Thursday, November 26, 2015

Heina Dadabhoy speaks at the Atheist Community of Austin

At her pre-atheist-bat-cruise lecture, an ex-Muslim and atheist activist Heina Dadabhoy was rather critical of westerners stereotyping Muslim women. Her tone was gentle and playful, but the message was sharp.

Heina gave many examples of how Westerners like to fetishize Muslim women's presumed powerlessness and oppression. That doesn't really help the women, just like the memes that compare burqa-covered women with garbage bags don't either. It's not just conservatives: progressives do it too. And they should know better.

Western people like to not acknowledge that Muslim women have agency. It comes across in patronizing comments, such as when little old ladies would come up to Heina back when she wore a headscarf, and say "Dear, you know you don't have to wear that here." Heina was tempted to answer, "Here? Where else would I wear it? I haven't lived in any other country than US."

When she first got on the internet as an adolescent, and some men online found out that she was a Muslim, with a headscarf, trapped at home (I don't know if she meant that last part sarcastically or genuinely), they objectified her as an oppressed princess that needs to be saved. And there was an undercurrent of "you better be grateful and keep your bitch mouth shut". Heina pointed out that it happens in the atheist movement to, cough cough (I guess she meant Richard Dawkins, though he is not alone in that). She had people say to her: it's so great you left Islam! Are you still pure? Do you still have your headscarves? Can you wear one for me? The weirdos just keep coming out of the woodwork.

But Muslim women are not without agency, and Heina bristled against being portrayed as a helpless, isolated girl in need of rescue and liberation. Even as a teenager, growing up in a very strict fundamentalist environment, Heina and her friends found ways to have fun. For example, they used religious phrases to rate boys by hotness, e.g. "Look what the God has created!"

Heina Dadabhoy gives a lecture before the Atheist Community Austin bat cruise in September of 2015
Heina Dadabhoy gives a lecture before the Atheist Community Austin bat cruise in September of 2015. More pictures from the 2015 Atheist Community of Austin bat cruise are in my photo gallery.

Heina pointed out that all societies have patriarchal structures oppressing women. While there is no "law" in the West that women should shave their legs, the societal pressure is there nevertheless; the fact that no one is going to throw you in jail for refusing can make this norm even harder to get rid of. Whether you think that the less clothing a woman is wearing the more immoral the country is, or the freer it is, it's the same thing: you define women's sexuality as only in relation to men.

Later in her speech she gave a bunch of trivia about Islamic rules that govern dating, sex, relationships, and marriage. Not surprisingly, most of them don't take women's wishes into account. Oh, and she assured us that the myth that "virgins" (as in 72 virgins that await a man in heaven) is mistranslated "raisins" is completely wrong. The guy who said that just didn't understand language. Speaking of which, what do women get when they get to heaven? Apparently, in some corner of Islamic mythology it is written that women will be reclining on couches, eating, and they will be served by beautiful clear-eyed servant boys. There is a lot of discussion between Muslim women to what extent those boys are used. "So there is kind of some forward thinking there," says Heina.

(I already forgot if all women were supposed to get these boy servants in heaven, or only particularly virtuous ones, or maybe just the ones who died as martyrs.)

Some people from the audience asked her how, with all the gender segregation, are you supposed to meet a person you're going to marry? She replied that it could be someone you met at a mosque, or it might be someone your parents knew all his or her life. There is also a lot of halal flirting going on in the hallways of Islamic association gatherings: "Can I have your dad's email?" Oh, and Islamic men and women who are unmarried are called boy and girl, even if they are in their 40s.

As a takeaway message, she said we should champion an attitude of female agency. We should not buy into Islam's erasure. We should not agree when Westerners say, oh, Islam women are oppressed and have no agency. The most important thing, the most pragmatic thing is harm reduction. We should not try to deconvert them all, its not going to happen. A person from the audience asked her for ideas on how to support progressive Islam. Heina replied: "For one thing, western people should not be smartass and condescending: 'ha ha, you are a Muslim feminist? How do you do that?' Progressive Muslims are eager to get involved, but nobody even notices that they exist." When Heina points out to someone that she is an ex-Muslim, someone inevitably tells her that all ex-Muslims are dead.

(People from the other side tell her she's been bought and paid for, but she is still waiting for that check.)

Saturday, October 10, 2015

Short Fiction You Should Have Read Last Year: ArmadilloCon 2015 panel

For starters, panelists K. B. Rylander (moderator), Eugene Fischer, and Rebecca Schwarz list their favorite short stories of the year.

Rebecca Schwarz. Ken Liu "Cassandra".

K. B. Rylander. Eugie Foster "In the end, he catches her". It was published the day she died, just by coincidence.

Best sources of short stories

Rebecca Schwarz. I listen to a lot of stories. There are lots of great ways to listen to them, such as the podcasts by Clarkesworld, Cast of Wonders (Young Adult fiction), Beneath the Ceaseless Skies, Strange Horizons. Tor is on and off with their podcasting, but sometimes you can discover great stories there, like Kij Johnson. Escape Pod -- they do a lot of reprints. (It also exists in the print form.) Starship Sofa also does a lot of reprints. Bourbon Penn.

