“For years, my basic rejection letter would use ‘alas,’ and the SF community picked up on that and started calling them ‘alas-o-grams.'”
Editor/publisher Gordon Van Gelder joins the show to talk about his career in the science fiction and fantasy fields. We get into publishing F&SF Magazine, coping with burnout, balancing the demands of art and business, exploring the differences between editing for magazines vs. anthologies, trying to avoid disruption, handling diversity issues without implementing a quota, figuring out the dystopian theme of his current run of anthologies, dealing with the cultural, um, norms of stories of past decades, avoiding the perils of chasing “name” authors and rejecting a story by Ray Bradbury, making the shift from print to online, watching new writers develop a strong voice, working with the necessary egotism of writers, explaining how the internet has wrecked SF/F criticism, and more! Give it a listen! And go buy his new anthology, Go Forth And Multiply: Twelve Tales of Repopulation (Ramble House)!
“The best stories transcend race and gender. . . . On the page, everyone is black and white.”
About our Guest
Gordon Van Gelder published his first story in 100 Great Fantasy Short, Short Stories in 1984 but the majority of his career has been spent as an editor. After a brief internship at Bluejay Books in 1986, he began working at St. Martin’s Press in July 1988. He worked there for 12 years, during which time he worked with such authors as J. G. Ballard, Jack Cady, Bradley Denton, George Pelecanos, and Kate Wilhelm. In 1997, he succeeded Kristine Kathryn Rusch as editor of The Magazine of Fantasy & Science Fiction. He spent 18 years as the magazine’s editor before handing the reins to C. C. Finlay at the start of 2015. He lives in New Jersey with his family and continues to publish F&SF.
Credits: This episode’s music is Nothing’s Gonna Bring Me Down by David Baerwald, used with permission from the artist. The conversation was recorded at the Boston Marriott Quincy during Readercon weekend on a pair of Blue enCORE 200 Microphones feeding into a Zoom H5 digital recorder. I recorded the intro and outro on a Heil PR-40 Dynamic Studio Recording Microphone feeding into a Cloudlifter CL-1 and a Mackie Onyx Blackjack 2×2 USB Recording Interface. All processing and editing done in Adobe Audition CC. Photo of GVG in a tie, by Leslie Howle, and photo of GVG in a blue Yankees t-shirt, by Al Bogdan, so they’re not on my instagram.
“I was so excited to get an issue of Weirdo in the mail. I ran up my driveway and saw my neighbor and said, ‘Look! I got a letter from Robert Crumb!’ And he said, ‘Who’s that?’ And I thought, ‘Here’s my introduction to the mainstream appreciation of underground comics.'”
Viva Cubismo! Mary Fleener joins the show to talk about her career in cartooning, her love/hate relationship with LA (mostly hate now, but there was a little love in the early days), the Zora Neale Hurston story that made a cartoonist out of her, the story of how Matt Groening accidentally derailed her career, her past-life regression while attending the King Tut exhibition in 1978, the roots of her Cubismo comics style, the joys of simplifying her life, the new book she’s working on, the horrors of The Comics Journal‘s message board, and more! Give it a listen!
“When I was going to college, you’d pass the guys selling ‘Muhammad Speaks,’ then you’d run into the Hare Krishnas, then there’d be the La Raza guys, then the Jesus freaks. Everything was in flux. Everybody was getting in cults. Everyone was either asking you for money or trying to convert you.”
About our Guest
Mary Fleener was born in Los Angeles when smog was at an all time high, Hollywood was still glamorous, and every woman’s ambition was to own a mink coat. Inherited good art genes from her mother and never wanted to do anything else. A collection of her comics was published in 1994 by Fantagraphics as Life of the Party. Her Illustration work has appeared in The SD Reader, OC Weekly, The Village Voice, SPIN, Guitar Player, Musician, and Entertainment Weekly, as well as projects like The Guitar Cookbook, Weird Tales of the Ramones (CD box set), Star Time (the James Brown CD box set), Carlsbad Museum of Making Music – “Hands on the Future” exhibit, and CD covers for The Insect Surfers and Buddy Blue. Her paintings have been exhibited at La Luz de Jesus Gallery, Track 16, David Zapt Gallery, Laguna Beach Art Museum Annex, LACE (Los Angeles), COCA (Seattle), Southwestern College, Patricia Correia Gallery, Sushi Gallery and Ducky Waddle’s Emporium. She also enjoys making hand-built ceramics and wheel thrown functional pieces that she glazes and fires in her own kiln. She enjoys painting on velvet, that which we all consider the King of Kitsch, but which also makes her color and “cubismo” style of drawing even more dramatic and mysterious on the plush background of black velvet. She lives is in Encinitas, CA, with her husband, a dog, a cat, and lots of stringed instruments. They have a band called The Wigbillies.
Credits: This episode’s music is Boomcubism by Brian Eno. The conversation was recorded at Ms. Fleener’s home on a pair of Blue enCORE 200 microphones feeding into a Zoom H5 digital recorder. The intro and outro were recorded on a Blue Yeti USB Microphone. Processing was done in Audacity and Garage Band. Photos of Ms. Fleener by me.
It’s time for a two-part mega-podcast! I visited the 24th annual Readercon, conference on literary fantasy & science fiction (or “imaginative literature,” as it’s known) in Burlington, MA in July, and came back with a ton of interviews! Readercon is a fantastic (ha-ha) event, with great programming, a good booksellers’ hall, and lots of fun conversation; you should make a point of attending it if your tastes run toward the authors who come up in this and the following episode.
