Sunday Funnies: It's a warning, not a roadmap!

[Link] Small Changes

by Emily Miller

There is obviously a political context to this post. A context that difficult things have happened and more difficult things are likely to happen in the future. For people like me, and maybe you, there is a sense of powerlessness, a sense of what we think and what we do doesn’t really matter. 

I also feel like I don’t recognize my country, or maybe that I just hate what my country has clearly become. It’s dispiriting, paralyzing even.

In the face of such challenges, this is not intended to be a pep talk. It is not intended to be a rallying cry (even I’m not quite so narcissistic as to think anyone would rally to a cry I made, I’m nobody). But, contrary to my parenthetic words, this brief article is about the things that a nobody like me – maybe like you – can do. And it’s not hypothetical, it’s based on small things I have actually done, small things I have actually achieved.

So, I write erotic literature if I am feeling pompous, and I scribble porn if I am in a more realistic mood. Some people expect me to be ashamed of this. I’m not. I think any form of consensual and legal sex is a blessing to be cherished and celebrated, not something dirty to be hidden. And it’s fun to write, I deal with real human emotions, as well as procreative bodily functions. 

What difference can smut make in the world? Well maybe not a lot, certainly with my limited audience, but not zero difference either. Here are four examples of small changes I have made in people’s lives through what I write.

Read the full article: https://emilymillerlit.wordpress.com/2024/11/07/small-changes/

[Link] One More Vital Reason Why Community Gives Me Hope

by Charlie Jane

Hi! I wrote a book a few years ago called Never Say You Can't Survive, about using creative writing to get through hard times. I believe that the act of making up stories, creating imaginary friends, getting lost in the fictional worlds you create, can help you make it through some really scary shit.

In fact, I'm here in one piece right now because I've been writing a ton of utterly bizonktastic fiction and comics. I wrote a whole young adult trilogy about queer teenagers fighting space fascists! And I co-created a trans superhero named Escapade for Marvel Comics, and basically I've been goofing around.

A copy of one of my books. I scribbled "Keep daydreaming. Daydreaming is important, serious WORK!!!" And I drew a silly cat picture. Over that is written DAYDREAMING IS THE OPPOSITE OF DOOMSCROLLING

Lately when I sign books for people, I often write the same phrase: "Keep daydreaming. Daydreaming is important, serious WORK." And I usually add a terrible cat picture.    

My motto these days is that daydreaming is the opposite of doomscrolling. So I absolutely believe creativity can save us — and help us save each other. And yet, nothing could have prepared me for the time we're living through right now.

My books are banned in a handful of places, and trans healthcare is becoming illegal in even more places. You honestly can't know what this feels like, until it happens to you. My words and my body are both outlawed.

And I'm bombarded with rhetoric about how my very existence is dangerous. Seeing this image of a dumpster full of queer books outside New College in Florida felt like a slow kick in the solar plexus.

Read the full article: https://buttondown.com/charliejane

DEI and the Teaching of American Literature

For the record, as a lit/comp teacher, I integrate writing from all racial/cultural lines possible within a given unit. For example, for the founding documents section, we not only look at the Declaration, Constitution, and Bill of Rights, we also read selections from Incidents in the Life of a Slave Girl so students can see how the US failed to actually implement life, liberty, and the pursuit of happiness promises to those who weren't white, male, or land owners. 

In our unit on the Individual and Society, we examine writing from Booker T. Washington, Emily Dickenson, T.S. Eliot, and Walt Whitman, along with an extended study of American Born Chinese (the graphic novel). 

In our unit on Power, Protest, and Change, we look at the literature that confronted inequity and led to changing status and rights for women, workers, and African-Americans. This includes works by Frederick Douglas, Sojourner Truth, Abraham Lincoln, Langston Hughes, Upton Sinclair, and an extended study of Kate Chopin's The Awakening.

[Link] Writing as Resistance

by Tim Waggoner

You’re a writer.

You live in a world that has problems – a lot of them – but you’ve always seen glimmers of light in the darkness, and they’ve encouraged you to keep writing, even if you sometimes wondered what the point was.

Then November 5, 2024 happened in America, and now you’re looking at January 20, 2025 careening toward us like an out-of-control freight train, and you see the famous line from Dante’s The Divine Comedy flash across your mind like the blazing letters on a Times Square jumbotron – “Abandon all hope, ye who enter here.” You’re well aware people sometimes quote that line as a joke, but you don’t feel much like laughing right now.

And you may not feel much like writing, either.

Dreaming dreams then translating them into words on a page (or screen) for others to read might seem like a ridiculous activity in the face of what’s coming, and I get that. But there are good – maybe even vital – reasons for you to keep writing.

Let’s talk about some of them.

But first…

Read the full article: https://writinginthedarktw.blogspot.com/2024/11/writing-as-resistance.html

LGBTQIA+ Writers, Characters, and Books

Hey, LGBTQIA+ writer folks!

For the next roundtable, I want to talk to you in particular. I want to know what the independent and small publishing world looks like for you.

Do you feel welcome in the world of independent and small publishing? At cons, in stores, sales? Why or why not?

October Santerelli: I feel welcomed by authors and readers, and given lip service by some small press who claim they want to be more inclusive and don't demonstrate it or big houses. I mention ace or queer characters and people pick up the books just to read about them, so I know I have stories readers want! Cons are good, stores have not been great, I keep getting brushed off. My sales are phenomenal when I get in front of people, but I feel like algorithms and some sales folks and such are just...suppressing LGBTQ+ content or ignoring it.

Inka York: In the online world, I definitely feel welcome. There are some great spaces with excellent support, authors lifting each other up, and readers throwing themselves into ARC and street teams. I can't speak for cons or bookshops because they're not a priority for me. Most of my sales are ebook (like 99% of them), so my most recent releases don't even have print books.

Sarah Marshall Malluck: I feel welcome as an independent author at cons and sales tables. Most people will let you know if they are not interested in a same-gender couple.

I also write MF pairings, so my sapphic/mm romances don’t sell as well to my audience that reads the MF pairs. I find most readers like to read set tropes, couples, etc. Myself included. I’ve read almost exclusively MM romance for about two years now. Of course, some readers will read anything in a genre. It’s about finding the audience.

I’ve had more pushback on writing about witches than homosexuals. I live in GA by the way.

DL Wainright: Cons are my bread and butter, when it comes to book sales, and I typically feel very welcome at them. There's often at least one pride flag on my table at events, and it doesn't seem to deter many, and in fact draws many in who are seeking stories with representation. I can't speak about small publishing or any of that, as I self-publish, but I know many folks who publish through smaller print presses which specifically exist for queer fiction. Because I'm self-pub, I'm print-on-demand, which most stores won't carry without specifically asking them to. A popular local bookstore carries my stuff without any issue. At first, though, they put it in the queer lit section and I had to suggest they either move it to horror or YA, so they moved it to horror. That was the only hiccup. 

James A. McDonald II: As a transgender individual much of the world is not particularly welcoming in general at the moment which influences things. There are locations that are more friendly/welcoming than others, in fact there are locations that are downright unsafe for me to go. People have become emboldened to be more openly hateful and violent toward trans people which makes me more cautious about travel and who I engage with.

