Category Archives: News

Interview with Gwynne Garfinkle

Gwynne GarfinkleGwynne’s story, “The Clockwork Cat’s Escape,” appears in The Clockwork Jungle Book (Issue #11).  Gwynne’s website is at gwynnegarfinkle.com, and you can email her at gwynnega@gwynnegarfinkle.com.

Q: If you could talk to any author from the past, who would it be?  Why?  Who would you NOT want to talk to?

A: I’d love to talk to Colette or Simone de Beauvoir.  I love their work, and they both had such amazing, rich lives, full of writing and adventure and relationships.  I would probably not want to talk to Violette Leduc, another literary idol of mine (her memoir La Batarde is one of my favorites).  She was supposed to be fairly cranky.  I don’t know why the authors I immediately thought of are all Frenchwomen.  My French isn’t that great–we’d need a translator!  (Though de Beauvoir spoke fairly good English.)

Q: And would you use a character to speak to that author, or yourself?

A: It would be great to have my character Eleanor Bell (a vampire poet) and her boyfriend Alfred (also a vampire, whose French is impeccable) do the talking.  (Both are from my as yet unpublished novel, The Posthumous Life of Eleanor Bell.)  They’d probably have a lot to talk about.  Alfred might even charm Violette Leduc.

Q: If you got to borrow a character [or several], who would you choose?

A: I have wanted to write a Sherlock Holmes story ever since I was a pre-teen Holmes geek.  Maybe one day I will–then I’d have an excuse to reread my beloved Annotated Sherlock Holmes!

Q: Do your characters talk to you?  Do you see the stories as images?  Do you ever argue with characters you hadn’t planned?

A: My characters talk to me all the time–or, rather, they talk at me.  My stories often start out as dialogue.  It’s what comes easily to me, and I suspect dialogue is what I change least in the revision process.  I am more of an aural writer than a visual one (this is true of my poetry as well as my fiction), but I do see the images of my characters.  I don’t know if I argue with characters I haven’t planned, but I sure do argue with my characters.  They frequently want different things to happen than I have planned for them.  It’s usually a question of my figuring out whether this is a legitimate, organic change that will enhance the story or just an exercise in the characters’ wish fulfillment that will cheapen the story.

Q: Have you ever wished for a particular character — or idea — to walk into your story?  Has that happened?

A: Yes–a political activist.  I find it challenging to write about political ideas in fiction, especially in a story that also has a speculative element.  The novel I’m currently working on is both a ghost story and a political story.

Q: Do you ever get to a certain point, reading a story, and feel the click! as you have got to the point of no return/can’t stop now?  Does writing ever feel that way?  If you had to liken writing to anything, what would it be?

A: I do get to that point with reading and writing.  It’s a wonderful feeling in writing, when instead of feeling resistant, ideas/dialogue/scenes are coming too fast to write ’em down and you just have to be writing, and there’s a total immersion in the story’s world.  Writing a long work (or writing a body of work over time) could be likened to long-distance running.  There’s probably about the same ratio of slogging and resistance vs. exhilaration and a feeling of accomplishment.

Q: What piece of writerly advice do you wish someone had given you?

A: You’re in it for the long haul, so be patient.

Q: What kind of advice do you wish characters listened to?  Or offered?

A: Advice I wish characters listened to: Be patient!  Also, deal with your past head-on so you can live in the present.  (But if they did that, I wouldn’t have nearly as much to write about!)

Q: Is there something you do that no one ever asks you about?  This can be anything — something unusual you eat, playing poker as a day job, a hobby, whatever you like.

A: For several years I was a freelance music critic for various Los Angeles magazines, most of which are now out of business.  Most of my local friends were (and still are) musicians, I was going to see bands play several nights a week, and I was (and still am) obsessed with music, so it seemed the natural thing to write about it.  Besides, as a teenager I’d read and reread such music magazines as Bomp!, Back Door Man, New York Rocker and Slash–to the point that they became a huge formative literary influence.  Sometimes I miss music journalism, though it is also wonderful just to be able to listen to music without having to figure out how to describe it!

Q: Particular favorites for books, movies, series, comics, blogs, etc.?