Eugene Fischer. Lightspeed, Strange Horizons. Oddly, the best publication for finding new authors these days is Twitter. Follow authors, they will recommend a lot of stories. This year majority of the stories I found is not because I read Asimov's cover to cover, but because I follow authors, and when they have a story out, they'll tweet a link. You can harness social network effects to curate your reading for you.

Short Stories You Should Have Read This Year panel, left to right: K. B. Rylander (moderator), Eugene Fischer, Rebecca Schwarz.
Short Stories You Should Have Read This Year panel, left to right: K. B. Rylander (moderator), Eugene Fischer, Rebecca Schwarz. More pictures from ArmadilloCon 2015 (37) are in my photo gallery.

K. B. Rylander. When you think about stories you loved, what makes a great story? What makes them stand out?

Eugene Fischer quotes Kevin Brockmeier, who said that every great fiction owes its greatness to fidelity to one of 3 things: fidelity to language, fidelity to lived human experience, or fidelity to authorial obsession. An example of fidelity to language would be Ursula le Guin. An example of fidelity to authorial obsession -- J. G. Ballard. His writing is off the wall, but the images were strongly felt to the author. If a story doesn't bring at least one of those things to the table, says Kevin Brockmeier, then it won't work.

Rebecca Schwarz. I like stories that play with form, such as "Five Stages of Grief After The Alien Invasion" by Caroline Yoachim, who hangs the story on the traditional five stages of grief. Another example would be "Noise Pollution" by Allison Wilgus in Strange Horizons. It's punk as in cyberpunk. It's a young rebellious kid narrator telling a story.

K. B. Rylander. The way I approach story, the story needs to elicit emotion from the reader. Even in hard science fiction there needs to be emotional interest for that reader.

Eugene Fischer. "Cimmeria: From the Journal of Imaginary Anthropology" by Theodora Goss, published in Lightspeed, resembles Borghes: it's about how reality actually works. Lorrie Moore, in an introduction to "Best American Short Stories", said that a novel comes to us already half-ruined by its length, but in short story we can experience something pristine: a single moment. It is not necessarily in time, but a single esthetic moment. In "Cimmeria", students go to a field study in a country that exists only because they made it up. One of them falls in love with the daughter of a king. In this country there are strange cultural differences that they invented when they designed this country. One of them is, twins are actually the same person. The esthetic moment is, a shift from viewing cultural experience as an outsider, to viewing it as an insider. It's not a moment in time, but a moment in cognition.

K. B. Rylander. A lot of time in a story there is a very visceral emotion that people can relate to: loss, love, revenge. Those strong emotion stories are often ones that become the big stories for the year.

Rebecca Schwarz. Annie Bellet "Goodnight Stars": it was nominated for Hugos, but she withdrew.

Eugene Fischer Sam J. Miller "We are the cloud".

The panelists mention that they've found many notable stories that draw from global mythology, such as Chinese or Pakistani. An example would be Carmen Maria Machado "The Husband Stitch", nominated for the Nebula Award.

Humor stories

Rebecca Schwarz. Daily SF publishes a lot of humor. Also, Alex Shvartsman publishes humor anthologies, Unidentified Funny Objects.

K. B. Rylander. Two flash pieces: "I am Graalnak of the Vroon Empire, Destroyer of Galexies, Supreme Overlord of the Planet Earth. Ask Me Anything." by Laura Pearlman. It's a Reddit with an alien who has came to earth. Oliver Buckram "Half a Conversation, Overheard While Inside An Enormous Sentient Slug".

Eugene Fischer. Alice Sola Kim "Mothers, lock up your daughters because they are terrifying" -- a ghost story of Korean adoptees loking for the biological parents with the help of Cthulhu.

K. B. Rylander. Kris Dikeman "Madhouse on Aisle 12" -- a woman goes to a grocery store, and the food talks to her. It's hilarious.

Great stories that didn't get much attention

K. B. Rylander. What stories were great, but didn't get a lot of attention?

Eugene Fischer. Guernica magazine published a story by Anna Noyes, "Becoming", from a point of view of chimpanzee who grew up in an 1950s experiment of raising a chimp in a human family to see if it grows up like human. It's not going to get attention in genre fiction awards, and there's no such thing as realist fiction awards.

K. B. Rylander. Story by William Ledbetter, "That Other Sea", publsihed on Escape Pod (available in both podcast and text versions). It takes place on Europa, on the theory that there is life under ice on Europa. It's a first contact story from the point of view of the aliens. What drew me into the story is that the alien has overwhelming curiosity about the world, the yearning for what's out there.

Rebecca Schwarz. A story in Strange Horizons, Kate Heartfield, "Limestone, Lye and the Buzzing of Flies". It leans a little literary, it's a little interior. It's a fantastic coming-of-age story with magic elements.

Must-read short story writers

K. B. Rylander. Do you have any must-read writers?

Eugene Fischer. Carmen Maria Machado, Ted Chiang, Alice Sola Kim, Kelly Link, Meghan McCarron.

Rebecca Schwarz. Karen Russell, M. Bernardo (she recommends his story in Beneath the Ceaseless Skies, possibly "The Penitent" or "After Compline, Silence Falls"), Kevin Brockmeier.

