistent, television adaptation of the DC Comics Universe. Along the way, Arrow (and its spin-offs The Flash and DC’s Legends of Tomorrow, and connected shows Supergirl and Black Lightning) have thrilled and sometimes infuriated comics fans. For every fan who loved a character appearance or storyline adaptation, there was an equal and opposite reaction from another fan – and I’m sure this will continue now that the “Arrowverse” has moved beyond the big “Crisis on Infinite Earths” crossover and united all of the CW shows (plus, one assumes, the short-lived live-action and cartoon Constantine and Vixen series) on a single Earth. I’m of the opinion that no live-action movie or series adaptation of a comic book is ever going to be perfect, that storyline and character alterations to make the story work in a live-action format are necessary and should be expected, and thus there’s always been more to like than to complain about in Arrow and the rest of the “Arrowverse.” Your mileage may vary, of course.

Now normally when I do a “Series Saturday” post, it’s for a series I’ve recently read or watched (or re-read/re-watched), and so my thoughts are fresher. But I’m not in a position right now to do an 8-season long rewatch in short enough order to get a post written while the series finale is fresh in people’s minds, so this post is going to be a bit more nostalgia-based. There may be things I don’t remember, episodes/seasons I think were better/worse than they really were, etc. Bear with me.

I maintain that when Arrow was good, it was really, really good. And when it was not good … well, every long running show has at least one season that is a slump compared to the others, and every season is bound to have a stinker episode or two. And, as I said, I think in the end the really-really-good outweighed the stinker-bad.

WARNING: FROM HERE ON OUT, HERE THERE BE SPOILERS! If you haven’t watched all eight seasons of Arrow and you continue reading, I cannot be held responsible for anything you learn that you didn’t want to!

I came to Arrow about a season late; friends had watched season one and recommended it. I was skeptical, wasn’t too thrilled that the show was a complete relaunch (as opposed to giving us Justin Hartley’s Green Arrow spinning off from Smallville (which turned out to be a good thing for everyone, given co-star Alison Mack’s issues and that Justin has gone on to greater success with This Is Us, a show I should probably watch eventually)), and wasn’t really looking to add another hour-long show to my already long list of shows to watch. So it was as season two was starting that I finally decided to watch season one on DVD. My friends were right that I’d like it. I was hooked.

I think season one was the most tightly-plotted, and perhaps best, season of the show. There was a clear through-line: the producers knew where they wanted to be at the end of season one and got there without too much meandering (given the 23-episode length of the season). John Barrowman was a great “big bad” as the Black Archer, and I loved the development of the relationship between Oliver and John Diggle. The addition/development of the Queen family took some getting used to, but I came to really like both Susannah Thompson and Willa Holland. I liked the nod to comics history in making future (or so we thought at the time) Black Canary Laurel Lance’s father a cop, although I wasn’t crazy about Paul Blackthorne’s accent as Quentin Lance (it always felt a bit forced to me). I liked the way Roy Harper was eventually introduced, and I enjoyed watching Felicity grow from a guest to a supporting character to a co-star. I even found the flashbacks intriguing and for the most part connected to the current-day goings on. If there was anything I didn’t like about season one, it was the way the writers leaned so heavily into Oliver killing everyone on his List, and that (similar to Smallville) Oliver was given the first of a ridiculous number of nicknames before finally becoming Green Arrow, “the Hood” being about the worst of them. I also didn’t really connect with Katie Cassidy as Laurel at all, and thought she was better suited romantically to Tommy than to Oliver.

Season two was, I thought, almost as strong as season one. The flashbacks still connected strongly to the present day material. Manu Bennett was brilliant as the pre- and post-Mirakuru versions of Slade; the addition of Caity Lotz as the not-as-dead-as-we-thought Sara Lance / Black Canary was one of the best decisions the creators of the show ever made; and the show made good use of returning villains/anti-heroes like Huntress, Deadshot, and Bronze Tiger. I enjoyed enough of the season that I was able to overlook the complete misuse of Brother Blood. (Okay, full disclosure: I’m looking at the Arrow pages on IMDB as I write this, and I had completely forgotten Sebastian Blood was even a part of this season; when I think of season two, I think of Deathstroke, Sara, and the introduction of Grant Gustin as Barry Allen.) Oh, and I enjoyed the addition of Bex Taylor-Klaus as Sin (a character significantly aged-up from the comics) and wish they’d done more with her in subsequent seasons. Downside to the season: Laurel’s alcoholism storyline just didn’t work.

Season three, I struggled with. Partly because R’as al-Ghul is one of my favorite Batman villains and I initially thought Matt Nable was badly mis-cast. Partly because I hated that the season started off by killing Sara. Yes, I know, she got better, but “let’s kill the bisexual just to motivate the hero” is not a good look in this day and age. Thankfully, the powers-that-be brought her back to lead the Legends of Tomorrow. Positives to the season: the additions of Charlotte Ross as Mama Smoak, Katrina Law as Nyssa, Brandon Routh as Ray Palmer, and Vinny Jones as Brick, and Alex Kingston’s brief turn as Dinah Lance; the first “crossover” between Arrow and Flash. Downsides: the mishandling of classic comics character Ted (Wildcat) Grant; Laurel’s time as an assistant district attorney; the Hong Kong flashbacks, which had fewer real connections to the current storyline (other than introducing Tatsu and Maseo) and which felt painfully slow.

Season four: I’m going to just admit it: I loved watching Neal McDonough chew the scenery as Damien Darkh. But they really dropped the ball on exploring his connection to the League of Assassins, which had been hinted at multiple times in the previous season. Positives: the Diggle Brothers storyline gave David Ramsay some great stuff to work with; we got Tom Amandes as the Calculator, Megalyn Echikunwoke as a live-action Vixen, and Echo Kellum as Curtis Holt. Negatives: the flashbacks started to feel like interminable space-fillers that the producers were including only because that’s what the show’s format demanded (a problem that started to plague LOST about this point in that show’s run). If there was one positive to the flashbacks this season, it’s that they brought Matt Ryan’s Constantine officially into the Arrowverse. Oh, and the first “big” crossover introduced us to Vandal Savage, Hawkman, and Hawkgirl as a lead-in to the mid-season debut of DC’s Legends of Tomorrow. I liked Katie Cassidy’s work as Laurel in this season – just in time for them to kill her off, of course.

Season five: Possibly the tightest-plotted complete season since season two. The misdirect about who Adrian Chase is was set up and played out brilliantly (and Josh Segara was great as Chase). The flashbacks were more connected to the main goings-on again, bringing us full-circle to the pilot episode and giving us reasons for Oliver’s early bloodthirstiness. David Nykl, although not credited as such, was practically a full regular cast member as Anatoly, and became one of my favorite characters of the entire run. Dolph Lundgren as Kovar in the flashbacks was a credible threat and really fun. Katie Cassidy’s recurring appearances as Earth-Two’s Laurel (aka Black Siren) convinced me that my dislike of her in the earlier seasons was likely more due to bad writing. Willa Holland and John Barrowman got to do some wonderful work together exploring the Thea-Malcolm relationship. Joe Dinicol as Rory Regan/Ragman and Lexa Doig as Talia al-Ghul, both of whom I really liked, joined the cast, as well as Rick Gonzalez and Juliana Harkavy as Wild Dog and the newest Black Canary, who I was a bit ambivalent toward. And of course, we got the INVASION crossover, bringing Supergirl officially into the fold.

Season six: I had hopes for this, the first flashback-less season, after the overall solid season five. I was … disappointed. The Deathstroke-searches-for-his-son two-parter was strong. Roy coming back, Thea leaving, Quentin dying all had emotional impact. David Nykl and Katie Cassidy do great work as Anatoly and Black Siren throughout. The Earth-X crossover was possibly the best-written to date. But the glaring misuse/underuse of Michael Emerson as Cayden James, the unending and illogical “splitting of Team Arrow,” and the show’s sudden obsession with making Ricardo Diaz a much bigger bad than he really deserved to be all worked against the season as a whole.

