The Distance

I'd hoped to put up a blog entry every day this week. Unfortunately the day job rather clobbered me. But today's the conclusion of NZ spec fic blogging week, so here goes. This may or may not make sense.

When I started writing with the serious intention of being published, I was worried about the distance. New Zealand really is a long way from the rest of the world. And at the time, I couldn't see any chance of being published here - I didn't know of any local magazines (except for the literary ones). I was going to have to send my stories to Australia, the UK, and most of all the US.

The distance revealed itself in the price of overseas postage, the long wait for replies, even the sheer madness of trying to purchase stamps on the US Post website and getting them delivered here. (Seriously US Post, Howick's an actual place - you should look it up sometime). But it was great. I started to feel like I was part of a community, even if they were on the other side of the world. First time I got an 'alas' rejection from Gordon Van Gelder I did a little happy dance.

Then I started getting published, not much, but enough to keep me going. I met editors and fellow writers, but in the States or Australia. Podcasting arrived and my world got bigger still. Mur Lafferty's I Should Be Writing was like having my own personal trainer, pushing me to be better. Escape Pod brought a constant stream of new fiction. The original Starship Sofa schooled me in the grandmasters. More magazines started accepting electronic submissions - the stamp nightmares went away.

Easy as it had become to communicate with people overseas though, the distance was still there. Where were all the kiwi spec writers? Where were the New Zealand magazines and websites?

I discovered Semaphore - a New Zealand-based spec fic publication. It was Marie Hodgkinson, Semaphore's editor, who first told me about this thing called SpecFicNZ. And there they were! Writers just like me, living in the same time zone!

SpecFicNZ isn't ready yet. We're still working on it. But it's coming, and for everyone writing speculative fiction in New Zealand it's going to be big. Want proof? Go back to the main NZ Spec Fic blogging week page. Look at how many people have added pieces to our mosaic. Here we are. This is us. This is what we do. And there's no distance at all.


And that's it for me. Thanks are due to Dan Rabarts for his amazing Hugh Cook article, the Wily Writers for reprinting The Salt Line, and Tim Jones for reading it. And most of all, to Anna Caro for coming up with the idea.

If you want to get in touch with me or anyone else who has been blogging this week, just drop us a line. We don't bite, mostly.

And just think how big NZ Spec Fic Blogging week is going to be next year.

E haere rā

Keep cool till after school

Hugh Cook - The Wordsmith and the Warrior

Today's entry for NZ Speculative Fiction Blogging Week is a guest post by Dan Rabarts. Hugh Cook is an absolute inspiration to me and Dan has summed up why far better than I could. But enough from me. Let Dan tell you about:



Hugh Cook – The Wordsmith and the Warrior

Hugh Cook might not be a name instantly recognised by readers of the fantasy genre, but to his legion of dedicated fans across the world, mention of the man and his work inspires a sense of reverence.

Cook remains one of New Zealand’s unsung heroes of fantasy literature, despite his achievements outshining those of many of our more well-known authors. Between 1986 and 1992 Cook released his Chronicles of an Age of Darkness series, a ten-book cycle of stand-alone fantasy novels. Set on a world ruled by bloodthirsty emperors, threatened by swarms of monsters, and blessedly devoid of goblins and elves, the Chronicles capture a history of Cook’s lands and their people in a multitude of voices, spanning continents, and all occurring roughly within the same timeframe of a decade or two. Characters recur across the books, making cameo appearances from one story to the next, weaving a complex web of events that draws the reader through the series, however unrelated each volume may seem to be at a glance.

Cook was among a group of authors who eschewed the traditions of Tolkienesque high fantasy, choosing instead to write about the dark, unsavoury aspects of human nature in the grim harshness of a world bent on crushing the meek. In Cook’s world, orcs are hunted for their blubber and sea dragons are vain creatures who pretend to recite poetry in their sleep before sinking into snoring heaps. Empires are driven to war by syphilitic emperors, who are in turn murdered by warring sons. Heroism is a constant theme, usually as a partner to vanity, folly and ultimately death, and can be summed up in the immortal line, “vaunting their boasts with the blood of their lungs on their lips.”

