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| Tuesday, May 22nd, 2012 | | 2:42 pm |
Trawling for votes to win a business grant
Chase, the bank where I do my business banking, is running a grant program for small businesses -- significant grants. To be eligible, a business has to garner at least 250 votes on their web site, and then go through an application process. I'm working on the application, but out begging for votes. To vote for me (the company's formal name is Gray Rabbit Publications; Fantastic Books is its major imprint), go to www.missionsmallbusiness.com, log in (they take Facebook, Twitter, and several other IDs for quick log-ins), and then search for Gray Rabbit Publications, and vote. That's it. Thanks very much for your support. | | 12:09 am |
Balticon this weekend
I've got what looks to be my finalized schedule for Balticon this weekend. Looks like I'm going to be busy. Oh, and a quick reminder: I've got half a hotel room available if anyone's looking to share (but it's a Ramada less than 10 minutes away, for one-third the price of the convention hotel). Anyway, my schedule: I'll be at the Fantastic Books table in the dealers' room, which is scheduled to be open Friday (4-8pm), Saturday (10am-6pm), Sunday (10:30am-5pm), and Monday (10:30am-3pm). Also on Friday, I'll be at the opening ceremonies at 8pm, where I'll be accepting the Robert A. Heinlein Award for Stanley Schmidt (see this article), and then at the Meet the Pros event at 9pm. My panels: Saturday, 10am: Editors Roundtable. In Parlor 1041. With Carl Cipra, Joshua Bilmes, Barbara Friend Ish, Bill Fawcett, Joshua Palmatier, Michael A. Ventrella, and Steven H. Wilson. Saturday, 12n: Fantastic Books Presents. In Salon B. With Walter H. Hunt, Daniel M. Kimmel, and Darrell C. Schweitzer. Saturday, 6pm: The Ethos of Homicide. In Parlor 1041. With John C. Wright, Kate Kaynak, Yoji Kondo, James Maxey, James Damoe Ross, Lyle Blake Smythers, and Jon Sprunk. Saturday, 11pm: Space War—How and Why? In Parlor 1041. With Michael Andrew D’Ambrosio, John Ashmead, Tad Daley, and Jon A. Sprunk. Sunday, 10am: Choosing a Small Press Publisher or a Big Publishing House. In Parlor 1041. With Steven H. Wilson, Danielle Ackley-McPhail, Emilie P. Bush, Barbara Friend Ish, and Trish C. Wilson. Sunday, 3pm: How to Get to Other Stars—If We Can. In Parlor 1041. With John G. Hemry, Chuck Gannon, Yoji Kondo, James Maxey, David Allen Batchelor, Simone Caroti, John C. Wright, and Dr. Robert Katz. Sunday, 10pm: Films, Books and TV Shows That Everyone Likes, But I Don’t. In Parlor 3041. With Joshua Bilmes, Daniel M. Kimmel, Jean Marie Ward, and Trish C. Wilson. Monday, 12n: Private Access to Space. In Salon B. With Simone Caroti, Yoji Kondo, Eric Raymond, and Noam Izenberg. Hope to see some of you there! | | Sunday, May 20th, 2012 | | 8:02 pm |
Looking for electronic suggestions
It turns out I've got a gift certificate good at either Amazon.com or BN.com, and I'm thinking of purchasing one of those new-fangled portable electronic reader device things. So I'm looking for suggestions. I don't expect I'll be doing most of my reading on it, but it would be a much more useful device if, in addition to reading, I could use it to read and edit manuscripts. My main computer is a Dell running Windows, and my preferred software for working on manuscripts is WordPerfect. This isn't an unlimited budget, and I'm not planning to change my entire computer set-up. Just looking for suggestions, especially from editors who already use some such thing. Thanks for your input and suggestions. | | Tuesday, May 15th, 2012 | | 6:54 pm |
It's a zero-sum game, right?
