Ken Slater 1917-2008

Sad news this morning, as reported on the BSFA website. Ken Slater, who was closely involved in the founding of the BSFA, has died at the age of 90. I’m going to repost the website’s notice in full:

In 1947 Ken founded Operation Fantast, ‘a very loosely organised group of fans who all wanted to “do their own thing” in various ways, and found that OF offered a sort of umbrella or shield which enabled them to do these things.’ By 1950 membership had reached 800 people worldwide. In 1948 he used OF to help spread the word about the Whitcon, the first post-war British SF convention and now generally regarded as the first of the Eastercon series. Military service was to keep him away from the convention itself, although he sent along money to buy a round of drinks for everybody attending.

His fannish achievements and contributions were recognised in the UK and internationally with the Doc Weir Award in 1966 and the Big Heart Award in 1995. He was a guest of honour at the 1959 Eastercon and also, with his late wife Joyce, at the 1987 Worldcon in Brighton. At the first Hugo Award ceremony in Philadelphia in 1953, Forrest J Ackerman won the trophy for #1 Fan Personality, but Forrie said at the time that the award should have gone to Ken.

Throughout the decades, though, Ken was known to thousands of SF readers and fans as a man who sold and traded science fiction books and magazines, and along the way he was to lead many hundreds of people to science fiction fandom. His energy and enthusiasm never abated: last year he attended a convention in Poland and was still running a sales table at Novacon, although in the last two or three years he had reluctantly conceded that he needed a bit of help with carrying boxes.

His influence on British science fiction fandom is incalculable and he will be missed by many, many people within the science fiction community. The BSFA sends its condolences to Ken’s family.

I never met Ken, though I was looking forward to doing so — he was scheduled to be the guest at the London Meeting this April. We did correspond briefly, though, when I was putting together Vector 250 and soliciting contributions from earlier editors. He was charming, and helpfully put me in contact with several other people I needed to get in contact with. So it seemed appropriate to reprint his recollections here today.


“A lifetime ago? Perhaps not quite, but it was around 1948 I started thinking that Britain should have a national science-fantasy society. The account of my rather off-hand editing of one issue, and joint editing (with Doreen Rogers) of, I think, two other issues of Vector has been worn thread-bare in the telling, so this time I am using my mental time machine to retrace some of those events. Actually, you will find a lot about those events on the web, if you look, but for the record that is mostly recounted by other people. We don’t all look at things from the same angle, do we?

“I never used to distinguish between British and American science fiction, or even the author until I had finished the book or the story; so far as possible this removed ‘expectation’ from the equation. As writers such as Ian Watson, James White, E.C. ‘Ted’ Tubb and others started writing tales the differences twixt the American and British styles decreased, anyway. But in terms of fandom at that time, in the States there was the N3F (National Fantasy Fan Federation) and in Britain there were only a few small regional or ‘town’ groups — mostly very small — except for the folk in London. Basically, London’s fans had no need for organisation; anyone who cared could attend a meeting every week, and so could anyone from out of London who happened to be visiting. Easy and anarchistic – but not really helpful if anyone had a ‘project’ in mind. I had spent a fair amount of time bombarding British fandom with letters, one-shot fanzines, and even physical visits when I was in England on leave. Finally I talked Vince Clarke, Owen Plumridge and some others into forming the society that was called ‘the British Fantasy Society’ — really original! — which survived a couple of years, and was outlived by the fanzine originally published in its name. At this point I more or less gave up. I had left the army, and was struggling to convert parts of ‘Operation Fantast’ into ‘Fantast (Medway) Limited’.

“This was the time of the Cytricons in Kettering, and at the fourth one of those, in 1958, my dream came true. The formation of the BSFA took place. Unfortunately, I was not there. I can no longer recall why — maybe I was ill, or my wife was. But the first I knew about was a letter from (if I remember correctly Ted Tubb) telling me of the formation, and informing me I had been made founding member number six, in view of my past efforts. Note, therefore, that I did not join the BSFA. I was conscripted!