Season seven: And that slump continued through at least the first half of this season: the Oliver-in-prison portion of the season just went on for way too long, Diaz’s continued billing as a “big bad” continued to irk me (I’m not sure I’ve ever cheered a villain’s death quite so loudly), Adrian Paul (like Michael Emerson the season before) is largely wasted, the reveal that Emiko Queen is the real “big bad” of the season was lackluster (This is not to say that Sea Shimooka didn’t do some wonderful work as Emiko; she did within the confines of a less-than-startling storyline), and the flashfowards felt like an unnecessary reversion to the format the show was supposed to be leaving behind. The flashforwards also didn’t really connect with the present day goings on, as we never got the big reveal of what “the vigilantes” did that turned Star City into a future crime-ridden hell-hole. That said, if anything good came out of the flashforwards, it has to be Ben Lewis as the adult William Clayton Queen. I’ve rarely seen such a good job of adult and teen actors matching each others’ mannerisms and vocal ticks as Lewis did matching Jack Moore. This was also the season of the Elseworlds crossover which was more notable for introducing Batwoman, The Monitor, and Lois Lane than for any real quality of storytelling.

Season eight: I’m glad Stephen Amell agreed to do one more short season and wrap things up, because I think the show went out mostly on a high note. The writers got a chance to revisit a number of old favorites (characters and locations). We got closure for a lot of characters, and the shortened episode order forced the writing to be tight and concise (despite the presence of the flash-forwards, which are redeemed only because The Monitor brings the kids back to the present, giving Amell and Lewis and Kat McNamara a chance to do play some wonderful scenes together – in particular William’s coming-out to the father he thought he’d lost long before coming out). We also got the “Crisis” crossover, followed by an embedded-pilot for a spin-off starring Mia Queen and the Canaries. And, of course, that final episode, which was about as good as it could have been: a flashback that actually told a complete story focused on Oliver and Diggle in season one, and graveside appearances by almost everyone who mattered to Oliver. My only complaint about the finale was the absence of Charlotte Ross as Mama Smoak, and Manu Bennett and Michael Jai White as Slade and Bronze Tiger (the two villains Oliver actually managed to help redeem themselves over the course of the series). I know scheduling and price-tags (and maybe the supposed bad blood between Bennett and the producers) kept these from happening, but I wish something could have been worked out.

The biggest complaint I have about the show as a whole (and pretty much all of the “Arrowverse” shows) is that the ostensible star of the show rarely got to be the capable independent hero that the comics version is. The CW seems, with the exception of Legends, to be stuck in this rut that the title character MUST have a team of voices telling him/her what to do and how to do it. The Flash and Supergirl are particularly affected by this, and even Batwoman and Black Lightning have someone talking into their ears (Lucas Fox and Peter Gambi, respectively). I wish all of the shows would do a little less of that.

But in the end, complaints aside, I’ve enjoyed my time with Arrow. Stephen Amell, David Ramsay and Emily Bett Rickards kept me engaged every week even when the writing was not so great or the storylines took ridiculous turns (don’t get me started on the idea of a nuclear missile wiping out a whole American city with almost no repercussions).

2019 By The Numbers

Earlier than previous years, here’s my media round-up for 2019: what I wrote, what was published, and what I read, listened to, and watched.

WRITING

Not much to report on this front. 2019 was not a good year for creating new content. I didn’t track what little writing I actually managed to do – but I know there were more days where I didn’t write than there were days I wrote, by far. I’m considering it a “recharging” year, as I consumed and processed a lot of wonderful (and not-so-wonderful) books, television, movies, live theatre and music events. The writing I did manage was mostly work on previous unfinished short stories.

PUBLISHING

2019 saw the publication of one short story:

  • “Regardless of How Lost You Are Returning From, Regardless of How Far” appeared in Kaleidotrope magazine, edited by Fred Coppersmith

I also wrote a six paid book reviews for Strange Horizons magazine, and one for Out In Print (non-paid):

·         So You Want To Be A Robot: 21 Stories by A. Merc Rustad

·         Friday Black: Stories by Nana Kwame Adjei-Brenyah

·         Forget The Sleepless Shore: Stories by Sonya Taaffe

·         The Hidden Witch by Molly Ostertag

·         Sealed by Naomi Booth

·         The History of Soul 2065 by Barbara Krasnoff

·         Of Echoes Born by ‘Nathan Burgoine (Out in Print)

 

READING

I set myself a variety of reading challenges in 2019. I managed to complete a few of them.

Goodreads Challenge:

I challenged myself to read 125 books. I read 144 books from approximately 73 different publishers.

Here’s the breakdown of what I read:

  • Fiction: 140 books

    • 6 anthologies

      • 1 crime

      • 1 horror

      • 1 romance

      • 1 fantasy

      • 1 science fiction

      • 1 mixed-genre

    • 12 single-author collections

      • 3 science fiction

      • 3 horror

      • 2 fantasy

      • 2 crime/mystery

      • 2 poetry

    • 33 graphic novels

      • 8 super-hero

      • 4 horror

      • 12 fantasy

      • 1 crime

      • 2 pulp adventure

      • 2 romance

    • 12 magazines (all issues of Lightspeed magazine)

    • 40 novels

      • 8 crime

      • 3 horror

      • 1 thriller

      • 1 mystery

      • 6  Fantasy

      • 8 science fiction

      • 3 paranormal romance

      • 4 urban fantasy

      • 1 romance

      • 3 pulp adventure

      • 1 suspense

      • 1 mythology

      • 1 Christmas

    • 34 novellas

      • 11 horror

      • 5 fantasy

      • 4 romance

      • 7 literary

      • 4 pulp adventure

      • 1 science fiction

      • 1 crime

      • 1 Christmas

    • 2 novelettes

      • 1 fantasy

      • 1 horror

  • Non-Fiction: 8 books

    • 2 Memoir

    • 1 History

    • 1 literary analysis

Other Book Stats:

# of Authors/Editors: approximately 136 (including graphic novel artists; I need to be better at listing all of the creators of graphic novels somehow). The following breakdown is estimated because not every author shares their personal information online, but roughly:

·         39 female creators

·         5 Trans/Non-Binary

·         29 LGBTQIA+

·         10 Persons of Color

Shortest Book Read: 25 pages (Christmas with the Dead by Joe Lansdale)

Longest Book Read: 669 (Upon A Burning Throne by Ashok K.Banker)

Total # of pages read: 25,513

Average # of pages per book: 205

# of Rereads: 6 (including annual rereads of Roger Zelazny’s A Night in the Lonesome October and Charles Dickens’ A Christmas Carol)

Monthly Breakdown:

·         January: 11

·         February: 18 (most read in a month)

·         March: 14

·         April: 7 (fewest read in a month)

·         May: 11

·         June: 10

·         July: 8

·         August: 14

·         September: 11

·         October: 15

·         November: 13

·         December: 13

Review-wise on Goodreads I gave 2 two-star reviews, 21 three-stars, 86 four-stars, and 35 five-star reviews.

Format Summary:

  • 17 audiobooks

  • 31 ebooks

  • 96 print

    • 25 hardcovers

    • 71 softcovers

365 Short Stories Challenge:

Each year, I challenge myself to read one short story per day. I read 401 stories in 2019, beating the goal handily. The shortest was approximately 7 pages and the longest approximately 61. Those 401 stories appeared in:

