We’re off to Readercon where Karen Joy Fowler and Lucius Shepard are the guests of honor and there are tons of smart people coming to talk about smart things. And then there is us! We will be in the bookshop (stop by and say hello to us and various interns and interested third parties) and on a panel or two. Although Gavin may miss his Future SF Scenarios to see Towards a Promiscuous Theory of Story Structure with John Clute, John Crowley, James Morrow, Sarah Smith, Eric M. Van (L). Because, who wouldn’t?
There are tons of good things about the weekend—not including the hotel restaurant, but there is a mall next door with a food court. Wooee.
Laurie J. Marks is reading and on a couple of interesting panels including Other Points of View with David Louis Edelman, Laurie J. Marks (L), Maureen McHugh, Wen Spencer, Peter Watts.
Theodora Goss will fly the interstitial flag high-ish at The Slipstream / Fabulation / Magic Realism Canon with F. Brett Cox (L), Paul Di Filippo, Ron Drummond, Theodora Goss, John Kessel, Victoria McManus, Graham Sleight, Catherynne M. Valente.
Also, all this week John Crowley’s Aegypt series has been getting the full retrospective treatment from the NYTimes, oh, wait, Strange Horizons:
Feature Week: John Crowley’s Ægypt
The fourth book of Ægypt: Endless Things by John Crowley
John Clute: Endless Things comprises, in part, a release into stillness, an ontological black hole from which other stories of the world cannot escape, or are disinclined to; a spiral which becomes a circle in the end; a holy emptiness vaster than pleroma, where the utter still centre of the world utters all.
Paul Kincaid: Dæmonomania should represent the point in the sequence where the creation has become too big, so that it starts to slip out of the author’s sure grasp. In fact I think it is where Crowley reasserts his grip on the story after the (relative) slippage of Love & Sleep. But it is also where he breaks the pattern of Ægypt.
Graham Sleight: The story of the first three volumes of John Crowley’s Ægypt sequence is, broadly, the story of his protagonists getting what they want and finding they can’t stand it. The first volume, Ægypt, is the story of the main characters wishing; Love & Sleep is the story of them getting.
Abigail Nussbaum: The Solitudes presents the reviewer with an unusual challenge. How to review the novel as an independent entity—and thus avoid stepping on my fellow reviewers’ toes—when it is so clearly and overwhelmingly part of a whole? More importantly, how to review Ægypt the novel when the experience of reading Ægypt the series so completely and irrevocably colors and alters one’s reactions to it?