A: A few favorite books: Fire and Hemlock by Diana Wynne Jones, Tam Lin by Pamela Dean,  Eight Years in Another World by Harding Lemay, Tunes for a Small Harmonica by Barbara Wersba, The Silver Metal Lover by Tanith Lee, The Collector by John Fowles, Vida by Marge Piercy.  Some favorite writers: Diane di Prima, the Brontes, Samuel R. Delany, Marilyn Hacker, Georgette Heyer, Sylvia Plath, Amanda Cross, Jo Walton, Ellen Klages, Dodie Bellamy, Dorothy L. Sayers, Neil Gaiman, June Jordan, Frank O’Hara.  I’m addicted to Ai Yazawa’s manga NANA. For the past few years I’ve been working my way through the complete run of Dark Shadows on DVD. I’m a huge soap opera fan, especially of the 1970s-80s show Ryan’s Hope and the still running One Life To Live.

Interview 2 with Jay Lake

Jay Lake. Photo © Roger Podva

Jay Lake. Photo © Roger Podva

Jay’s story “Shedding Skin; Or How the World Came to Be” appears in The Clockwork Jungle Book (Issue #11), and you can hear him read it here! (12mb, mp3 format)  His tale “The Black Back-Lands” also appeared way back in Issue #2. Jay’s website is at www.jaylake.com, or you can email him at jlake@jlake.com.

If you could talk to any author from the past, who would it be?  Why?  Who would you NOT want to talk to?

I’d love to talk to either Mark Twain, or whoever wrote the Epic of Gilgamesh.  Twain because I’ve always been fascinated by his outlook on life, as well as his wit. Not to mention, he’s one of the greatest American writers ever. As for Gilgamesh, I want to know if Enkidu was a Neanderthal.  Though Jan Potocki would be an interesting choice, as well.

I’m not sure there’s anyone I’d not want to talk to, because even the irredeemably vile have things to say.

And would you use a character to speak to that author, or yourself?

Oh, hell, so long as we have magic time machines or resurrection-interrogators, I’m having the conversation.

If you got to borrow a character [or several], who would you choose?

I love Wolfe’s Severian the torturer, but damn he’s a difficult fellow.  Speaker to Animals, maybe, from Ringworld.  Or Brother Brutha from Pratchett’s Small Gods, who has one of the best realized character arcs in fiction.

Do your characters talk to you?  Do you see the stories as images?  Do you ever argue with characters you hadn’t planned?

Yes.

Oh, did you want detail?  They don’t usually talk to me directly, but there have been exceptions.  Sometimes characters won’t do what I want them to, usually because I’m misinterpreting their nature in some fashion.  And I always see stories as images, without exception. Not movies in my head, not exactly, though the analogy has value.

Have you ever wished for a particular character — or idea — to walk into your story?  Has that happened?

I don’t think my writing works that way.  The ideas and characters are there when I need them.  If I wish for a particular character or idea, I write about them.

Do you ever get to a certain point, reading a story, and feel the click! as you have got to the point of no return/can’t stop now?  Does writing ever feel that way?  If you had to liken writing to anything, what would it be?

Yes, almost every single time. I write toward the click, then bring it home, whether it’s flash fiction or a 200,000 word novel.  Writing is like jumping off a high board and filling the pool on the way down.

What piece of writerly advice do you wish someone had given you?

More like, what piece of writerly advice do I wish I’d listened to earlier.  One of the best ever was Ray Vukcevich’s “Cut out all the parts that aren’t interesting.”  Took me years to begin to understand that.  But I remember going through all the larval stages of being a writer – “I’m an undiscovered genius”, “Publishing is a conspiracy of people who only publish their friends”, “Oh, crap, this is hard, I’ll never get anywhere”, etc.  If somehow, someone could have helped me step past those instead of through those, that would have been awesome.  Unfortunately, that’s a bit like wishing I could have stepped past adolescence instead of through it.

What kind of advice do you wish characters listened to?  Or offered?

If the little buggers would just do what they’re told, and let me know how the story comes out, we’d all be golden.

Is there something you do that no one ever asks you about?  This can be anything — something unusual you eat, playing poker as a day job, a hobby, whatever you like.

