The most fantastical aspect of A Country of Ghosts is how it’s an earnest tale about an alternative society when dystopias fill today’s bookshelves. Full disclosure here:the author has written for Tor.com, and I did hold interest in reading his book once he described it to me as an “anarchist utopia.”
With that seed in mind, I couldn’t help but view A Country of Ghosts as the latest in a long tradition of utopian novels, starting with Thomas More’s as the most well-known early example (and a fantastic open source annotated edition can be read here).
Of course, utopias and speculative fiction go hand in hand. In the 19thcentury, Charlotte Perkins Gilman’s Herland envisioned a society of women. Alexander Bogdanov wrote about communist utopia on Mars in his 1908 book Red Star. Later utopian novels include Ursula K. Le Guin’s take on anarchism in The Dispossessed, Arthur C. Clark’s peaceful alien invasion inChildhood’s End, Aldous Huxley’s utopian counterpart to Brave New World in Island, and the fulfillment of the radical movements of the 1960s in Marge Piercy’s Woman on the Edge of Time, along with many others.
In A Country of Ghosts a regional collective known as Hron (they’re only kinda, sorta a country) fights against a colonial empire, and Killjoy’s mix of politics and storytelling is at times intellectually engaging and at times winsome, though it’s also a curiosity to behold in the field today.
Read the rest of the review here: [“The rules don’t really matter. It’s the spirit that matters, I think.”]
Image Courtesy of the Back-up Ribbon Project
“So I heard that you won Tumblr,” a coworker joked with me the other day.
He was referring to the maelstrom of activity that was triggered when I posted about my con harassment experience at New York Comic Con by the film crew of the YouTube web series Man Banter, hosted by Mike Babchik. I won’t reiterate everything that happened, but kept pretty good documentation. Other industry professionals and geek news sources had done the same, too. There is a petition out, created by the activist group 18 Million Rising in order to hold Babchik’s employer, Sirius XM Radio, accountable for his actions since Babchik had gotten into the convention using his job credentials. Since the incident happened, New York Comic Con had assured that they will tighten their safety policies, and I even had a nice wrap-up interview about making convention spaces safer with NYCC show manager Lance Fensterman.
Okay, that ugly event got all wrapped up with a nice li’l bow of resolution; we can leave this in the fandom corner until the next big misogynistic thing that happens to women at conventions hits the fan (but oh wait, it just did as I typed this). At this moment, I feel like I can voice something that I’ve been holding in this whole time: I am lucky. And it shouldn’t have to be that way.
In the hubbub of the past week, I completely forgot to mention my participation in Journal of Victorian Culture Online‘s Neo-Victorian Studies & Digital Humanities Week 2013. Check out an excerpt below, and follow the jump to read this academic article online.
Thanks to Prof. Lisa Hager and the editorial board of the JVCO for giving me this opportunity.
Steampunk studies is an outlier in Victorian scholarship. In fact, steampunk subculture can arguably be called “neo-Victorian” or even “non-Victorian” in the way that it defies strict adherence to a certain periodization or topic relevance. Steampunk is an aesthetic movement inspired by nineteenth-century science fiction and fantasy. Over the years, however, that umbrella phrase has expanded to include speculation outside of an established time-frame (such as post-apocalyptic or futuristic), outside of the established geography of the Western world, and even outside of history (as with alternate history and secondary fantasy worlds). How can we, then, describe the relationship between steampunk academic work and Victorian studies?
[Read "Steampunk, Technological Time & Beyond Victoriana: Advocacy and the Archive" on the Journal of Victorian Culture Online]
A well-placed ampersand can imply many things: a fighting duo, a complimentary pair, or polarizing opposites. In the case of Boxers & Saints, the members of the Boxer Rebellion and their opponents, Westerners and Chinese Christians, retain all three elements in their interactions.
What is engrossing about this graphic novel diptych—the newest work from Gene Luen Yang of American-Born Chinese fame—is how intertwined the stories are, literally and thematically. This dynamic is presented in its bold and eye-catching box design. On one side, the aggressively commanding ghost of Ch’in Shin-Huang, the first emperor of China. On the other, the grim glowing figure of martyr Joan of Arc. Split between them are two young, wide-eyed faces of Little Bao and Vibiana. They stare out at the reader, serious and uncertain. Their expressions symbolize the heart of Boxers & Saints: a story that unpacks the anxieties of an unstable nation, and unflinchingly portrays the people who become swept up by the winds of history.
[Read the review on Tor.com]
2013 is the year to get ready for some pseudo-time-travelling, what-if wanderings, and speculative festivities of the dapper variety. I have a list of 39 steampunk and steam-friendly conventions and one-day events from around the world, gathered with help from Kevin Steil, the Airship Ambassador.
Since new steampunk cons spring out of the gearwork every so often, if I had missed yours, please drop a comment (and email me about featuring it for my monthly steampunk events roundup).
All descriptions taken from the convention website or Facebook page.
[Read on Tor.com]
Photo credit by Anna Fischer
Wilhemina Frame posts the second half of our interview at the Steampunk Chronicle
WF: That brings up to me the whole Victorian concept of Orientalism, which was an art concept, a popular fashion concept, and a fascination that was held in the Victorian period especially in England but in Europe in general. Orientalism as I interpret it now, and this is my own personal interpretation, goes back to the concept of “The Other”. It has no foundation in reality. In Steampunk, if people are using that, but not being “travelers”, and they’re not trying to present an accurate viewpoint of a certain culture at that time — but they are referencing the historical aesthetics of Orientalism — how do you feel about that?
DP: (Laughs) Sorry, I’m laughing because you just asked a very long version of “Is this offensive if I do X, Y or Z?”
Part 1 can be read here. Part 2 is now live.
Note from Ay-leen: This guest post for STEAMED! was published yesturday and I thought I’d share it here.
After four years of college, with plenty of knowledge in what a well-known musical has termed a “useless” degree (though, technically, more than in English – I double-majored with Russian), I arrived at the classic Quarter-Life Crisis. I’d been in the Real World, yet was second-guessing myself. Was my career path where I wanted it to be? Was this where I envisioned myself when I left my alma mater? Compared to my peers, after the economy died, I was lucky: working in publishing at a secure job with solid prospects. But something since undergrad came into my life that had reminded me how much I missed academia. Steampunk.
[Read "What Do You Do with an MA in Steampunk?" on STEAMED!]