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Interview: Carrie Vaughn on “To the Beautiful Shining Twilight”

Tell us a bit about “To the Beautiful Shining Twilight.”

This is about Abby, a musician who runs a coffee shop, and what happens when an adventure she had thirty years before shows up out of the blue. She has a choice to make, whether to try to recapture what she had when she was twenty, or live with what she’s built now, in the mundane world.

 

What was the inspiration for this story, or what prompted you to write it?

A couple of ideas converged for this one, but the whole thing kicked off when I went to a funky coffee shop in Denver that felt like it came straight out of the late 1980’s — used paperbacks and LP’s for sale, a rack of comic books, along with all the mismatched tables and chairs and coffee bar menu written on a chalkboard. The whole thing felt nostalgic, and I started wondering what might have happened to characters from some of those bohemian urban fantasy stories of the late 80’s and early 90’s, you know the ones with the elves and folk musicians and magic in the real world. I decided I wanted a “thirty years later” story.

 

Was “To the Beautiful Shining Twilight” personal to you in any way?  If so, how?

It ended up being a lot more personal than I was expecting when I started it. I’m in the middle of my 40’s and my idealistic teens and twenties are starting to feel very far away, but at the same time it’s clear now that we all make our own magic in our own ways and we can’t really expect someone else to come along and make it happen for us. The story ended up being about reconciling some of the fantasies we have when we’re young versus the realities of hitting middle age.

 

What would you want a reader to take away from this story?

I think different readers are going to take different things from this. Some may not take anything at all, if they’re not familiar with the tropes involved, and that’s okay. My hope is some people will relate pretty directly to Abby and the other characters, and that it might give them a different perspective on this kind of story.

 

Why do you write?

Because I’ve been doing it so long I can’t imagine not writing. Because it’s the best way I know to synthesize something useful and productive out of the wild tangle that populates my brain most of the time.

 

Who do you consider to be your influences?

The list keeps growing and changing, but Ray Bradbury and Robin McKinley are the two writers who made me want to be a writer. I wanted to learn how they did what they did, working such powerful magic with just words on the page.

 

The Wild Dead by Carrie VaughnWhat are you working on now?

I’ve got a couple of fantasy novels I’m revising, and the usual assortment of short stories in the pipeline. I’m always working on something new and it’s hard to predict what’s going to make it out in the wild first. But there will be something.

 

“To the Beautiful Shining Twilight” appears in the January/February 2019 issue of F&SF.

You can buy a copy of the issue here: https://www.sfsite.com/fsf/toc1901.htm

You can subscribe to the print edition of F&SF here: https://www.sfsite.com/fsf/subscribe.htm

You can subscribe to the electronic edition of F&SF at the following links:

Weightless Books (non-Kindle): https://weightlessbooks.com/category/publisher/spilogale-inc/

Amazon US (Kindle edition):http://www.amazon.com/dp/B004ZFZ4O8/

Amazon UK (Kindle edition):http://www.amazon.co.uk/dp/B004ZFZ4O

Carrie Vaughn’s website: http://www.carrievaughn.com/

Editor’s Note for January-February 2019

A new issue for a new year. The January/February volume of The Magazine of Fantasy & Science Fiction begins 2019 with 11 new stories, plus all our regular columns and features.

Most of our electronic and paper subscribers have already received their issues, but if you’re looking for a copy you can find us in most Barnes & Noble stores, as well as many local independent booksellers. You can also order a single copy from our website or buy an electronic edition from Amazon, AmazonUK, and — now, available worldwide and in every electronic format — through Weightless Books.

Fantasy & Science Fiction, January/February, cover by Jill BaumanThis month’s cover illustrates “The City of Lost Desire” by Phyllis Eisenstein. The artwork is by the award-nominated artist Jill Bauman.

FULL CIRCLE

Alaric had been found on a hillside, a helpless newborn babe clothed only in blood. He was obviously a witch child, for a gory hand, raggedly severed just above the wrist, clutched his ankles in a deathlike grasp.

That’s a passage from “Born to Exile,” the story that introduced Alaric to F&SF readers back in August 1971.