In this age of blogging and Twitter, I’m not sure there’s anything in my life that hasn’t been extensively discussed in public.  I don’t suppose anyone’s ever asked me my shoe size.

Particular favorites for books, movies, series, comics, blogs, etc.?

Howard Tayler’s Schlock Mercenary, for one.  Books of late, Robert Charles Wilson’s Julian Comstock.  In movies, reach back to Bliss, and Six String Samurai.  So much to choose from…

Interview 2 with Marissa Lingen

Marissa LingenMarissa Lingen’s story, “Kay’s Box” appears in the Clockwork Jungle Book (Issue #11).  Her other Shimmer story, “Pirates by Adeline Thromb Age 8,” appeared in the Summer 2007 issue of Shimmer (you can read her interview about that story here). To read more about Marissa, please visit her website or write her an email!.

Q: Did you ever want to write “just like” someone else?  Who?  Or was there any book that made you say “I can do better than this!”?

A: No, I don’t want to write “just like” anybody but myself.  We already have them.  I know how upset I’d be if my favorite authors had written just like someone else instead of like themselves.

Not exactly “I can do better than this,” but “I can do this,” which is very different: rereading Tamora Pierce’s Alanna series as an adult made me say to myself, yes, I can write YA.

Q: Do you have favorite characters?  Any characters, yours or others, are applicable.

A: Of my own characters, I love Orvokki from my Finnish stuff, and I really really love writing everybody in the Carter Hall stories (which have been in On Spec so far).

For other people’s characters, oh, too many to name.  Stephen Maturin in Patrick O’Brian’s books.  Colin Cotterill’s Siri and Dtui.  CJ Cherryh’s Florian and Catlin.  I am about equally fond of Aerich and Tazendra in the Khaavren Romances Steve Brust finished up a few years ago, which is strange because I am more Aramis-inclined in Dumas. Patrick and Ruth in Pamela Dean’s Secret Country books.

Q: Have you ever been disillusioned by a character or a book?

A: By a character, no, that’s not how I interact with character.  Disappointing someone is not the same as disillusioning them.

By a book–I remember the moment when it hit me that the 1970s Larry Niven novels I was reading had no room in their entire universe for women anything like me.  That was disillusioning but mostly disorienting.  Also the moment when Orson Scott Card’s Alvin Maker books shifted from reading to me like interesting alternate history fantasies to reading like they had an agenda (and I don’t mean a political one per se–having to hit historical spot x to have a conversation with historical figure y whether you like it or not is an agenda that doesn’t always jibe with the previous direction of the book and can knock the shape out of the story completely).

Q: How do you explain what writing is like?  Is it something that you think about?  Do you ever find yourself debating it with strangers?

A: I only debate this sort of question with strangers if the strangers are trying to insist on universality.  If they want to say, “Writing is like dancing,” that’s lovely, and I can poke at that and see if it
works for me and if so, how.  If they want to say, “Writing is like dancing *for everybody always*,” that’s not so good; I can’t work with that.

Every time I explain what writing is like, it’s something different again.  Metaphors are communication tools, not eternal truths.

Q: If you could choose any five literary people — real or imagined, living or not, friends or otherwise — for a tea party… who would they be?  A night on the town, karaoke, whatever suits.

A: I am fond of tea parties, but I’m afraid the answers aren’t obvious to me without picking a theme.  I could do Favorite Short Story Writers and get Octavia Butler and Charles Sheffield and Mike Ford back from the dead to have tea with Samuel R. Delany and Robert Reed.  That’d be good.  Or I could go with Fictional People Who Would Appreciate My Exquisite Beverage Choices, with Mervyn Bunter [Dorothy Sayers] and Kate Talgarth [Pat Wrede and Caroline Stevermer] and Alys Vorpatril [Lois McMaster Bujold] and Lady Teldra [Steve Brust] and Maati [Daniel Abraham].  Or any of a number of other themes.

Can I count Jon Singer as the obvious zeroth guest for any theme, because of his great personal versatility and astuteness about things culinary?  No?  Oh well.

Q: How did writing a theme story work out?   Is it more complicated than not having to adhere to a theme — or less?

