Tag Archives: Ellen Datlow

Not Fan Fiction

Ken Liu’sSingle-Bit Error,” published in the Thoughtcrime Experiments anthology, is related to Ted Chiang’sHell is the Absence of God.” (I discuss this relationship more extensively in yesterday’s post). Both stories are explorations of faith and atheism, using the concept of angelic visitations to drive the action and the philosophical discussion. To be clear, Liu lists the story’s influences as a note at the end, and got Chiang’s permission before publishing his take.

I enjoyed reading the two pieces as a conversation, and, in many ways, this is what literature is about. The flow of philosophical ideas from Plato to Aristotle to Aquinas, for example, is a part of the Great Conversation that makes it so worthwhile to be a reader of writer. That said, Liu’s piece is hard to classify, and I imagine it was incredibly hard to publish.

I think there is a kind of writing that exists that sits somewhere on the spectrum between fan fiction and an original story (if there truly is such a thing). When I get an idea like this, it’s not exactly that I want to write in another writer’s world, but that I want to use another writer’s premise for my own exploration. Sometimes, strong anthologies get created by giving lots of writers the same premise and putting the results side by side, but, for the most part, I groan when I get one of these ideas because I know it’s not going to be an easy road. For example, I love the premise of Catherynne Valente’s book, Palimpsest, and I want to play with it myself. The difficulties with doing this have stopped me, however. Unless I really, really care about the idea, I won’t write it.

That’s one thing that I love about the Creative Commons license. I think labels like that declare that it’s OK to experiment along those lines (as long as it’s not the non-derivative license, I guess). I think it’s good to create a space that truly allows conversation in literature. There’s a lot of healthy activity along these lines, but, for the most part it deals with older works that are out of copyright.

Take, for example, the many retellings of fairy tales, such as those in Ellen Datlow’s and Terri Windling’s Snow White, Blood Red anthology. Or several stories in Neil Gaiman’s Fragile Things anthology (for example, “A Study in Emerald,” which mashes up Lovecraft and Sherlock Holmes, and “The Problem of Susan,” which questions the treatment of Susan in C.S. Lewis’s Chronicles of Narnia). There’s also a huge and vital community devoted to developing the ideas of H.P. Lovecraft.

Liu’s story makes me wonder why that conversation doesn’t seem to happen as much around more current literature.

I felt this particularly keenly because I’m currently struggling to find a market for a piece that makes many references to Star Trek (particularly the Klingon language), and yet is not fan fiction and is not a Star Trek story. That limbo is an interesting place, but it’s not an easy place to be.

(Note: I wrote this post and then decided to contact Ken Liu to ask him about marketing his story and about influences. He kindly replied. Look for some thoughts from him in the next couple of days.)


The Myths

Not all of my posts on publishers’ lists that make me drool will be as long and involved as the one I did on Hawthorne. This is the second in that series, on Canongate’s The Myths.

The Story:

I think I was introduced to the concept of novels retelling myths or fairy tales by Robin McKinley’s Deerskin, which uses the fairy tale “Donkeyskin” as its mythic substrate. I dove into the genre of retellings wholeheartedly. For example, I own a bunch of the titles in the excellent Snow White, Blood Red series, edited by Ellen Datlow and Terri Windling.

I first discovered The Myths at the St. John’s College Bookstore. The manager there has an incredible eye for lovely books. The series pays satisfying attention to the sensuality of books, and the titles look lovely together on a shelf. I point this aspect out often, because the first impression a book makes matters to me. I always notice beautiful, artful publishing, and investigate further. Aside from aesthetics, I love the concept. Contemporary authors such as Jeannette Winterson get assigned mythic source material (in her case, the story of Atlas), and come up with retellings. The list of works so far has a great lineup of authors and myths, and they seem to have a lot more lined up (though I’m not sure how the current economic situation will affect this).

One thing I like is the authors have experimented with formats. For example, Victor Pelevin’s Helmet of Horror, based on the story of Theseus, which I own (but haven’t finished), is written as a series of instant messages. I like the association of the Minotaur’s maze with the Internet.

I feel sheepish as I write up posts on these amazing lines of books when I have to admit that I haven’t read the whole list. But that’s the case here again. Still, very drool-worthy, and I would read all of them.


Publishers/Editors: Canongate’s Jamie Byng, working with 40 other publishers.

Number of books in series so far: 10 (bonus points for reading the series along with the source material that inspires each title, which doubles this number, I suppose)

Number of books I’ve read: 0 (But I do own 2. Never enough time to read.)

Feature summary: Attractive hardcovers, excellent overarching vision, interesting mix-and-match of famous authors and myths.