Young Alaric, with his talent for teleportation, eventually became a reluctant thief and willing troubadour, who fell in love with a princess entangled in court intrigues that only his wit and supernatural abilities could help him survive. His original adventures in F&SF, published back in the 1970s, were those of a young man, with a young man’s passions and impulses. Much has happened to him over the years, and across many hundreds of pages since. Now he returns, much older and wiser, only to find himself caught up with another princess and a peril he cannot easily escape.

MORE GREAT FICTION

Once you leave “The City of Lost Desire,” you’ll find plenty of additional adventure. Carrie Vaugh takes us to “The Beautiful Shining Twilight,” a story about what happens after you return through the portal to another world. Andy Duncan regales us with “Joe Diabo’s Farewell,” a story about the Native Americans who built skyscrapers in New York in the early twentieth century, and the Native Americans who worked in the early film industry at the same time, and one moment when the two overlapped. Sean McMullen introduces us to “The Washer from the Ford,” about a man who can see what happens after an unexpected death. And Pip Coen shows us “The Fall from Griffin’s Peak,” a story about a hard life and aspirations for something better.

We also have a variety of science fiction stories to balance out the issue. Robert Reed will take us on a trip to “The Province of Saints,” where empathy has the power to connect people and also destroy them. Adam-Troy Castro remembers a “Survey” he took once in college, and looks for the sinister purpose it was hiding and that it may still hide. Leah Cypess’s new story is “Blue as Blood” and shows how we see the world affects how we fit into it. Marie Vibbert’s “Tactical Infantry Bot 37 Dreams of Trochees” in a story about the future of robots and war, survival and poetry. And Erin Cashier takes to a place “Fifteen Minutes from Now,” where doing wrong to serve right raises ethical questions that it leaves the reader to answer.

Tucked somewhere inside the issue, you’ll also find a wonderful piece of flash from Jenn Reese about “The Right Number of Cats,” a story of grief and healing. And in another installment of his Plumage from Pegasus column, Paul Di Filippo takes us for “A Walk on the Mild Side.”

OUR OTHER COLUMNS AND FEATURES

As always, Charles de Lint recommends some Books to Look For, this time by A. Lee Martinez, Seanan McGuire, and Lark Benobi, plus the graphic novel Calexit Vol. 1 by Matteo Pizzolo and Amancay Nahuelpan, and the new history of Astounding by Alec Nevala-Lee. Michelle West is Musing on Books by Stuart Turton, Rena Rossner, Andrew Katz, and Sherry Thomas. And for our monthly Curiosities column, rediscovering lost writers and books, Paul Di Filippo reviews Pink Furniture by A. E. Coppard(1930), a fantasy romp by an author who used to be a household name.

In our latest film column, E. G. Neil looks at superhero movies and how one in particular is “Venom, Us,” while Jerry Oltion’s science column explores what will happen “When Betelgeuse Blows.” The print version of the magazine also offers up a new cartoon by Arthur Masear.

LET US KNOW WHAT YOU THINK

We hope you’ll share your thoughts about the issue with us. We can be found on:

Enjoy!

C.C. Finlay, Editor
Fantasy & Science Fiction
fandsf.com | @fandsf

Interview: Robert Reed on “Every Color of Invisible”

Tell us a bit about “Every Color of Invisible.”

The story is a sequel, of sorts, to every other “Raven Dream” story. And in particular, it is tied to the most recent: “Shadow-Below.” Unfortunately, that story is several years old, which might present a challenge to readers. Knowing this, I tried to write something that could at least pretend to stand on its own. And if you can read “Shadow-Below” first, or even afterwards … well, I think that might give you a fresh perspective on what is happening.

 

What was the inspiration for this story, or what prompted you to write it?

I wanted to get back to the world of Raven Dream, with the goal of finishing this saga — at least well enough to satisfy me.

 

Can you tell us about any of the research you may have done for “Every Color of Invisible?”

The family and I went for a driving trip through the American Southwest in 2017. There were two benefits. First, the Natives. Not just the archaeological digs at Mesa Verde and Hovenweep, but the vivid living communities. Particularly the Navajo, who maintain a working nation inside our sloppier, more Walmart civilization. And just as important, I did most of the driving, which meant a lot of long periods where I had no choice but to think and think about story options.

 

Was there any aspect of this story you found difficult to write?

Let’s just say that there are some basic writing challenges to working in a series started more than a decade ago, and that has enjoyed a few changes of inspiration along the way.