“I must admit that I did not take a very active part in the proceedings; I contributed an item to Vector as requested which was a sort of catch-all column titled ‘General Chuntering’, and would help out with other things if/when asked. But things seemed to continue on a reasonably smooth course — the odd stagger occurred, but there were always enough of us helpful folk around to grab hold of the organisation by the collar and put it back on its feet.

“A very good Vector was being produced, and there seemed to be a reasonable number of people joining the BSFA. But then at the AGM at Yarcon it was revealed that the financial position was far from good; there was a fair possibility that the Association was bankrupt, although the accounts were unclear. What was clear was that the cost of the publications was taking too much of the income, and although there were new people joining, they were not renewing memberships when they expired. So everything was put on hold, and people were appointed to consider how bad the position was, and what should be done.

“Well, most of you probably know the following action. The BSFA became ‘BSFA Ltd.’ so that officers had a legal responsibility, we produced some duplicated (and self-typed) Vectors as a stop gap and information line, and then I resigned — not for any particular reason, except that I felt I had done enough — and was made Life member Number Four. Go onto the web and dig if you wish to know more — it is all there; and much more as well! There is an industrious group of fans from the 60s or thereabouts who are industriously putting all things fannish into electronic format. Even all the book reviews I wrote for Nebula Science Fiction, and the issues of Ron Bennett’s excellent Skyrack fanzine. If anything, I guess the Skyrack issues contain more “historical” fannish data than anything else I can think of, and I was pleased to learn that they were widely available before Ron’s regrettable death. Perhaps increasing records of that sort is something the BSFA might care to engage in.”

On James Wood

An interesting review of James Wood’s new book, How Fiction Works. I think it accurately diagnoses most of Wood’s weaknesses (“Wood is at his best when either microscopically close to a text or expounding it from a magisterial distance. In the middle ground, where plots and contexts lurk, he sometimes gets things wrong”), but made me think in a new way about Wood’s style:

Wood became famous by taking reviewing very seriously, an attitude that — for a number of reasons, not all of them sinister — is less widespread than you might think. Intelligent, well-read and extremely confident, he wrote from the beginning in a style that suggested he’d put some thought into questions concerning verbal surfaces. By the time he was starting out, the witty changes of register associated with the New Review and the New Statesman in the 70s had degenerated into a reflexively jokey high style in the hands of many journalists. In academic criticism, on the other hand, the enthusiasm for theory that peaked in the 80s had often resulted in curdled writing and an avoidance of “value judgments”. Wood responded by fashioning a critical voice that’s serious but opinionated, heavily stylised but not slick. He shares Martin Amis’s taste for coining paradoxical metaphors, but not for the quasi-laddish diction with which the novelist once brought aesthetic judgments down to earth.

As a result, Wood’s writing sometimes seems to issue from a world of rather dandified beautiful letters. Unafraid of sounding like an connoisseur, he’s entirely comfortable, say, describing Pushkin’s stanzas as “little private carriages of plush”. Nor is he afraid of sounding faux-donnishly lofty. Yet few books would get reviewed if critics agreed to a total ban on elevated language. Wood thinks that some writers worry about stylistic excess in the same way that some actors worry that their job isn’t manly, and his style is in part a stand against that tradition.

We hear writers talking about the importance of voice frequently and at great length. We hear much less (grumbling about John Clute aside) about reviewers’ voices, but I think the truth is that how something is said about a book is almost as important as what is said. Let’s have reviews with a bit more conscious control of their personality, in other words. (Of course, by no means have I fully worked out what I want to sound like when I write a review.)

As Others See JG Ballard

For many readers, Ballard is the author of the controversial novel Crash (1973), a surreal exploration of sexuality and the motor car. But before Crash, and before his wife’s death, Ballard’s novels had begun to shape a unique suburban dystopia. In its time, this vision was categorised as science fiction. Now we can see it more clearly as deeper, darker and more prophetic.

Riiight.

