Present Writers: Lois McMaster Bujold

This is the latest in a recurring series! For more about the series, please read the original post on Marta Randall, or subsequent posts on Dorothy Heydt, Barbara Hambly, Jane Yolen, Suzy McKee Charnas, Sherwood Smith, Nisi Shawl, Pamela Dean,Gwyneth Jones , Caroline Stevermer, and Patricia C. Wrede.

Honest to Pete I will do a post next month on a Present Writer who is not a personal friend, but frankly it has been a lot lately, and it’s not my fault that I know a lot of amazing older writers. (Reports coming in suggest that it may be partially my fault. We can deal with that later.)

One of the things I love about Lois’s work is that she is extremely speculative about relationship, family, and reproduction. You cannot separate out the “science fiction plot” and the “family plot” or the “fantasy plot” and the “romance plot,” because they are always, always inextricable. The speculative conceit is never window-dressing, but neither are the human relationships tacked on as an afterthought. The worlds the characters live in are integral to how they relate to each other in families, how they consider building their families in complicated ways–how they have children but also how they form other kin-bonds, which affines receive what kind of loyalty and why.

It’s sometimes hard to realize how ground-breaking some of her books were because they broke so much ground that two houses have been built and torn down for an entirely new gigantic business development in the short time since Lois broke that ground. Rereading Paladin of Souls made me realize with a shock that Ista as a middle-aged heroine felt astonishing in ways that she would not now–because people took that ball and ran with it. Other treatments of family, parenthood, middle-age, and gender were shocking at the time. Some of them are still cutting-edge while others are not how Lois herself would do them now–and she keeps thinking, keeps talking to others, keeps turning over new ideas from different arts and different parts of the world. Some of Lois’s influences are obvious and others surprising, but even as she’s broken ground for others, she’s always open to others’ work, which is part of what makes her such a gift for us now.

Present Writers: Patricia C. Wrede

This is the latest in a recurring series! For more about the series, please read the original post on Marta Randall, or subsequent posts on Dorothy Heydt, Barbara Hambly, Jane Yolen, Suzy McKee Charnas, Sherwood Smith, Nisi Shawl, Pamela Dean, Gwyneth Jones , and Caroline Stevermer.

I swear I’m not going to shift to making this series all about people I’m personally friends with…but neither am I going to neglect people whose work fits the series concept just because they happen to be good company for lunch.

The size and variety of Pat’s oeuvre gives lots of room for variety, and obviously some works will stand out as more favorite than others. My obscure faves are the stories in the shared Liavek worlds, handled deftly and now available in Points of Departure along with Pamela Dean’s stories in the same world. The handling of wry humor, family dynamics, and worldbuilding in these stories charmed me from the first one I encountered, but they’re even better as a set.

I recently reread a better-known favorite, Dealing With Dragons, which reminded me of some of the things I love about Pat’s work–the wry tone, as above, perhaps obviously. But also the way that women have a wide variety of relationships with each other. The first page made me think, oh, I don’t remember this very well, is it going to be one of those books where golden-haired girls who like embroidery are Bad and you have to be Not Like Them to protag? And I should have remembered that it was Pat, she was not going to do that, and sure enough there’s room for a wide range of skills and interests–and for a wide range of reactions to and interactions with each other. This was ground-breaking for so many “why don’t you ever see a heroine who” conversations, and it holds up so very well.

Just rereading one made me want to go back and reread the entire series. And also Sorcery and Cecelia. And also Snow White and Rose Red. It’s like quicksand. But in a good way. It’s like very complimentary quicksand that knows how to play the beats on a widely varied set of tropes…so percussionist quicksand…look, this is a good thing, I promise, let’s get back to the dragons.

Present Writers: Caroline Stevermer

This is the latest in a recurring series! For more about the series, please read the original post on Marta Randall, or subsequent posts on Dorothy Heydt, Barbara Hambly, Jane Yolen, Suzy McKee Charnas, Sherwood Smith, Nisi Shawl, Pamela Dean and Gwyneth Jones.

This is also one of the times when I should put in a disclaimer that the person I’m writing about is a personal friend. She is! She is one of the nicest people in SFF. We even have a running commentary when we’re trying to be positive that instead of complaining about what some other person in the field has screwed up, we should just send Caroline a fruit basket for being Caroline. (Caroline would have gotten so many fruit baskets, but I digress.)

We would be totally willing to keep Caroline around because she’s a nice person, but it turns out that she also writes thoughtful, funny books that look carefully at characters who don’t show up enough in fantasy worldbuilding. She iterates on this tendency: first young women of means, in Sorcery and Cecelia (co-written with Patricia C. Wrede), then bluestockings in A College of Magics and A Scholar of Magics, and finally to their young servant in Magic Below Stairs. Caroline is not content with one angle on overlooked fantasy ideas but insists on scooching herself–and her eager readers–around to find another.