  • 12 Magazines

    • Nightmare

    • Lightspeed

    • The Dark

    • One Story

    • Analog

    • The Strand

    • Interzone

    • Lamplight

    • Black Static

    • Abyss & Apex

    • One Teen Story

    • Uncanny

  • 9 Anthologies

    • Resist Fascism

    • From Sea to Stormy Sea

    • If This Goes On

    • A Secret Guide to Fighting Elder Godds

    • The Many Tortures of Anthony Cardno

    • Fool For Love

    • F is for Fairy

    • At Home in the Dark

    • Devil Take Me

  • 15 Single-Author Collections

    • The Assimilated Cuban’s Guide to Quantum Physics by Carlos Hernandez

    • The Time Machine and Other Stories by H.G. Wells

    • Three Blind Mice and Other Stories by Agatha Christie

    • Beyond the Farthest Star by Edgar Rice Burroughs

    • Untranslatable by Alma Alexander

    • Hunt the Avenger by Win Scott Eckert

    • Trans Space Octopus Convention by Bogi Takacs

    • Oriental Ghost Stories by Lafcadio Hearn

    • Spinning Around A Sun by Everett Maroon

    • A History of Soul 2065 by Barbara Krasnoff

    • Acres of Perhaps by Will Ludwigsen

    • Under the Sunset by Bram Stoker

    • Two Todd Tales by Joseph Pittman

    • In Re: Sherlock Holmes by August Derleth

    • Forget the Sleepless Shores by Sonya Taaffe

  • 5 published as “back-matter” in the following novels

    • If Dragon’s Mass Eve Be Cold and Clear

    • Ms. Tree: One Mean Mother

    • Rosemary and Rue 10th Anniversary Hardcover Edition

    • That Ain’t Witchcraft

    • The Unkindest Tide

  • 16 Stand-alone (self-pubbed or publisher-pubbed in e-format)

    • Seanan McGuire (Patreon)

    • Lucy Snyder (Patreon)

    • Sabrina Vourvoulias (Cast of Wonders audio podcast)

    • Lydia M. Hawke (author website)

    • Jim Butcher (Evil Hat website)

Those 401 stories were written by 232 different authors. The following breakdown is estimated because not every author shares their personal information online, but roughly:

·         104 female creators

·         6 Trans/Non-Binary

·         33 LGBTQIA+

·         32 Persons of Color

I gave 13 two-star ratings, 208 three-star, 157 four-star, and 23 five-star ratings. The shortest story was 7 pages long and the longest 61.

Graphic Novel Challenge:

Because I own so many, I challenged myself to read one graphic novel per week. I didn’t make it, reading a total of 33 from 11 different publishers:

·         DC Comics: 7

·         Marvel Comics: 8

·         BOOM! Box: 8

·         Dynamite Comics: 2

·         Image Comics: 2

·         Hard Case Crime: 1

·         TO Comix: 1

·         Scholastic Books: 1

·         Panic Button Comics: 1

·         Dark Horse: 1

·         Self-Pubbed: 1

Non-Fiction Challenge: I didn’t do as well on this one. I challenged myself to read 24 non-fiction books in 2019, and I only read 4.

Read the Book, Watch the Movie Challenge: Completely bombed this one. Planned to do at least 10 of these and did 0.

Complete the Series Challenge: Bombed this one too. Planned to read 3 complete series, totally 16 books, and read 0 of 16, completing 0 series.

 

VIEWING

I tried tracking the movies, TV and live events I watched this year. Here’s how that went:

Movies: Apparently, I only watched 17 movies this year. (I suspect I forgot to enter a few things into the database.)

·         9 on DVD

·         2 on Netflix

·         6 in the theater

 

Live Events: I attended 15 live events this year.

·         10 plays

  • 6 straight plays (4 on Broadway, 2 high school, one attended twice)

  • 4 musicals (1 Broadway, 1 regional, 2 high school)

·         4 concerts (Dennis DeYoung, Greyson Chance, Blue Alien Mystic, and the Mahopac High School Pacapellas)

Television: I watched approximately 162 hours of episodic television:

·         Arrow (20 episodes)

·         Batwoman (9 episodes)

·         Beyond Stranger Things (7 episodes)

·         Black Mirror (2 episodes)

·         Doctor Who (1 episode)

·         The Flash (21 episodes)

·         Game of Thrones (1 episode)

·         Good Omens (6 episodes)

·         Great Performances (1 episode)

·         DC’s Legends of Tomorrow (9 episodes)

·         Planet of the Apes (14 episodes)

·         Stranger Things (25 episodes)

·         Supergirl (22 episodes)

·         The Big Bang Theory (2 episodes)

·         Vera (1 episode)

·         Vicious (14 episodes)

·         Watchmen (6 episodes)

·         Young Sheldon (1 episode)

 

So there you have it: my writing, publishing, reading, and viewing by the numbers, for 2019.

Earlier this week, I posted about my reading challenges for 2020. I plan to post about my writing plans, and possibly viewing plans, next week.

Series Saturday: The CW Crisis on Infinite Earths

This is a series about … well, series. I do so love stories that continue across volumes, in whatever form: linked short stories, novels, novellas, television, movies. I’ve already got a list of series I’ve recently read, re-read, watched, or re-watched that I plan to blog about. I might even, down the line, open myself up to letting other people suggest titles I should read/watch and then comment on.

Crisis_on_Infinite_Earths_(Arrowverse)_poster.jpg

 

For this Series Saturday, instead of looking back at a series I’ve enjoyed, I thought I’d make some predictions about a series that starts tomorrow night (Sunday, December 8, 2019): this year’s big “Arrowverse” crossover on the CW. I’m doing this because quite a few friends have asked what I think will happen, so I thought instead of a dozen text messages I’d just post my thoughts here.

AND YES, IF YOU’RE BEHIND ON THE ARROWVERSE SHOWS, THERE BE SPOILERS AHEAD!!!!!!!

For those who haven’t heard, Crisis on Infinite Earths will span 5 hours, taking up episodes of 5 out of the CW’s 6 DC Comics-based shows: Supergirl, Batwoman and The Flash on December 8-10, and then Arrow and DC’s Legends of Tomorrow in mid-January. (Black Lightning will also be appearing, but only as a guest-star; the series has always stayed separate from the rest of the DCCW shows.)

The tagline for the television event, as it was for the original DC Comics maxi-series in the mid-80s, is “Worlds Will Live. Worlds Will Die. And nothing will ever be the same.” For better or worse (and I’ll save my detailed thoughts on this for a different post), the maxi-series irrevocably changed the DC Universe. Pretty much every world but one did die; so did a lot of tertiary and secondary and several notable major DC characters (don’t worry; as is standard in comics now, most of them got better over the intervening decades).

I’m looking forward to seeing what beats and moments from the original comics Greg Berlanti, Marc Guggenheim and the individual show runners were able to adapt/incorporate and what they chose to leave out (either because characters have not yet debuted in the Arrowverse shows, or because the moments would make no sense in the context of that universe versus the original comics). I have absolutely NO expectations that five hours of television will rival twelve monthly comic issues, even with the half-season of set-ups done on The Flash and Arrow this fall. But I do have some thoughts and predictions.


WHO WILL LIVE, WHO WILL DIE?

Oliver Queen and Barry Allen: We’ve been told repeatedly over the past several months that in order for anyone else to survive the Crisis, Oliver Queen and Barry Allen must die. Interestingly, it’s The Monitor telling them this, and he hasn’t told either one about the fate of the other. (Ollie thinks he prevented both Barry and Kara’s deaths at the end of the Elseworlds crossover by striking a deal with The Monitor; I don’t think he’s been told Barry is destined to die anyway.) The fact that the other characters on each show only know Ollie and Barry are destined to die because Barry and Ollie have told them leads me to believe that neither one is actually going to die. Also, it’s pretty standard that if a show beats you over the head with a character’s destiny, they will in fact not experience that destiny without some kind of twist.

Arrow is ending for good two weeks after Crisis is over (and one of those episodes is an embedded pilot for a spin-off), but I’m predicting (as I’m sure many others have) that Oliver and Felicity will be given the same send-off that the comic gave to the Golden Age Superman and Lois Lane: living happily ever after (theoretically) in a pocket dimension from which they can never (or so they think) leave. I can’t imagine them outright killing “the one that started it all.”

And The Flash, of course, is not going off the air after Crisis. Barry’s been preparing his team for a “world without Flash,” but I don’t for a minute believe Grant Gustin is hanging up the cowl for more than a few episodes. He may, as they’ve done in a previous season, appear to be lost, but he will be back. I’m going to go out on a limb and predict that some other speedster will take Barry’s place at the last minute: and since we’ve seen no evidence that Keiynan Lonsdale (Wally) or Violet Beane (Jessie Quick) will be appearing in Crisis, I’m going to say it will be one of John Wesley Shipp’s characters: either the Flash from Earth-90 or a re-powered Jay Garrick. (This will give Shipp the notoriety of having died on the Flash more times than Tom Cavanagh.)

