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Thu, 10 Dec 2009 09:00
In 1968 Stewart Brand produced the first edition of the Whole Earth Catalog. It had a picture of the earth seen from space on the cover and inside were lists of useful tools for transforming the planet by distributing power to the people. I remember seeing it in bookshops. Thrilling and demanding, it called on me to join my generation. Like Woodstock, student demos, dope, tie-dyed T-shirts and improbably flared trousers, the Catalog told us we were different.
We were. But now different has become mainstream. The Catalog was, above all, Green. It treated the planet as a single, finite system whose contents could be catalogued. Now the whole world is Green and the Internet lists its contents. David Cameron and Ed Miliband believe what only doped-out freaks in sandals and Afghan coats believed in 1968. And so Stewart Brand returns to take stock.
Whole Earth Discipline is immensely entertaining, moving and slightly confusing. The confusion is twofold. First, Brand is an unreconstructed cataloguer. The book is, at one level, simply a list of developments in biotechnology, climate science, urbanisation, agriculture and so on. This tends to leave one wondering if these things do tie together in quite the way Brand says they do. Secondly, much of the book is about the author's changes of mind. He is now, for example, pro-nuclear power and genetically engineered foods. This is honourable but it does cast a slight shadow of doubt over his latest enthusiasms (more)
Wed, 09 Dec 2009 12:37
The Seattle Times reviews a number of great, seasonal children's titles, including Christmas with Rita and Whatsit!, A Season of Gifts, The Story of Snow, I Love Christmas, The Secret of Santa's Island, Happy Hanukkah, Corduroy and A Chanukah Present for Me!
Hyper young Santa waiters, spinning dreidels and the special sounds of Kwanzaa await parents looking to freshen the holidays with new books for their kids this year.
Among them are noteworthy takes on classic scrooges, prancing reindeer and magical nutcrackers. There's also straight-up accounts of the birth of Jesus and the magnified science of snow (more...)
Wed, 09 Dec 2009 11:38
New York, early 1969: Andy Warhol, recently shot by Valerie Solanas because "he had too much control of my life", is recovering. At a party, he spies Willem de Kooning and hurries to pay homage. Instantly, de Kooning spins round so that the two great artists are face-to-face. "You're a killer of art, you're a killer of beauty, you're even a killer of laughter. I can't bear your work!" he shouts. The other guests are stunned but Warhol, turning away, merely shrugs, "Oh well, I always loved his work."
Art critic Arthur Danto relates de Kooning's rant in his incisive, essential account, Andy Warhol, just published by Yale as part of its Icons of America series. Tony Scherman and David Dalton's Pop: The Genius of Andy Warhol is packed with similar anecdotes: for instance, a star-struck Andy, persistently ignored by Robert Rauschenberg and Jasper Johns, whines, "Why don't Bob and Jap like me?" -- only to be told by a mutual friend, "How could they? You're too queer -- and your work is so commercial. It probably makes them uneasy."
It took a long time, Danto argues, "for Warhol to become intellectually respectable in America. Instead, he became an icon." (More...)
Tue, 08 Dec 2009 07:10
I learn, via eBooknewser, that:
iPhone app developer Oceanhouse Media has announced the release of three Seuss Enterprises-licensed apps based on the Dr. Seuss classic How the Grinch Stole Christmas. Two are games -- 'Grinchmas,' a kind of digital snowball fight; and 'The Dr. Seuss Camera-Grinch Edition,' a greeting-card maker -- and are already available in the app store. The third, which the company says will be out in time for the holidays, is an e-book version of the book itself.
The app features some nice enhancements: professional voice-over narration, words that highlight as they're read and zoom up when touched, background audio, and enlarged artwork. The audio can also be turned off for "traditional" reading (more...)
Mon, 07 Dec 2009 07:26
Neal Asher has been an engineer, barman, skip lorry driver, coalman, boat window manufacturer, contract grass cutter and builder. Now he writes science fiction books, and says he is "slowly getting over the feeling that someone is going to find me out, and can call myself a writer without wincing and ducking my head."
Neal Asher: The Skinner, which starts the series but can also stand on its own, was one of the two books I'd already written when Macmillan offered me a contract. It's one where I completely let myself go and I wrote it very quickly, subsequently expanding it from 80,000 words to 150,000. The whole novel thing grew from two extremely weird short stories I had published long ago called Spatterjay and Snairls. Here's a bit of the blurb:
Three travellers arrive on the world of Spatterjay: Janer brings the eyes of a Hive mind; Erlin comes to find Ambel -- the ancient sea captain who can teach her to live; and Sable Keech is a man with a vendetta he will not give up, though he has been dead for seven hundred years...
It's romp of a story on a world occupied by some seriously weird life-forms -- leeches whose bite imparts immortality, living sails -- and then a Prador, a vicious alien arrives with a little mayhem in mind.
Next came The Voyage of the Sable Keech in which our visitors return, only to be confronted by the "first-child" of the Prador in the previous book, a cruise liner filled with animated corpses, and then a Prador space dreadnought whose captain is quite prepared to take Spatterjay apart in his hunt for that first-child.
Orbus takes the story offworld, to the border with the Prador Kingdom -- the Graveyard -- the monstrous king of the Prador, a nightmare creature called the Golgoloth (which uses body parts from its own children to stay alive) and a confrontation that could easily result in interstellar war.
Mark Thwaite: What inspired you to write this particular story?