Celebration

celebrationwraparound

This rather handsome picture is a piece of original artwork by Vincent Chong. It’s going to be the cover of an 80,000-word anthology of original fiction, edited by Ian Whates, that the BSFA is publishing to mark its 50th anniversary. And here’s the table of contents:

Celebration, ed. Ian Whates

The BSFA – An Appreciation – Pat Cadigan
“The Jubilee Plot” – Stephen Baxter
“Wilson at Woking” – Ken MacLeod
“The Killing Fields” – Kim Lakin-Smith
“Having the Time of His Life” – Ian Watson
“The Dog Hypnotist” – Tricia Sullivan
“The Crack Angel” – Jon Courtenay Grimwood
“Keep Smiling with Great Minutes” – M. John Harrison
“Living with the Dead” – Molly Brown
“Next to Godliness” – Brian Stableford
“Mellowing Grey” – Dave Hutchinson
“At Shadow Cope” – Liz Williams
“Peculiar Bone, Unimaginable Key” – Brian Aldiss
“Deciduous Trees” – Martin Sketchley
“Soirée” – Alastair Reynolds
“On the Sighting of Other Islands” – Ian R. MacLeod
“Fireflies” – Christopher Priest
“The Man of the Strong Arm” – Adam Roberts
An Afterword – Ian Whates

So, see you at the launch event at Orbital?

LinkCo

Out Now or Coming Soon

Per my reading resolutions, I was hoping that quite a bit of my reading in 2008 will have some other date on the copyright page. Then I sat down and started making notes for this post. No battle plan ever survives contact with the enemy, it seems.

January: Twenty Fragments of a Ravenous Youth by Xiaolu Guo

ravenous_youth

Long-time readers will remember that I rather liked Guo’s previous, Orange-shortlisted novel, so this, when I saw it on the shelves in Borders, was an automatic purchase. Unlike A Concise Chinese-English Dictionary for Lovers, Twenty Fragments is set entirely in China, being the story of a girl who moves from the country to Beijing to find a job in the film industry. It looks like Guo’s semi-autobiographical tendencies are still in force, then, but if Fenfang is anything like as engaging as Z, this should be a winner. (In other news, according to this profile, “her next book and film […] are about UFOs and aliens, loosely inspired by China’s place in the world.”)

February: Mushishi, volume 3, by Yui Urushibara

mu_shi_shi_3

Or, at any rate, so claim Amazon. I hope they’re right, because Urushibara’s series is one of the two best comics I discovered last year (or more accurately, was introduced to by Micole, the other being Bryan Lee O’Malley’s Scott Pilgrim, which is its opposite in many ways). I keep trying to write something about the first two volumes and failing. I get as far as explaining that mushi are an entire kingdom of living beings half way between a sort of microorganism and a sort of spirit, that each volume collects five or six short stories about the travels of a mushi master (mushishi), that the setting is rural Japan, and that the artwork is beautifully textured — but then I don’t know how to capture the tone of the stories, the poignancy of them. Maybe I’ll have another go when I get my hands on volume three.

Also out in February: Paolo Bacigalupi’s debut collection, Pump Six and Other Stories (having read very nearly all of the intense science fiction stories that make up this book already, it seems likely that it’s going to be one of the best collections of the year; maybe reading them all together will reveal weaknesses not previously obvious, but I doubt it); Death at Intervals by Jose Saramago; a new Victor Pelevin novel, The Sacred Book of the Werewolf; Paul Melko’s interesting-looking debut, Singularity’s Ring; and Weaver, the conclusion of Stephen Baxter’s Time’s Tapestry sequence, which looks like it will actually tip over into full alternate history.

March: Dreamers of the Day by Mary Doria Russell

dreamers_of_the_day

Godawful cover, but it’s a new novel by Mary Doria Russell! This one looks to be a posthumous fantasy set behind the scenes at the 1921 Cairo Peace Conference, but really that’s irrelevant, because it’s a new novel by Mary Doria Russell; it gets bought. Also in March, Swiftly by Adam Roberts (set in a world in which, after Gulliver returned from his travels, others went after him and enslaved the various races he found; the short story that makes up the first chapter of this novel is possibly my favourite of Roberts’ short fiction, so I have high hopes for the rest of the book) and, according to Locus at least, Ian R Macleod’s Song of Time, which “tells the story of this century through the eyes of a great musician as she unravels the mysteries of her past, and contemplates making the ultimate leap into life beyond the body.” I have my doubts as to whether it will actually show up in March, since PS novels have a habit of appearing a bit later than advertised, but I have my fingers crossed.