Prior Minor Characters/Guest Stars: The original comic was well-known for the wholesale slaughter of secondary and lesser characters. Depending on when you started reading DC Comics and/or when you came to read Crisis for the first time, some of those deaths hit harder than others. (For me? The death of the original Dove, Don Hall, made me cry. The death of Mark Merlin / Prince Ra-Man? Not so much.) On the current Arrowverse shows, there aren’t quite as many “blink and you miss them” level characters to be slaughtered by the Anti-Monitor’s Shadow Demons. And the ones that are out there? Well, those actors would cost money to bring back in, if they were even available to reprise their roles. However, I can imagine scenes of carnage like the one that lead off last year’s “Elseworlds” crossover: dead costumed characters strewn across Earth-1’s landscape, with faces not visible so we can’t tell these are just extras. I won’t be surprised to see characters like The Pied Piper, Huntress, Red Tornado, The Ray, Hawkman, and Hawkgirl dead in the background of a shot since at this point those characters/actors are not likely to be brought back. Still, as recently as yesterday showrunner Mark Guggenheim said there were at least 6 cameos/guest-star appearances who had not yet been revealed/spoiled, so there is the possibility of an on-screen death for a former guest-star or two.

Major Characters From Other DC Shows/Movies: We already know we’re going to be seeing, in cameos and/or key scenes, Robert Wuhl (from the Tim Burton Batman), Burt Ward (Batman ’66), Ashley Scott (Birds of Prey tv show), Tom Welling and Erica Durance (Smallville), Kevin Conroy (a Kingdome Come-ish Bruce Wayne) and Brandon Routh (the Donnerverse/Kingdom Come Superman). There was a rumor Tom Ellis (Lucifer) was on set during filming, and I’m holding out hope that some of the unleaked cameos are Lynda Carter and Lyle Waggoner (Wonder Woman), Helen Slater (Supergirl), Dina Meyer (Oracle on Birds of Prey), David Mazouz or Sean Pertwee (Gotham) and/or Michael Grey/Jackson Bostwick/Garrett Craig (Billy Batson/Captain Marvel from the Shazam tv show). Showing any of these characters dying would have huge emotional impact on those of us who grew up on/watched those shows but possibly less-so on viewers only familiar with the current Arrowverse shows.

Major Characters from the Arrowverse Shows: Of course, what would pack the most emotional punch would be the deaths of one or more of the main casts. The title characters on each show are safe. The Flash, Supergirl, Black Lightning, and Batwoman are not suddenly going to become Frost and Friends, Adventures of The DEO, Thunder and Lightning, or Batwing. But if the producers want us to feel, after the fact, that this crossover actually resulted in a real shake-up of the status quo … somebody major is going to have to be killed off from one or more of the Big Three shows. My thoughts/expectations on who:

·         The Flash: Cisco Ramon. It’s fairly common on drama shows that if a character gets a happy ending and/or closure, they’re probably going to be written out or die (Lost took this to the level of an artform). Cisco has his happy ending: he got rid of the powers he didn’t really want to have, got closure on his relationship with Gypsy (and by extension, Breacher), and has a solid relationship with an understanding and loving girlfriend. But the show has also introduced another super-hacker/scientist type in Chester Runk. And there were rumors last season after Cisco was de-powered that he was leaving. His death would certainly pack the requisite punch for both viewers and fans – more so than Katie/Frost and Ralph, who have their powers and on-going sub-plots. Second Place Guess: Joe West.  There’s no indication Jesse L. Martin is ready to leave the show, and killing yet another of Barry’s father-figures (especially if Jay Garrick takes his place as The Flash Who Must Die) would just be cruel. But after two emotional “I’m not ready to say goodbye to my son” scenes in recent weeks, Joe’s death would be an even bigger gut-punch that Cisco.

·         Supergirl: J’Onn J’Onzz.  Here’s that closure thing again: in the past season or so, J’Onn has moved on from the DEO, gotten closure with the father he thought was dead and the brother he’d forgotten existed, and is in a good place. But we also saw The Monitor tell him that freeing himself of his past is what would make him a valuable part of the team fighting The Crisis. If that’s not a set-up for a heroic, self-sacrificing death, nothing is. Second Place Guess: Brainiac 5. He still has both romantic and a “am I man or machine” storylines going on, but we also know Jeremy Jordan is set to return for a few episodes as Win, which makes me think Brainy could be sacrificed.  Honestly, when it was announced Mechad Brooks was leaving the show, I was confident James Olsen would die during Crisis, but they wrote him out earlier.

·         Arrow: Wild Dog. We already know Black Canary and Black Siren are locked into the back-door pilot, so they’re not being killed off, while Rene has not been mentioned as part of that cast. Since the show seems intent this season on subverting their own future timeline (by having Roy come back to the fold sooner and lose an arm in the process, as well as having Dig and Lyla learn about their sons’ futures and work to prevent that), it would make sense for them to write out Rene before he has a chance to become Mayor and screw up Star City and the Glades. Second Place Guess: Roy Harper. It would be cruel, having Roy willingly lose an arm for the team only to then die for them as well, but they could go this route as a way to even further subvert the future timeline.

·         Legends of Tomorrow: I honestly don’t think they’re going to kill off any of the major cast. We already know Ray Palmer and Nora Darkh are being written out later in the season, so they’re safe. And most of the returning lead cast have on-going sub-plots. However, if they really want to start the new season off with a change in the status quo, killing Nate Heywood off would do it. Yeah, he’s got that whole “I don’t remember the woman I fell in love with” sub-plot brewing, but plots like that have been dropped on shows before when the showrunners wanted to shake things up (remember Ruby being promoted to series regular on Once Upon A Time only to appear in a handful of episodes and then virtually disappear because other storylines took precedent?). Second Place Guesses: either Gary or Mona, since fan reaction to both supporting characters has been less than favorable.

I’m pretty sure that we won’t see a major character death related to Crisis on Black Lightning simply because the show itself is not a part of the crossover. And Batwoman hasn’t been on the air long enough to lose a second main cast member in one season (after the death of Katherine Hamilton in the fall finale), so I think the remaining cast members there are safe.

WORLDS WILL LIVE, WORLDS WILL DIE?

The original comic ended with the Multiverse being destroyed and history being re-written so that there had always been only One Earth. This created a lot of issues for multiple-Earth dopplegangers and characters with the same names but different histories/powers/etc.  The CW shows don’t have that many characters who appear on more than one Earth (and most of those were killed off-camera when Earth-2 bit the dust in the Arrow season premiere) for that to be a storyline problem. (In fact, the only one I can think of that could be a real issue would be the Earth-1 counterpart of Alex Danvers.) But fans have long complained that Supergirl feels way too removed over there on Earth-38 given her great friendship/chemistry with Barry Allen and burgeoning friendship with Kate Kane. We’ve seen in the various trailers that The Monitor decides Earth-38 is where the Heroes need to make their stand, and evidence that first Argo City (home of Supergirl’s birth mother and the few remaining Kryptonians) and then possibly all of Earth-38 get destroyed. There’s also trailer evidence that they manage to evacuate Earth-38 before the anti-matter wave hits.

My prediction is that not all Earths will be destroyed. I think the number of Earths that survive will be small. Most of the Earths that get destroyed will be Earths we’ve either never seen or have only heard mentioned, or will be the Earths for those other DC live action properties outside of the Arrowverse that we know we’re going to be seeing guest-stars from. I’m not even confident Earth-38 will really be destroyed; trailers are notoriously misleading on things like this for dramatic effect. I think we’ll end up with Earth-1 (for Flash, Legends, Batwoman, and the possible Arrow spinoff), Earth-38 (for Supergirl and the possible Superman show), Earth-BL (I don’t think Black Lightning’s Earth has ever been given a numeric designation), possibly Earth-X (just in case they ever want to use evil dopplegangers and The Ray again), and then an Earth-whatever that accounts for the other on-going DC TV shows on other networks (Titans, Doom Patrol, Swamp Thing, the upcoming Stargirl) and maybe one that accounts for the current “Movieverse.” Although I’m willing to second-guess myself about Earth-38’s destruction. It would definitely shake things up if Earth-1 and -38 were combined, but would also be a storyline logistical nightmare.