Suffice to say that Cook rebelled, writing unorthodox fantasy in an unorthodox world. He dismantled old tropes and bent the genre like light through a smoked lens. He replaced the tired theme of good versus evil with one which instead pitted brutality against barbarism, and rarely delivered a clear victor. Cook not only rejected the clichés of the fantasy genre; he subverted them with an almost malicious glee.

To judge Cook’s success by book sales alone would be misleading, but the numbers are certainly impressive at first glance. Altogether, the Chronicles sold around 450,000 copies, and that in itself is reason for celebration for any New Zealand author. The Wizards and the Warriors, together with its US incarnation, Wizard War, sold over 160,000 copies, a phenomenal sales record for any fantasy author. Unfortunately, as the Chronicles became less conventional and more obtuse, sales began to decline. This was compounded by the decision made by bookselling chain W.H. Smith to drop Cook’s books from their shelves when sales slowed, which inevitably led to an even steeper fall. Despite a rebounding of style and content in the last three books of the series towards more action-based storytelling, Cook had largely lost the means to supply to his mainstream audience, with sales for these three books falling to between 7,000 and 10,000 copies each. I bought all my copies of Hugh’s books in my local Whitcoulls here in New Zealand, where his books enjoyed pride of place on their shelves with every release. But if the books were not on the shelves overseas, then Cook’s fans had little chance of finding them.
Cook’s prose drew heavily on the landscape, places and mythology of New Zealand, from the legendary Taniwha of Quilth, to the Ngati Moana, to a prison called Maremoremo (after Paremoremo in Auckland). Our native flora and fauna often made cameo appearances in wild locales, including weka, kauri and rimu, to name but a few – all of this well over a decade before Peter Jackson delivered our country up to the world as Middle Earth. Cook refused to suffer from cultural cringe; he embraced our country’s uniqueness and used it to flavour his own inimitable world and style.

China Mieville, author of Perdido Street Station, sums Cook up nicely; “Hugh Cook was one of the most inventive, witty, unflinching, serious, humane and criminally underrated writers in imaginative fiction. Or anywhere.” It remains a shame that so few New Zealanders know that Cook was a Kiwi writer, but there is a good reason for this: Hugh Cook may have lived in New Zealand and written in New Zealand, but I suspect he saw the same tired faults with our nationalistic model of publishing and author recognition as he saw in the failure of the fantasy genre to redefine itself. Accordingly, after publishing Plague Summer here in 1980, he bypassed the New Zealand publishing model and went instead to the London market, where he secured publishing deals almost simultaneously for both his science fiction novel The Shift (Jonathan Cape, 1986) and the first volume in the Chronicles series, The Wizards and the Warriors (Corgi,1986).
What separated Cook from so many of his contemporaries was his ability to alter his prose style from book to book, while he never lost his unique authorial voice. Two of the Chronicles, The Wishstone and the Wonderworkers and The Wazir and the Witch, take the form of actual recorded histories, thick with the idiosyncrasies of both the imaginary scribe and subsequent editors, and are thus peppered with redactions and long, apparently unrelated diatribes. These books are full of acerbic dark wit and bleak philosophies, and represent, in some ways, Cook’s ultimate success at writing fantasy that transcended the sword and sorcery models of the genre. For all their apparently random digressions beyond the story, these two books might be seen as the pinnacle of Cook’s genius, for there is a depth to these tales that no amount of Feistian swashbuckling or Eddingsesque adventuring could rival. Some readers even suggested that ‘Hugh Cook’ was not one writer but many, a collaboration of individuals writing in isolation with a single grand design in mind. But Hugh Cook was just one man, a prolific author and poet, whose storytelling skills ascended beyond the formulaic norm into something infinitely more enduring.
Ironically it was these two books, with their challenging diversions into philosophy and metaphysics, that seemed to undermine Cook’s mainstream success. Book sales for these two volumes showed a steep slide from his earlier highs, and may have contributed to the W.H. Smith decision and its consequences for Cook’s publishing career. Cook did with fantasy what hard science fiction does to that broader genre, by delving into in-depth ruminations of the unknown and fantastical in the body of his storytelling. Cook teased apart the nature of magic and the supernatural as demi-scientific concepts, as well as exploring the brutal underside of human nature as represented by its practice in politics and warfare – stark metaphors for the real world, despite being dished up in the barbaric soup of a fantasy setting. Apparently, booksellers suspected that works of this complexity and wisdom would not be appreciated by fans of the tales of blood-soaked armies, pirates, and torturers that had preceded them. This was truly a pity.