K. B. Rylander. Sarah Pinsker, Caroline Yoachim.

Controversial, influential, wave-making stories

K. B. Rylander. What stories do you think were very important to the industry as a whole, that really made waves, that were controversial?

Rebecca Schwarz. Cruel stories well done are just perfect. Chuck Palahniuk wrote a story "Loser" in Neil Gaiman anthology, it's aboujt a guy on The Price is Right, he's tripping on acid, and he gets called on the stage.

Eugene Fischer. Kij Johnson "Spar". Kij Johnson experimented with stripping as much as possible from the story. It produced incredible winners, including "26 Monkeys". Rachel Swirsky "If You Were A Dinosaur, My Love".

Rebecca Schwarz. "Dinosaur" became politicized in the Hugos, and that had nothing to do with the story.

Eugene Fischer. "Dinosaur" became a token, a symbol for people for who stories with emotional load is not sufficient. People who think they have ownership over what the speculative fiction genre should be.

Trends in short fiction

K. B. Rylander. Do you want to talk about any trends in short fiction? Do you see it evolving recently?

Eugene Fischer. Last year it shifted to digital publication. Print is fully an afterthought. Charlie Finley's new regime in Fantasy and Science Fiction produces very good stuff. Print venues are continuing to do good job, but the critical mass of attention has shifted online.

Rebecca Schwarz. I'm seeing more diversity. Ken Liu has now translated several short stories from Chinese.

Eugene Fischer. Chris Brown two years ago co-edited an anthology "3 messages and a warning" of Mexican science fiction stories translated into English.

Then Eugene Fischer asks the other two panelists: What's out there that people should read of yours?

Rebecca Schwarz. "Black Friday". It is a story of a future dystopic Thanksgiving that has become codified, football game to the death, in a big box store, that everybody watches. It is in Devilfish Review.

K. B. Rylander. "We Fly", about trying to find life in Alpha Centauri system. It's based on real science. The story opens when an uploaded human mind, a woman, wakes up in a spaceship. She wakes up, and something is completely wrong, but there is no external damage. It's her trying to work through these things.

Wednesday, August 05, 2015

The Hugo Award's Struggle for Relevance: an ArmadilloCon 2015 panel

It's not too much overstatement that blood was expected to flow on "The Hugo Award's Struggle for Relevance", a.k.a. the Sad Puppies debacle, panel at the ArmadilloCon. But the discussion was instead polite and even funny at times. Here are the main points of the discussion. (Pretty much everything is paraphrased.)

The panelists were Lou Antonelli, Justin Landon, Michelle Muenzler (moderator), Marguerite Reed, and Jacob Weisman.

The discussion opened with moderator Michelle Muenzler asking who exactly the Hugo Awards represent. A lot of fandom claims they don't represent them.

On one hand, Hugo Awards are the only science-fiction and fantasy genre awards that the general public (at least the portion that reads those genres) has at least heard about. But upon closer look, Justin Landon said, only a very small part of the SF/F-reading population has heard of Hugos, cares about Hugos, or lets Hugo Awards influence what authors they read. At the end of the day, it only represents the Worldcon voters. Marguerite Reed agreed that people who vote on Hugos are a small percentage of SF/F readers. Jacob Weisman too agreed with everyone else that this award represents mainly, or only, the fans who bought memberships to Worldcon.

The Hugo Award's Struggle for Relevance: an ArmadilloCon 2015 panel: left to right: Michelle Muenzler, Jacob Weisman, Lou Antonelli, Marguerite Reed, Justin Landon.
Left to right: Michelle Muenzler, Jacob Weisman, Lou Antonelli, Marguerite Reed, Justin Landon. More pictures from ArmadilloCon 2015 (37) are in my photo gallery.

If that's really the case, why are we worried about what the future of Hugo Awards means for the future of the speculative fiction genre?

I could say that there was a brief argument as to whether the fans who bought WorldCon supporting memberships were "true fans". But in reality, none of the panelists were presumptuous enough to divide the fans into "true" and "false", so it was more like a meta-argument, a survey of popular arguments. For example, one could say that the "true fan" would be considered someone who buys Worldcon memberships and votes for Hugos year after year. But the panelists agreed that the definition of a fan can't be as restrictive as that. Marguerite Reed said that she didn't believe that everyone who bought supporting membership was a true fan, and that no doubt some people bought it for questionable reasons, such as to put Sad Puppy nominated authors on the Hugo ballot; but she is willing to welcome all those people into the science fiction community. She hopes that they will like it enough to stay. Jacob Weisman said that, on the contrary, it might bring such a deep divide that people will opt out, as happened to the Nebula Awards a few years ago.

Justin Landon had very harsh words to anyone who likes to divide fans (even the politically-motivated Hugo voters) into true geeks and not true geeks. He, too, has been accused at conventions of being a fake geek. "When we see someone to come into our community, how screwed up it is to say, you're not one of us, get out, just because you're a conservative?" he said.