 

KINGDOM COME

We’ve already been told that Brandon Routh’s “Donnerverse” Superman is the Supes from DC’s mini-series Kingdom Come, and photographic evidence that Kevin Conroy’s Bruce Wayne is from that same Earth. My prediction? With the cameo appearance of Robert Wuhl’s “Burtonverse” Batman character Alexander Knox, I’m betting we’ll get at least a line of dialogue or two telling us that Conroy is the Burton Batman and that those movies (and sequels), the 1970s Wonder Woman and Shazam shows, and maybe the Birds of Prey show all took place on that same Earth, even if we don’t get to see Lynda Carter and Helen Slater in their iconic costumes. And of course, that Earth will go out in spectacular fashion after Bruce and Clark are recruited as two of the “Seven” The Monitor mentions need to be found in a recent trailer.

 

OTHER MINOR PREDICTIONS

·         History will at least slightly be rearranged, through either The Monitor’s doing or the Legends, and after the Crisis is over, Diggle and Lyla (who I predict will both survive) will joyously welcome baby Sara back into the family alongside her twin brother JJ and older adopted brother Connor. And yes, I think Dig and Lyla will remember that they had a daughter, then they didn’t, and now they do again.

·         The Council of Wellses will be completely destroyed, limiting Tom Cavanagh to playing only Reverse Flash, Nash Wells/Pariah (who I think will also survive) and the Earth-2 Wells if he was actually on Earth-3 this whole time, as has been rumored.

·         The West-Allens will find out Iris is pregnant thanks to that little island-hopping vacation they took a few episodes ago – but early next season, they’ll have twins who they’ll name Donald Henry and Dawn Nora. (In the comics, Barry and Iris’s twins were Don and Dawn Allen.)

·         Kevin Conroy will eventually make an appearance as the Earth-1 Bruce Wayne (sans exoskeleton) because like Clark, they can’t avoid the issue of where Bruce has been forever.

 

I could be completely wrong about all of this. But hey, when it was announced before Season 1 of The Flash that John Wesley Shipp would be playing an important mystery character, I predicted it would be Jay Garrick – and I was only two seasons off! I’ll do a “let’s see how I did post” after the final two hours of the crossover air in mid-January.

Guest Post: Connecting A Village by 'Nathan Burgoine

It’s no secret that I love fictional worlds, whether they’re as vast as a space sector or as intimate as an apartment building. Characters who cross over into each others’ stories, whether as main/supporting characters or winking in-passing references, really make my day. It’s fun teasing those “easter eggs” out when authors pay tribute to a favorite writer or character, but it’s even more fun when an author creates, across stories, an interconnected world. ‘Nathan Burgoine does that in his stories of The Village, the most recent of which, Faux Ho Ho, is available now from Bold Strokes Books. Today, ‘Nathan visits us to discuss how to connect a Village….

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Connecting a Village by ‘Nathan Burgoine

When it comes to stories centered around the holidays, I often find myself removed. Sometimes, I mean that literally: when was the last time you saw one of those Hallmark-esque movies including a queer person at all, let alone a queer person with a chosen family of queer people surrounding them? Sometimes, I mean it figuratively: even when you do find the occasional story with a queer main character, if there’s any strain from a familial sense, it’s often resolved with a bow, snowflakes, and tinsel before the credits roll or the epilogue concludes. It’s a yearly frustration, and it very much led to my first foray into queer holiday romance, Handmade Holidays.

Handmade Holidays is all about a chosen family, and how they gather, sometimes part, support each other, sometimes unknowingly fail each other, and grow. As it’s a romance, there’s also a core relationship developing throughout the novella, but my main goal was to show these queer people for what they were: as a real a family as any biological one might be, and no less the loving for it.

I honestly thought I was done with holiday stories after that. I tend to write stories with a dash of speculative fiction, but Handmade Holidays didn’t have a speculative element. I had knowingly set it in my fictional Village—a version of Ottawa’s own gay Village, only with that dash of magic and less gentrification—and the Village was definitely a place I wanted to revisit again and again. The Village is, after all, another metaphor for chosen family, and the magic thereof, and takes center stage in my first collection, Of Echoes Born, including what more-or-less sparks off the rebirth of the Village in the included novelette, “A Little Village Magic.”

But another holiday story? No. Unlikely.

Except…

One of the great things about writing romances is the grand love of various tropes. There are shorthand discussion points to the romance genre that grant whole skeletal frameworks to telling a story, and if there’s one I’ve always loved, it’s the fake relationship trope. There’s just something about people only realizing how they feel when they’re pretending to feel it that really makes my little queer heart go pitter-pat, and part of that, I think, is inherent to the queerness: so many of us spend so much time pretending we’re not what we are. A reversal of that, where pretending leads to a truth? It just feels good.

Also? Fake relationship stories are often funny, and I wanted to write something funny to get myself out of a year-long funk. It turned out to be a good idea on that front, and so Faux Ho Ho, contains some moments I hope will tickle the reader: super-awkward dates, some Dungeons & Dragons cartoon cosplay, and maybe a flung jock strap. A pink one, of course.

Faux Ho Ho grew from the notion of wanting to explore a fake relationship trope plot, coupled with wanting to explore chosen family again, but in a slightly different way. I’d seen a queer friend posting a tribute to “those of us who look at the holidays like a chore of endurance” or something similar, about spending time with families that weren’t outright hostile, but weren’t welcoming, either. Or a mixed bag, where there were family members who were great and loving worth withstanding other family members, who weren’t.

Those two thoughts wouldn’t leave me alone, and it occurred to me that having a fake partner to take home for the holidays would be like bringing a small piece of a chosen family home as backup to get through a difficult time. After that, Faux Ho Ho began to fall into place.

Chosen family meant connections, and so I found myself back in the Village, eyeing the characters who’d come before, looking for an entry point. I knew I wanted someone gregarious for the role of fake boyfriend, and the most outgoing character I’d written thus far was Fiona, an outspoken lesbian who—like Handmade Holidays main character Nick—had been disowned and disconnected from her own family when she came out. In Handmade Holidays, Fiona eventually opens up her own gym, Body Positive, where the mandate is to make sure everyone, no matter how they feel about their body, has a place to foster a more positive relationship with their body and their health.

Having a trainer who worked for Fiona be the fake boyfriend became the first piece of the puzzle, and Dino was born.

Connecting Dino to Handmade Holidays and the Village in general meant I could ground the hero of Faux Ho Ho in the close-knit community I’d already crafted, which as a writer felt akin to putting on a warm sweater I already knew would fit. Silas, a geeky computer programmer type, wasn’t going to be a person who was naturally outgoing, so I eyed my stable of characters and almost immediately decided he’d be connected to Ru, the love interest of Handmade Holidays, who is blunt, outgoing, and doesn’t stand for letting a friend stay on the sidelines when they deserve to be front and center.

During Handmade Holidays, Ru leaves Ottawa to look after his father for a few years, and then returns. When he returns, it’s a quick decision, and he has nowhere to stay immediately, though it’s intimated he couch-surfs with the rest of the characters for a while. At that point, it struck me I had a great way to introduce Silas, and to create the very reason for Silas and Dino to know each other: Silas would be Ru’s roommate, and given the concluding events of Handmade Holidays, Silas would at some point be looking for a new roommate, once Ru moved out.

That became my starting point. Silas and Dino, have been living together as roommates for nine months at the start of Faux Ho Ho, and when Silas is faced with going home for a Thanksgiving event he really, really doesn’t want to attend, Dino jumps in and pretends to be his boyfriend, citing a prior commitment to his own family, and Silas has a graceful out. Neither thinks much of it after that, except when an invitation shows up later for Silas’s sister’s Christmas wedding.

Which is when the whole “fake boyfriend” thing really takes off. Like, in a plane, all the way back to Alberta where Silas’s family lives.