I (not-so-wisely) conducted five interviews in one day so, rather than make a 3-hour episode, I decided to split them up between boys and girls. This time around you get interviews with authors John Crowley and Scott Edelman!
“The big books I’ve written have never had a genre at all. They were certain kinds of fictional possibilities that interested and intrigued me and that I wanted to try to achieve. I wouldn’t say there’s an awful lot in Little, Big that’s realistic, but there’s plenty that was based on my daily experiences of life in New York City.”
John Crowley is the author of Little, Big (or, The Fairies’ Parliament), which I consider one of the greatest novels of the 20th century. I’d known about it for a long time, but only read it a few years ago, after learning that my wife has been re-reading it every year or two since it came out in paperback in 1983 or thereabouts. You should go read it now or wait for the deluxe edition from Incunabula Press! (He’s also written other amazing books, like the Aegypt cycle, Engine Summer, and more.)
I talked with Mr. Crowley about readers’ devotion Little, Big, the problems he faced in writing it and how surmounting them opened the doors to his subsequent books, how the fantasy genre developed during the course of his career, what his favorite imaginary books are, why I felt unprepared for our conversation despite having read six of his novels, and what it was like to write copy for Maidenform bras when he was starting out.
“One of the most amazing things about writing to me is that, even though you’ve read, and heard, and seen thousands of stories, when you sit down to write one, you have no idea how to begin!”
Even if you haven’t read Little, Big, you’ll find this a fascinating conversation about the writing process, literary reputation, and what it means to tell a story!
“You have to write the things you love. They have to be extremely important to you, to give you that tingle when you read them. Because if you’re not moved by it, I don’t see how anyone else is going to be moved by it. . . .”
Then I talk with Scott Edelman, a longtime writer, editor and Con-goer, about his zombie-fiction, being an editor at Marvel Comics in the 1970s, his storytelling tips and his pros and cons of workshops, whether he pays attention to literary markets, what Readercon means to him, and what it was like to move from one side of the convention table to the other.
“Why zombies? Because zombies are the closest we’ll ever see to what we’ll really become. Because there’ll be that day when we’re all walking husks without memory.”
- Theodora Goss, Valya Dudycz Lupescue and Nancy Hightower (Readeron part 2)
- Paul Di Filippo
- Michael Dirda
- Craig Gidney
- Kyle Cassidy
About our Guests
John Crowley lives in the hills above the Connecticut River in northern Massachusetts with his wife and twin daughters. He is the author of Little, Big, the four-volume Aegypt cycle, The Translator, Novelties & Souvenirs, Lord Byron’s Novel, and Four Freedoms. You can find out more about the special anniversary edition of Little, Big here.
Scott Edelman has published more than 75 short stories in magazines such as Postscripts, The Twilight Zone, Absolute Magnitude, Science Fiction Review and Fantasy Book, and in anthologies such as The Solaris Book of New Science Fiction, Crossroads, MetaHorror, Once Upon a Galaxy, Moon Shots, Mars Probes, Forbidden Planets. His poetry has appeared in Asimov’s, Amazing, Dreams and Nightmares, and others. What Will Come After, a collection of his zombie fiction, and What We Still Talk About, a collection of his science fiction stories, were both published in 2010. He has been a Stoker Award finalist five times, in the categories of both Short Story and Long Fiction. He is the editor of Blastr at the Syfy Channel. You can find more about him at his site.
Credits: This episode’s music is Fairy Tales by Style Council. Both conversations were recorded in a room at the Burlington Marriott on a pair of Blue enCORE 200 mics feeding into a Zoom H4n recorder. I recorded the intro and outro on a Blue Yeti into my Mac Mini, at my Ikeahack standing desk. File-splitting is done on a Mac Mini using Audacity. All editing and processing was done in Garage Band. Photos by me.
Anyone who’s read Jaime Hernandez’s Locas comics in Love & Rockets knows that the men take a back seat to the women in the cast. Ray D. is pretty much the only male character who jumps to mind when I try to recall men who demonstrate even half the depth of Jaime’s women.
Still, I’ve been hoping for a while now to compliment my three Jaime Hernandez drawings of Maggie & Hopey, Terry Downe and Penny Century with a trio of drawings of Jaime’s guys.
Comic-Con International in San Diego represents the best opportunity to do this, since Jaime and his brother Gilbert bring binders of drawings to sell at their signing sessions. But I haven’t been out to the Con since 2005; my wife didn’t have a great time when I dragged her to it that year, although now that she learned Ray Bradbury was in attendance at this past Con, she’s full of regret. So maybe next year. I guess I won’t ask her to wear the Princess Leia costume this time. (No, that’s not her.)
It’s my good fortune to have an all-around great pal who is obligated to cover the Con. I asked my Comics Reporter pal Tom to keep an eye out when Jaime was doing his signing/drawing sale sessions. A few days after the Con, I received a UPS package that looked like it was mauled by the company’s new cadre of package-sorting grizzly bears.
Tom, expecting this sort of abuse, did a fantastic job with the internal packaging, so I’m now the proud owner of three Jaime drawings of Rand Race, Doyle, and the beaten-down Ray Dominguez! Time to trim (slightly) and frame ’em!
I’ve posted all six of my Jaime scans to flickr, so just click through Penny Century for the whole set!