The Hugo Award's Struggle for Relevance: an ArmadilloCon 2015 panel: left to right: Michelle Muenzler, Jacob Weisman, Lou Antonelli.
Left to right: Michelle Muenzler, Jacob Weisman, Lou Antonelli. More pictures from ArmadilloCon 2015 (37) are in my photo gallery.

All this discussion or meta-discussion about true vs. fake fans/geeks seemed a bit pointless to me. The notion of being a science fiction fan or geek is so subjective, it's not like there could ever be a test administered who is and isn't a true fan or geek.

Lou Antonelli, who was nominated for Hugos by the Sad Puppies, said that he regretted how it turned out, and that he didn't want the Hugo ballot to be full of authors nominated purely based on political agenda.

Lou Antonelli. Whenever you have a system with laws, you chug along until someone finds a loophole, and then you rectify it. So maybe this year we will introduce some provisions. I think people should have fewer nominations than there are places on the ballot, to assure that there won't be a slate. It is ridiculous when someone is nominated more than once in the same category. I hope some reforms will come out of it. I got nominations, but I'm not happy with the way it turned out.

Naturally, other panelists asked Lou why he is not happy with the way it turned out (especially since, according to Marguerite Reed, Lou in his blog called current science fiction "dystopian slipstream pornography", or something like that); and more importantly, why he didn't recuse himself from the Hugo ballot, like so many people had. He said that he stood on it as a matter of principle, to not give in to the abuse that people heaped on the nominated authors.

Lou Antonelli. I think Letters from Gardner was good enough for Hugo nomination, good enough to make it on the ballot otherwise. But I said, I didn't need two nominations. And then ... I refused to be bullied and insulted. So I stayed the course. The first short story was withdrawn by the nominee, Annie Bellet, because she couldn't take the heat. When she went down, I decided I wasn't going to let that happen to me.

Justin Landon pointed out that while some nominees indeed withdrew because of the bullying they got from "people we would identify as social justice warriors", other nominated writers withdrew themselves without being bullied.

Lou Antonelli. I would rather make a decision that turned out to be wrong, but not bow down just to be popular.
Justin Landon. I have a lot of empathy for people like Lou, who worked in science fiction for many years, and one year they get a chance to get nominated for a Hugo, and I can't imaging being in their position and having to say "no". I don't want to beat up Lou. I don't envy position you are in.
The Hugo Award's Struggle for Relevance: an ArmadilloCon 2015 panel: left to right: Lou Antonelli, Marguerite Reed, and Justin Landon with a glass house in front of him, ready for people to throw stones.
Left to right: Lou Antonelli, Marguerite Reed, and Justin Landon with a glass house in front of him, ready for people to throw stones. More pictures from ArmadilloCon 2015 (37) are in my photo gallery.

If, as everybody on the panel agreed, conventions and organizations can run their awards however they see fit, it begs a question, voiced by Marguerite Reed: Why didn't Sad Puppies have their own award? Justin Landon thinks it is because Sad Puppies are intent on destroying the Hugos. So then the question is, what are we going to do about it? Justin Landon thinks we should still vote. Not voting would be worse for Hugo Awards.

Justin Landon. If you want to vote No Award in some category, go ahead. But if you vote that way in all categories, you are making a statement. But statement-making is what Sad Puppies do. {I think he says, don't do it.} If you don't want to read sad puppies, don't read them. How many people before voting for Hugos, read everything on the ballot? (Nobody in the room raised their hands.) If we vote No Award in every category this year, what will it mean for Hugos next year?

But does it matter if Hugo Awards are destroyed or made irrelevant (which is likely to happen if many people vote for No Award)? Panelists and audience think it does.

Jacob Weisman. Science fiction and fantasy genres are more fragile than realized. More books are published but fewer numbers per title are being sold. Too much acrimony will shrink fandom because of the culture war.

A fan from the audience echoed that concern. "In the past, the science fiction community always healed itself, because there was a sense that it was important to maintain the community. This time, there are many who do not feel the preservation of the community is more important than getting their agenda met. This makes this a far more problematic and "dangerous" time in fandom."

The TL;DR version: the panelists would like you to go and vote for the Hugos no matter what. Find something you like, or at least are not opposed to, in as many categories as you can, and vote, and let the Hugo Awards continue.

Monday, August 03, 2015

ArmadilloCon 2015: What You Should Have Read in 2014-2015

A bunch of authors, editors, critics and booksellers discuss their science fiction, fantasy and horror picks of the year.

Some books got a nod from more than one panelist. This year those were Emily St. John Mandel Station Eleven, Ken Liu Grace of Kings, Kim Stanley Robinson Aurora, and Neal Stephenson Seveneves.

Below are each panelist's recommended books, and his or her comments about why they are worth reading.

John DeNardo recommends

Year's Best Science Fiction: Thirty-Second Annual Collection, edited by Gardner Dozois. If you don't read short fiction, here are 3 reasons why you should read this collection. 1. "The Regular" by Ken Liu. I made a mistake of starting it late at night. it pulls you in, and you can't wait to find out what happens next. The way he does it, alternating viewpoints. The way he reveals these plot twists. 2. Rachel Swirsky "Grand Jeté (The Great Leap)". A pinocchi'esque story about father and inventor whose daughter has cancer, so he transfers her memories into a lookalike automaton. It is heartbreaking, but not for a reason you think. It is very moody and emotional. 3. Nancy Kress "Yesterday's Kin", also sold as a short novel by Tachyon. A story of first contact -- a ship landed in New York, and has been there for several weeks, and nobody is able to make contact, because the ship is surrounded by a force field. A geneticist is called to make contact. She also has family issues. The aliens affect her family and relationships.