What in your mind goes into a book being LGBTQIA+ focused or friendly? Must it be written by an LGBTQIA+ writer?

Emmy Anthony: An author in the community helps. Characters that are more than a stereotype are very important. My female protagonist has a gay male best friend but he is not the rom-com comic relief. He protects her and loves her like a sister when she needs it most, for example.

James A. McDonald II: Representation matters, but representation beyond the token and the stereotype. Not every gay man is effeminate, lesbian a butch, and trans woman a catty obvious dude in a dress. Bisexuals, trans men and so much more exist. Go beyond the stereotype and create whole complex characters. I think it is also a disservice to make LGBTQIA+ characters too perfect. That gives the perception that nothing bad ever happens to them and that is also false, give the characters space to be more than token mentions. In my mind to be LGBTQIA+ friendly a major character has to be LGBTQIA+ and it a known fact within the story, perhaps even a minor plot point. I.e. The character is nervous about their partner meeting the parents or the friend group, etc. To be focused a main character has to be LGBTQIA and it has to be a plot point. 

I don't think it must be written by an LGBTQIA+ writer, but I think if the writer is not they should do a lot of research, spend a lot of time engaging with the community they are trying to write in a respectful way and they should have several individuals from within the community/sensitivity readers read over it to ensure that they are not missing some nuance. 

DL Wainright: It used to be that we basically had two kinds of stories that contained queer characters: mainstream books where a queer character was a villain or comic relief, or "queer lit," which was heavily focused on the queer experience. But nowadays there are very mainstream stories where the protagonists are queer, and it isn't about THAT, it's about the standard hero's adventure. I often bring up She-ra and the Princesses of Power, and I'm going to do it again here. That story has a ton of queer characters, including She-ra herself, but the story is about the conflict between different factions and the threat of Hordak, etc. Stories like that, I don't think need to necessarily be written by queer authors. But if it's something like traditional queer lit, where it's about the EXPERIENCE of being queer, then that's a subject for own voices. Basically: anyone can write about a princess who saves the world and falls in love with a cat girl, but only someone who is bi should write a story about a girl in high school who's struggling with her bi identity. That's not to say the princess can't be struggling with her identity, too, it's just about framing and what the actual focus is of the narrative.

Evan Peterson: While there is definitely the presence of misconceptions and microaggressions within the alphabet towards other parts of the alphabet, I still find myself much more wary of cis-straight writers writing queer characters. I won't avoid them, but I do approach them more guarded and prepared for disappointment. 

Inka York: I don't write LGBTQ+ fiction, by which I mean my books are not about BEING LGBTQ+, so I don't market/categorise them that way. I write queer casts, stories about kicking angel/demon/vampire/whatever butt while being queer, or paranormal pirate adventures but everyone is gay. And I write these queer casts because when I was growing up I didn't have books where everyone was as casually queer as they were casually cishet.

I genuinely don't care what people write, but if I'm reading LGBTQ+ focused books, I favour own voices because authenticity is important to me as a reader. I don't think it's my place to tell other authors what they should and shouldn't be writing.

October Santerelli: It doesn't have to be written by an LGBTQ+ person! One of the best books I ever read was written by a middle-aged cisgender Christian mom in her 40s. The queer character was a side character and helped the main character realize human is human and love outweighs intolerance. What makes a story LGBTQ+ friendly is giving us stories outside the stereotypes and letting us and our existence help tell a tale, any tale. Humanizing us. I feel like LGBTQ+ focused is coming out stories, queer romances, etc. Things that inherently focus on the aspect of queer as a story-driving element. But any story with a developed character who is LGBTQ+ is queer-friendly.

Sarah Marshall Malluck: For a LGBTQIA+ focused book, the writer needs to tell the story in an authentic way without villainizing the character because of their sexuality. I mean the character can be the antagonist as long as it’s not tangled into their LGBTQIA+-ness. Anyone can be a dick.

As for friendly, treating characters as you would a cis/straight character is important. Don’t make a big deal about it. Like “This is my friend Bob and his boyfriend Pete. Can you believe they met at the post office?”

I highly suggest hiring a sensitivity reader if you write a character that you do not have a similar lived experience (this includes different cultures and race). I hired a sensitivity reader for my sapphic romance even though I’m pansexual, because I’ve been in a straight passing relationship for 20 years now. I want to be respectful.

Continuing from that previous question, what are some issues you have seen -- both helpful and harmful -- that ally writers who aren't living in the life of an LGBTQIA+ person do well or do poorly? What more can they do to be an ally who is a writer?

Inka York: This may ruffle some feathers, but I think LGBTQ+ authors are just as capable of writing harmful messages as allies. We're not a monolith, and some of the hate is coming from inside the house from folks who, frankly, should know better.

I can't say I've read anything glaringly horrible from an author who's a known ally, and if their sexuality/gender identity isn't known, I'm not gonna go looking. There are enough readers and authors out there trying to gatekeep queer stories by outing authors or forcing them to out themselves, and it's repulsive.

I always recommend authors get a sensitivity reader or two if they're including experiences vastly different from their own. It's easy to say "avoid harmful stereotypes," but you don't know what you don't know. If you're not part of the demographic yourself, you may not be aware of the nuances of microaggressions and dogwhistles, for example. Casual inclusion of side characters is enough if allies want to add representation but would feel out of their depth doing more. Just acknowledgement that we exist and are normal like everyone else. There are online groups to help with that too.

October Santerelli: In my work as a sensitivity editor, a lot of what I see is trying to step into a lived experience they don't have. It's easier to write about a trans person from an outside perspective if you are cis and have met a trans person, it's harder to get in their head and write the genuine experience of it without said experience. I see them want to include representation without knowing how to do do without making a huge deal out of it, too, but some of my favorites have been when characters talk about their two moms or casually mention a boyfriend. I love, as an example, the jock in the movie Paranorman. The whole movie he is a stereotypical dude bro, the cheerleader is flirting with him, at the end she asks if he wants to go see a rom-com sometime...and the jock goes yeah, can my boyfriend come? He's a chick flick nut. No big drums, not even making a scene about it at the start, just letting this character be who he is and letting it come up naturally in the story. The more normal you write us, the more normal we seem!

Sarah Marshall Malluck: If an ally asks questions of the community while writing, they tend to create a better story with realistic characters. You can spot a writer who makes assumptions pretty quickly. Not all non-binary people are androgynous. Don’t write all your LGBTQIA+ characters to stereotypes.

An ally who is a writer should be open about their work, don’t back down when people are openly homophobic/transphobic, do the research, do the work, and accept constructive criticism. Allys need to step up and openly support the community.

James A. McDonald II: I have seen ally writers underestimate the fear and sense of danger that comes with coming out, particularly as trans. I believe this comes from a place of feeling like it shouldn't be a big deal but in reality it is often terrifying and sometimes dangerous. This can be particularly true in other time-frames. They can also treat hormone therapy as though it cures the feelings of dysphoria immediately when that is not usually the case. Dysphoric feelings can continue long after hormones and even some surgery, it is all very dependent on the trans person.

