Virtual Memories Show #145:
Kathe Koja and John Clute
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“I started writing stories as soon as I knew what stories were. I taught myself to type when I was 8 years old, because I couldn’t write fast enough.”
Novelist and immersive theater director Kathe Koja joins the show to talk about her new novel, The Bastards’ Paradise, the arc of her career from splatterpunk (hey, it was the ’90s) to YA to the 19th C. romance of her Poppy trilogy, the meaning of Detroit, her life-changing experience at a staging of Sleep No More, the joys (and perils) of defying genre conventions, the epiphany of brutally murdering Tweddle-Dee, saving her first novel (from when she was 14) to feel better about herself, why great poetry is like IV drugs, and more! Give it a listen!
“I think the story of the wrongness of science fiction is like an exposure of the nature of homo sapiens on this planet. Science fiction goes wrong because we go wrong, and it does it with great clarity. I want a record of that and I want to see how we go wrong and how we can learn.”
Then John Clute returns to the show to talk about establishing the Clute Science Fiction Library @ Telluride! Also, he uses the word “haecceity” in conversation, which is a Virtual Memories first! Go listen!
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We talk about some books and a couple of movies in this episode. Here’s a list of them:
Enjoy the conversation! Then check out the archives for more great episodes! You might like:
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About our Guests
Kathe Koja’s 16th novel, The Bastards’ Paradise
, is just out from Roadswell Editions. Her other novels include The Cipher
, Skin
, Strange Angels
, Buddha Boy
, Talk
, and Headlong
. Her work has won numerous awards, been multiply translated, and optioned for film and performance. As a director/producer, she leads the performance group nerve in creating immersive live events.
Via John Clute‘s entry from the Encyclopedia of Science Fiction:
(1940- ) Canadian novelist and sf critic, in the UK from 1969; married to Judith Clute from 1964. He has been the partner of Elizabeth Hand since 1996. His first professional publication, a long sf-tinged poem called “Carcajou Lament”, appeared in Triquarterly for Winter 1960 (i.e. in 1959), though he only began publishing sf proper with “A Man Must Die” in New Worlds for November 1966, where much of his earlier criticism also appeared. This criticism, despite some studiously flamboyant obscurities, remains essentially practical, and has appeared mostly in the form of reviews, many of which first appeared in The Magazine of Fantasy and Science Fiction, Foundation, Washington Post, Omni, Times Literary Supplement, New York Times, New York Review of Science Fiction, Interzone, Los Angeles Times, Observer, Science Fiction Weekly (see Online Magazines), the Independent, Strange Horizons and elsewhere. He has written two regular review columns: Excessive Candour for Science Fiction Weekly between 1997 and 2009; and Scores, intermittently in The Infinite Matrix 2001-2003, regularly in Interzone between 2005 and 2008, and in Strange Horizons from 2010. Selections from this work, almost always revised, have been assembled in Strokes: Essays and Reviews 1966-1986 (coll 1988), Look at the Evidence: Essays and Reviews (coll dated 1995 but 1996), Scores: Reviews 1993-2003 (coll 2003), Canary Fever: Reviews (coll 2009) and Stay (coll 2014). An ongoing project to construct models of story “moves” in the literatures of the fantastic is represented by a set of connected motif entries in The Encyclopedia of Fantasy (1997) with John Grant [see The Encyclopedia of Fantasy under links below] and in The Darkening Garden: A Short Lexicon of Horror (2006), as well as in Fustian (2006 chap) with Jason Van Hollander, a long interview focused on these issues. In later essays – like “Fantastika in the World Storm” (Spring 2008 Foundation) and “Physics for Amnesia” (October 2008 The New York Review of Science Fiction), both assembled in revised form with other essays as Pardon This Intrusion: Fantastika in the World Storm (coll 2011) – he has suggested that a central task for Fantastika in the twenty-first century is to dissolve the cultural Amnesia that has arguably consumed the Western world since World War Two (see Horror in SF; Postmodernism and SF). Primarily for his critical work, he received a Pilgrim Award in 1994, the IAFA Award as Distinguished Guest Scholar in 1999, and a Solstice Award (see SFWA Grand Master Award) in 2012.