In a similar way to how Handmade Holidays moves through time, a year or two between each chapter, Faux Ho Ho alternates between the present in Alberta and the past nine months that Silas and Dino have spent together as roommates. So much of their time together involves the chosen family of the Village, not just Fiona and Ru, but also Nick, and Phoebe (a trans woman first introduced in Handmade Holidays, who owns and operates a consignment fashion shop we’ve seen before in Saving the Date), Fiona’s wife Jenn and their two kids, Reed and Melody, as well as a few new faces, most importantly Felix and Owen, who make up a quartet alongside Ru and Silas of friends who hang out at Bittersweets (the Village coffee shop) on a weekly basis to catch each other up on their lives.

They also play D&D and board games, because if I’m going to write queer stories, I’m going to include queer nerds out of solidarity for my people. Silas also plays the cleric, which, for my fellow D&D nerds, was a conscious choice that says a lot about who he is.

The chapters where Silas is at home, surrounded by his Village friends and living the life he’s chosen for himself are full of connections. The chapters where Silas is back in Alberta, with his family (but with Dino for backup) are an opportunity to show what those connections have done for him, and how he’s changed in his time in the Village. That was the facet of Chosen Family I really wanted to focus on this time with Faux Ho Ho: how much we grow when we finally get to be the person we are, when we finally find back-up and support.

And although Faux Ho Ho can absolutely be read as a standalone, I don’t think it’s a story I could have written without all the other stories that came before. The short fictions in Of Echoes Born, and the novellas Handmade Holidays and Saving the Date, gave me the confidence to write a character completely bolstered by the support of a good, loving, accepting community because I could picture all of them so clearly. I had a Village, so to speak.

Like Handmade Holidays, I made the choice to stick to something completely contemporary, though the fellas do hang out in Bittersweets and they do mention going to Avery’s chocolate shop from “Vanilla” (another short story set in the Village, where the proprietor has a habit of adding a mystical oomph to anything he crafts by hand, including his chocolates). Faux Ho Ho doesn’t have a speculative element, but that’s not to say there’s no magic. It’s just this time the magic is the kind found in the strength of support and community, pride, and a really well-timed kickboxing lesson or two.


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’Nathan Burgoine grew up a reader and studied literature in university while making a living as a bookseller. His first published short story was “Heart” in the collection Fool for Love: New Gay Fiction. Since then, he’s had dozens of shorter fictions published, including releasing his first collection Of Echoes Born. He does sometimes write longer things, including novellas (In Memoriam, Handmade Holidays, and Saving the Date) and has crossed the line into novel-writing, too. His debut novel, Light, was a Lambda Literary Award finalist, and since then he’s released two urban paranormal novels, Triad Blood and Triad Soul, and a contemporary speculative YA novel, Exit Plans for Teenage Freaks. He lives in Ottawa, Canada with his husband and their rescued husky. You can find him online at NathanBurgoine.com.

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Reading Round-Up: June, 2019

Continuing the monthly summaries of what I’ve been reading and writing.

 

BOOKS

To keep my numbers consistent with what I have listed on Goodreads, I count completed magazine issues and stand-alone short stories in e-book format as “books.” I read or listened to 11 books in May: 4 in print, 2 in e-book format, and 5 in audio. They were:

1.       Lightspeed Magazine #109 (June 2019 issue), edited by John Joseph Adams. The usual fine assortment of sf and fantasy short stories and novellas. This month’s favorites for me were Ellen Kushner’s “When Two Swordsmen Meet,” Caspain Gray’s “Unpublished Gay Cancer Survivor Memoir,” Isabel Canas’ “The Weight of A Thousand Needles,” and Karen Joy Fowler’s “The Last Worders.”

2.       Alexander’s Bridge by Willa Cather. You would think that as an English major in college, I’d have read something, anything, by Willa Cather. But if I did, I don’t recall it at all (please forgive me, Professor Malcolm Marsden!). So I’m counting this as my first Cather work. I’d like to read more by her eventually. I found this one an interesting character study. Full Review HERE.

3.       The History of Soul 2065 by Barbara Krasnoff. I’d previously read only three of the twenty short stories that comprise this mosaic novel that covers fifteen decades in the lives of two families. Subtle magic, strong women, strong LGB representation, strong ties to the Jewish Diaspora.

4.       Spinning Around A Sun: Stories, by Everett Maroon. Flash fiction with sometimes horrific twists, these early stories by Maroon show hints of the style he works so well in his novel.

5.       Fresh Kill (Jimmy McSwain Files, Book 6) by Adam Carpenter. Jimmy McSwain is back for another round of mysteries, and Carpenter returns to the character and his New York City setting with style. Full Review HERE.

6.       Lumberjanes Volume 11: Time After Crime by Shannon Watters, Kat Leyh, and others. The latest Lumberjanes collection gets a bit timey-whimey, but in a very different way from Doctor Who. I was happy to see the focus this time is largely on Molly, with lots of character growth stemming out of her stressful family interactions.

7.       Shout Out edited by Andrew Wheeler. This is a wonderful YA graphic novel anthology of short stories featuring pretty much the entire range of LGBTQIA+ characters across genres from science fiction and fantasy to romance (and often intermingling several genres at once). I can’t praise this one enough.

8.       Synchronicity by Keira Andrews.  I am notoriously under-read when it comes to gay romance (as opposed to gay sf/fantasy/horror with romance or erotica elements). For some reason, much of the gay romance I have read falls into the sports romance realm, and this short about a synchronized diving team at the Olympics is no exception. Nicely written with likeable characters.

9.       From A Whisper to A Riot: The Gay Writers Who Crafted An American Literary Tradition by Adam W. Burgess. I’ve really not been doing well on the whole “read more non-fiction” thing, largely because I read non-fiction much slower than I read fiction. This work by Adam Burgess is a nicely-detailed look at a critically under-represented period in gay fiction, and it is worth your time seeking out. My full review is HERE.

10.   The Drowning Girl by Caitlin R. Kiernan, narrated by Suzy Jackson. A first-person narration ghost story high on eeriness but not gore, featuring a narrator who is lesbian and “crazy” (by her own words). I love narrators who tell you right at the start that they are not necessarily reliable, and IMP is one of those narrators. This is a really great listen. Suzy Jackson captures the main character’s innocence and slow fraying as she goes off her meds while relating her tale.

 

 

STORIES

I have a goal of reading 365 short stories (1 per day, essentially, although it doesn’t always work out that way) each year. Here’s what I did read and where you can find them if you’re interested in reading them too (with some short notes for stories that really stood out to me). If no source is noted, the story is from the same magazine or book as the story(ies) that precede(s) it:

1.       “Between The Dark and the Dark” by Deji Bryce Olukotun, from Lightspeed Magazine #109 (June 2019 issue), edited by John Joseph Adams.

2.       “An Advanced Readers’ Picture Book of Comparative Cognition” by Ken Liu

3.       “The Harvest of a Half-Known Life” by G.V. Anderson

4.       “Warhosts” by Yoon Ha Lee

5.       “The Last Worders” by Karen Joy Fowler

6.       “The Weight of A Thousand Needles” by Isabel Canas

7.       “When Two Swordsmen Meet” by Ellen Kushner

8.       “Unpublished Gay Cancer Survivor Memoir” by Caspian Gray

9.       “Dust to Dust” by Tochi Onyebuchi

10.   “Sun Sets Weeping” by Seanan McGuire, on the author’s Patreon page.

11.   “The Clearing In the Autumn,” by Barbara Krasnoff, from her collection The History of Soul 2065.

12.   “Sabbath Wine” by Barbara Krasnoff

13.   “Lost Connections” by Barbara Krasnoff

14.   “Hearts and Minds” by Barbara Krasnoff

15.   “Cancer God” by Barbara Krasnoff

16.   “In The Loop” by Barbara Krasnoff

17.   “The Ladder-Back Chair” by Barbara Krasnoff

18.   “The Sad Old Lady” by Barbara Krasnoff

19.   “The Red Dybbuk” by Barbara Krasnoff

20.   “Waiting For Jakie” by Barbara Krasnoff

21.   “The Gingerbread House” by Barbara Krasnoff

22.   “Time and the Parakeet” By Barbara Krasnoff

23.   “Under the Bay Court Tree” by Barbara Krasnoff

24.   “An Awfully Big Adventure” by Barbara Krasnoff

25.   “Rosemary, That’s For Remembrance” by Barbara Krasnoff

26.   “Stoop Ladies” by Barbara Krasnoff

27.   “Escape Route” by Barbara Krasnoff

28.   “Sophia’s Legacy” by Barbara Krasnoff

29.   “The Clearing in the Spring” by Barbara Krasnoff

30.   “The History of Soul 2065” by Barbara Krasnoff

31.   “Chamber Speed” by Everett Maroon, from his collection Spinning Around A Sun.