Ally writers often do a great job of writing themselves into the characters' lives. What I mean by that is they often include ally characters that are supportive and there for the LGBTQIA+ character which I think is great because it can be both a model for others and a way to give hope to LGBTQIA+ folks going through hard times. It can be harmful because it can also paint the picture that LGBTQIA+ folks always need saving from bigots, it depends on how it is written so just a word of caution. 

The last piece of caution I would ask for is to watch for accidental fetishization, this is particularly true for gender nonconforming/genderqueer/transgender people. 

I think something that could be really powerful is for ally writers to ask what stories LGBTQIA+ people wish were told more. What experiences we wish were better understood by others. Even if the experience is seen from an outside perspective it might still bring interest to it and folks might start looking for stories written from a LGBTQIA+ perspective.

I want to add I would love for the character being LGBTQIA+ to be the least interesting thing about them, but also avoid the "oh yeah Dumbledore is totally gay" Retcon effect. If that makes sense.

Evan Peterson: If you're straight and cisgender, are you intentional in why you want to include queer characters? Do you have a strong circle of queer friends/family/peers who give you firsthand awareness of our lives and struggles and who would feel safe calling you in of you wrote something harmful, stereotyped, or problematic? I question how a cis straight writer can write honest queer depictions without really knowing the queer experience. Utilizing sensitivity readers (I hate that term) could also be helpful. And most important, listening to criticism when it comes without succumbing to the knee-jerk reaction of getting defensive is an important quality for all writers to have, but even more so for those who are writing any marginalized background they haven't themselves experienced.

DL Wainright: I have seen straight authors force a heteronormative perspective onto queer couples in narratives (basically, assigning one person the "male" role and one the "female" role, despite the actual genders of the couple). People also like to demonstrate that the guy is trans by making him short and fae-like, and that the woman is trans by making her really tall. And, like, I'm trans masc and am taller than my cis husband. My point being that cishet authors tend to very obviously be affected by this erroneous perspective that we have been fed in narratives for a very long time that all boys are like A and all girls are like B and that's just how things are. When in truth humans are gloriously diverse. There are cis women who aren't typically effeminate in the way that would fit that box. Likewise, there are cis men who don't like or do the things men are "supposed" to like and do. When we say that gender is a spectrum, that encompasses every aspect of one's gender, including how they present, and how they "perform" gender. I think a great first step for a cishet author, in helping them improve how they write queer characters, would be for them to start breaking out of boxes when it comes to even just writing cishet characters. Look around you at the people you know, not at characters in shows. Look at your family and your friends. Really consider how varied they all are in how they dress, their interests, their relationship dynamics...but also look at the similarities regardless of gender. And I want to note, I'm not asking for "She's not like other girls" kind of stuff, I'm asking for more realistic depictions of human beings. Once you can do that with cishet characters, then you will be better equipped to try your hand at folks who challenge the norms even more. 

Emmy Anthony: We can all work on non-gendered or neutral characters. Fourth Wing by Rebecca Yarros has several bisexual characters and that fact is only acknowledged in terms of which dorm room they happen to be seen sneaking out of. I like that. Sexuality isn’t someone’s whole identity.

Mari Hersh-Tudor: One of the most egregious sins hetero writers commit is the Character Cliche: it’s lazy writing that depends on the reader’s brain to fill in the details by sketching an outdated incorrect empty wrapper instead of writing a fully nuanced actual character. Examples include the power-tool-toting bull-dyke with a buzz cut and a flannel shirt and a red pickup truck. Or the effeminate gay man in pink bunny slippers with a lisp and a muffin bakery.

These are extreme examples but dead giveaways that the author is a cishet without a clue.

LGBTQ characters are just *people,* folks. That kid next to you on the bus. The old lady feeding squirrels in the park.

I don’t believe that LGBTQIA books are required to address certain issues or have a minimum body count of non-cishet characters. While that’s certainly an established genre, there’s plenty of room for good solid fiction that just happens to have a more accurate population.

How is the publishing world changing for you? Is it becoming more or less accepting? Do you find readers to be more or less progressive when it comes to gender identity and sexual identity culture?

Emmy Anthony: I as a romantasy writer feel pinned. I would like to have a gay/lesbian main romance arch but the majority of readers seem to expect heterosexual main characters with LGBT friends.

DL Wainright: The reason I self-published was because back when my first book came out, it was like how I described before, where books with queer protagonists had to be about the queer experience itself. And mine wasn't, it was about monsters that ate people and a group of queer young people dealing with all of that. So back then, no agent was interested because they wouldn't have been able to sell it. Now YA is booming with queer content, and I've had agents express interest in whatever I come out with after this series (as they can't use something already in print). The publishing world is definitely changing, with YA leading the way when it comes to quality queer representation. The market targeted towards adults is getting there at a slower pace, likely because of the differences between generations when it comes to views on queerness. If you go to cons, you can often find indie authors with adult books featuring queer characters, because that's unfortunately still their best option until the publishing world catches up. Talking with customers at cons, I fully believe the market is there, especially considering that Millennials are aging (I'm in my 40s, for example), and we're a generation that's very queer and want to continue reading stories with representation beyond things for teens.

Mari Hersh-Tudor: I find the publishing world has some welcoming established genres for queer characters, and that’s a definite improvement from 50 years ago. I don’t see much that breaks out of those safe lanes, though, like a serious gay James Bond, for instance.

Cons and fairs are much more welcoming than they used to be.

The paradox of having established queer lit genres means that those have become the only acceptable outlets, and god help you if you try to publish a round peg that doesn’t fit in those square holes. So while there are more outlets, they are narrowly defined and can be restrictive.

James A. McDonald II: I think there are niches in both directions. I think reader response really depends on genre and where your work is shown, obviously there are groups that are going to be very vocally opposed to anything LGBTQIA+ but there are also groups who are incredibly supportive. This might be the biggest change that the division is bigger and more obvious than before, and those opposed are much more vocal and aggressive.

Sarah Marshall Malluck: Being an indie author, I find that readers are becoming more progressive. There is a higher demand for books with diverse gender identity and sexual identity. I also think these next few years will be difficult for authors who write in that space due to the political climate. But this is not the time to hide. I can pass for a cis straight woman, but I choose not to because there needs to be more voices to push back against the chaos. I want people to know I’m a safe space should they need it.

October Santerelli: Right now, the industry is a weird mix. A lot of places are becoming more hostile, I've seen some small press in solid Red states pulling back from publishing or acquiring these stories. But then there are places like Penguin putting out open, unagented submissions for books by queer authors and more small houses and imprints starting just to lift our voices. There's a push in both directions and it's going to get rough. There's no doubt about that. Readers themselves are just as divided. Videos asking for more queer authors, Trans Readathon, and booksky influencers who love their rainbow flags are just as common as influencers telling people to DNF books as soon as they see queer content, people trying to ban books from libraries and bookstores, and people threatening, harassing, or questioning queer authors. A friend who is a MULTIPLE TIMES NYT bestseller dreads podcasts about their work because 9 times out of 10, they are asked why someone is queer and they hate having to defend our existence in a story by one of us for us about us.