A: I find writing theme stories either easy or impossible.  If I have something that cooks down into story in the right amount of time (writing is like stew!), then the trigger to have written it right then is useful.  If I don’t, I don’t really get anywhere good with it.

I wrote the pirate theme story in my sleep, literally: I went to sleep on the plane home from World Fantasy Con after talking to guest editor John Joseph Adams about his theme issue, and I woke up with the story completely formed.  That’s the only time that’s ever happened.  The Clockwork Jungle book theme was something I wanted to push myself on because The Jungle Book was such an important book in my childhood–I wanted my grandpa to have something I’d written that was directly inspired by something we’d shared.

He did not live to see this issue go to press.  But he knew I’d done it anyway, and that mattered to me.

Q: What was the absolute worst piece of advice someone gave you about writing?

A: I have run into people who are absolutely sure that if you want to write seriously full-time, you need to put on standard business clothes and keep standard business hours, 9 to 5.  If it works for
them, great, but as generalized advice it is the dumbest thing I’ve ever heard.  I start my writing day at 6 a.m. in my pajamas, and I take a break to work out and feed the dog and read and generally do other stuff.  If people think better in business clothes, why do so many ideas come to us in the shower?  Also it completely mistakes the purpose of standardizing hours, which is for the convenience of people who need to work with groups and have people available at particular times, neither of which applies all that much to writers.  Having a schedule is very different from having *that particular* schedule.

Q: Have you ever wanted to let your character[s] run your interview?

A: I could easily do an interview with some of my characters, but I’d only do it if there was some specific reason it seemed like a good idea.

Q: Is there something you do that no one ever asks you about?  This can be anything — something unusual you eat, playing poker as a day job, a hobby, whatever you like.

A: No, people are pretty nosy.

Q: Particular favorites for books, movies, series, comics, blogs, etc.?

A: I am sadly tone-deaf to comics.  I am not a visual enough person to appreciate all the things they’re doing, I’m afraid.  And mostly I let my lj feed keep my blogroll for me.

For TV series I really love Criminal Minds and MythbustersVeronica Mars is my favorite series ever–too bad it only had two seasons. (Please do not correct me.  Maintaining the illusion of the lack of the third season is *hard*.)

For movies, Galaxy Quest, Enigma, Sneakers, Desk Set, Real Genius.

For books, overwhelmingly many because life is good like that.  At the moment I am really looking forward to Marie Brennan’s In Ashes Lie, because after all the Tudor fantasies out there, I am *so ready* for some Stuart fantasy.

The Clockwork Jungle Book (Shimmer Issue #11)

Welcome to the Clockwork Jungle Book: our collection of twenty fabulous steampunk animal tales. We’ve got an origin story from Jay Lake, and a tale of the end of the world from Sara Genge. Stories set in London, China, Alabama, Castle Frankenstein, and the moon. We’ve got snakes and dinosaurs, elephants and wolves, bees and fish, birds and goats, and yes, even a monkey or two.

Delicious Reviews

“I want you to know that it’s constantly surprising, often mind-blowing, and well-worth the read. Plus, there’s this woodcut of a wolf riding a unicycle that you MUST see…” –Faithful reader C. S. E. Cooney

“…whimsical, beautifully written and presented… full of beautiful, fascinating stories.” Last Short Story.

“This was a flawless issue Shimmer.” SFRevu.com

Shweta Narayan’s story, “The Mechanical Aviary of Emperor Jalal-ud-din Muhammad Akbar,” has been reprinted in Jeff VanderMeer’s Steampunk Reloaded: Volume II.

172 pages, available in either the lovely print version or the economical electronic. Buy yours today!

Click the buttons below to buy either the sleek print version, or the DRM-free electronic edition.

Table of Contents

Shedding Skin; Or How the World Came to Be, by Jay Lake

Now, this one time Snake was foraging in the trees of Old Man Spark’s garden. He hadn’t eaten for three days, and he was hungry. You meatheads know the feeling, like when your mama ain’t made a bowl of mush since yesterday morning. Likewise you brassbodies, how when the lube tube is drained dry.

So here he was, Snake, with a body like an iron river, plates folded in on one another and clattering hard as he slid between the shining trunks looking for what wasn’t there no more. You see, Coyote had gone and hidden all the coal.