32.   “Crazy Making” by Everett Maroon

33.   “Connaissieur” by Everett Maroon

34.   “Dead Martha” by Everett Maroon

35.   “Lost Boy” by Everett Maroon

36.   “Conception” by Everett Maroon

37.   “Mummy” by Everett Maroon

38.   “Desperados” by Everett Maroon

39.   “The Seamstress” by Everett Maroon

40.   “Cold Statues” by Jay Lake, from The Many Tortures of Anthony Cardno, a charity anthology.

So that’s 40 short stories in June, keeping me way ahead for the year so far. (June 30th was the 181st day of 2019.)

 

Summary of Reading Challenges:

“To Be Read” Challenge: This month: 0 read; YTD: 3 of 14 read.

365 Short Stories Challenge: This month:  40 read; YTD: 240 of 365 read.

Graphic Novels Challenge:  This month: 2 read; YTD: 17 of 52 read.

Goodreads Challenge: This month: 10 read; YTD: 71 of 125 read.

Non-Fiction Challenge: This month: 1; YTD: 5 of 24 read.

Read the Book / Watch the Movie Challenge: This month: 0; YTD: 0 of 10 read/watched.

Complete the Series Challenge: This month: 0 books read; YTD: 0 of 16 read.

                                                                Series fully completed: 0 of 3 planned

Monthly Special Challenge: I may not do something like this every month, but I set a June goal to try to read primarily work by Queer authors or centering Queer characters, since June was Pride Month.

I think I was pretty successful with this one. I’m unsure how many of the writers in the June issue of Lightspeed Magazine identify somewhere on the Queer spectrum. But Will Cather was a lesbian, Everett Maroon and Caitlin R. Kiernan are transgender, and Adam Carpenter and Adam W. Burgess are gay. Many of the creators of the Lumberjanes series and most, if not all, of the creators of the stories in the Shout Out graphic novel anthology are Queer-identifying as well. And while Barbara Krasnoff is straight, The History of Soul 2065 heavily centers two queer couples with a third couple mentioned.

Having checked several different websites, it seems like July is not a month that lends itself to any specific reading goal (it’s the National Month of several foods, though: National Baked Bean Month, Culinary Arts Month, Grilling Month, Horseradish Month, Hot Dog Month, Ice Cream Month, Blueberries Month, and Picnic Month!) So my mini-challenge to myself is going to be making July Series Month, to help me catch up on one of my year-long challenges (The “Complete The Series” Challenge).

Series Saturday: VICIOUS

Series Saturday is a series about … well, series. I do so love stories that continue across volumes, in whatever form: linked short stories, novels, novellas, television, movies. I’ve already got a list of series I’ve recently read, re-read, watched, or re-watched that I plan to blog about. I might even, down the line, open myself up to letting other people suggest titles I should read/watch and then comment on.

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Warning: Mild Spoilers Ahead (Yes, for a sitcom.)

Vicious didn’t last long, but I think it’s possibly in my Top 5 favorite sit-coms. Had it had more episodes per season or lasted longer, my opinion might have changed. But the short, sweet run it had (14 episodes over a three-year span, including the extra-long Finale) was I think just enough to fall in love with these bitter, snarking characters and not grow tired of them.

Created by Gary Janetti and Mark Ravenhill, Vicious originally aired in the UK before making its way to the United States on PBS, which is where I saw the first season and bits of the second. I bought the DVDs to watch the episodes my DVR had somehow failed to record (including the Finale). Because of course I did. The series focuses on Freddie (Sir Ian McKellan) and Stuart (Sir Derek Jacobi), a couple who have been together for forty-eight years at the start of the first season. In short order, they (and we) meet their new, cute-as-a-button, young upstairs neighbor Ash (Iwan Rheon) and the speculation starts as to whether the young man is “family” or not (Spoiler: he’s not.). Freddie and Stuart’s lifelong friend Violet (Frances de la Tour) also takes a shine to Ash, although the couple’s other close friends, absent-minded Penelope (Marcia Warren) and acerbic Mason (Philip Voss) don’t seem quite so enamored of Ash at first.

The first season feels the freshest and most tightly written, perhaps because the writers are so invested in getting us to understand the characters and their relationships that they wrote seven mostly stand-alone episodes. Other than Ash being drawn more completely into the older characters’ circle, there’s no real “season arc” to speak of. Each episode sets up a situation, hits certain expected moments, and resolves by episode’s end. The running joke of Stuart constantly reintroducing Ash to Violet (“You remember our friend Violet,” often delivered as though the two have never met before) is the closest the writers come to a situation that lasts several episodes and then is resolved in the season finale. Season Two’s more structured lead-up to Freddie and Stuart’s wedding after fifty years together, coupled with a change in episode structure (every episode of season one started with Stuart on the phone with his mother and some Freddie-Stuart ribbing; season two’s episodes start with the two conversing as they walk down the street and something about the on-location filming feels out of place to me) makes the season feel less improvised and thus less fresh. There are still wonderful moments of comedy and character development, but there’s a lot of run-of-the-mill dialogue and situational slapstick as well (I’m looking at you, Mason, Penelope and the wedding cake!).

Both leads deliver their quips with just enough of a wink that the viewers understand these are two men who have developed a verbal shorthand where almost everything they say means “I love you and I wouldn’t change you for the world.” Relationship-wise, it’s clear that Freddie is a bit more dominant, Stuart a bit more submissive – and when the writers reverse the relationship (for instance, in the season two opener, when Freddie has to play subservient butler to a “straight, macho” Stuart to help Violet during a visit from her condescending sister), the writing is at its best. It helps that Sir Ian and Sir Derek obviously enjoy feeding off of each other’s energy, and one has to wonder how much of their banter was ad-libbed. (I also think it’s interesting that Sir Ian says they each had crushes on the other during early acting school days, but neither ever confessed to the other. I wonder what having them as the First Gay Couple of British Theater in real life would have been like.)

The characters’ styles are very different as well. In both dress and personality, Freddie is a bit haughty, Stuart more demure. Stuart wants to be liked/loved, while Freddie just assumes he is. They are both capable of delivering a cutting bon-mot towards their friends, however, and sometimes seem gleeful in inflicting pain. I do wish we’d seen more of what brought these five people together and just a hint more of the love they feel for each other; it’s the one true negative about the lead characters. Sure, in the season two wedding episode, they show some affection – but there’s a lot of dismissiveness and derision before that point. One starts to wonder why Violet, Penelope and Mason have hung around for so long. (Frances de la Tour has a great moment of honesty with Ash in the Finale on this very topic, but it reads as a bit too little too late despite how very good she is in the scene.) Every so often, one of the three scores some equally cutting points on the two leads (Penelope in particular).

And while Violet is pretty well developed over the course the two seasons (de la Tour’s boozier and more lascivious line reads and sub-plots made me wish this show had done a crossover with Absolutely Fabulous), Penelope and Mason fare less well. In the second season we get a bit more of a sense of Penelope’s life and the brave face she’s putting on (Marcia Warren is brilliant in those scenes, most particularly in the ballroom dancing episode and the Finale), but the reveal that Mason is actually Freddie’s younger brother is the definition of a throw-away line for shock’s sake, as is the line about Mason also being gay. Philip Voss does the best with what he’s given, but he’s given the least of the series regulars to work with until the Finale when he has a poignant exchange with Penelope about being there for her to the end, and an almost-poignant moment with Freddie over a good memory from their apparently otherwise horrific childhood.