Her work shines in passages both introspective and funny. Her characters can be thoughtful but also impulsive, in ways that make even the quieter plots an adventure–and they are by no means all quiet plots. One of the things that I think of when I think of Caroline’s fiction is balance–emotional, tonal, plot, social focus–she has a beautiful ability to juggle it all without looking like she’s juggling.

Present Writers: Pamela Dean

This is the latest in a recurring series! For more about the series, please read the original post on Marta Randall, or subsequent posts on Dorothy Heydt, Barbara Hambly, Jane Yolen, Suzy McKee Charnas, Sherwood Smith, and Nisi Shawl. This particular post should also bear the caveat that Pamela Dean is a dear personal friend of mine–although my love of her books predates that friendship by a decade or so. (And we’ve been friends for…gosh, I need to go lie down now, that is a long time.)

I do love her books. Unusually, I can say that I love every single one of her books. My favorite has shifted over the years, with each book taking a turn. Right now I think it’s The Dubious Hills: the contained domestic nature of it, the acutely observed human relationships–including small children as full humans but not the same full humans as teenagers and adults–the way that the worldbuilding is folded into every line of the language. The first time doubt enters into the casual conversation, every single time I reread it, I get shivers at how deftly this is done. Pamela’s work is not often praised for its structure, but The Dubious Hills is structured marvelously start to finish.

It is also quietly inventive. The things Pamela thinks of are not full of bells and whistles. They are in some ways the opposite of good elevator pitch material–because they are incredibly easy to make sound less ingenious and imaginative than they are. I don’t know of another book that is more deep and more thoughtful about the powers and limitations of the protections offered by someone’s love than Juniper, Gentian, and Rosemary. The coming of age story I know that is truest to my own personal coming of age is Tam Lin. And I end up pressing them into people’s hands: just try it, I whisper. Just give it a try. Because “it’s a ballad retelling” and “it’s about the devil’s science experiment with a teenage girl” don’t really cover it, not in the slightest.

The long wait for a new Pamela book is almost over, and I am so very excited, because I know some things about Going North, and I know it’s going to be amazing. And we are so very lucky that she is present and doing these things, and I can’t wait to see what next.

Present Writers: Nisi Shawl

Just under the wire but before the year-end posts–because the year is not yet ended–here’s December’s Present Writers post. For context on this blog series, see the first post, Marta Randall, or subsequent posts about Dorothy Heydt, Barbara Hambly, Jane Yolen, Suzy McKee Charnas, or Sherwood Smith.

Nisi Shawl is a great example of a writer who has grown, changed, and expanded her horizons–and other people’s–long past her debut. If I’d been writing this post a few years ago I could have talked about her impressive short story career, or about her crucial work in teaching writers to think kindly and accurately beyond their own experiences with works like Writing the Other  (co-authored with Cynthia Ward) and workshops on the same topic. I could have talked about her work as an anthologist, particularly in anthologies that focus on various specific marginalized voices or on tributes to greats of the field like Octavia Butler and Samuel R. Delany. Shawl has been quite ground-breaking enough in those areas.

But two years ago she gave us her first novel to appreciate, Everfair. A steampunk alternate history focused on central Africa (specifically the Congo), Everfair uses multiple points of view to bring balance and nuance to the possibilities she shows us. Everfair helps point out the choices we make every day to improve the world for all people–or not–and the ways that our views of history shape those choices. It is profoundly hopeful and just plain fun to read. I’m excited to see where Shawl will go next, and how it will teach those who want to learn and illuminate more of the world for those who want to see.

Present Writers: Sherwood Smith

It’s still November for several more hours! And here we are with November’s installment of Present Writers. For more context on this series, see the first post, Marta Randall, or subsequent posts about Dorothy Heydt, Barbara Hambly, Jane Yolen, and Suzy McKee Charnas. Today we’re talking about the work of fabulous fabulist Sherwood Smith! (Disclaimer: Sherwood is a personal friend.)

I think one of the patterns that’s beginning to emerge is that many of the authors I want to write appreciations of for this series are writers who have left narrow pigeonholes and written in several different fields or sub-fields. Sherwood is no exception, with books ranging from secondary world fantasy to space opera, stopping off at various portals along the way. Sherwood has collaborated fruitfully with Rachel Manija Brown and with Dave Trowbridge in very different series. She was also a Nebula nominee for one of her (many, lovely) short stories. Also, she’s currently the Royal Historian of Oz! How cool is that.

