Episode 677: Silvia Park and Luminous

Even though we know that some past episodes have probably spent too much time talking about awards, our latest chat begins with some thoughts on—well, awards. With Nebulas, Hugos, Shirley Jackson, Ignyte, World Fantasy, etc., there are just too many to ignore. We soon drift off into other topics. Gary is looking forward to hosting a panel discussion at the Locus Awards, and is fascinated by Kemi Ashing-Giwa’s 2023 novel The Splinter in the Sky, which leads into a discussion of how space opera-like stories have evolved over generations, what else we’ve read lately, how short story contracts have changed lately, whether there is a dearth of core SF or just an explosion of fantasy, and why Murderbot feels more like classic SF than many franchise properties. As usual, a laser-like focus on nothing in particular.

This week we are joined by an old friend of the podcast, the distinguished Canadian novelist Guy Gavriel Kay, whose wonderful new novel Written on the Dark is out this month. As always, we not only touch upon some details of the novel— which takes place in Kay’s own version of an alternate 15th century France, featuring a Parisian tavern poet loosely based on the historical François Villon—but on the perennial question of Kay’s unique mix of history, fiction, and the fantastic. This leads to a broader discussion of his fiction, the role of art and artists in his work, how fictional events from centuries ago can still resonate with events today, and even a bit on what it means to be a Canadian writer. Guy is as wise and articulate as always, and we never fail to learn valuable insights that leave us with much to ponder. Previously on Coode Street... Episode 600: The Coode Street Advent Calendar: Guy Gavriel Kay (2022) Coode Street Roundtable 5: Guy Gavriel Kay’s Children of Earth and Sky (2016) Episode 216: Guy Gavriel Kay and the Legend of the Lost Podcast (2015)

This week it’s just Jonathan and Gary again, in what some listeners might view as an either a classic ramble or a series of rabbit holes from which we never fully escape. We start with a discussion of some current trends such as cozy fantasy and SF, romantasy, and dark academia, noting that these had all been around for decades before getting their present labels, and briefly consider Paul Kincaid’s contention that “coziness” seems antithetical to what SF really does. We later touch upon what we’re reading, mentioning some forthcoming books by Nicola Griffith, Alix E. Harrow, and R.F. Kuang and the spectacular success of the latest novel by Coode Street goest Joe Abercrombie. Somewhere in there we start chatting about collectible editions, how many copies of a book do you really need,  historical fantasy, and even a bit on Robert Holdstock. Most important, though, is Coode Street’s first commercial. Jonathan and Gary’s common home in SF has long been Locus magazine, and we want to encourage our listeners to take a look at some of the neat perks being offered by this year’s IndieGoGo fundraiser and to make a contribution if you can.  

This week Jonathan and Gary are joined by Silvia Park to discuss her exciting debut novel, Luminous, which started life as a children's novel and connects to the Reactor/Tordotcom novelette "More Real Than Him". We chat about artificial intellligence, writing about robots and how we use them as surrogates in fiction, different perspectives on fiction and how Luminous  might be read by US and Korean audiences. As always, we'd like to thank Silvia for making time to talk to us and hope you enjoy the episode.    

In celebration of the thirtieth anniversary of Tachyon Publications, we invited publisher Jacob Weisman to join us in a fascinating exploration of the independent publisher whose list of authors includes classic tales from Stanley Weinbaum, A.E. Van Vogt, and even Mary Shelley, as well as major work from contemporary writers like Peter S. Beagle, Patricia McKillip, Michael Swanwick, Terry Bisson, Jane Yolen, Ellen Klages, Eileen Gunn, Joe Lansdale, Nalo Hopkinson, James Morrow, Lavie Tidhar, and Daniel Pinkwater, and newer writers such as Mary Thompson, Austin Habersahw, Martin Cahill, and Josh Rountree.  We touch upon the challenges of building an independent press in a rapidly changing marketplace, the importance of anthologies in identifying and preserving trends in the field, and what to expect next from Tachyon.  

This week Gary and Jonathan are joined by long time friend of the podcast, Joe Abercrombie.  We last spoke to Joe during the pandemic when he was working on The Age of Madness series. He joins us this week to discuss his brand new novel The Devils, which launches a new series and a new set of characters. As always, we'd like to thank Joe for making time to join us, and we hope you enjoy the episode.   Pre-order The Devils in the UK Gollancz (UK Publisher) Waterstones Waterstones Special Edition WH Smith Pre-order The Devils in North America Tor (US Publisher) Barnes and Noble IndieBound Lit Escalates Special Editions Pre-order The Devils in Australia Booko

With Peter Beagle's 86th birthday upon us, we thought we'd re-share a discussion we had with him last year about writing and story. We wish Peter a happy birthday and hope you enjoy the discussion!   Sunday Apr 14, 2024 This week we are joined by the  legendary author of The Last Unicorn, Peter S. Beagle, who discusses his new novel I'm Afraid You've Got Dragons (published next month by Saga Press & Gollancz), as well as his storied career, his pals from childhood, influential writers such as Robert Nathan and Avram Davidson, and last year’s important retrospective collection The Essential Peter S. Beagle. As always, our thanks to Peter for making time to talk to us, and we hope you enjoy the podcast.

As we try to return to some sort of regular schedule, we’re delighted to welcome back Joe Monti, vice president and editorial director of Saga Press, to discuss the current state of the publishing business, the effects (if any) of the current economic stresses, and what to look forward to in the coming months (Joe is particularly optimistic about SF and space opera). Along the way we touch on the trend toward glitzy “special editions” of new novels, and various corners of the publishing world, from horror to romantasy and cozy fantasy to audiobooks, ebooks, and what makes a book a breakout bestseller.

With apologies for an unplanned hiatus, during which Gary traveled to Florida to attend the International Conference on the Fantastic, we’re back with a discussion that touches upon awards (again, but briefly), SF writers who are also good nonfiction writers, books whose 25th anniversary is this year (including Perdido Street Station), tribute anthologies such as Jonathan’s forthcoming Revolution in the Heart, and, of course, what we’ve been reading.

This week’s episode features a few news items, but as usual you have to listen closely to find them among our usual free-association digressions. Awards season is underway. Nominations/and or votging for the Nebulas, Locus Awards, and Hugo Awards (once again we are eligible in the Fancast category, and Jonathan in the Editor Short Form category) is underway, and just closed for the BSFA Awards. There's also, news from a major distributor in the US that may mark the beginning of the end of the mass-market paperback, while other publishing news involves the consolidation of three major print magazines—Asimov’s, Analog, and F&SF—under a single new publisher. While at this point we don’t know more than anyone else, this leads us into discussions of romantasy (and the growing SF or space opera equivalent), how the way readers have discover new writers has changed over time, the value (if any) of promotional letters and blurbs (which Gary is not very good at, it turns out), the growing popularity of premium and collectors’ editions, and the difference between casual readers, fans, collectors, and simple accumulators of books. Other topics pop up as well: Jonathan’s forthcoming anthology of stories in honor of Ursula Le Guin raises the question of which authors should be recognized with such anthologies, for example, and which have already been recognized and why.