Then there’s Ash, the young innocent thrust into this biting, sarcastic, awkward family unit. I think it’s a credit to Iwan Rheon and the writers that the character never loses than innocence, never really takes on Freddie and Stuart’s way of interacting with others (except in one episode, with disastrous results). Even though Ash is straight, this consistency in his character points up a generational difference: the biting humor of the old queens doesn’t quite work in younger relationships. Unfortunately, there are a few episodes where the writers decide that innocent = goofy/stupid, especially in season two and the early parts of the Finale. It’s a tendency lots of sitcoms fall into, making the innocence or good-nature of a character too broad. In another example the show subverting expected tropes, it’s not the old gay men who slobber over Ash (or, more common, old straight men making lewd suggestive comments to a beautiful young woman), but their friend Violet. The Violet-Ash dynamic is the second most interesting relationship in the show, but the writers show a remarkable restraint in just how far they let it go before resolving the tension.

In the end, for me it really comes down to my enjoyment of watching three great older actors (McKellan, Jacobi, and de la Tour) work their craft, and watch an at the time relative newcomer hold his own with them.

Check out Vicious on DVD or streaming if you like: sitcoms that center gay characters; snarky humor with an undercurrent of love; watching a group of old professionals knock it out of the park; Iwan Rheon not playing a Bastard (yes, that’s a Game of Thrones reference).

Series Saturday: the SPIRITS trilogy

Series Saturday is a series about … well, series. I do so love stories that continue across volumes, in whatever form: linked short stories, novels, novellas, television, movies. I’ve already got a list of series I’ve recently read, re-read, watched, or re-watched that I plan to blog about. I might even, down the line, open myself up to letting other people suggest titles I should read/watch and then comment on.

Spirits Series Banner.png

 

Jordan L. Hawk is a non-binary, queer and very prolific writer of M/M supernatural romance series, including the Whyborne & Griffin books (Lovecraftian in tone, and coming to a conclusion later this year), Hexworld (alternate history NYC where magic, and shape-shifters, abound), SPECTR (modern-day vampires and ghosts), and the Spirits trilogy, which is what I’d like to talk about today.

The Spirits books (Restless Spirits, Dangerous Spirits and Guardian Spirits) take place in a slightly-alternate history America at the turn of the previous century, wherein everyone knows spirits, and thus hauntings, are real. Some spirits are friendly, or at least essentially harmless, but some can and will cause great harm. As can, and do, people who pretend to be talented mediums but who are really just fakers.

Enter Henry Strauss, a scientist who was misled and taken advantage of by a fraudulent medium when he was younger. Henry’s goal is to reduce the odds of people being taken advantage of by using scientific means to locate, attract, and ultimately remove the threat of, ghosts. His Electro-Séance does the trick, if he can get it to work correctly and convince people like the Psychical Society of Baltimore that it’s more reliable and effective than human mediums. Henry, and his assistant/cousin Jo, get their chance when they are invited by a wealthy industrialist to a de-haunt a house in upstate New York – in competition with a renowned medium, Vincent Night, and his partner Lizzie. The industrialist is pitting science against spiritualism, but Henry and Vincent feel an immediate attraction to each other. Complications (and a little bit of hilarity and sexual shenanigans) ensue.

The “science versus spiritualism” competition is really only a part of the plot of the first book, and the rest of the trilogy finds Henry and Vincent working together on cases that appear to be distinct but in fact lead to revelations about Vincent and Lizzie’s pasts and a threat to the whole world.

There are certain things one expects from a Jordan L. Hawk historical series:

·         Two engaging, but quite insecure in different ways, male leads (and chapters that alternate point of view between the two)

·         A slow-burn romance in the first book, but insecurity-driven misunderstandings even once they do get together

·         Steamy sex featuring those male leads, multiple times per book, although the number of scenes per book usually decreases the longer the series goes on

·         A diverse supporting cast

·         A well-developed world with internal logic to how the supernatural element works and consistency in whether the general public knows about/believes in the supernatural or not

·         High stakes (often life-or-death) for the characters, but also for the world or society they live in.

 

 But here’s the thing: Hawk’s books don’t feel formulaic even with all of these consistent elements. And each series, thanks to that intricate world-building and thanks to the variety of lead characters, feels different from the others.

The Spirits trilogy maintains its focus on ghosts/spirits, and eschews any other form of the supernatural. No werewolves, vampires, zombies, witches, or cosmic horrors. Just spirits and the people with the ability/talent to communicate with and affect them. Vincent Night is a medium (he can speak to spirits and spirits can speak/act through him). Lizzie Devereaux is a spirit-writer. Other supporting characters are sensitive in one way or another. And then there’s Henry, who wants to do what Vincent does through science, specifically electromagnetism, instead of spiritualism. But there’s nary a hint of other magic in the books at all, and that’s refreshing. (Even though I’ve joked with the author on social media about a story where Henry and Vincent meet my favorite Hawk characters, Whyborne and Griffin, it’s clear that these series are set in the same time-period but very different versions of “our world.”) This trilogy is an ongoing debate on science versus spirituality (or, if you’d like, science versus religion/belief), but the author at no point allows one to best the other. There’s a trend out there right now in fantasy novels for magic to work the way science does – rigid rules of use and conduct and cause-and-effect – and Hawk refreshingly doesn’t use science to explain the spiritual nor use the spiritual to justify the science.

As with many of Hawk’s romantic pairs, Henry and Vincent are a study in contrasts. Henry is literal in his approach, not prone to expressions of humor, insecure because people just don’t want to believe in his achievements (the reader sees right away that Henry’s device works, although imperfectly) and also because of the way he was taken advantage of as a young man (by a medium claiming to be speaking for his father without really doing so). Vincent is a bit more poetic, swaggering (but not overbearing) to hide his own insecurities which are based in his failure during a séance which led to his mentor’s death and in the fact people don’t want to believe he’s as intelligent as he is because he’s Native American. The attraction between the two is immediate (and acted on fairly quickly, if awkwardly). Their position as rivals for a big cash prize (which each needs to save their own business and keep themselves and their partners with food and shelter) is just the first road-block of many thrown in front of them by the author. But they do persevere and grow towards a happy relationship. (No unhappy endings or “murder your gays” tropes to be had in a Jordan Hawk book!) Although it’s never expressed in quite this way, what the men have in common is a loss of fathers via “possession.” Vincent was possessed by a malevolent spirit which killed his mentor/father-figure while in Vincent’s body, and Henry was “possessed” by the fraudulent medium who took advantage of Henry’s attraction and guilelessness to steal Henry’s inheritance away from him. Both of these possessions haunt the men, and affect not only their relationship with each other but with their friends. Vincent’s fear of being possessed again holds him back from holding the séances needed to keep his and Lizzie’s business open; Henry’s anger at being taken advantage of makes it difficult for him to compromise with the people he needs to make his business a success.

This may be the most diverse main cast of all of Hawk’s historicals, both in terms of ethnicity and gender, and that’s saying something. While Henry is a gay white man, Vincent is Native American, Jo is mixed-race (the child of Henry’s white uncle and a black servant), and Lizzie is transgender. Since the Spirits trilogy is primarily M/M romance, it would be easy to relegate Jo and Lizzie to the status of “secondary characters” but they really aren’t. They have their own character arcs and contribute to the successful resolution of the potentially world-shattering events they are taking part in, and they do get their own romantic sub-plots – they just don’t get any sex scenes.

And if that’s not a perfect segue, nothing is. As mentioned, it wouldn’t be a Hawk book without increasingly hot (even when they’re awkward) sex scenes between the leads. These scenes also tend to be lovingly romantic. But they are certainly not for the prudish. (I think the books read just as well without the explicit sex, but as the sex is part of what Hawk (as well as KJ Charles, Adam Carpenter, and other authors I enjoy) is known for, I can’t complain about their inclusion – and certainly can’t claim that they’re not well-written.

The trilogy tells a complete story, over the course of three interesting hauntings and along with a variety of sub-plots. I’m sure there’s much more that could be explored in this world and with these characters, but for now the author says the story is finished. (Maybe they’ll decide to revisit this world now that the long-running Whyborne & Griffin series is drawing to a close?)

Check out Jordan L. Hawk’s Spirits trilogy if you like: ghost stories, séances, M/M romance, diverse and well-written casts, and subtle, supernatural-based alternate history.