I'm having a little trouble with this research. Anyone out there have an idea? I'm listening to the ongoing saga of JP Morgan Chase losing $2 billion through bad hedging in their trading portfolio. All the reporters and opinion-makers seem aghast at this loss, but none of them are mentioning (and I can't find myself) who it was on the other side of those trades who made $2 billion. Anyone? | | 6:46 pm |
How to negate a writing career
It's always nice to be remembered, but it'd be nicer if it was for current projects. For instance, I just sent back a story with a cover letter that started "I just looked at your web site, and think this story will be perfect for Artemis Magazine." Well, that's very nice. But the last issue of Artemis Magazine was in 2003, and there's no active web site for it that I know about. Ah well: another clueless writer. | | Monday, May 7th, 2012 | | 4:57 pm |
Press Release: Two Classic Michael Moorcock Novels Back In Print
Continuing our program of bringing the classics of science fiction back into print, Fantastic Books is pleased to announce the publication of two early titles by Grand Master Michael Moorcock: The Shores of Death and The Wrecks of Time. Long out of print, these two classics are now available in beautiful, long-lasting trade paperback editions. These latest two Moorcock books join three others available from Fantastic: The Sundered Worlds (ISBN: 978-1-61720-348-0), The Winds of Limbo (ISBN: 978-1-61720-069-4), and The Distant Suns (co-written with Philip James; ISBN: 978-1-61720-025-0). The Shores of Death ($13.99, 142 pages, ISBN: 978-1-61720-363-3) In the far future, Earth's rotation has been halted by powerful aliens searching for the end of the universe. Happening upon Earth, the aliens took from it what they needed and moved on. The human race is now divided; some living on the cold night side, some the sweltering day side, yet others in the thin twilight between the two regions. Living a life of pleasure and decadence in the twilight region, Valta Becker impregnates his daughter who dies shortly after giving birth to Clovis, last of the twilight children. Neglected by his father, Clovis leaves home for the more technologically and philosophically sophisticated daylight region, where lifespans stretch to hundreds of years and the marvels of future science still flourish. He makes a name for himself in politics, rising to almost god-like stature. When catastrophe strikes, rendering the daylight people sterile due to an after-effect of the aliens' strange energies used in halting the planet's rotation, Clovis Becker must find an answer or the human race will perish. Thus begins a taut adventure filled with warring political ideologies, End of the World parties, flower forests and floating carriages, shadowy figures attempting to shape mankind's destiny for their own ends, colorful descriptions worthy of Jack Vance and Mervyn Peake—and a love story for the ages as Clovis and Fastina Cahmin—the last born of the daylight people—seek immortality… but at what cost? Michael Moorcock is one of the most widely read SF authors in the world, and here his fertile imagination is on full display. The Wrecks of Time ($13.99, 136 pages, ISBN: 978-1-61720-364-0) From the Prologue: "There they lay, outside of space and time, each hanging in its separate limbo, each a planet called Earth. Fifteen globes, fifteen lumps of matter sharing a name. Once they might have looked the same, too, but now they were very different. One was comprised almost solely of desert and ocean with a few forests of gigantic, distorted trees growing in the northern hemisphere; another seemed to be in perpetual twilight, a planet of dark obsidian; yet another was a honeycomb of multicoloured crystal and another had a single continent that was a ring of land around a vast lagoon. The wrecks of Time, abandoned and dying, each with a decreasing number of human inhabitants for the most part unaware of the doom overhanging their worlds. These worlds existed in a kind of subspacial well created in furtherance of a series of drastic experiments…" Who has the immense power to create entire worlds only to discard them as failures in the backwaters of the space-time continuum? Who would then maliciously destroy these less-than-perfect worlds and their human inhabitants, and to what end? Professor Faustus and the loyal men and women dispersed on these alternate Earths have dedicated their lives to eradicating the demolition teams and the Unstable Matter Situations the D-squads create. As they soon discover, much more is at stake, as they fight a seemingly losing battle with the very pattern of the Universe in the balance. Thought-provoking and full of surprises, The Wrecks of Time weds science, religion, myth, and history into a page-turning narrative, a grand concept tale that has proven to be one of Michael Moorcock's most innovative science fiction works. About Michael Moorcock: Michael Moorcock has been inducted in the Science Fiction and Fantasy Hall of Fame, named a Grand Master by the Science Fiction and Fantasy Writers of America, and received the Lifetime Achievement World Fantasy, Bram Stoker, and Prix Utopiales Awards. About Fantastic Books: As with all Fantastic titles, The Shores of Death and The Wrecks of Time are available from all major online retailers, by special order from any physical bookstore, and directly from the publisher (we exhibit at science fiction conventions). All Fantastic titles are distributed by Ingram. The entire Fantastic catalog is available online at www.FantasticBooks.biz. In addition to our reprint line, Fantastic also publishes the best in new speculative fiction. The company has recently signed contracts to publish T. Jackson King's new novel, Star of Islam, and Daniel Kimmel's first novel, Starstruck. Fantastic previously published King's YA novel Little Brother's World, and Kimmel's nonfiction Jar Jar Binks Must Die, which is currently a Hugo Award finalist in the Best Related Work category. | | Friday, May 4th, 2012 | | 10:45 am |
That strange feeling...
