Posts tagged ‘women up to no good’
Here is more a question of when than where.
Today and tomorrow we’ll be featuring stories involving time travel!
Today, excerpts from Teresa P. Mira de Echeverría’s “Liquid Glass†(trans Lawrence Schimel – and the story from which our title comes), which appears in Broad Knowledge, and D.A. Xiaolin Spires’ second story in these anthologies, “Bristling Skim,†which appears in Sharp & Sugar Tooth:
D.A. Xiaolin Spires writes:
I have two stories in these URB anthologies, “Bristling Skim†(Sharp and Sugar Tooth), a creepy tale of gastronomic nefariousness and “Sunbasker†(Broad Knowledge), a science-fiction robot story set in a plantation with dark, fairy-tale elements. Both stories feature astute and willful female protagonists. “Bristling Skim†takes you to (WWII and) post-WWII Japan and stems from conversations I’ve had with people in Japan who consumed school lunch in the 1950’s and 60’s. It was during this time that Japan (as well as Taiwan, mentioned briefly in the story) received food aid from the US, consisting of wheat, milk and other products that eventually found their way to everyday diets through institutionalized programs like school lunch. (Here’s a timeline of school lunch in Japan throughout modern history. The website’s in Japanese with lots of interesting photos.) Given the current ubiquity of vending machines, I felt compelled to include them, as well! The story starts off with two divergent temporal spheres coming together—and includes the anonymity of the machine that dispenses drinks and the historical connection to food during occupation and reconstruction and thereafter. I was inspired by the sheer palpability of revulsion when (some) people in Japan talked about the so-called milk/not-exactly-milk served as school lunch during that time. You should see how their faces scrunched in disgust!
Teresa P Mira de EcheverrÃa says of her story:
The story was born from the stained glass windows of Chartres and its non-labyrinth, but above all, it was born from the idea of how the name “witch” is incarnated in the skin of the woman who is different, of the woman who is strong, of the woman who fights for her place in the world… and in the tortuous way to assume that name as an honorary title and not as a disqualifying epithet. In the story I talk about the fever of the protagonist and, for the second time in my career, I ended up with fever myself while writing about her… well, that made the descriptions much easier.
I already knew Women Up To No Good and, knowing the theme, and having already published with Joanne Merriam (thanks to Lawrence Schimel) a novelette, I knew of the professionalism, the commitment and the human quality of who do URBB. So, how can I not want to participate?
About the Authors
Argentine author Teresa P. Mira de Echeverría holds a doctorate in philosophy and is a university professor. Her novelette, Memory, is also available from Upper Rubber Boot Books (in a translation into English by Lawrence Schimel, who also translated “Liquid Glassâ€), and was a finalist for the Spanish national science fiction award, the Ignotus. Her other titles include a short novel, El tren (Café con Leche, 2016), and a collection of stories, Diez varaiaciones sobre el amor (Editorial Cerbero, 2017).
D.A. Xiaolin Spires stares at skies and wonders what there is to eat out there in the cosmos. Spires aspires to be a 3-D printing gourmand, but will happily concede with producing and consuming quixotic fiction and poetry. Trips to East and Southeast Asia continue to influence her writing and leave her craving durian, fermented foods and copious amounts of wonder that fuel her body, spirit and imagination. Website: daxiaolinspires.wordpress.com.
9 June 2018
Tannins work like that.
Today for our Kickstarter we feature two stories from Broad Knowledge which have elements of agriculture: pig-farming in “Profanity†(“So I wander over to the barn, stand at the pens, watch the ginormous mama pigs lying in the dirt fattening up their little piglets. ‘Thanks in advance for your kiddies,’ I say. They don’t get it.â€) and tea-farming in “Sunbasker†(“A day later, an alert tells me that Kalo has finished picking baskets upon baskets of tea. He’s cleaned up the whole field. I book a truck to bring the leaves back to my lab.â€)
In both stories, the intentions of the farmer color the narrative: in “Profanity,†the pigs are mindlessly being fattened for slaughter just as the cult members are being made mindless by their adherence to a nonsensical religion, and in “Sunbasker†the narrator’s desire to help a farmer under a curse is reflected in the magical origin of the tea she uses, which was given to humans by the Goddess of Mercy.