The Jackdaw’s Wife, by Blake Hutchins

It started as an innocent gleam amid the rust-frosted junkpiles of Theo’s Yard on the edge of the Great River. In this place and others like it, the denizens of the city of Ferae discarded their industrial leavings and unwanted oddities. Jackdaw pushed the goggles up on his sleek, black-feathered brow and clacked his equally black beak in wonder.

“What is it?” asked Badger.

The Student and the Rats, by Jess Nevins

Once upon a time, a student lived in a sprawling, ruined house in Ingolstadt. His name was Victor, and he was obsessed with discovering what made people live. He played with human parts and was eventually successful.

But before that happened, Victor played with rat parts.

The Mechanical Aviary of Emperor Jalal-ud-din Muhammad Akbar, by Shweta Narayan

Now Akbar-e-Azam, the Shah-en-Shah, Emperor of the World, who is called the Light of Heaven, has built markets and mosques and schools for his people of flesh and of metal and for the eternal glory of God. But he commissioned the mechanical aviary for himself and only himself. Not even his favorite wives could enter — only the Emperor, his slaves, and the Artificer, who is herself a bird of metal.

Kay’s Box, by Marissa Lingen

Kay’s human made things.

Most of the things he made didn’t work, and then he would swear and sob and shake. And Kay would amble over to the broken thing his human had thrown down, and he would turn it over and over in his slender, clever hands. When Kay did this, his human nearly always stopped crying. Then Kay would go to the human’s tools and find what he needed to make the thing right so that his human would stop crying.

Otto’s Elephant, by Vince Pendergast

Otto looked at the elephant’s joins, its rusted flanks, and its mud-splattered underside. “Now I know you’re making sport of me. That’s just the master’s tractor, and I’m its driver.”

“Tractor?” The old man let out an astounded breath. “No insult to you, my boy, but do you really have no idea of what a special creature you ride?”

Otto, doubtful and curious in equal measure, leaned in closer to the old man. “What do you mean?”

So the old man began his tale.

The Monkey and the Butterfly, by Susannah Mandel

Once there was a parlor Cat, who lived with an elegant Lady in —- Square. She had lovely long locks, brilliant gray eyes, and the most delightful plump little white breast. (At least, so had the Cat, and if you told me that her Mistress did too I would have no reason to doubt you; but this story is little concerned with Ladies and Gentlemen, for it takes as its subject primarily the smaller — but far more interesting — people who share their homes and sleep upon their hearth-rugs.)

Message in a Bottle, by James Maxey

When the bulletship passed over the south pole of the moon, … Cyrus announced, “There’s a city down there.”

Fifty miles below, in the shadow of a crater, a glass dome twinkled in the starlight. Beneath the dome were the dim outlines of avenues and buildings and dull gray fields. For the first time since they’d been shot from a mile-long rifle dug into the heart of a mountain, flying into space in the belly of an oversized bullet, Nathan felt as if his impending death might not be a senseless one.

The Clockwork Cat’s Escape, by Gwynne Garfinkle

The clockwork cat was running down, but its owners refused to visit the cat-maker’s shop to buy a new pet. Again and again they wound up the cat.

No matter how often they turned the key, the cat’s heart ticked ever more slowly. Its gray pelt of fine wires, which once had felt like fur, was rough and uneven from years of petting. Its whiskers had long since snapped off. Its metal claws were dull. Its meow sounded like plaintive tin.

The Wolf and the Schoolmaster, by James L. Cambias

When I returned to Totenburg after three months in the hills, the changes astonished me. Most of the damage of the War of Restoration was gone. Where there had been blocks of ruins, machines were digging foundations for new towers of glass and steel.

I steered my steam unicycle through the streets, hoping for enough pressure to make the climb to the castle. As I chugged past a group of old women bringing baskets back from the city market, I gave them a nod and salute. “Good morning, Citizens!”

They stared at me, a little fearful. I didn’t mind. Before the restoration they would have cowered in terror, and they would have been right to do so. The Baron Von Tod occasionally turned us wolf troopers lose on civilians when he thought they looked rebellious, or when he was in a bad mood, or just bored.