Emily St. John Mandel Station Eleven. It is is a great character study of people. For our muggle friends, who don't like science fiction, this is a very accessible book -- it is something we could share with our friends mainstream readers. (Also recommended by Justin Landon.)

Stories for Chip: A Tribute to Samuel R. Delany, edited by Nisi Shawl & Bill Campbell.

Neal Stephenson Seveneves.

John DeNardo. One of the things I like about science fiction is worldbuidling, and Seveneves is stuffed with it. I even thought there was too much worldbuilding. I never thought I would say it about any SF. But you'll learn about orbital mechanics in a way that you'll never think you are learning about orbital mechanics.
Willie Siros. It is Stephenson's best work since Baroque Cycle. It is Moonfall done right. Bad stuff happens, and mankind doesn't step up to the plate well. It's not really apocalyptic, and it ends with a more hopeful ending than you would think halfway through the book. It is amazingly well-written, very tight, more accessible than his other books.

Andy Weir The Martian. It's all about problem-solving. John DeNardo could especially relate to it because he's an engineer by day, and engineering is all about solving problems. In "The Martian" you don't feel like you're getting a science lesson. And it is very positive, at least for someone who is stuck alone on Mars. The most the character would say is "I'm not feeling up to it today", so you know what he is going through, but it's not in your face.

Justin Landon recommends

Joe Abercrombie Half a King, Half the World and Half a War (forthcoming). Justin Landon is a sworn fanboi of Joe Abercrombie. 'Nuff said.

Bradley P. Beaulieu Twelve Kings in Sharakhai -- Middle Eastern-flavored world; protagonist is 18-year-old woman who is a gladiator and a smuggler.

Becky Chambers The Long Way to a Small, Angry Planet. It was self-published before it was published traditionally. It's like Firefly, but better. Cleverer, more charming, more real. It is social science fiction about a family living on a spaceship, and how they deal with relationships and xenophobia.

(Forthcoming) Kate Elliott Black Wolves, coming out this fall. It is phenomenal. The protagonist is 70-year-old beaten up woman, well past her prime, and has to figure out a way to protect her father's legacy, king's legacy, her grandson's legacy. Show me another fantasy that shows a capable old woman!

Robin Hobb Fool's Assassin

Rebecca Levene Smiler's Fair. Rebecca Levene used to be a Dr Who writer. It is Night Circus if G. R. R. Martin wrote it.

Sara Lotz The Three. The story is a thriller that may or may not be supernatural -- it is up to you. Four airplanes crash around the world simultaneously. Everybody dies. But on 3 of them, a young child survives. On the fourth there is apparently no such child, but there are rumors that a child might have survived. And so the rumors start that those children are the 4 horsemen of apocalypse. The book is written as a memoir of a woman reporter.

Alex Marshall A Crown for Cold Silver. Epic fantasy but without all the stuff that we hate about epic fantasy: progressive, not sexist, without all the baggage. Very aware of the tropes in the genre, and tries to do something unique.

Michelle Muenzler recommends

Darin Bradley Chimpanzee. In an economic downturn, a professor is in danger of having his education repossessed. So he tries to give it out for free, teaching people in public parks, so he could give it away before it's taken from him. But it's not legal, so he gets caught in a revolution.

Kameron Hurley The Mirror Empire -- great worldbuilding.

John Hornor Jacobs The Incorruptibles is set on an Earth a few dimensions way over there. It has one of the most frightening descriptions of Elves. They take the place of native Americans in this weird version of a western. Is it a terrifying and wonderful story. (Justin Landon added: "And it is not available for purchase in the US, except here in the dealers' room.")

Nicole Kornher-Stace Archivist Wasp is about a girl whose job is to kill ghosts, to make them stop bugging people. But instead she decides to help one of them. She gets pulled into a weird underground world, and learns the real reasons of apocalypse.

Mary Rickert Memory Garden is about old women who may or may not be witches.

Kazuki Sakuraba Red Girls -- three generations of a family, three very engrossing narratives. It spans the time from 1970s to the 2000s.

Willie Siros recommends

Ben Aaronovitch The Hanging Tree

Paolo Bacigalupi Water Knife. Published as a trilogy, but it is not. It has a discussion of the future water wars that are coming to the US as the drought continues. An asssassin arranges for water to go from one place to another, regardless of what the people who think it's their water, think. Texas is such a wasteland that refugees who are trying to get in to Colorado and Oregon, are dismissed as Perry's ramblers.

Author Michelle Muenzler gave out cookies to everyone as a way to combat the midday crash. Next to her, fan guest John DeNardo looks on.
Author Michelle Muenzler gave out cookies to everyone as a way to combat the midday crash. Next to her, fan guest John DeNardo looks on. More pictures from ArmadilloCon 2015 (37) are in my photo gallery.