While I’m really fond of several of Sherwood’s books, I think my favorite is the Inda quartet. The complexity of human relationships represented in it is beautiful and just what I want to see in fantasy. I remember there being a moment 40 or 50 pages in where everything just clicked for me, all the fantasy names and nicknames and social systems just…fell into place and I was immersed completely in this world that felt simultaneously very familiar and very alien.

One of the things that makes Sherwood such a gift to all the rest of us writers in this present time is her focus on learning. She teaches others both formally and informally, laying things out with no pretension or fuss, helping people to see their own and others’ work from different angles that make the lightbulbs go on over their heads. And she talks freely and cheerfully about her own learning process, not just as a thing that happened in the past but as an ongoing process, every year of her life. That’s something we can all aspire to. Whether you start with Wren to the Rescue or Inda or Stranger, Sherwood always has so much to teach us–and usually in the most fun, swashbuckling way.

Present Writers: Suzy McKee Charnas

I missed a month when September happened to me, but we’re only looking back to remember where we were and what we were doing, not for regrets. What we’re doing: the Present Writers series is explained more fully with its first installment, about Marta Randall, with posts about Dorothy Heydt, Barbara Hambly, and Jane Yolen following it.

I’ve been thinking a lot about women’s anger lately, as I think many of us have–productive and otherwise. And there has been no writer more formative for me in how to write about anger in a respectful way–no writer who leaves me feeling understood and invigorated with her spiky depictions of female fury–than Suzy McKee Charnas.

Charnas’s work spans genres and decades. Like most of the people in this series, she is not easily pigeonholed, writing vampire fiction and post-apocalyptic SF with equal fluency. But there’s the matter of that voice, that quintessentially New Yorker take-no-prisoners done-with-your-shit Charnas voice. Most of the late-night pretentious writer conversations I’ve had about confident narrative voice confused an authoritarian voice for an authoritative one, but this is a mistake Charnas never makes.

I first read The Bronze King when it was new, when I was seven. I last read it this morning. Valentine, its cranky teenage protagonist, used to be a Big Kid in my perception, with all the baggage Big Kids have to deal with. Now 14 looks pretty darn young, and Charnas simultaneously doesn’t have illusions about what teenagers are dealing with (sex, drugs, and rock-and-roll all get at least a mention in this book) and recognizes how new it all is. When Val gets berated by a male character who feels that he should have had the more heroic role that she performed because she was just a girl, it didn’t shock me that a boy might behave like that, because some already had. It shocked me that we didn’t have to pretend that there weren’t any boys like that. And that we didn’t have to take any lip from them when they showed up in our lives.

Later, when I was about Valentine’s age, I read the short story “Boobs.” I punched the air and yelled when I finished with it. Suzy McKee Charnas knew what was coming even back in 1989; she won a Hugo for it. There was a girl harassed for her body in this story. There was a girl triumphant. And the setting was not removed, not quasi-medieval, faux-historical; the contemporary setting meant that it spoke to me very, very directly. It gave me so much fierce magic. Almost a decade after I first read it, at my first WorldCon, I spotted a familiar name on a badge going the other direction on the escalator. “Oh my God Suzy McKee Charnas! I loved your ‘Boobs’!” I burst out and then wanted to sink through the escalator floor, but she just laughed happily. She knew what she had done, what it could mean to girls like me. To women like I grew up to become.

Since I started writing this post, I have felt more and more determined to go back and reread Charnas’s work. The Holdfast Chronicles are definitely worth another look, and there are short stories I’ve never gotten to. This is one of the best side effects of writing a series like this, and it’s one of the reasons I’m so immensely glad Charnas is present with us just when her work is most needed.

Present Writers: Jane Yolen

It’s still August for a few hours, so I can fit in my August Present Writers post. Whew! For the first one and an explanation of the series, see Marta Randall, with posts on Dorothy Heydt and Barbara Hambly following.

Jane Yolen is so incredibly prolific that this year she has passed the milestone where she can celebrate one book she’s written for every day of the year. While she was preparing for that celebration, more of her books came out, leaving the 365 mark in the dust. She has written science fiction, fantasy, mimetic fiction, nonfiction, poetry; she has written for adults and tiny children and every age in between. She has won the Nebula Award and the World Fantasy Award and SFWA’s Damon Knight Memorial Grand Master Award. Jane is a pretty big deal, honestly. Once upon a time a reviewer called her “the Hans Christian Andersen of America,” and every time I read that quote, I hear her son Adam Stemple’s voice in my head amending cheerfully, “More like the Hans Jewish Andersen!” Jane’s work on Jewish themes is staggeringly great, even for a Gentile like me, but she also has written on British themes, Greek themes, future themes. She’s collaborated with her kids. She’s collaborated with someone else’s kids. She’s done work of staggering originality, collected other people’s folklore, returned to her own successes to help children through the processes of growing up into reasonably functional people with delight and whimsy.