Inka York: I write a lot of romance, and readers lap that shit up. Queer media is doing big numbers all round, so yes, I think the audience is becoming more accepting. I'm not focusing on those who are less accepting because they're not my people. I don't think about them at all. I only care about my readers and those with the potential to become my readers.

The biggest change for me in recent months is that readers are coming around to the idea of buying direct from me. Direct sales for fiction was virtually unheard of a few years ago, but that's not specific to any niche or demographic. It's just an observation. LGBTQ+ folks have a tendency to be more sceptical of big corporations dipping into their pockets than the population at large, though, so I think they're more willing to support creators directly. I think we're going to see big movement in direct sales and subscriptions over the next few years.

Movie Reviews for Writers: Kate Chopin: A Reawakening

Full disclosure. I teach Kate Chopin's The Awakening every year to my students when we reach our unit about literature as protest. And I fully believe her work is as seminal to the feminist experience as the works of Langston Hughes, W.E.B. DuBois, and Zora Neale Hurston are to desegratation. Not only that, it's a master class in writing outward clues to the subtle inner life of a character who is only slowly growing to actually DO anything as an act of her will. 

Okay, that said, I found this awesome documentary for my students to watch to introduce her work. So, now you have to suffer... I mean jump for joy through it too.

There's a bit from The Awakening that I think applies here to Kate herself, both as a woman and as a writer: "She was beginning to realize her position in the universe as a human being and to recognize her relations as an individual to the world within and about her."

That's where we all start as creators though, isn't it? If we don't realize our positions as an individual with something worth saying and how crucial that message might be to the world within and around us, then what's the point of writing anything at all? It would be as empty as shoveling air into a truck for load after load all day as empty trucks drive off and return for another load of nothing. 

Write What You Know

From that kernel of knowing she was a unique individual with something to say, Kate found a voice that began with the stuff she had experienced and knew something about. 

Say's the narrator: 

"On the eve of the 20th century, Kate Chopin confronted the fundamental dilemma of what it meant to be a woman. In a stream of stories and in her novel, The Awakening, she explored the unsparing truth of women's submerged lives."

What Kate knew was what it meant to be a woman in the late 1800s, valued merely as a mom or wife, judged by housekeeping and childrearing with little thought given to dreams that may have reached beyond that cage. This idea wove into her work, from short stories such as "The Story of an Hour" and "A Pair of Silk Stockings" to her magnum opus novel The Awakening. 

I would guess that she wasn't trying to start a movement, just tell the kind of story she could relate to and she figured maybe other people could as well, society be damned. 

As the documentary voiceover tells us, "Chopin's stories were set in Louisiana in the aftermath of war. It would be a landscape she would draw from memory in the final years of her life." Perhaps that is why her settings seem so effortless and precise. And not only the settings but the people who, well, peopled them. As Barbara Ewell says:

"There was great demand for short fiction at that period, and one of the genres that was most popular was the one known as 'local color,' which offered descriptions of the varied parts of the country, exotic parts of the country. It was pretty clear to her early on that it was her southern stories, her Louisiana stories that sold... While the land inspired her imagination, her time there was limited."

No matter how limited, her experiences in New Orleans offered characters and settings to explore.

And explore them she did.

After her husband, Oscar, and her mother, Eliza, died, Kate was alone with six children to support on a modest income. In the 1880s, writing was one of the few ways women could make a living, averaging from "$l5 to $30 a story, and a few hundred for a novel" according to our narrator. So, at 45 years old, Chopin started on the path toward becoming a published writer.

Her first work was a poem that appeared in January 1889. However, she soon learned that her short stories were what was in demand -- and were her most successful published works. 

Write Passionately

Chopin's writing was not just filled with well-described settings and people though. It had a passion that was part of who she herself was. She chose short stories as a form because that's where her passion lay. 

Says Barbara Ewell: 

What drove Kate Chopin was her passion for writing, and her willingness to let writing take her into places that she had never been herself, necessarily. And certainly, the literary traditions out of which she came had never really gone.

Adding to this, Elizabeth Fox-Genovese says: 

She's one of those writers whose sense of craft puts her right on the edge of poetry... The writer she especially admired was the short story and novella writer, Guy de Maupassant, who perfected a kind of writing that she took very seriously.

'Here was life, not fiction," she wrote in a private diary aout the novella writer Guy de Maupassant. "Here was a man who escaped from tradition and authority, who had entered into himself and looked out upon life through his own being and with his own eyes; and who, in a direct and simple way, told us what he saw."

Write To Change the World,
(Even If It's Not Intentional)

In 1897, Chopin began work on her most ambitious novel, The Awakening. Understand, Chopin did not set out with the goal of becoming a feminist writer. Truth be told, she probably couldn't have told you what a feminist writer was, if such a thing existed in the zeitgeist of her times. What she did set out to do, however, was to tell stories about the human beings she knew inside and out -- people who just happened to be female and who just happened to be denied the very right to the life, liberty, and pursuit of happiness their husbands, fathers, and even sons could grasp on a daily basis. 

Elizabeth Fox-Genovese says: 

"With Chopin the dark crannies of the human soul were part of what is to be human. It was part of her war against platitudes. If you look only at the surfaces you're not going to begin to understand what people are about. It's a measure of both her talent and her character, her strength as a woman, that she didn't find the depths of the human soul, even human depravity, threatening."

Through Edna, Chopin wrote of what a life awakened to the idea of embracing the daily joys might mean... for a woman. Sure, a man could also identify with her needs (if you don't believe me, read Edith Wharton's Ethan Frome -- I once did a paper on how similar these two awakenings are), but to a woman reader, the story takes on an additional meaning, one that a man will not typically be able to identity as missing from his own life. 

Barbara Ewell says of this: 

Its spontaneity, and its physical demands opens up Edna to places in her heart and in her soul she'd lost contact with, maybe had never known were there...

I don't think any other writer of the period, certainly no male writer, and I don't think any other woman writer tried to understand what happens when a woman experiences her own sexual being and her own self. And of course, that's exactly the tragedy and the dilemma that Chopin is exploring in her fiction which is, what happens, how do you get past this, this bind for women that if you possess your own self, if you possess your own body, you know that the options the society offers you are marriage and death.

By novel's end, Edna has awakened to herself, but finds no place for that self in the world she knows. She swims out to sea till her strength is gone.

For Edna, awakening can bring only defeat. The world will simply not allow her to not be a "mother-woman." For Kate Chopin, the novel was something of a defeat as well. While there were a few positive letters and reviews, by and large, the reviews were critical and somewhat scathing. Americans, it seemed, simply were not ready for such emancipated fiction. 

The question was whether Americans were prepared to read such emancipated fiction. There were a few positive letters, but then the critical reviews came in.

David Chopin says of this: "They destroyed her spirit when they came out with all this adverse reaction and one of the newspapers called it pure poison and not fit for babes, and there was an awful lot of criticism."

The world isn't often ready to see change happen. 

Says Barbara Ewell: 

"Once you begin to push against those margins, against those limits, you begin to offend people. You begin to offend convention and expectations, and that's exactly what Kate Chopin ran into with The Awakening."