You know that strange feeling, when you're suddenly aware that you're not aware of something you've been aware of? Like, when the fan is on, and the noise it makes becomes a part of the background, a low-level hum, and then suddenly you realize you haven't been hearing it, but realizing that makes you hear it again, and then you can't let it fade so far from your consciousness that you don't hear it again, even though you're trying to let it go? Is there a word for that? Related query: I'm still looking for the complementary word to decimate. Decimate, for the pedants among us, means to kill one out of every ten people. I'm looking for the word that means to kill nine our of every ten people. | | Friday, April 27th, 2012 | | 3:56 pm |
Enterprise is coming to town  Today is one of those days when it's really good to be the boss. After weather delays, today was the day NASA decided it was safe to move the Space Shuttle Test Vehicle Enterprise to New York City. So I took the morning off, went in to Manhattan, and hung out around Battery Park and Battery City to welcome Enterprise to New York (and to catch my first—and probably last—opportunity to see one of them in the air).  It was wonderful! As long as I've lived in New York, I keep telling myself that I don't get out often enough, to take advantage of all the City has to offer. I'm glad I made the effort today. I got off the subway at 9:30, sought a good spot for the viewing, and met up with a couple of professional photographers and a videographer from WPIX who'd found a good, elevated spot out of the worst of the wind. We chatted and enjoyed the morning, waiting the hour and more for the 747 Shuttle Carrier Aircraft 905 to fly up from Washington. It was a great location, except that we were back a little from the edge of the park, so there were some trees blocking the view due south. But we knew Enterprise was almost in sight when all the people on the lawn below us started paying attention, all looking south.  And it was magnificent: the gorgeous white 747 underneath the flawless white over black Enterprise, cruising along seemingly inches higher than the Statue of Liberty's torch. I'm still trying to figure out how the Shuttle felt simultaneously so big, and so small. It seemed enormous, and yet the 747 under it was clearly much larger, yet didn't seem big. Whatever it was, it was wonderful. The twinned aircraft flew past the Statue of Liberty, over the upper harbor, and up the Hudson River, disappearing behind the trees and buildings to the north. But we knew they'd be coming back, so I decided to change my vantage point, and walked down to the water's edge for their return.  The wind closer to the water was much stronger, making it feel very much colder, but at that point, I didn't care: the only part of me that was cold was my fingers holding the camera and binoculars. And we didn't have to wait more than ten or fifteen minutes, before they came into view from the north, heading south along the river, and out over the harbor, once again passing the Statue, and continuing on over the Verrazano-Narrows Bridge. I have no idea if the people around me continued talking: the mundane world around me disappeared; it was just me watching the twinned craft in flight (and the small, trailing T-38 chase plane). I do remember thinking, "I'm looking at this remarkable vehicle, nothing between me and it but a lot of air." And then immediately realizing, I still have the intervening lenses on my glasses, and however many lenses are in the binoculars. Indeed, with so much technology between us, what really was the difference between watching it on TV and in person? But there's some ineffable quality to actually being present. Whether it's breathing the same air, or experiencing the same environment, I'm not sure, but I certainly felt present, and it was wonderful.  I watched as the craft flew over the Narrows, and then slowly turned west, flying over Staten Island, and into New Jersey, and then turned north again, flying up paralleling the river over eastern New Jersey. Watching the craft fly behind the buildings in Jersey City, and reappearing beyond them, really brought it all down to Earth: that this otherworldly craft was built and managed by Earth people; just a tool to expand our scope and knowledge. Eventually, they turned back to the east, and passed out of sight behind the buildings on Manhattan, en route to a quick tour of Long Island, and then one last landing at JFK Airport. When I got home and turned on the local news channel, I learned that Leonard Nimoy was present at the arrival ceremonies at the airport, where he spoke of the genesis of the name Enterprise for the vehicle. Lucky him, able to watch the landing. But on the other hand, I saw the Shuttle as it was meant to be: in flight, reaching for the heavens. All he saw was it finally alighting, never again to fly.  