Liz Ulin writes:
The idea for my story, “Profanity,†was bouncing around in my head for years before I found the right voices to tell it. I remember sitting in the coffee shop of the LA Science Museum and describing the concept to my brother: A religious cult where “cocksucking cunt†is a compliment. Why? Because using the Devil’s words routinely rob them of their power, and robbing them of their power honours God! Twisted? Did I mention it was a religious cult? My brother had on that same face you probably have on now. The what the hell? face. Anyway, the voices finally came to me (not divine ones—no worries—just narrative ones). Surprisingly, they were the voices of two kids. And they sure had a lot to say about Profanity, Saskatchewan, where “every kind of devilishness is turned inside outâ€.
D.A. Xiaolin Spires writes:
“Sunbasker†comes from my many conversations in Taiwan and specifically hanging out with people I know in tea-farm-rich breathtaking Maokong mountains in Taipei. I have some food purveyor and tea grower friends and also met the boss of a certain sweet shop there—and the ideas for the story kind of just whirled away out of my mind from there. I wrote my process of writing this story on my website. The narrative streamed through my fingers while I was in at Taoyuan airport in Taiwan, where I was about to board to head elsewhere. I was just about ready to get on the plane, staring at a mural of tea farmers picking leaves in the terminal… when the story hit! They were calling my group number and I was still typing, trying to get it all down before the story winked away!
About the Authors
D.A. Xiaolin Spires stares at skies and wonders what there is to eat out there in the cosmos. Spires aspires to be a 3-D printing gourmand, but will happily concede with producing and consuming quixotic fiction and poetry. Trips to East and Southeast Asia continue to influence her writing and leave her craving durian, fermented foods and copious amounts of wonder that fuel her body, spirit and imagination. Website: daxiaolinspires.wordpress.com.
Liz Ulin is the winner of the 2014 Fresh Voices Screenplay Competition, and a finalist in The Canadian Short Script Competition, The Canadian Authors Association Short Story Competition, and The Writers Union of Canada Short Prose Competition. She has also had several short stories adapted and produced at Montreal’s Centaur Theatre.
8 June 2018
Horror as the stock which flavors the whole
Today we feature three stories of mothers and children.
In Autumn Christian’s “Flowers for Dogman,†the protagonist, Effy, a senior in high school, believes herself to have ceased to be human because of her father’s emotional absence and her mother’s obsession with the dogman, a mysterious creature who lives in the woods near their house. Her relationship with her mother (“A ghost of a woman, her body gone to make more room for her shadow.â€) is at the heart of this brutal tale of family dysfunction.
In sharp contrast to Christian’s story, Joyce Chng’s “Dear Son†is a short letter from a loving and generous mother to her morally upstanding son, who must let go of her after death. In her introduction to Sharp & Sugar Tooth, editor Octavia Cade writes:
In “Dear Son†by Joyce Chng [ritual and recipe are] used to pass on generosity. . . . This is worldbuilding with horror as the stock which flavors the whole, and it’s a genuine shift from the horror of consumption and control, or of consumption and addiction, or starvation, because there’s communication in it and even (especially in Chng and Horáková) a genuine underpinning of healthy love.
In Julie Nováková’s “Frankenstein Sonata,†it’s the mother who must let go of her song after death—but she can’t, with horrifying consequences.
Julie Nováková writes:
What happened in the world of Frankenstein after Dr. Frankenstein, and to what lengths could a mother go to save her child? These were the tantalizing questions at the start of “The Frankenstein Sonata”. As to the use of music in the story, I’m frankly not sure where it came from – it was just there. I use music in my stories a lot (and it shows: The Symphony of Ice and Dust, Étude for An Extraordinary Mind…), and especially classical music and opera are a great source of inspiration to me. I hope you enjoy reading the story as much as I’ve enjoyed writing it! I don’t mind if you listen to a little Fauré or Schumann alongside it. . . .
About the Authors
Joyce Chng lives in Singapore. Her fiction has appeared in The Apex Book of World SF II, We See A Different Frontier, Cranky Ladies of History, and Accessing The Future. Joyce also co-edited The Sea is Ours: Tales of Steampunk Southeast Asia with Jaymee Goh. Her alter-ego is J. Damask.
Autumn Christian is a fiction writer who lives in the dark woods with poisonous blue flowers in her backyard and a black deer skull on her wall. She is waiting for the day when she hits her head on the cabinet searching for the popcorn bowl and all consensus reality dissolves. She’s been a freelance writer, a game designer, a cheese producer, a haunted house actor, and a video game tester. She considers Philip K. Dick, Ray Bradbury, Katie Jane Garside, the southern gothic, and dubstep, as main sources of inspiration.