After such an unforgiving reception of the novel, Kate disappeared into her private life and became more or less obscure in literary circles. 

However, in the late 20th century, her work was rediscovered. Stories and books came back into print, and they found new audiences and new acceptance, even praise, among the critics. Not only that, her stories were being taught in schools, and let's be honest, that's what really brings a writer back from the etherous void.

So, even if she never saw it in her time or even approached writing as a form of protest or world-changing action, she accomplished it just the same. 

According to Emily Toth: 

I'd first read her when I was given a copy of The Awakening by a woman who said to me, "You should read this book," and the big question that we asked ourselves was how did Kate Chopin know all that in 1899?

Can you imagine someone asking something similar about you in the year 2099? Why not?

Heroes Fall

Yesterday was a tough day for a lot of writers I know. We all knew our patron saint of oddness and quirky stories had fallen from grace, but yesterday's article at The Vulture (sadly behind a paywall, but there's an archive version here) wasn't the icing on the cake -- it was the cake itself. Everything up to that point might as well have been the printed recipe card. Yesterday we actually tasted the cake and wanted to spit it out to keep from gagging. 

Be warned, several of the articles contain descriptions of sexual assault and harassment. They can be difficult to read, so exercise caution if you can be triggered by such. 

The author in question has been seen as an ideal for literary weirdness, an icon that proved writers didn't have to sacrifice their souls on the altar of "accepted markets" to find success, a proof text that writers could be true to their visions no matter how warped or weird or whacked out and still make it on their own terms as creators. And he was loved for that. 

Sure, little stories popped up as warnings here and there, but even in the "during" and "after" parts of the #metoo realization, no one really wanted to believe it, not about HIM. Surely, just this one time, maybe, surely, pleasepleasepleaseplease, let it be some kind of conspiracy of hurt feelings lashing out. 

Alas no. 

And now we must swallow the cake, as bitter and vile as it is, evidenced in the following articles (not behind paywalls):

https://www.bbc.com/news/articles/cn01dynqx7ro

https://variety.com/2025/tv/global/neil-gaiman-allegations-sexual-assault-1236272893/

https://www.avclub.com/neil-gaiman-sexual-assault-allegations-details-report

I've known writers who have shared stories about Neil, not #metoo level stuff, but icky enough to make me wonder. On the other hand, I've heard lots of tales about how wonderful he was to meet at conventions or book signings too. That's what made this whole thing so hard to process. 

But, in light of the consistent and growing number of allegations, it's time to side firmly and vocally with the victimized. 

For some, that may look like throwing away all your Gaiman books and stopping watching shows based on his work. 

For some, that may mean you keep what you've enjoyed and you refuse to support any new books or new television/movie projects.

For some, you may still have the freedom and distance to separate the man from his art and enjoy the stories. 

For some, it may simply look like a few more months or years of processing that some will no doubt see as you being overdramatic because they just can't understand how deeply this affects you. 

Now, some will compare this to JK Rowling's recent fall from grace regarding her transphobic hard-line rants (seemingly meant to intentionally alienate her previous fans and celebrity connections), but some will draw lines between them and seek to delineate how different they are. For me, no distinction matters. Not really. They both have been revealed to vile people. 

However, it's not my place to tell you how to react. I'm going to be busy enough with the mote in my own eye. If anything, both of these situations are warnings for me to keep an eye on my own life. Let's suppose one day the dream of being recognized as a world-renowned writer comes true. What kind of harmful words or actions can folks drum up against me (and rightfully so) at that point? If anything, this is another bell ringing to tell me to be true to the things I believe and to watch my words in interviews and conventions and to be on guard how I treat people both in my private and public life.

I mean, nobody's perfect, as the cliche goes. I can find something to revile in the lives of many of my favorite writers. Flannery O'Connor. Shirley Jackson. Ernest Hemingway. F. Scott Fitzgerald. Racism. Sexism. Physical abuse. Homophobia. History is filled with writers who fail(ed) to live up to the ideals that fans foist upon them. And it's not just short story writers and novelists. So many of the comic book writers I grew up on have turned out in recent years to be MAGA redhats (or perhaps that should be asshats) who stand staunchly against most everything I stand for in terms of women's rights, racial equality and equity, LGBTQIA+ causes, humanitarian issues, etc. So, learning to reevaluate my support for and enjoyment of certain authors is nothing new. 

But, at least in my mind, that never excuses any kind of abuse or vileness. And make no mistake, what has transpired in this case is vileness, purely and utterly. 

What does it all mean for this blog?

Well, this blog has referenced writing advice and writing tips from Gaiman in the past, and there are several posts that show up with his name as a keyword. I will not be removing the previous posts but this blog will no longer reference Gaiman or his work, except in the interest of updating news about this story as it develops.

[Link] Penguin Random House books now explicitly say ‘no’ to AI training

The copyright page on new books and reprints now says they can’t be used or reproduced ‘for the purpose of training artificial intelligence.’

By Emma Roth

Book publisher Penguin Random House is putting its stance on AI training in print. The standard copyright page on both new and reprinted books will now say, “No part of this book may be used or reproduced in any manner for the purpose of training artificial intelligence technologies or systems,” according to a report from The Bookseller spotted by Gizmodo.

The clause also notes that Penguin Random House “expressly reserves this work from the text and data mining exception” in line with the European Union’s laws. The Bookseller says that Penguin Random House appears to be the first major publisher to account for AI on its copyright page.

Read the full article: https://www.theverge.com/2024/10/18/24273895/penguin-random-house-books-copyright-ai

Incorporating Multiple Religions Into Your Writing Diversity

 

Okay, let's talk about diversity this week, but not what you normally think about. Let's talk about religious diversity in your work. (In the interest of honesty, this one also was inspired by a panel I was on during Multiverse.)

Writers often err in one of two ways when it comes to writing protagonists (and antagonists) with a personal faith life -- either only writing their own because that's the only one they know well enough to write (or to be propagandistic) or they avoid religion in their stories altogether because they've been taught that it's something you don't discuss at Thanksgiving. 

I disagree. I think a character's inner POV and faith life can bring a new dimension to them. 

But let's see what our roundtable panel of writers thinks.

How does your own faith background or lack of one influence your writing?

Danielle Procter Piper: I was raised Catholic, so one of my characters has that background also. But I don't use it as an opportunity to "invite" people into that belief system. In fact, that character struggles with what he was taught and what he now knows as an adult. He's very good at encouraging his adopted daughter to find her own path...if she has spiritual inclinations at all.

Mari Hersh-Tudor: I was raised a strict Roman Catholic-mass in Latin and a narrow worldview. The more exposure to Weird Sh!t People Do When Someone Dies ™️ that I get, the more I absorb about how various cultures and religions treat adversity.

Kay Iscah: Definitely. I think a lot of fantasy has gone polytheistic, so I like centering monotheism, though not writing on earth I try to give things a distinct spin for their setting. The monotheism of Seventh Night is based on the idea of Christianity but without sacrifice or organized churches. This isn't necessarily a criticism of those elements, more of an exploration of how things might work or not work without them. I try not to be heavy-handed with those themes. In the interest of writing more universal stories, I tend to focus on ethics, but if you pay attention, it's a world where prayers are answered. Though not always in an obvious way. But I think writing and creating worlds can give us insight into the mind of God and how He operates.