Neal Asher: I found the character Orbus, who appeared in Voyage, very interesting and wanted to take his story further. At the end of the previous book he was heading offword, which perfectly tied with an unresolved story thread about one of the alien characters, a Prador called Vrell.
Mark Thwaite: In Orbus, "the cold war is heating up, fast." Our own world is still pretty war-riven, is SF a place for you to think about our world as much as a space to write about imagined ones?
Neal Asher: Not really. It's a place where I can escape our world and where I can create something to help others escape from it. Certainly comparisons can be made, but they're not intentional, just a product of the fact that I live here and some of what happens here has to penetrate my skull.
Mark Thwaite: What/where next in Spatterjay series Neal?
Neal Asher: I don't have anything planned for Spatterjay. In fact I'm starting on something new, a new series based on The Owner stories that appeared in my collection The Engineer ReConditioned. But I will probably revisit that place in the future.
Mark Thwaite: Tell us a little about your latest short story collection, The Gabble.
Neal Asher: The stories were first published in magazines like Asimov's and sprang from a creature I created in The Line of Polity (second book in the Cormac series): the Gabbleduck. This creatue has grown in the telling. It's a massive alien creature with a duck-like bill, tiara of green eyes and pyramidal body. It speaks nonsense and is likely the descendent of aliens that once had a star-spanning civilization, which they sacrificed when they committed racial suicide.
Mark Thwaite: Besides length, what differences do you find between novel writing and writing short stories? Do you prefer one form over the other?
Neal Asher: I like them both. Writing a novel allows for a relaxed approach to developing the plot but can sometimes be a bit of a slog. Tighter writing is required for a short story, and it is very satisfying when you get it right. They are both the work I enjoy but, unfortunately, only one of them pays the bills.
Mark Thwaite: What was the most difficult aspect of writing Orbus Neal? How did you overcome it?
Neal Asher: Same thing as usual with all my books, I let myself go crazy for about 80 to 100 thousand words but then I have to produce a satisfying ending. I have to tinker with plot threads, cut some of them out entirely, rewrite sections and write entirely new sections. That's it really: delivering and ending. Beginnings are easy.
Mark Thwaite: You've been an engineer, barman, skip lorry driver, coalman, boat window manufacturer, contract grass cutter and builder -- I'm suspecting writing ranks as better than all and any of those?
Neal Asher: I don't have to clock-on, use Swarfega to get my hands clean, visit an osteopath, or tolerate idiots. This is the kind of thing some writers seem to forget when they whine about struggling with their art, either that or they never caught sight of it in the first place. Yeah, writing SF books as a profession is good, but don't forget I spent twenty odd years running at a brick wall with my head before I broke through.
Mark Thwaite: What do you do when you are not writing?
Neal Asher: Eat, read, drink wine, swim, spend far too much time mucking about in the Internet, socialize (a bit) and generally what most people do in their free time. Though I have to add that writing is a life and not just a job to pay for a life.
Mark Thwaite: Did you have an idea in your mind of your "ideal" reader? Did you write specifically for them?
Neal Asher: The reader I write for is me, but I'm lucky that many other people like what I like. It turns out that the demographic seems to be mainly males between the ages of 20 and 40 who work in IT -- or at least that's the way it was last time I enjoyed a beer with some fans.
Mark Thwaite: What are you working on now?
Neal Asher: Right now I'm working on a book with the provisional title Gabbleducks but, since it's turning into something not entirely focused on those creatures, the title may change. Thus far I have the only living survivor of a hooder attack trying to recover his sanity. Polity medical technology would be able to sort him out in a trice, were it not for the fact that the AIs are reluctant to meddle with his mind since the hooder that attacked him was a near mythical creature called The Technician, and it did something to him that even they don't quite understand. I have an odd character called Chanter who pursues the Technician in his mudmarine, trying to understand the grotesque sculptures of bones the creature makes with its victim's remains, trying to understand its art... This is all complicated by the history of the Atheter's (gabbleduck's) racial suicide, a world-destroying machine built to ensure they are never resurrected, a black AI called Penny Royal and a mean war drone called Amistad (from The Shadow of the Scorpion). I'm about 20,000 words away from tying this up.
Mark Thwaite: Who is your favourite writer Neal? Both SF and not... What is/are your favourite book(s)?
Neal Asher: I don't have any single favourite writer, nor a single favourite book. This is always a difficult question because, if a try to answer it, later I'll remember, oh yeah, and there's so-and-so, and there's that book. For example, I was recently reminded of how much I enjoyed a couple of books by F Paul Wilson, The Keep and Healer.
Odd stuff that springs to mind: Half-Past Human by T.J. Bass, anything by Terry Pratchett, Roger Zelazny and Larry Niven; Minette Walters, Graeme Green's Claudius, Jack Vance, Iain M Banks, Richard Morgan and Alastair Reynolds and Gary Gibson... dammit, I see that I'm going to have to note down a list of everything up in my loft and stick it up on my blog.
Mark Thwaite: Do you have any tips for the aspiring writer!?
Neal Asher: One writer's reply to this is "don't" in the sure knowledge that those who want to write for a living will ignore him. My advice: write, write, write. There is no funny handshake you need to learn to be successful. Never think you've nothing left to learn, buy books on the process, read English books, read, read, read and just keep running at that brick wall with your head. I think that one of the main traits you'll find in those who have "made it" is pig-headed stubbornness!
Mark Thwaite: Anything else you would like to say.
Neal Asher: You're gonna get your first book published, the one it took you years of struggle to finish and finally get published? Just remember your publisher will now tell you they want another one, next year. Publication isn't success, constant publication is.
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