 

Why do you write?

To figure out what’s going to happen next in my stories.

 

Who do you consider to be your influences?

I could list the usuals: Tiptree, Wolfe, Silverberg, etc. Or I could admit to a dark writerly secret. The universe outside me has receded. As I get older and less willing to read science fiction, I find myself influenced mostly by my own work. Stories from twenty and thirty years in the past, and it seems like they were written by someone with my name and many of my qualities, but not me. That is the writer who means the most to me.

 

What are you working on now?

The main function of 2018 was preparing my past short fiction for publication online. Nearly 300 works had to be reformatted and lightly edited, or severely edited. As of today, 65 or 66 are available from Kindle, including all of the previous Raven Dream stories. RAVEN DREAM at the Amazon store.

 

“Every Color of Invisible” appears in the November/December 2018 issue of F&SF.

You can buy a copy of the issue here: https://www.sfsite.com/fsf/toc1811.htm

You can subscribe to the print edition of F&SF here: https://www.sfsite.com/fsf/subscribe.htm

You can subscribe to the electronic edition of F&SF at the following links:

Weightless Books (non-Kindle): https://weightlessbooks.com/category/publisher/spilogale-inc/

Amazon US (Kindle edition):http://www.amazon.com/dp/B004ZFZ4O8/

Amazon UK (Kindle edition):http://www.amazon.co.uk/dp/B004ZFZ4O

Interview: Bo Balder on “The Island and Its Boy”

Tell us a bit about “The Island and Its Boy.”

It’s a story about a boy who wants to stay on the island he loves when everybody is going to leave. He goes against his society out of love for that living island. In this world, the special relationship between people and their island is usually reserved for women, which is why the headwoman and his brothers and friends initially don’t believe him and don’t support him.

 

What was the inspiration for this story, or what prompted you to write it?

It’s a trait I’ve noticed in people (and myself) that the more people tell you no, the more you want something, and the more your strength to want it grows. The adversity creates the energy to fight.

 

Can you tell us about any of the research you may have done for “The Island and Its Boy?”

For this story and the other stories in this world I researched extensively for the lifestyles of people in prehistoric Arctic environments. I also researched marsupials, because that’s what the people in this story are, with the sf change of both sexes having pouches for carrying babies in. That detail is in the underwater part of the iceberg for this story, but it is vital when you have to think up good reasons for a society where women are both scarce and dominant.

 

Can you tell us about any of the worldbuilding of this story and what inspired your choices?

The idea of a floating island as a living creature is not a new one, but I’ve always loved that notion. So when in the course of a novel I wrote about people on an island floating by my protagonist’s village, trading for a few days and then hurrying back to catch up with their island, I knew I would write a story set on that island one day.

Because on such an island, you’re both living in an unchanging environment, the island itself, and floating past whole continents in the course of a year. As a writer, you immediately think in a seemingly static situation, what if?

And once I started asking myself questions about the island itself, I had to find the answers. Questions like: If it is a living creature, it must have been born once. Living creatures grow and mature. So the kind of change I needed to happen presented itself organically. The island would grow too big for its original course and have to move to a new one.

I also wanted to portray a world where women are the dominant members of society, and to see what would change if that happened. I wanted to have really good biological(if sf) reasons for this, not just make it so because the author wants it.

If there are few women, you need really big ‘litters’ to keep your population large enough. That would be hard on women, except if you create the possibility for men to take part in the suckling and raising of babies. It also has a big impact on the way your society works, for example marriage can’t between just one man and one woman. You need group marriages. Or if you don’t, you create a large body of discontented young men. (That could be another story….) And homosexuality would be the norm.

It also makes sense for children having been suckled by women to get different hormones than the ones suckled by men, and from this follows the special qualities of the brother who shares a pouch with his sister.

 

Who do you consider to be your influences?

I love Ursula LeGuin, because she focuses on people and what makes them tick. Nothing wrong with battles and spaceships, but I really enjoy a more anthropological point of view. Liz Williams also wrote a couple of novels where the biology is a driving factor in the plot. Kate Elliott because she takes good deep looks at how societies work and how you need solid underpinnings for change.

I’m also very concerned about the big environmental issues in our world, and it seemed like a good and fun idea to make the ”environment”, the island, not only a living but also a sentient creature. That way if you want to think about themes, this issue is there in the background, but in the foreground there’s an enjoyable adventure.