A Garden in Bloom, by Genevieve Valentine

The day Pieter van der Rijsen received news that he had made his fortune, he commissioned the garden. He had never been outside his own home to see the world and had no wish to see it, except for letters from his offices abroad and the view of the street from his dining room window; but being acquisitive by nature he wanted an enclosed garden as lavish as those in Babylon.

All metalworkers in the country were put to work, and still it took a year. The tin daisies were ready first, and they were planted as soon as the beds were marked. Later came the copper crocuses and brass pansies, lead reeds, nickel clover, iron mums, platinum roses, rhodium honeysuckle. The mums were cast from molds, the roses hammered together petal by petal.

And How His Audit Stands, by Lou Anders

“Clampton steam engine number twenty-three oh six, pre-incorporeal name Jones, John Luther. ‘Luther’ for short. Always an unreliable locomotive. Made a break for it last night under the distraction of a fire at L and N Station, headed south on the Queen and Crescent Railroad. You’d better get started on its trail at once.”

Birmingham rose, tucking the folder under an arm. Under the guise of his best poker face, his heart sank at the task ahead.

“And Birmingham,” said Smyth-Pebbles as the ranger reached the door, “the Phlogiston Flask is returned intact this time, or I’m afraid this will be your last ride on the Crown’s authority.”

The Story In Which Dog Dies, by Sara Genge

There must come a time, O Best Beloved, when the World will end. This is mostly a sad thing, but it can’t be helped. The World must end and that’s that.

This is the story about Last Man and Dog. In fact, I’m afraid this is The Story In Which Dog Dies. I’m telling you now, O Best Beloved, because I don’t want you to cry later on. Most stories about the End have dying things in them. Again, there’s nothing to be done about it. That’s what the End of Time is all about.

A Red One Cannot See, by Barbara A. Barnett

Philbert pressed his snout against the glass. The Bénédict’s windows were angled out so that one could watch the sea passing beneath the dirigible, but Philbert fixed his gaze further in the distance, where the island was coming into view.

“It will be a lonely ride, lémur-homme,” his mentor had told him before his departure — the human mentor who had taken him from the island years before and given him the name Philbert. “Have you not thought that there might be a reason so few of your kind return to the island?”

The Fishbowl, by Amal El-Mohtar

The Fishbowl wasn’t a bowl at all, you know. It was a tank that spanned a whole wall in Doctor Montrouse’s laboratory. It made up the wall, in fact, from ceiling to floor. He kept it immaculately polished — or rather, I did. That was part of my morning duties, that no speck or smudge on the reinforced glass might impair his view of the fish.

They were so beautiful, those fish. There were twelve of them, each a little bigger than a man’s fist, and colored in motley enameled patterns of red and blue and gold. They moved very slowly, sometimes swimming, sometimes floating through the dense amber liquid that, along with the thick glass of their tank, helped muffle the clickings and whirrings of their gears. They looked like ballroom masks, like jewels, and smelled of clove and frangipani whenever we drew them out for minor adjustments.

His Majesty’s Menagerie, by Chris Roberson

From where he stood on the sandy banks of the Periyar River, Tippu Sultan could see the remaining survivors of the forces of Rajah Keshavadas, the Dewan of Travancore, making a last, desperate stand against the Khudadad invaders. Over the shouts of the defenders, and the bark of musket-fire, and the whistling fusillade of the Khudadad rocketmen, Tippu could hear the strange, wheezing growl of the clockwork tigers, and the clatter and crash of their vicious brass jaws.

The Emperor’s Gift, by Rajan Khanna

Zhen had always loved the pandas.

At first, they’d been a distraction. On the days when Zhen asked about her mother and Syam couldn’t find the right words, he would take her to the preserve and together they would watch the pandas, and the world of pain and grief and mourning would retreat for a while.

 

The Clockwork Goat and the Smokestack Magi, by Peter M. Ball

Attend — in the darkest streets of Unden there lay a coal-filled fen known as Moloch Alley, a place filled with men who possessed souls with the consistency of smoke, stained and dirty, willing to drift with the whims of the wind and disappear, poof, when the storm winds whistled between the looming factories. A cold place, and a mean one, the air thick with black smoke and men cursed with black lungs and wicked coughs and few hopes for the future.