Cook’s epic plan for a sixty book series was accordingly cut short, and after publishing the brilliant conclusion to the Chronicles, The Witchlord and the Weaponmaster, he went on to champion print-on-demand technology and electronic formats, constantly moving into newer and stranger worlds with his writing. He was among the first authors to publish works through Lulu.com with the Oceans of Light trilogy and later, Cancer Patient. Even so, the Chronicles remain Cook’s legacy, and copies of these volumes continue to fetch outlandish prices in second-hand book markets around the world (my own collection must be worth a small fortune, according to Amazon – but it is most certainly not for sale).

Cook was diagnosed with Non-Hodgkins Lymphoma in 2005. He endured months of chemotherapy and radiation treatment in Auckland, which briefly sent the cancer into remission. During this ordeal he wrote Cancer Patient, a collection of musings, poetry and recollections which document his struggle with the disease and what he learned about life and the human condition in the process. This book is available for free as an online e-book or as a download from zenvirus.com, one of Hugh’s many websites. Unfortunately in 2007 the cancer returned, and Cook passed away on November 8th, 2008, after bravely battling the disease for so many years. It is a testament to the scope of his fanbase that the obituary I wrote for him, which was published in the New Zealand Herald and which I posted to my blog in December last year, remains one of my most frequently visited pages.

Ultimately, Cook was both Wordsmith and Warrior. Poems, stories and characters were his tools and his weapons. He wrote with a passion, producing fiction at a prolific rate, and the English language would be greatly enriched if all the words and terms he had coined in his oeuvre were to be introduced into common parlance. He fought to find new ways forward in the publishing world, exploiting technologies that are only now starting to establish their true place in the electronic market. He maintained his integrity as an author to the very end, determined to always share the stories he had to tell, and not those that others wanted him to tell. At the end, he fought an unseen enemy – fought it and beat it, if only for a short time. Even in this, he had a story to tell, one that may not have been able to completely defeat that insidious foe, but which may yet bring comfort to others who face those same demons at some stage.

For those of you interested in reading Hugh Cook’s work, samples and full-length copies of some of his books can be found at Zenvirus.com. Also, keep an eye out for a reissue of The Walrus and the Warwolf, due for release in 2010 by Piazo Publishing, with an introduction penned by China Mieville. Walrus is recognised by Hugh’s fans as his finest hour, and well worth a read by any lover of epic fantasy. To quote Mieville again, “To honour the memory of this wonderful and generous-spirited writer and man, those - too bloody few - of us who know his work should do all we can to bring it to the world's attention.”

Hugh Walter Gilbert Cook (1956-2008): Wordsmith. Warrior. New Zealander.

Man’s first death is the random potential
Of aeons before conception,
And the surf, merging life with form,
The surf is creation and rebirth.

(Cicada Sun, Landfall #118, 1976)

Dan Rabarts can be found at freshly-ground.blogspot.com and podagogue.blogspot.com.

I would like to thank Colin Smythe, China Mieville, and the Cook family for their kind assistance in preparing this article.

The Salt Line featured on Wily Writers

(Blogging live from TechEd 09, where my brain is being pummelled into new shapes)

That cool thing I was talking about yesterday? It's here.

My story The Salt Line is now up on the Wily Writers website. It's available both as text and as a podcast, narrated by the remarkable Tim Jones. This story appeared last year in Unfurled and it's great to have it made available to a larger audience.
I'd like to thank Wily Writers, particularly Angel McCoy and Ripley Patton, for the opportunity to release the story. And I have to send an extra special thanks to Tim Jones, who narrates it wonderfully. Believe it or not, this was his first podcast.

Go check it out! As for me, I'm about to start a session on architectural considerations for Silverlight. Wish me luck!

"with no likeness to humanity except that they stood on two legs; with arms yet not arms; faces human, yet how unlike!"