April: Rhetorics of Fantasy by Farah Mendlesohn

rhetorics

This is the book which elaborates on the taxonomy of fantasy that Farah Mendlesohn started using a few years ago (portal fantasy/immersive fantasy/intrusive fantasy/liminal fantasy); it should be a book to get one’s teeth into. I’m looking forward to it not least because I understand it actually engages with examples from contemporary fantasy, in all its diversity. Also this month: Jonathan Strahan’s YA anthology The Starry Rift (complete with gorgeous cover, and Kelly Link sf story); a UK edition of a new Michael Marshall Smith novel, The Servants (I read a couple of the Michael Marshall thrillers, but never found them as satisfying as the MMS books); House of Suns by Alastair Reynolds, which sounds as though it will be epic in scope even by Reynolds’ standards; and a new Philip Pullman novella set in the world of His Dark Materials, Once Upon a Time in the North.

May: Incandescence by Greg Egan

incandescence

’nuff said.

June: Flood by Stephen Baxter

flood

Isn’t that a good cover? This looks, on the face of it, like Baxter does global warming, but I have a sneaking suspicion that it might be an update of The Kraken Wakes (given that the Amazon description begins “Next year. Sea levels begin to rise. The change is far more rapid than any climate change predictions; metres a year”, which sounds like external intervention to me). Either way, I’m ready for another hefty Baxter science fiction tome, now that he’s done with the historicals. Also this month a brace of notable debuts (Superpowers by David J Schwartz, Principle of Angels by Jaine Fenn, and The Gone Away World by Nick Harkaway — the last of which really sounds like it’s got a bit of everything, although the comparisons to Douglas Adams that have cropped up in a couple of places make me nervous) and Ellen Datlow’s Del Rey Book of SF & Fantasy.

July and beyond

The Locus forthcoming books issues and Amazon’s advance listings will only take you so far, and this is the point at which the future becomes misty. I’m sure there are many books scheduled for the second half of the year that I’ll want to read just as badly as the ones mentioned above. In August, the ones I know about and know something about are Ken MacLeod’s The Night Sessions (which, set “after the Middle East wars” in a time when “terrorism is history”, looks like a complement to The Execution Channel in a number of ways), Jo Walton’s Half a Crown (although I have some catch-up reading to do before I can read it), and Benjamin Rosenbaum’s collection The Ant King and Other Stories (which may give Bacigalupi’s book a run for its money); there’s also Sarah Hall’s next book, The Bottles, about which I only know the title. After that, there’s a new Kelly Link collection, The Wrong Grave and Other Stories; Lydia Millet’s new book How the Dead Dream (yes, I know it’s out in the US already — don’t tempt me); and, dare I hope, the fifth volume of Scott Pilgrim?

In short, it seems there’ll be enough to keep me out of trouble. What’s everyone else looking forward to?

London Meeting: Robert Holdstock

At the request of a certain Vector editor, who forgot to post this before going to work, I’m here to take over Torque Control make the following announcement:

The guest for tonight’s BSFA meeting will be Robert Holdstock, interviewed by Paul Kincaid.

Venue (for the last time):
Upstairs room, The Star Tavern
6 Belgrave Mews West

As usual, the interview is due to start at 7pm, but the room is open from 6, and fans will be in the downstairs bar from 5.

There’s a map here.

Hope to see you all there,

Mystery Guest Poster x

The Gates Between the Kingdoms are Infinitely Wide and Always Open

At some point today I will try to put together a proper links post, since I have a hugenormous accumulation of links to deal with. But I have to get my head around this first: according to Jason Sanford, who got it from the SFWA Bulletin, Michael Chabon has joined the Science Fiction and Fantasy Writers of America.

On the one hand, how cool is that? On the other hand, given SFWA’s recent and rather public string of cock-ups, and the disillusionment that seems to have pervaded large parts of the sf-writing community as a result, it seems downright surreal to see someone joining the organisation out of (I assume, since I can’t imagine that he needs to do it) principle.