James S. A. Corey Nemesis Games

(Forthcoming) Julie Czerneda This Gulf of Time and Stars. In this book, Czerneda returns to her main species universe, which was the setting of the books she wrote many years ago.

William Gibson The Peripheral. Willie said that after thinking that Gibson's best work was in the past, he was very pleasantly surprised by The Peripheral.

Peter F. Hamilton The Abyss Beyond Dreams

Robin Hobb Fool's Quest

Stina Leicht Cold Iron

Jack McDevitt Coming Home and Thunderbird (forthcoming)

(Forthcoming) David Mitchell Slade House - a much looked-forward-to novel from the author of Cloud Atlas

Michael Moorcock The Whispering Swarm

Alastair Reynolds Poseidon's Wake is part of Alistair Reynolds series that began with Blue Remembered Earth. It is set in near future and examines how society deals with space travel in various ways. A family is raising elephants to intelligence, and by the end of the third novel it seems like elephants will have surprises for us. It is somewhere between popcorn fiction and serious fiction (the same applies to James S. A. Corey Nemesis Games too).

Kim Stanley Robinson Aurora. It asks: if man in 2000 years only managed to keep things made of stone, that could last 2000 years, how are we going to keep a generation ship going? It is really well done and fabulous. Justin Landon adds: "Aurora is tols form a perspective of a developmentally-challenged person, and Kim Stanley Robinson does a very good job of putting us in this person's head."

Several forthcoming books:

John Scalzi The End of All Things

Charles Stross The Annihilation Score

Michael Swanwick Chasing the Phoenix

Robert Charles Wilson The Affinities

Gene Wolfe A Borrowed Man

Skyler White recommends

Max Barry Lexicon has system of magic that's based on language. If you're a word person, or a magic person, it is so delicious.

Elizabeth Bear Karen Memory. Steampunk-inflected western with a very interesting protagonist. It's set in a bordello. It is Elizabeth Bear's strongest novel yet. It is as conceptually interesting as her other stuff, and also has interesting relationships between people.

Karen Joy Fowler We Are All Completely Beside Ourselves.

(To tell the truth, the panelists were not completely clear if they were talking about this book -- which came out more than a year ago, so technically it does not qualify for this year's What You Should Have Read -- or about We Are All Completely Fine by Daryl Gregory. No one could remember the exact title and author of the book they were thinking of. Then a brief argument broke out whether in Karen Joy Fowler's book there was mention of aliens arriving to Earth's orbit: some of us in the audience who have read it swore up and down that there were no aliens, but one of the panelists claimed that there were maybe a total of 5 lines in the book mentioning the aliens. This made it further confusing which panelists had which book in mind. -- E.)

Max Gladstone Three Parts Dead -- magic is legal-based. There is nothing boring about legal contracts.

Ann Leckie Ancillary Justice, Ancillary Sword, and Ancillary Mercy (forthcoming)

Ken Liu Grace of Kings. Incredibly bold, incredibly global, has amazing ability to introduce you to a huge cast of characters, and they are each unique. According to several panelists -- Skyler White, Justin Landon, and Willie Siros -- it has an incredibly unique storytelling structure, a non-traditional, non-western narrative. If you read traditional Chinese novels, it fits into that structure. And if you haven't, it feels completely unique.

Christopher Priest The Adjacent. There is some kind of hop between times, that we don't really understand, but it has powerful applications. It's not hard SF, it is a character study of people who are wrapped up in this event. It is the impending feeling, that things will be terrible, but you don't know why.

Jeff VanderMeer Area X: The Southern Reach Trilogy also has creeping dread. It is set in a postapocalyptic future of the American South. This book explores not just conceivable ways in which everything can go terribly wrong, but also impact on survivors, and the ruthlessness of the quarantine. Willingness to sacrifice a few for the good of the many.

Jo Walton The Just City. Jo Walton writes dialogue for Socrates. Just City is a utopian city created by the goddess Athene. They buy enslaved 10-year-olds, who will be become the citizens of that city.

Wednesday, May 06, 2015

Discussion of software apprenticeships at All Girl Hack Night

At the March meeting of All Girl Hack Night, a startup founder Diana Griffin and two women developers -- Tricia and Autumn -- talked about software development apprenticeships they did at Diana's startup, GirlsGuild.

A startup's decision to take apprentices

GirlsGuild is a startup that matches women makers (they didn't want to call them "masters", as that might sound too intimidating) with apprentices who want to learn a skill or a craft: leatherworking, chocolate making, graphic design, or many more. So it is only natural that its founders wondered how the notion of apprenticeship would extend to software development. In the software world it is also known as eating your own dog food. Having only recently learned programming, GirlsGuild founders Diana and Cheyenne built GirlsGuild web app themselves, with the help of more experienced Ruby on Rails developers. So they also wanted to give back and teach other women what they knew of programming.

Thus they announced apprenticeship positions. They view them as different from internship. They expected that apprentices were completely new to programming, and that they might not know much at all.

In Tricia's case, it turned out to be true. She went into apprenticeship to gain experience she couldn't gain otherwise.