Sean Taylor: I was not only raised in conservative Christian evangelical churches (Southern Baptist for the most part), but I also worked for the denomination at the national level for a few years until we had a bit of a doctrinal disagreement. So, yeah, my faith has been something that has been on my mind -- and therefore in my writing -- a lot. Both through the more devout and the current deconstruction and reconstruction period. It's difficult not to see a travelogue of my journey as your read my work and see the kind of questions that creep into my themes. 

If you do incorporate religious viewpoints into your fiction, how do you walk the line between advocating them and merely having them be a part of a character's, well, character?

Ef Deal: Having been raised Roman Catholic in the '50s and '60s (no, I did not have vicious nuns but I did get kicked out of church by the priest) and now writing a setting of 1842 France, religion is discussed in my second book, first when she overhears the King declaring homosexuality an offense against God, "Scripture is quite clear," and again when her lady's maid confesses her own lesbianism and fears for her soul. I happen to subscribe to the belief that God is love, and frankly, the King had more mistresses than he had children, and the punishment for adultery is quite clear if you want to declare Scripture as your rule instead of God's love.

It was a fun diatribe to write, given the setting of a Paris salon, where men engaged in philosophical discourse that amounted to little.

Kay Iscah: I think I try to advocate more for ethics, education, and spiritual seeking than promoting specific spiritual practices. I promote seeking truth, but I think that generally needs to happen through the story and not feel like something tacked onto it. I can get into the head of someone with a different belief system, and do so a bit in Horse Feathers. Phillip is a skeptic and atheist, but becomes interested in moral philosophy. He mostly fights it out in his head as atheism is not particularly popular in his period, but if I ever get around to writing sequels, it will cause some contention.

Sean Taylor: I don't write much fantasy, so most of the religions I write into my fiction are based on real-world faiths. I have written about fantasy-type gods once, but even then I made up my own and shied away from the established pantheons from world religions so as not to screw up details that might really matter to some readers. 

None of my characters evangelize their beliefs. That's so not my style, not even in my more devout days. And most of my believing folks (whatever the belief or the deity) they tend to be a lot more loosey-goosey about things like doctrine and rules, and tend to side more with the "Big Guy in the sky who wants us to love on each other" kind of thing. There are a few characters though, like my angel superhero, Tobit's Angel, in the Show Me A Hero collection, who is particularly exploring what it means to be an angel and in what religious direction he fits. Is he a Christian angel? A Muslim angel? A Jewish angel? A New-Age angel? All he knows is that he is most definitely an angel. Another superhero character, Fishnet Angel (not an angel), is a former Catholic who becomes possessed by an ancient deity and now must deal with the fact that his/her religion doesn't stand alone anymore. 

Danielle Procter Piper: Because I don't believe in shoving my beliefs down other people's throats (because I strongly dislike it being done to me), I don't depict religious belief as an asset but more of a curious choice. In fact, I tend to tone down major religious holidays. My sci-fi/action/thriller Venus In Heat is a Christmas story in that it takes place over the holiday, and while it's mentioned, none of the lead characters actually celebrate it in any way and they're all perfectly fine with that. 

Mari Hersh-Tudor: My own fiction encompasses a wide range of religions, from theoretical to Actual Gods Interfering™️.

It’s pretty easy not to advocate toward any one religion, I made mine up anyway, and I don’t have any characters (so far) who would do so.

Just as some writers make a conscious effort to break out of their boxes by intentionally learning to write characters of a different gender or sexuality or race, how have you sought to bring in a variety of "faith" backgrounds into your fiction?

Sean Taylor: I love to study other faiths and in particular the absence of such a faith. I think some of it comes naturally by just having a wide variety of folks in my circle of friends and writer buddies, but some of it involves intentional research and study and seeking out people to talk to to get details right, particularly emotional and psychological details. 

Danielle Procter Piper: Because my world is populated with people of various beliefs, so are the worlds of my stories. In my sci-fi I have the former Catholics, pagans, and a Buddhist, and most of the characters' faiths are never even mentioned. In my Medieval fantasy I have characters from all over Europe, Asia, the Middle East, and Africa...and each has their own beliefs, but the main characters simply accept each other as they are without clashes of faith. 

Kay Iscah: This may expand as my catalog of published fiction expands. I do poke at it a bit in Horse Feathers. But I tend to treat it a bit as an aspect of setting. There's an unpublished series I'm working on where I anticipate navigating some different religious views in characters, but again, I want to keep that a light touch. It should feel like an organic part of the setting and aspect of the characters not a lecture for the reader. It should come up because the characters are debating moral philosophy of situations, and not simply because I want to soapbox about something.

And even within the same religion, you have sects and interpretations and room for debates and differences of opinion. It would be an unusual faith where all the practitioners agreed on every aspect.

Now, to twist it on its ear, how much more does a character's non-religious POV get strengthened as an MC when they are surrounded by a variety of real-world characters of varying beliefs -- as opposed the non-religious MC in a world that seems to be void of any religious thought whatsoever?

Mari Hersh-Tudor: It is a great deal of fun, however, to torment narrow-minded characters by throwing them at angry gods that they don’t believe in and writing the fallout.

Kay Iscah: I don't write a lot of "real world" stories. But in a way, this described Phillip in Horse Feathers. He has a fairly scientific mind for a medieval peasant. He comes from a country with a lot of competing faiths and that feeds into his skepticism. He settles in a heavily monotheistic country and avoiding religious instruction is his small act of rebellion against a society where he feels very limited. But for the general question, I think personality and individual experiences play a huge role in how the religious setting affects the MC. You could take two different characters, run them through the same scenarios, and get two wildly different reactions.

The non-religious MC may have his views challenged more if confronted with a variety of faiths whereas the non-religious MC in an atheist or agnostic setting might never be pushed to think about them. Some people would welcome never being challenged while others would start asking certain questions because no one else is asking those questions.

The rub is that the author determines what the "truth" of that world is. Which will determine what "truth" the MC will be able to find with their questions and seeking.

I've heard of Christians who dislike The Truman Show because they think it's intended to be a metaphor for breaking out of our philosophical bubble or belief system. But as a Christian, I find The Truman show very in line with the faith as it's about seeking truth at all costs... and if you pay attention, the female protagonist does pray for Truman's release and safety. So there's an in world establishment of a God or at least belief in God, that is not the producer playing at being God.

Danielle Procter Piper: One of my sci-fi heroes, Alex, has no background in any faith, yet is surrounded by people of many faiths. A telepath, he's often revolted by the fact that most people who play at ceremony and holidays do it for the material benefits...money, gifts, food, and not out of any actual belief in something greater or a need to worship. Or, they function like robots, programmed by tradition, trying to force each other and their families into old molds forged generations ago which are often impractical today and can cause more stress than gratitude and wonder. He finds all of this extraordinarily bizarre and is amazed when he meets anyone who seems genuinely convinced that what they do serves their deity of choice and benefits more than just themselves and their personal agendas. So his extra powers of observation allow him to better understand others and even manipulate them using their own ideas of how things are and what they should be. One needn't be telepathic to figure this stuff out, but it saves time and makes him more formidable for it.