Julie Nováková is a Czech author and translator of SF, fantasy and detective stories. She has published short fiction in Clarkesworld, Asimov’s, Analog, and elsewhere. Her work in Czech includes seven novels, one anthology (Terra Nullius) and over thirty short stories. Some of her works have been also translated into Chinese, Romanian and Estonian. She received the Encouragement Award of the European science fiction and fantasy society in 2013, and the Aeronautilus award for the best Czech short story of 2014 and 2015, and for the best novel of 2015. Read more at www.julienovakova.com and follow her on Twitter @Julianne_SF.
6 June 2018
Eventually, she lands. Head-first, then the rest of her a split-second later.
Just as the clown from yesterday’s story (Caroline Yoachim’s “The Carnival Was Eaten, All Except the Clownâ€) grows her own family, so does the protagonist in Charlotte Ashley’s “She Falls,†whose original nature she has forgotten. This is a story of discovering who you are, separate from what those who made you expect you to be. (It’s also where today’s title comes from.)
EstÃbaliz Espinosa’s “23 commuter line chromosomes†is also about maternity and motherhood, and, in the compressed mode of flash fiction, illuminates the narratives we create to explain our lives to our children.
About the Authors
Charlotte Ashley is a writer, editor and bookseller living in Toronto, Canada. Her fantasy and science fiction short stories have appeared in F&SF, Clockwork Canada, Luna Station Quarterly, Kaleidotrope, PodCastle, and elsewhere. Her historical fantasy, “La Héron,†was nominated for both the Aurora and Sunburst Awards in 2016. You can find more about her at www.once-and-future.com or on Twitter @CharlotteAshley.
EstÃbaliz Espinosa: Writer. Musician. Hispanic philologist and sociologist. Dilettante astronomer. She has published seven poetry books, short stories about scientific women, and some books of poetry translation. Her work has been translated into English, Welsh, Catalan, Hebrew, Japanese, Macedonian, and Italian. Her last poetry book is Curiosidade (Curiosity), in which “23 commuter line chromosomes†first appeared, in Galician. She is from A Coruña, Spain.
Donate to our Kickstarter to support these writers and their stories today!
5 June 2018
Sugar magic was messy magic
Another staple of horror stories are clowns, for similar reasons as dolls: childhood attachments blended with the uncanny valley. Caroline M. Yoachim turns this trope on its head in “The Carnival Was Eaten, All Except the Clown,†where the clown is the hero.
Go to our Kickstarter for more.
About the Author
Caroline M. Yoachim lives in Seattle and loves cold cloudy weather. She is the author of dozens of short stories, appearing in Fantasy & Science Fiction, Clarkesworld, Asimov’s, and Lightspeed, among other places. Her debut short story collection, Seven Wonders of a Once and Future World & Other Stories, came out with Fairwood Press in 2016. For more about Caroline, check out her website. “The Carnival Was Eaten, All Except the Clown†first appeared in Electric Velocipede and was republished at Drabblecast.
4 June 2018
Dolls that LIVE (*evil laughter here*)
Are you sure your doll is where you left it? Did it . . . move? Is it . . . looking at you?
Creepy dolls are a staple of horror fiction, triggering that part of our brain that hates the uncanny valley, as well as tapping into childhood fears of things that go thump in the night.
This classic of horror stories is featured, with a twist, in “Viva La Muñeca†by Perla Palacios, a story of the special powers of dollmakers and the strength of family.
About the Author
Perla Palacios is a Latinx writer of speculative short fiction.
Go to our Kickstarter to donate now!
3 June 2018
A new adventure for URB
To everybody who donated to our kickstarter, thank you so very much for your support! I’m very grateful. I’m not sure how to express how much hard work goes into making a book, and having concrete proof that people appreciate my efforts is tremendously heartening.
However, after looking carefully at the project, it was pretty clear that we weren’t going to reach our goal, and that I needed to do more to showcase how amazing our writers are and what great books these will be. I’ve been brainstorming with some of my more marketing-savvy friends, and have a ton of new ideas for ways to bring the attention to my writers that they deserve. We’re going to retool a few things and relaunch the kickstarter on June 1st. |
I’m also retooling Upper Rubber Boot somewhat. TL;DR: we’re becoming a not-for-profit. (This won’t affect my current writers, whose contracts will simply be assigned to the new entity.)