Reasons to become an apprentice

A beginner developer who wants to get a job in the industry must demonstrate some kind of credentials or programming ability to potential employers; if you don't have computer science education, that can be tricky. It is a chicken-and-egg problem, getting experience without already having experience. That's where unpaid work, such as an internship, can give a foot in the door to a beginner programmer.

And that's why when Tricia heard about an apprenticeship opportunity with GirlsGuild, she applied. It helped that she knew Autumn, who was already working there as an apprentice. Up until that point, she had taken some Java courses at the Austin Community College, but had no programming experience in the industry. Without it, or a degree in computer science, she didn't see how she could ever get a job as a software developer.

At first she worried that GirlsGuild won't accept her, but she was determined to come back again and again, and become impossible to get rid of.

Left to right: Tricia, Diana Griffin, and Autumn
Left to right: Tricia, Diana Griffin (cofounder of GirlsGuild), and Autumn at the All Girl Hack Night discussion of software apprenticeships. More pictures from All Girl Hack Night events are in my photo gallery.

Autumn admitted that she worried about that too, even though she is an experienced software engineer, and her reasons for going through an apprenticeship were different. She was working in a well-established organization with a large team of developers; as typical for a large institution, it had complex processes and procedures in place for everything, such as testing, doing code reviews, and deploying to production. Autumn, however, wanted to experience working in a startup, where processes are minimal, red tape almost nonexistent, developers have very close interaction with business owners, and large influence in the product.

Neither of them needed to worry about not being admitted to an apprenticeship, because GirlsGuild was happy for every helping hand they could get.

Structure of an apprenticeship

GirlsGuild founders Cheyenne and Diana got together with Tricia and Autumn for 3-4 hours a week. At first they walked them through the code, examining various use cases, a la "When a user clicks this button, here is what code gets executed in the background". They gave Tricia and Autumn full freedom of bugs and issues to work on. They were happy to have anyone to work on them, even beginners. (I didn't ask if they were ever concerned that a beginner would inadvertently make the product worse, e.g. by fixing a bug's symptoms rather than the underlying cause, and making it more difficult to fix the cause afterwards.)

Meetings with Diana and Cheyenne was just a small part of the time both apprentices invested in their work. The meetings took only 3-4 hours a week, but Tricia and Autumn spent much more time than that studying the code on their own. To every meeting they came prepared to implement what they learned. And after a while they didn't need constant hand-holding from Diana. They would work independently and only come to her if they got stuck.

Making it easier for a startup to foster apprentices

It helped that ever since its beginning, GirlsGuild kept a detailed list of code issues in Github. It also helped that they didn't have any other deadlines to meet except self-imposed ones; there weren't any investors breathing down their neck to implement features faster. GirlsGuild, as I understood, is funded entirely by the owners, both of who have full-time jobs outside of GirlsGuild. This gives them a lot of freedom to implement features at their own pace.

Another thing that helped was that their users were so forgiving. There weren't too many users to begin with, and they didn't tend to get upset by errors. Plus, error messages were quite funny, said Tricia, so that went a long way to give the users enjoyable experience even when the application didn't work right. They had a simple, direct process of fixing user-reported bugs: the user would call them, and they would get on fixing the bug right away.

Comparing apprenticeships to other ways of gaining programming experience

The audience wanted to know how apprenticeships compared with other ways to learn programming. Was it a better or worse way than, say, taking self-paced courses at Codecademy? College courses? What about intense development bootcamps, such as MakerSquare?

According to Tricia, who had previously taken some programming courses at Austin Community College, an apprenticeship teaches you very different skills than an academic course. Most programming classes, in her view, might teach you concepts of programming, but not how to write an application from scratch. What's more, they won't teach you other crucial aspects of being a software engineer, such as how to collaborate with other engineers, or use tools (e.g. Github) effectively. So, for a taste of real-life software engineering, apprenticeships are invaluable.

It so happened that towards the end of her apprenticeship, Tricia entered the full-time Makersquare development bootcamp, and Autumn took Makersquare part time courses in the middle of her apprenticeship. So they could not really compare the experience they gained from it to the experience gained from the apprenticeship, but they both thought they would have been much more valuable to GirlsGuild if they had come to it after Makersquare. Diana assured that they were very useful anyway, and that if they had come to GirlsGuild after MakerSquare, they would have been leading the apprenticeships!

Tricia says most prospective employers valued her apprenticeship almost as much as an experience at a paid job, because it showed that she could take a project, persevere, and complete it.

Thursday, April 30, 2015

Book review: Helene Wecker, "The Golem And The Jinni"

This was one enjoyable urban fantasy book. It was different from other novels I've read in this genre, though admittedly I haven't read that many, because I got disappointed with the genre soon. There is no Mary Sue heroine here that every werewolf falls in love with; this one has truly interesting, unique characters, rather than the usual assortment of werevolves and vampires.

The title character, a golem, was made by a European Jewish wizard for a man who wanted a custom-made wife; the man took her on a trip to the US, but died along the way. She disembarked in New York not knowing a single soul there, but was befriended by a kind, old rabbi, who quickly guessed who she is. Luckily he is the only human she ever encounters who can see that she is made of clay. Outwardly she is indistinguishable from a human woman.