Are you getting the picture yet? Jane can do it all.

Recently I was on a trans-Atlantic flight and finished the paper book I was reading. I was exhausted, coming west, where the advice is “stay up late” rather than “sleep on the plane.” I poked my Kindle for something that would keep me awake and engaged, and I turned up Jane’s Tales of Wonder. Half the stories in it were things I’d read before, the other half new to me, but every word kept me captivated. It spoke to death and family and loyalty and a dozen other things.

I’ve had the privilege of being on panels with Jane (including one with Adam too, and my best advice there is to sit back and let the mother-son comedy hour happen; enjoy it). She’s as insightful as her novels, as intrepid as Commander Toad, as thoughtfully lovely as Owl Moon. She is a treasure and a joy, and we are so lucky to have Jane for one of our present writers.

Present Writers: Barbara Hambly (Barbara Hamilton)

This is the third post in this series; see the first post, on Marta Randall, for series details, or the second one, on Dorothy Heydt (Katherine Blake) for more cool Present Authors.

Earlier this month I was on a Readercon panel about authors who challenge the pigeonhole, who cannot be categorized into one tidy box or another. And when I started to make my notes for panel prep, one of the very first names that popped into my head was Barbara Hambly’s. A quick glance at her bibliography shows a range not only all over the speculative sub-genres (historical fantasy! secondary world fantasy! vampires! Star Trek and Star Wars!), but also straight-up historical fiction, mysteries, things that are not speculative at all. She does it all. Short stories, novels, graphic novels, large press, small press, indie published…all of it. All. Backwards in high heels, I expect.

My personal favorites among Barbara Hambly’s work are the Benjamin January mysteries. They provide everything I want in historical mysteries: depth of worldbuilding, characterization that’s rooted in the place and time and yet deeply individual, thematic ties that make the setting the right place to explore these particular questions of life and death and human motivation. I am particularly fond of the women in these books, January’s sisters and his wife especially but also the variety of other characters in the periphery. As with many of the best mystery series, the ensemble cast provides strength and suspense, preventing the detective’s actions from becoming too formulaic. (Although I’m not sure that’s something we should worry about from an author who goes as readily from subgenre to subgenre and idea to idea as Hambly does.)

Characters are central to everything Hambly does. The genre tropes that she draws out in her books are presented with full context for what they would mean to a variety of real people–and that variety has included axes of underrepresentation not only along the lines of race, but age and ability and other factors as well. I never know what Hambly will decide to do next, and I love that in an author–it makes me so grateful that she is so prolifically present with us now.

Present Writers: Dorothy Heydt (Katherine Blake)

This is the second of a new series I’m doing here on the blog: Present Writers. See the first post, on Marta Randall, for series details. I admit that I’m fudging a tiny bit here on the series parameters, because a cursory internet search did not give me Heydt’s exact age–but it did say that she invented a conlang in 1967. If she was less than 11 when she did so, I apologize–and hats off for the small child achievement–but I think I’m safe in guessing that this is an author who fits.

And what an author. Heydt is not vastly prolific, but her work is highly varied. She’s made several things available in free ebook formats on her website, so you don’t have to spend any money to find out what I’m talking about. (Although you can kick in to support the author if you see fit!) There’s a book about a physician who dabbles with witchcraft in Ancient Greece, a virtual reality novel dealing with esports before the term esports was a thing, a parallel realities novel that is some of the most engaging and thoroughly domestic fantasy I’ve ever read, and lashings of short stories. Heydt has range.

There are fight scenes in Heydt’s books–A Point of Honor has a jousting knight for a main character, albeit a virtual one–and chase scenes and other pieces of excitement. But a lot of writers can do those well, too. Heydt really shines in making character interactions and pieces of speculative practicality come to life–the details that make a character or a world feel lived-in. Heydt’s use of violence is considered, nuanced, and full of consequence–it is never a default, and in fact is often absent because it was not the right element for the story. With that sure a touch, Heydt makes The Interior Life a master class in what can matter in genre–and a strong contrast to what traditionally has been considered to matter.

When I first looked at Heydt’s website, only a few things were there. She’s added more since, which gives me hope. But in the meantime, I strongly appreciate what there is, I urge you to go give it a look, and then a long hard think, and then come talk to me about what you thought. Because we’re so very lucky that she’s present and sharing so much.