 

What are you working on now?

I’m finishing up a present-day sf thriller, but as to short stories, usually spaceships and lots of aliens.

 

“The Island and Its Boy” appears in the November/December 2018 issue of F&SF.

You can buy a copy of the issue here: https://www.sfsite.com/fsf/toc1811.htm

You can subscribe to the print edition of F&SF here: https://www.sfsite.com/fsf/subscribe.htm

You can subscribe to the electronic edition of F&SF at the following links:

Weightless Books (non-Kindle): https://weightlessbooks.com/category/publisher/spilogale-inc/

Amazon US (Kindle edition):http://www.amazon.com/dp/B004ZFZ4O8/

Amazon UK (Kindle edition):http://www.amazon.co.uk/dp/B004ZFZ4O

Interview: Nick DiChario on “The Baron and His Floating Daughter”

Nick DiCharioTell us a bit about “The Baron and His Floating Daughter.”

The best way to tell people about a story you’ve written is to ask them to read it and hope they can tell you what it’s about. A good story speaks for itself. Mine happens to be a folktale, which means I hope it has a snappy plot, a touch of magic, and a clever character or two to root for–all hallmarks of the traditional folktale. A folktale is also a cultural snapshot of its times, so I invite readers to enjoy the social commentary in my story. (And it really is about a baron and his floating daughter just like the title says!)

 

What was the inspiration for this story, or what prompted you to write it?

Many years ago, I read a wonderful novel by Italo Calvino called The Baron in the Trees. It’s about a young baron who climbs a tree after an argument with his parents and decides he’s not coming down. Ever. He spends his entire life up there, moving around town from one tree to another, meeting people, experiencing life from twenty to fifty feet high. When I started writing my own folktales, Calvino’s novel came roaring back into my mind. I wondered what it would be like if someone didn’t have a choice in the matter and had been born with a peculiar floating ailment. That’s when the story was born. 

 

Was “The Baron and His Floating Daughter” personal to you in any way?  If so, how?

All my stories are personal to me. The published ones, anyway. They’re never any good if they aren’t personal on some level. There are things about Francesco, Levita, Antonio, and the bind they find themselves in that I can relate to: lost hopes and dreams; disappointments and failures; perseverance and spirit; facing the forces in life that cannot be controlled. It’s a very human story. The great philosopher Albert Camus is often quoted as saying, “Fiction is the lie through which we tell the truth.” I try to keep those words in mind whenever I write a story. Truth is what makes fiction personal.

 

Can you tell us about any of the research you may have done for this story?

I suppose you could say I’ve been researching the story for years. I’m a great admirer of Italian folktales. In 2016, I traveled to the University of Calabria in Southern Italy to learn about Italian folklore, literature, and culture, an experience that led me down the path to writing my own original folktales. “The Baron and His Floating Daughter” is one of several I’ve written that all embrace the Italian tradition. I also wanted to bring modern themes and sensibilities to the form. I hope I’ve succeeded in doing that as well.

 

Why do you write?

Please hold while I schedule a psychotherapy appointment. 

 

What are you working on now?

I’ve recently finished a collection of my own new Italian folktales (including “The Baron and His Floating Daughter) and would like to find a publisher for it. I’ve also been working on a few other short stories, at least one of which will be published in an upcoming F&SF. I’m feeling the itch to write another novel. My last novel was published in 2008. I’ve been knocking around a few ideas for it, hoping one will jump up and down and insist I write it. We’ll see. 

 

“The Baron and His Floating Daughter” appears in the November/December 2018 issue of F&SF.

You can buy a copy of the issue here: https://www.sfsite.com/fsf/toc1811.htm

You can subscribe to the print edition of F&SF here: https://www.sfsite.com/fsf/subscribe.htm

You can subscribe to the electronic edition of F&SF at the following links:

Weightless Books (non-Kindle): https://weightlessbooks.com/category/publisher/spilogale-inc/

Amazon US (Kindle edition):http://www.amazon.com/dp/B004ZFZ4O8/

Amazon UK (Kindle edition):http://www.amazon.co.uk/dp/B004ZFZ4O

Visit Nick DiChario’s website: www.nickdichario.com

Links to Nick’s two novels:

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