In 1960 Clute was Associate Editor of Collage, an ill fated Chicago-based Slick magazine which in its two issues did manage to publish early work by Harlan Ellison and R A Lafferty. He served as Reviews Editor of Foundation 1980-1990, and was a founder of Interzone in 1982; he remained Advisory Editor of that magazine until 2004, and then contributed the column mentioned above. He was the Associate Editor of the first edition of The Encyclopedia of Science Fiction (1979; vt The Science Fiction Encyclopedia 1979), which won a Hugo award, and was co-editor of the much-expanded second edition The Encyclopedia of Science Fiction (1993; rev 1995; further rev vt Grolier Science Fiction: The Multimedia Encyclopedia of Science Fiction 1995 CD-ROM; further rev 1999), for which he shared 1994 Hugo and Locus awards with Peter Nicholls. Though Clute and Nicholls were listed as editors, the book was in fact written mostly by them and Associate Editor Brian Stableford. The current third edition, again much expanded as The Encyclopedia of Science Fiction (online from 2011) edited by John Clute and David Langford with Peter Nicholls serving as Editor Emeritus and Graham Sleight as Managing Editor, has similarly been written in the main by its editors and Contributing Editors; it won a Hugo as Best Related Work in 2012. Science Fiction: The Illustrated Encyclopedia (1995), which he wrote solo and for which he also received a Hugo in 1996, is a companion to sf, not in any way connected to the encyclopedias listed above. The Encyclopedia of Fantasy (1997) with John Grant, for which both editors shared a 1998 Hugo, deals with fantasy within a frame broadly compatible with that governing this Encyclopedia, which is its elder sibling.
Over his career, Clute has published several sf stories and two novels: The Disinheriting Party (in New Worlds Quarterly 5, anth 1973, ed Michael Moorcock; exp 1977), which is Equipoisal with the fantastic, but demurs into rationalizations at the end; and Appleseed (2001), which is a Space Opera with an anti-Religion bias. The Made Minds (AIs) who dominate much of the action manifest themselves throughout as Avatars allied to a Forerunner mentor in support of all surviving humans, who are shunned because of the sexual (see Sex) odour they emit; but as they are genetically deaf to god (see Communications; Gods and Demons), the galaxy-wide diaspora of Homo sapiens has created a Pariah Elite destined to become central combatants in the coming universal War against the Entropy-generating deity, as proclaimed for the first time in the book’s Slingshot Ending. [JC]
Credits: This episode’s music is Nothing’s Gonna Bring Me Down by David Baerwald, used with permission of the artist. The conversation with Ms. Koja was recorded at the Saratoga Hilton on a pair of Blue enCORE 200 microphones
feeding into a Zoom H5
digital recorder (except for when I screwed up the recording and used my Zoom H2n
backup). The session with Mr. Clute was done on my enCORE 200 & Zoom H5. I recorded the intro and outro on a Blue Yeti USB Microphone
. Processing was done in Audacity and Logic Pro. Photos of Ms. Koja and Mr. Clute by me.
Legendary cartoonist, illustrator, animator, ad-man, artist RO Blechman joins the show to talk about his work and life. We get into the importance of play, the development of his trademark squiggly line (and how he feels when he sees it in other people’s work), his literary upbringing, his News of the Weak series of painting/collages, why he counsels against going to art school, the fateful career decision that he rues 60+ years later, his Mad Men experience and what he learned about management from running his own animation studio, the mistake of turning down a Curious George movie, creating a fore-runner of the graphic novel, and being a 2-D character in a 3-D world. Give it a listen! And go buy all his books, including Dear James: Letters to a Young Illustrator
Born Oscar Robert Blechman in 1930, RO Blechman‘s internationally acclaimed artwork spans decades, mediums, and industries. He is one of the first contemporary cartoonists to pen a full-length graphic novel with The Juggler of Our Lady
, what contemporary books look like they’ll last, and why he eventually came around on Faulkner. 
(Norton), and is a columnist at 
– Kathe Koja
– Kathe Koja
– Samuel R. Delany
– Bram Stoker
– Lewis Carroll
– Shirley Jackson
– Russell Hoban
– Anthony Burgess
– Tolstoy
– Emily Bronte
– Homer
– Thomas Mann
– Thomas Mann
, explores her family’s fractured history against the backdrop of 20th century Yugoslavia. We talk about how she left her country in 1990 only to find that it wasn’t there when she went back. We also explore the risks and challenges of researching a terrorist organization, the comics tradition in Yugoslavia and her own comics history, Serbia’s culture of friendship, why the 
, the perils of too much stippling, why it was controversial to publish Fatherland in Serbian dialect in Croatia, and more.
digital recorder (because there was a power supply problem that caused a weird reverb on my main recorder). The intro and outro were recorded on a 