And into this alley walked a clockwork goat, trip-trapping, tick-tocking, marching stiff-legged and determined down the soot-stained cobblestones. It walked into the darkness until it arrived at the copper door of the Smokestack Magi’s home, a portal laid flush with the bellowing red brick chimney of a smelting house, as though one could walk through it and into the roaring furnace beyond.

The Giant and the Unicorn, by Alethea Kontis

In the beginning, the Toymaker fashioned the Box. In the second year, he scattered his power throughout the Box and made the heaves and the stars. In the third year he cast the cogs and wheels, the grasses and the trees. In the fourth year he formed the animals: the bear, the fox, the dragon, the griffin, the monkey, and the unicorn. In the fifth year he forged the Giant, in his own image, so that the Giant might rule and maintain peace over this great land. In the sixth year he uploaded Sentience and Symbiotics; he breathed life into his creations and set them free. He looked down upon his work and knew it was good.

In the seventh year, spent from his task, the Toymaker lay down and died.

 

Mockmouse, by Caleb Wilson

“I’m hungry,” said Mouse.

“Me too,” said Mouse.

“When can we eat?” said Babymouse.

“Our food stores are empty,” said mouse.

“Woe!” said Mice.

At that moment, the small plank Mice had dragged across the entrance to Micehall split apart and in strode Mockmouse. Mockmouse was built of rubber and tooled titanium, with red beads of ruby for eyes shining in the dark of the crawlspace.

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Interview: Jessica Paige Wick

Website: mer-moon.livejournal.com
Email: jessica.wick@gmail.com

Q: If you could talk to any author from the past, who would it be? Why? Who would you NOT want to talk to?

A: My answer depends on a couple of things. Do I sound like an intelligent person from their era or are there going to be dialect and accent issues? What about language issues or social issues (i.e., be silent, woman!)? I’d really love to be friends with John Keats, but I’d probably blush all through a first conversation with him and I wouldn’t be all that intelligible. I’d like to talk to Lord Dunsany, too. I bet he was fun; that he’d appreciate storytelling games, and I’m all about those. Can’t think of anybody I wouldn’t want to talk to! Maybe Hemingway. Oh! Wait, I know — I’d hate to have to talk to Jack Kerouac, because the entire time I’d be wanting to beat him up for magnificent jerkitude, and that would get distracting.

Q: And would you use a character to speak to that author, or yourself?

Jess: That depends, again. Is it me pretending to be that character, or is that character alive and in-the-flesh? If we’re talking Option A, definitely not. That would be too strange with somebody I didn’t know very well! But if we’re talking Option B —

Jack Fox: Heh, heh. Don’t worry. I’d keep a sharp, black eye out. Seems like fun. Keats, you say? Did he write about foxes? I think not. No respect! We could teach it to him — poor boy, I’d help him out with his ‘oh, boo hoo, I love her, but I’m dying’ and his ‘oh, I’m the nice poet in these here parts’ piffle. I think we’d get on rather well, John Keats and I —

Jess: — erm. Decision made. I’d just speak to the author as myself. I have some very intelligent, eloquent characters — but they wouldn’t necessarily care to have the sort’ve conversation I’d care to have.

Jack Fox: Boo. We could both

Jess: Maybe Jack Kerouac.

Jack Fox: World? Take note. Authors are pestiferous, and they want you to give them grief.

Q: If you got to borrow a character [or several], who would you choose?

Jess: There are so many characters I’d just like to hang out with. But borrow? That’s a tough one. I’d like to steal — er, borrow — a few of Alex Dally MacFarlane’s characters. I’d love to be able to reference other author’s characters in a short story of mine, just as if the universe of my book was shared with theirs. I just can’t think of who those would be right now. Honestly, I’d much rather borrow worlds — and I don’t even want to use the word ‘borrow.’ I’d rather say ‘share.’

Jack Fox: Now, now, my little chicken tartlet, let’s not be too hasty. I have a few suggestions —

Jess: Which we’ll not be sharing.

Q: Do your characters talk to you? Do you see the stories as images? Do you ever argue with characters you hadn’t planned?

