A love letter to the people who do the thankless work behind the scenes at SFF cons everywhere!
It’s three days before the start of ConEIRE, the best Irish-themed science fiction and fantasy con in the tri-state area, when a phone call sets the entire Convention Committee into panic mode. Is Big Name Writer going to pull out at the last minute? What does Very Famous Artist have to do with that decision? And what do the fairies have to say about all this? Follow the hilarious mishaps as the committee members work desperately to salvage months of planning and hard work, all of which are about to be undone by a well-known prima donna.
But there are skulk members appearing throughout the con:
Where does the Gothic fit into the overall horror tradition? What elements of the Gothic remain so compelling today, and why? Panellists discuss the genre from its roots to Southern Gothic and other modern interpretations.
From body horror to body snatchers to possession and beyond, how has horror explored, exploited, and pushed the limits of bodily integrity? What is the subtext of different approaches to body horror, and what practitioners are exploring these assaults on the flesh in the most interesting ways?
Come and learn more about free weekly podcast fiction! Join the Escape Artists for an audio fiction show presented by all four EA podcasts: Escape Pod, PseudoPod, PodCastle, and Cast of Wonders. There’ll be a Q&A session, swag giveaways, all the latest news, and live readings.
Noir tropes are hugely popular in science fictional settings, such as China Miéville’s The City and the City, or William Gibson’s Neuromancer. In what ways are noir tropes adapted or subverted within the genre? Is there a difference in the ways SF books, comics, and movies use elements of noir? The panel will discuss the uses of noir across SF genres and formats.
The medieval period is a rich source of inspiration for writers of speculative fiction, but medieval life has been so romanticised in popular culture that it has become hard to separate the chaff of fiction from the wheat of historical fact. Our panel of medievalists will saddle up their warhorses and ride to rescue the damsel of medieval history!
How do revolutions (e.g. overthrowing government) occur in an era of advanced technologies? Are orderly regime changes jeopardised with growing asymmetries in weaponry, surveillance, and political power? Are current political processes up to the challenge?
Susanna Clarke’s sprawling novel Jonathan Strange & Mr Norrell takes in the whole of the 19th century attempt to restore magic to respectability in England. Repeatedly the readers are warned that fairy magic is ‘not respectable’ – most often by Gilbert Norrell, who hides his shame at stooping to its employment on at least one occasion. Why is fairy magic not ‘respectable’? I will argue that it is because it is mostly Celtic, rather than the more dour, respectable, and rather puritanical English magic that Norrell seeks to revive and rule over. In contrast, John Uskglass was trained in fairy magic and his troop, the Raven King’s army, is specifically identified as the Daoine Sidhe. In pursuing the Raven King’s example, Jonathan Strange remains open to this Celtic influence and soon surpasses his teacher in skill and daring, but both Englishmen are unprepared for the full fury of the fairy fight.
Who decides which YA books get bought? Publishers? Editors? Booksellers? Parents? Or maybe even YA readers? Join us for a thoughtful discussion on marketing and publishing in YA as we look at how YA novels get chosen. Moreover, what are publishers and readers looking for in a book?
Content warning: may include discussions of suicide and self-harm, mental illness and ableism, eating disorders.
Mental health used well can drive a story, create believable motives for characters and even greater awareness amongst the audience. However, these issues are not always treated sensitively or realistically. This panel will explore examples of mental health issues in genre fiction and consider their implications and accuracy.
Critic Peter Tremayne observed that: ‘Practically every Irish writer has … explored the genre for the supernatural part of Irish culture.’ Ireland has always held its own in fantastical literature, from Jonathan Swift and Bram Stoker to Dorothy Macardle and Elizabeth Bowen. But is there a discernible tradition threaded through their fictions? And what, if anything, makes their writing Irish?
Today Fox Spirit Books brings out a shiny new edition of my tales inspired by Finnish myth and folklore, DREAM BOOK. Inside you’ll find short stories (including two brand new ones), a little poetry and even a play.
Let me tell you a bit about the mythology. The Kalevala and The Kanteletar are the twin tomes of Finnish myth and folklore. The stories and songs that make up these collections are very old, but were gathered together in the nineteenth century as a surging sense of national pride grew. The tiny nation straddles the dividing line between the Baltic and Scandinavia, and had been dominated alternately by its two larger neighbours, Sweden and Russia.
In the 19th century, a doctor with a fascination for folklore, Elias Lönnrot set out to collect examples of the old tunes and stories that people told to try to capture what he saw as a vanishing way of life. In The Kalevala, he arranged these stories in runos to link together story arcs. You can read an English version online, but let me acquaint you with some of the recurring characters who show up in my stories.
Väinämöinen is the eternal sage. After Ilmatar the goddess gives birth to the world, he is the first human born. He knows all manner of magic. I’ve always found it fascinating that much of Finnish magic comes from know the true names of things and being able to sing them. At one point, Väinämöinen faces a young challenger who thinks he can take on the old man, but he gets sung right into a swamp. The panicky Joukahainen offers his sister’s hand in marriage, which starts another theme for the old magician: he never gets the girl.
Aino is the sister offered to Väinämöinen. Her parents think it’s an advantageous marriage, but the beautiful young maiden finds little appeal in being joined to the ancient sage and finally drowns herself to escape. She comes back, however, as a salmon to taunt Väinämöinen, so she lives again. Väinämöinen’s mother suggests he should go north to find a bride instead.
Louhi is the witch of the northern lands. There’s a great split in the Kalevala between the people of the south in Kaleva and those in the north, so they’re always portrayed as adversaries. Louhi, while seemingly as powerful as Väinämöinen, inevitably the stories depict her as “evil” which just sat wrong with me. I used to play in a band called Louhi’s Daughters with my friends Minna and Kasha, who shared the opinion that we were getting a rather one-sided view of Louhi. In our performances we tried to give a more balanced picture of this amazing woman. Our very first performance together was a retelling of the Aino story, which also proved a resonant touchstone for DREAM BOOK.
While The Kalevala has a series of narrative threads, The Kanteletar is a looser collection of songs grouped by who sings them, i.e. men, women or children. There are also a number of ballads that would be sung by everyone. Not surprisingly, one of the songs is all about the kantele, the national musical instrument of Finland. The name of the collection is kantele plus the feminine ending, so you might think of “Kanteletar” meaning the spirit of the kantele, the source of all the songs.
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