The jinni, on the other hand, escaped from an ancient flask, accidentally opened by a metalworker in the Little Syria neighborhood of New York. He was trapped in a human form by a sorcerer many centuries ago in a Bedouin desert. While the Golem, who is made of Earth, is an excellent baker, the Jinni, who embodies the fire element, is talented at metalworking. They make their lives in the new country, their paths eventually cross, and they find an unlikely (or maybe likely?) friend in one another, as the only other supernatural creature each has ever met. They are the only ones who can understand what it's like to live in a human shape with all its restrictions, and to have to pass for a human every day. This involves not letting anyone catch on that you don't eat, sleep, breathe, or have a heartbeat.

As much as they try to blend into the society, they naturally create messes in their wake, simply because they are not human beings, and some things they do have unexpected consequences to humans. The Golem cares about it much more than Jinni does, who, at least at first, doesn't give a thought to the broken human lives he leaves in his wake (mostly women, for the handsome Jinni is like catnip for them). The Golem is the opposite: since she was created to serve, she can't help but sense the humans' needs, and feels irresistible urge to help them. The Golem's concern for others rubs off on the Jinni, who, after spending time with her, starts viewing his carefree actions in a different light.

But both of them are bound to the powerful forces who made them what they were, and the past comes looking for them. When that happens, ancient wizardry starts to play out in 19th century New York. To avoid spoilers, some tensions get resolved, and some don't, but it seems that the stage gets set for a sequel.

This book alternates between exotic/mystical and cozily mundane settings: the Golem works at a bakery, and the book has a good number of delightful scenes involving challah, strudel, fresh-baked bread, and so on. They are interspersed with scenes of Middle-Eastern and cabalistic magic. The threads of present and past are woven together beautifully, and suspense arises on two levels -- past and present; while the reader suspects that they must be related, you can't easily predict how it will all come together.

Secondary and tertiary characters truly come to life. Each of them is distinct. The characters that seem at first spoiled or airheaded, turn out to have depth. Sometimes the book teeters too far into the realm of "characters who didn't believe in the existence of paranormal suddenly become believers", but there is only a little of that. The scenes set in the ancient Bedouin desert centuries or millennia ago don't seem as strong as the scenes set in the 19th century New York; I'm not sure why, but maybe because they rely too much on clicheed Middle-Eastern setting, whereas the New York setting is detailed and authentic? Then again, this book is based on Middle-Eastern fairytale tropes, so that would be hard to avoid.

In any case, the result is quite original.

Tuesday, March 31, 2015

Book review: Karen Joy Fowler "We Are All Completely Beside Ourselves"

This was one of the most enjoyable books I read recently. This is definitely character-driven fiction, and not just primary, but secondary and tertiary characters too were developed with unparalleled depth and nuance.

The plot revolves around a young woman named Rosemary, who is trying to figure out what happened to her "sister", a chimpanzee named Fern. In their early childhood Rosemary and Fern (who were born just months apart) were raised as siblings; Rosemary's parents treated the chimpanzee as their own child, encouraging her to do everything Rosemary did. Then, when Rosemary was five years old, Fern suddenly disappeared from the household, and Rosemary never fully recovered from the loss of her sister.

On one hand, it wasn't hard to figure out the mystery of what happened to Fern; it was clear that Rosemary's parents gave Fern away because they just couldn't keep a chimpanzee at home anymore as Fern grew bigger and stronger. Historically, cases of raising a chimp as a human never ended well, because humans were never able to control the chimp's aggressive tendencies; this novel leaves no illusions that this attempt could have been anything else but doomed, and the adult Rosemary understand it very well.

However, there is a twist at the end that makes it particularly ironic -- but by the time it is delivered, we readers are quite skeptical whether we should believe it. That's what makes this book so captivating. As Rosemary tries to piece her past into a coherent narrative, it becomes increasingly clear that none of the characters' versions of events can ever be trusted. Rosemary herself doesn't trust her memory, believing that many of her vividly remembered childhood episodes never could have happened. But we also find out that throughout Rosemary's childhood her parents and older brother Lowell manipulated her, feeding her various lies, fictions, and non-answers to avoid accept responsibility for their actions. So later in the book, when Lowell delivers a key "revelation" to the now-adult Rosemary, there is no reason to think that he isn't manipulating her even then.

This book reveals, in an understated way (because Rosemary is never bitter or angry towards her family) how even highly functional, seemingly caring parents can be subtly cruel towards their children. They raised Fern among humans, knowing that she won't be able to live with them indefinitely, yet making it very hard for her to adapt to a life among chimpanzees. It was just as bad that Rosemary's father, a psychologist, treated not just Fern but Rosemary too as an experiment. While she and Fern were together, they were both studied by graduate students in her father's lab. Everything Rosemary said was interesting to them, but only because she was part of the human-chimp speech acquisition experiment. With Fern was gone, nothing Rosemary said interested them anymore, and her endless chatter became a nuisance.

What I liked best about this book was endless observations about the nature and unreliability of memory, about theory of mind, about animal rights, and the way those meditations were wrapped into suspenseful plot arc.