Jessica: Well —

Jack Fox: Ahem. I’ve got this one. We do. We’re all about rending the veil, etc. I tell her and tell her that as long as she keeps makin’ me look good, I won’t include her in any of my pranks. It’s just not fair to blame me for that time with the bus, even if she did see a fox-tail — any authoress deluded enough to speak to her fictional creations is deluded enough to imagine the flick of a very handsome if-I-do-say-so-myself tail nearby.

Jessica: There is often a lot of argument. With the characters I’ve planned, since they don’t always behave themselves —

Jack Fox: Ooh, a goose.

Jessica: — but also with those who just decide that they need to come into existence. The unplanned characters are usually very insistent, and then all former bets about where the story is going are totally off. I’ve woe-me’d to Amal El-Mohtar quite often about this sort of thing.

Q: What piece of writerly advice do you wish someone had given you?

I’m honestly without wishes here. The advice I would give to anyone who was looking to it, however, is this: Find other artists. They’ve saved me, time and time again; without people who also take joy in making stories I think I’d be a little lost and a lot sad. I find we share things, like advice, and also support. Great things happen when creative people are mixed together and are given a free pass to be as eldritch, distracted, silly and wild as they want. Or not.

Q: What kind of advice do you wish characters listened to? Or offered?

Jess and Jack Fox and Every Other Character She’s Ever Written: HAAAAA. Ha, ha.

Jess: I don’t find characters listen to advice at all. And I know I don’t listen to what I know they’d like. They’d live much happier, easier lives if I did that. I often have pangs of guilt when I’m writing something that I know is really actually quite cruel, but that often seems to just be the way the story wants to go.

World Fantasy’s Just Around the Corner…

Shimmery readers!

We hope to see you at World Fantasy in San Jose… only days from now. Some of the Shimmery crew will attend. Among them: Shimmer editor-in-chief Beth Wodzinski, plus editorial assistant Sean Markey, and associate editors Christie Skipper and Grá Linnaea. Drop us a line if you’re going to be there and would like to get together.

FYI: Make sure you already bought your 2009 membership, as the con is sold out; people are looking for memberships now on the WFC lj page.

See you there!

Best Horror of the Year V1

I learned last night that four Shimmer stories got the coveted Honorable Mention in Ellen Datlow’s Best Horror of the Year Volume 1! Woo!

The stories are:
The Hand of the Devil on a String, by M. K. Hobson, Issue 9
The Shape of her Sorrow, by Joy Marchand, Issue 9
Dresses,Three, by Angela Slatter, Issue 8
The Hummingbird Heart, by Angela Slatter, Issue 9

Congrats, authors! I’m thrilled to see these stories getting recognition.

We put Issues 8 and 9 on sale a little while ago when stories from those issues got nods for Best American Fantasy; the sale’s still on. Here’s your chance to get these issues for a very affordable cost.

Best American Fantasy 3 picks “Flying and Falling”

Fantastic news — Kuzhali Manickavel’s story from our Art Issue has been chosen for Best American Fantasy 3, edited by Kevin Brockmeier and Matthew Cheney! What’s more, two Shimmer stories were selected for the BAF3 Recommended Reading list: Aliette de Bodard’s “Within the City of the Swan” from the Art Issue, and our cover story from Issue 9, M. K. Hobson’s “The Hand of the Devil on a String.”

We’re thrilled! Congratulations to Kuzhali, Aliette, and M. K. Hobson!

To celebrate, we’re having a sale on those issues: $3.00 off! That means:

  • Issue 8, print edition, $3.00 (plus shipping); electronic, only $1.00.
  • Issue 9, print edition sold out, but you can still grab the electronic for $1.00.

Order your copies today, and read these terrific stories for yourself.

Spotlight On: Alex Wilson

Alex Wilson
Alex Wilson

Here’s a special treat: a video of Alex Wilson reading part of his story, The Spoils of Springfield, from Issue 10.

I love this story for its insightful social commentary and gruesomeness. Also, it cracks me up. Alex’s reading does a lovely job of conveying all those elements.

Want to read the rest of the story? Grab your copy of Issue 10 today, either in the free electronic version, or a sleek print copy.

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