Day one of NZ spec fic blogging week comes and goes and I do not post. With good reason though - tonight I've been working on something very cool that will drop later in the week.

But if I had blogged, it was going to be about some of the very earliest of NZ speculative fiction writers. Luckily, Anna Caro has done just that.

But she missed one.

Behold, The Great Romance, published pseudonymously in 1881 (predating HG Wells) and featuring spaceships, space suits and alien luuuurve.

The text, along with an introduction by Dominic Allesio is available at the New Zealand Electronic Text Centre

Look at that. I made a blog post after all.

Century paper

With Tech Ed and NZ Spec fic blogging, next week's going to be a busy one.

And right in the middle of it, this comes out. Tony sez:

"StarShipSofa Stories Volume 1 is only a few days away from going on sale. Here’s a sneak preview of the cover art, designed by Skeet.

Skeet’s brief was to create a picture that would pay homage to the 50s SF pulp magazines. I think he’s produced an amazing piece of work.

Get ready for the 16th September when the book will be available to buy in print form. There will also be a new website and free eBook released on that day.

I hope you think it captures the style and feel of the SF Golden Years?"

By the way

What do you think of the new blog layout?

NZ Speculative Fiction Blogging Week

(Reprinted from Anna Caro's blog)

14th-20th September is NZ Speculative Fiction Blogging Week

What?
This is an opportunity for anyone in (or even with links to) New Zealand to talk about Speculative Fiction, to publicise what they've been doing or simply share some knowledge. It's an opportunity to learn what others have been reading, writing, watching or drawing, to start a conversation, to gather some recommendations for reading or some tips for writing.
NZ Speculative Fiction Blogging Week is organised by Core members of SpecFicNZ, who are working towards the launch of a national SpecFic Writers organisation in 2010.

Why?
Because speculative fiction still doesn't get the recognition it deserves in New Zealand and because there are so many people out there doing so many exciting things - and so often they don't know about each other.

How can I participate?

1) Help get the word out! Link to this page, tell your friends, encourage people you know to write.

2) Write a blog post any time from 14th to 20th September. It can be a review of a book by a local writer, an update on your own writing, photographs of a place near you which has some links to speculative fiction, related art - the possibilities are endless. Don't feel you need to be an expert of have any kind of qualification for joining in - this is for everyone!
Please do remember to post a link to your post in the comments to this page, otherwise we may not see it. Comments are screened to stop spam, so don't worry if it doesn't show up straight away - we will be checking frequently.

3) Check back over the week to see what others have written. They'll all be linked to in this post as we get them. Discover what other people are thinking, doing and writing, and don't forget to comment - you may get some interesting conversations going or even meet some new friends.

Century

On September 16, StarShipSofa Aural Delights is 100. OK, I work behind the scenes on the sofa, so I'm biased, but I believe it's one of the best fiction podcasts in the Multiverse.

To celebrate the century, Starship Sofa Stories Volume 1. A free PDF will be available to download, along with a POD dead tree version. All proceeds from the book and donations will go to keeping the Sofa's rusty old engine in WD-40.

The table of contents is fairly impressive and a great collection of the best stories the Sofa has run:

StarShipSofa Stories Volume 1

Into The Blank Where Life Is Hurled	Ken Scholes
London Bone	Michael Moorcock
The Second Coming Of Jasmine Fitzgerald	Peter Watts
Lester Young and The Jupiter's Moons' Blues	Gord Sellar
Vampire's Kiss	Gene Wolfe
Vinegar Peace (or The Wrong-Way Used-Adult Orphanage)	Michael Bishop
Godzilla's 12 Step Program	Joe R Lansdale
Jesus Christ, Reanimator	Ken MacLeod
The Sledge-Maker's Daughter	Alastair Reynolds
Mars: A Traveler's Guide	Ruth Nestvold
The Empire of Ice Cream	Jeffrey Ford
The Ant King: A California Fairytale	Benjamin Rosebaum
In The Olden Days	Spider Robinson
Tideline	Elizabeth Bear

Stay tuned and keep watching the skies for that furniture-shaped ship. Who knows what tales yet lurk beneath its cushions...