Sean Taylor: To me, a religious viewpoint is one of the things that says a lot about a character. I believe it's as important as a character's race, nationality, gender, sexual identity -- all those things. It adds a dimension to them that can provide stability (when the religious POV matches their actions and words), irony (when their religious POV reveals their hypocrisy), and depth (when their religious POV reveals questioning and struggle based on their conflicts in the story. I picked this up very early from the works of Flannery O'Connor, and I've never let go of it in my own work. 

It's just another way to create a real, solid, three-dimensional world with words, as far as I'm concerned. It's like the argument for diversity in fiction. "We're here. So don't write as though we aren't." So they exist in my fiction too. Religion also exists. It's here. So it is just another element in my world-building. 

Poetry Corner: I Am

In the hallway today I passed students,
Some afraid, others emboldened,
Once sung precious—In whose sight?—
All distracting themselves with trivialities.
“Did you hear about…?”
“Are you going to…?”
“Do we have practice…?
It kept them from noticing the dreams
Of existence, of acceptance,
Of being a part of the Grand Experiment,
Kicked along the dirty floors
As they scurried to class.

Driving to work today I watched the woman
Standing in the rain,
Holding the sign,
“Out of Work Please Help,” shivering, shimmering.
Mother, sister, daughter, aunt—perhaps
Saint, sinner, harlot, sacrifice,
Prophet, poet, priest, king—
Bosses watch clocks, and we can’t hesitate,
Not in the rain, nor in heavy traffic,
It’s easy to forget after all
When there’s a man with a sign
Two blocks closer to the office.

In my newsfeed today, opinion hurled like daggers,
“Not a woman”
“Biological male”
“Sports and bathrooms”
Rainbows and flags posted support
Allies brought hammers and words to build
A place to be secure, to exist,
To know who she is, was, will be, amen.
But the damage was done,
Hateful words have barbs
And even to pry them out
Leaves scars and bleeding.

I am not them.
But I am them.
I am he, she, they, all the pronouns.
They are always in me.
The him, the her, the them,
Flow like oxygen through my lungs,
Expressed outward in his, hers, theirs,
Collectively exhaled from my open mouth
To the ground below,
Picked up by some, ignored by others,
On the way to class, driving to work,
In the anonymity of virtual life.

I am that I am, one said.
Know that I am, said another.
I am too, I proclaimed.
To be one,
To be one another,
To be.

Sean Taylor © 2024

Visit my poetry.com site.

Poetry Corner: When We Had No Flag

by Sean Taylor

When we had no flag 

There were only white sheets, hanging on clotheslines 

Flapping on windy days, 

Waving greetings like so many neighbors on so many dusty paths

White not for surrender 

But for sleeping, for rest because white was easy 

Easy to bleach our odors away, 

Dirt and sweat from one person's work, one man's labor, one woman's toil

One day we  painted bars deep red

Crimson with the blood of the people who lived here first 

But there wasn't enough

So we added more from the backs of the people we owned

And so we painted what was left blue

Blue with the bruises of our slaves and red with their stripes 

Even if we had to wrench the paint out of the whips after use, 

Twisting leather until our fingers too were as calloused as theirs

We found some white remained

But it was not for sleeping, not anymore; it was for the Virgin Innocent

Our children who would inherit a world 

Built on the paint dripped from the wounds of those we had  conquered

Perhaps it's time again

Wash day for the flag, with fresh bleach to clean away the red and blue

To allow the colors to surrender and fade

And once more flap greetings in the wind

Perhaps you, or me, 

or that woman over there, the one in all the colors of the rainbow

Or that vermin, that enemy, that animal,

Could be the bleach to get the job started

To speak the change we all should hear

Whistling in the wind

That blew when we had no flag

(c) 2024

Visit my poetry.com site.

Poetry Corner: Punk Rock

They busted the windows on Wall Street today
Trash cans filled with garbage and old food made the first crack
And sent all the happy people in nice suits scurrying
For once thinking about something other than the numbers
That make them better at ignoring the rest of us.
They stepped over the banana peels and potato chip bags
The crushed soda cans that should have been recycled instead 
On their way to the exits, the only light they were
Suddenly focused on—But that kind of thing isn’t really my style. 

They’ll gather up a million men and women tomorrow
And put them in matching T-shirts that say “Not Going Back”
With rapidly practiced chants, call-backs to great leaders
Of yesterdays gone by, times we thought we had moved beyond
Times we assumed we had put behind us. I can join them
Of course I can. It’s the least—the very least, if I’m honest—
I can do, right behind merely sending money on my phone
While I stream Agatha All Along on Disney Plus. But
It still doesn’t quite feel like the thing I was created to do at this time.

They dyed their mohawks in rainbows and shoved the middle finger
Into the air while their fans screamed and moshed and bled
Showing camaraderie, empathy, solidarity the only way
They understood fully, with anger, with energy, with activity. 
And it felt amazing to jump, and yell,  and raise my fist, and shout obscenities 
At the powers, and yet… Even when they kissed—tongues and leather 
And lace and fingers and hair—Man on man, woman on woman, 
Man on woman, trans on trans, Trans on straight
Straight on till sunrise… It still was not enough. 

Yesterday I am a writer. Tomorrow I paint in words. Today
I have words or many colors, many spectrums that correspond 
To those that swirl in the sky, dance in the puddles, blur through smoke
“Vandalize” city walls with slogans: Trans rights are human rights.
Abortion is healthcare. Gay and proud. Black lives matter.
I have all these, and my keyboard has been selfish, complacent,
Too satisfied in my place of safety. But no more. 
I cannot break windows. My knees may give out on a march. 
My money can only go so far. My shouting can be drowned out by other music. 

But I can write. And by God, I will. We are not going back. 

(c) 2024 Sean Taylor

Visit my Poetry.com site.

A Personal, Post-Election Manifesto for My Writing Life

Dear women, POC, immigrants, LGBTQIA+ folks who are feeling the impact of being disenfranchised and distanced after the election, please know that there are still people who see you, still people who support you, still people who love you, still people who are your allies, and still people who will fight for you. 

I'm one of them.

I say that as an old, white, straight man who personally loses nothing thanks to the election. Technically, I'm still golden. 

Except I'm not because it's not about me. It's about you. 

So...

Viva la revolución! As long as I believe the ideals written in the flag image below, I guess I will now be considered #TheEnemyWithin.

Don't worry. It won't be hard to find me when you need to report me to the Gestapo for continuing to support and fight for:

• Women's reproductive rights at the national level
• Equal marriage protection for lgbtqia+ 
• Acceptance for my trans brothers and sisters
• Open paths to citizenship for documented and undocumented immigrants and migrants
• Restrictions on weapons designed to kill many quickly
• Safe schools where active shooter drills become a footnote in our history
• Restrictions to keep convicted felons out of public office
• A world where we embrace kindness over bullying and name-calling
• A world where we choose humility over braggart hyperbole
• A world where facts, research, and expertise actually matter
• Presidents who don't use hateful rhetoric to incite insurrections

If you follow my writing, you'll know my work has always leaned into multiculturalism and diversity and empowered female leads in terms of plots and characters. I think from this point on, my work needs to take a much sharper turn into Woke themes.