When I started Upper Rubber Boot in 2011, I thought that it would grow over time until it became a full-time job. I put some money out of every paycheck into the URB bank account to keep it afloat (and I’m still doing that), and I started small. I built up the business to what it is today—a small press that puts out a few good books every year, but, let’s be real, is not appreciably closer to supporting me than it was seven years ago. It has never turned a profit (the closest it came was 2015, the year we published Choose Wisely and How to Live on Other Planets, when we basically broke even). I’ve had all of the challenges of running what it turns out is a non-profit business, without any of the benefits of non-profit status.
It’s become clear that turning URB into the kind of going concern that could replace my income as an administrative assistant would involve a level of investment of both time and money that I don’t have available to me, and would also require me to make more profitable decisions in terms of what I publish, instead of focusing on the short fiction and poetry that I love, but which is never going to sell bazillions of copies.
I’m lucky to have a fulfilling day job (at a hospital, where I run a clinical fellowship and the lives of four surgeons, and a bunch of other projects including the medical humanitarian work in East Africa and Haiti that I feel so privileged to get to be involved with) where I hope to stay for a long time, so the desire to write and publish full-time that I felt so keenly seven years ago has faded. |
I’m finding that my priorities in life are shifting. Over a year ago, my best friend and one of the best humans I’ve ever known was diagnosed with cancer. I went back home to Nova Scotia to see her several times, and was able to say goodbye before she died in December. That experience, common as it is, has made me re-evaluate my life in view of what suddenly seems a more realistic mortality. I want to spend my limited time on work that matters. One of the amazing things about micropress publishing is that, because it’s not our main hustle, we can create a space where capitalism is incidental (though not, sadly, entirely escapable) and bring lovely, thoughtful, insightful, and/or challenging writing into the world, without much reference to how well it’ll sell. Doing that is going to be a little easier with not-for-profit status.
Thanks for being here with me. I’m so grateful for all of you.
1 comment 19 April 2018
#SolarpunkChat is back!
Phoebe Wagner and Brontë Christopher Wieland (the co-editors of Sunvault: Stories of Solarpunk and Eco-Speculation) will lead a twitter chat on “Kinship & Collective Action In Solarpunk” on Saturday, April 21st (Earth Day Eve!) at noon Eastern. Click the image to the right to enlarge and get times across the globe! |
Use the hashtag #SolarpunkChat and follow this month’s hosts @pheebs_w and @BeezyAl, plus moderator @upperrubberboot.
And remember, we’re still kickstarting Women Up To No Good! At a time when publishers still release all-male and nearly-all-male anthologies of short fiction, much to our (forgive the pun) horror, we’re providing a counterbalance with short, dark, feminist fiction by some of the best writers out there. Pledge now to pre-order and make these books a reality!
14 April 2018
Q&A with Sunvault editors
Hi y’all. We’ve been pretty busy with preparations for Sunvault‘s release this coming Tuesday, and with reading and selecting stories for our next two anthologies (Broad Knowledge: 35 Women Up To No Good and Sharp & Sugar Tooth: Women Up To No Good, which we’ll be kickstarting in the next two months).
We were tremendously excited to get a review of Sunvault from Publishers Weekly, and just yesterday a Q&A of the editors, Phoebe Wagner and Brontë Christopher Wieland, went up at Christi Craig’s blog. We were especially taken with this comment from Wagner:
I hope readers feel encouraged to become engaged, that it isn’t hopeless. We have a hard road ahead when it comes to climate change and social justice. This summer has seen America pull out of the Paris Climate Agreement, and I’m still sick over the domestic terrorism in Charlottesville. It does not feel like a hopeful time. I hope the stories, poems, and art in Sunvault will encourage small and large actions, encourage resistance, and bring joy. It’s hard not to smile when I look at Likhain’s bright cover.
—Phoebe Wagner in Christi Craig’s “Q&A with the Editors of Sunvault: Stories of Solarpunk and Eco-Speculation,” 23 August 2017.
Sunvault can be pre-ordered here:
- Australia: Wheelers
- Canada: Amazon; Chapters Indigo
- France: Amazon
- Germany: Amazon
- Italy: Amazon
- New Zealand: Wheelers
- Spain: Amazon
- UK: Amazon; Blackwell’s
- USA: Amazon; Barnes & Noble; Indie Bound; Powell’s
. . . or see the dropdown of indie (US & Canadian) bookstores here!
24 August 2017