It's not like it's gonna hurt my sales. (Ha! Heck, it might actually help.) 

• My trans psychic detective in the 60s with the ghost of a lesbian go-go dancer as her sidekick? I'm almost done with that novel. 
• More BLM themes in Rick Ruby and his black world? I'm just getting started. 
• Racist/misogynistic Thulist fascists behind the big bad in my Golden Amazon and Tribunal stories? Just you wait. 

Am I losing you as a reader when I say that? 

That's okay. Now isn't the time to back down. Now is the time to stand our ground and say proudly, "We are not going back." Even if we lost the election. This fire may not be the hottest on the block, but it's burning strong. 

I will be loud. I will be outspoken (even more) in my support for those who need their allies to be more vocal. 

Because I am and will continue to be...

#TheEnemyWithin

Motivational Monday: What the Hell is Normal Anyway?!

 

[Link] How One Group of Global South Writers is Decolonizing Literature

by Pritika Pradhan

During the pandemic lockdown, writer and editor Bhakti Shringarpure, like many people, found herself seeking to rebuild connections online. At the time, she was living in Nairobi, Kenya, as a Fulbright scholar, and Covid-19 struck at the exact moment when her monthly literary salons had begun to pick up. Continuing the work of organizing book talks and literary gatherings, as she had for a decade as the editor of WARSCAPES magazine, now seemed impossible. However, by attending a weekly Zoom film club with friends, Shringarpure realized it was possible to have lively intellectual conversations online, across different time zones.

Isolation soon gave way to a new sense of community. “Mainstream publishing swallows independent and small presses, and with bookstores and similar spaces shut during the pandemic, it felt like an urgent moment for building community around books that may never see the light of day,” Shringarpure said in an email. Together with longtime friend and collaborator, Suchitra Vijayan, founder of The Polis Project and author of Midnight’s Borders: A People’s History of India, Shringarpure established the Radical Books Collective, an online community dedicated to organizing book clubs on politically progressive books.

Today, a year later, Radical Books Collective is a fast-growing initiative with an international audience of general readers, academics, intellectuals, and book lovers. As its name suggests, “radical” books are the primary focus: fiction and nonfiction by authors and presses whose progressive, left-leaning politics and engagement with difficult topics such as police abolition, climate justice, feminism, and migration, are often hard to market to mainstream publishers and media outlets.

The format of the book club meetings is unique and suitably egalitarian: an hour-long discussion on the book is followed by a meeting with the author, whom readers can engage in conversation. Writers featured on RBC include Nobel laureate Abdulrazak Gurnah, Amitav Ghosh, Monique Truong, Jennifer Nansubuga Makumbi, and Mohamedou Ould Slahi. An upcoming series titled Reading African Women will feature LA Times Book Prize winner Véronique Tadjo, Nigerian-American novelist Chinelo Okparanta, and Kenyan poet and novelist Khadija Abdalla Bajaber.

“Organizations like the Radical Book Collective offer an alternative literary space for like-minded authors and readers to find each other and to share ways of thinking differently.”

“Our format succeeds because it is amazing to bring books and writers together in events and podcasts, to think about these collectively as radical in different ways, support small publishers, highlight translation and ignored corners of exciting creative production, and have smart people chat with writers,” Meg Arenberg, RBC’s managing editor, said, “This is the way one shifts the conversation.”

The impetus to shift the conversation in publishing towards greater diversity has long preceded the pandemic. Despite commercial presses publishing more writers of color, LGBTQ writers, and writers from other historically marginalized communities, the inclusion of diverse literary voices in mainstream publishing remains a work in progress. The Black Lives Matter protests resulted in increased scrutiny of the publishing industry, which highlighted the persistent, systemic imbalances and prejudices faced by writers and publishing professionals from racial, sexual, and other minorities, such as the racial disparities in pay revealed via the hashtag #PublishingPaidMe.

Read the full article: https://lithub.com/how-one-group-of-global-south-writers-is-decolonizing-literature

[Link] Readers Can Now Access Books Banned in Their Area for Free With New App

Based on users’ locations, the Banned Book Club provides e-book editions of titles banned in nearby libraries

by Christopher Parker

As book bans spike nationwide, access to particular texts varies tremendously depending on where readers are located. “If you’re after a particular title by Toni Morrison or Margaret Atwood,” writes Literary Hub’s Janet Manley, “you might find that it’s available in Georgia, and effectively banned next door in Florida.” 

A new program aims to change that: Earlier this month, the Digital Public Library of America (DPLA) launched the Banned Book Club, which provides users with free access to titles pulled from the shelves of local libraries.

“Today book bans are one of the greatest threats to our freedom,” says John S. Bracken, executive director of the DPLA, in a statement. “We have created the Banned Book Club to leverage the dual powers of libraries and digital technology to ensure that every American can access the books they want to read.”

The app uses “GPS-based geo-targeting” to stock virtual libraries across the country. After visiting TheBannedBookClub.info to see a list of titles banned in their area, readers can download those books for free via the Palace e-reader app.

Read the full article: https://www.smithsonianmag.com/smart-news/banned-book-club-app-180982592/

[Link] You Just Found Out Your Book Was Used to Train AI. Now What?

This week, many authors discovered that their books were used without permission to train AI systems. Here’s what you need to know if your books are in the Books3 dataset, as well as actions you can take now to speak out in defense of your rights.

If you’re an author, you may have recently discovered that your published book was included in a dataset of books used to train artificial intelligence systems without your permission. (Search the dataset here.) This can be an unsettling revelation, raising concerns about copyright, compensation, and the future implications of AI. Here’s what you need to know if your work has been used to “train” AI without permission:

Books3 Is One of Several Books Datasets Used to Train AI Systems

The Books3 dataset contains 183,000 books, downloaded from pirate sources. We know that companies like Meta (creators of LLaMA), EleutherAI, and Bloomberg have used it to train their language models. OpenAI has not disclosed training information about GPT 3.5 or GPT 4—the models underlying ChatGPT—so we don’t know whether it also used Books3. Regardless of whether GPT was trained on Books3, the class action lawsuits against OpenAI should uncover more information on the datasets used by OpenAI, which we believe also include books obtained from pirate sources.

You Don’t Have to Be a Named Plaintiff in the Lawsuits to Benefit From the Outcome

In addition to the recent lawsuit in which the Authors Guild is a named plaintiff, there are other author class action suits pending against OpenAI, Meta, and Google. You don’t need to be a named plaintiff in any of these lawsuits to participate because the respective named plaintiffs represent their entire class. Even if you don’t fall within one or more classes, an outcome in favor of authors should benefit you by clarifying that books need to be licensed when used to “train” generative AI.

Read the full article: https://authorsguild.org/news/you-just-found-out-your-book-was-used-to-train-ai-now-what/