My photos don't do it justice. My camera is wonderful for close-ups, but for something this size, at such a great range, I knew I wouldn't get much in the way of photos. But that's okay: the people all around me with massive lenses got the shots, and they're already available all over the web. My pictures are a bit more personal. I'm sharing some of them here, documenting my trip.  I'm very, very glad to have such a happy, positive memory of the Space Shuttle, finally. For as long as I've been involved in space projects, a spaceflight enthusiast, and just a fan, it seems my direct memories of actual connections with the space program are sad. I was in college when the Challenger exploded, and spent the rest of the day reading the wire service reports as they came in to the school newspaper where I was working. In 2003, I was flying to Florida for my cousin's Bar Mitzvah, and pointed out the Shuttle landing strip to other passengers on the plane as we flew past Kennedy Space Center, telling them Columbia would be landing there the next day. She never made it back. So it's almost a relief to have a happy memory, of seeing one of the shuttles in flight as it should be, safely.  Post script: After the Shuttle was out of sight, I could have jumped back on the subway, but since I was in Manhattan, I took the time to enjoy the sights a bit, and indulge some of my other interests, such as history. For instance, this may have been the first time I was able to explore the Castle Clinton National Monument without rushing out again to jump on the boat to the Statue or Ellis Island. And walking away from it, I noticed the flag flying in the wind. I wonder how many people (I imagine it's a rather small number) notice there are only 15 stars, but also 15 stripes, on that flag? That flag was in use from 1795 to 1818, which includes the time Castle Clinton was completed and opened (1811). I've also attached a photo I was able to take with the camera looking through one of the eyepieces of the binoculars; I like the old-time feel of it.  Next up: the Shuttle hangs out at JFK for a couple of months, and then takes a boat ride to the Intrepid Museum in the Hudson. I'm trying to decide how strange it will look, the Space Shuttle Enterprise living on the deck of a World War II aircraft carrier. Temporal dissonance, for sure.  | | 12:13 am |
Saturday appearance in White Plains
And why am I up so late if I'm planning to get up early to greet the Enterprise? Because I was putting the finishing touches on my presentation for Saturday morning. I'll be speaking at Greater New York Mensa's Regional Gathering (in White Plains, New York) on a general topic of the Presidents. I'll be covering the Presidents, the Vice Presidents, the First Ladies, and this year's Presidential election. Hope to see some of you there. | | 12:09 am |
| | Tuesday, April 24th, 2012 | | 3:32 pm |
Why live in the present? Woody Allen's Midnight in Paris Midnight in ParisWritten and Directed by Woody Allen Starring Owen Wilson, Rachel McAdams, and Marion Cotillard Warning: this post is spoilerific. If you haven't yet seen the movie Midnight in Paris , but intend to, you'd probably best skip this post. Second warning: this is not a full, regular review, but rather a discussion/question of one key point. Third note: this is a repost from SFScope.Late last year, a friend suggested I'd enjoy the movie. I don't even remember it being in the theatres (so obviously, I missed it) [it was released in June 2011, and made more than $50 million in the US and $100 million worldwide]. I wrote down the title, but when the copy arrived in the library, I couldn't recall exactly why she thought I'd like it. So I watched it knowing nothing about it except that it had been recommended to me. I was surprised it was a Woody Allen film, because I don't usually connect with his work. But it was about a writer in Paris, so that was a good hook for me. It had Rachel McAdams, who I really like (so it was difficult watching her playing such an unlikable character, but heck, she is an actress). And it was a fantasy, which I usually cotton to. In this case, the fantasy was that the main character was a financially successful writer, and that he was engaged to Rachel McAdams (okay, enough snark). In the movie, Gil (Owen Wilson), the writer, is a successful Hollywood script writer, but he's yearning for something more fulfilling. He's writing his first novel while on a trip to Paris with his fiancee, Inez (McAdams) and her parents. They're snooty, wealthy, ugly Americans, while Gil is, at heart, a loveable Bohemian writer who just happens to be financially well off. One night, he stumbles into a rift in time (well, it's a 1920 Peugeot Landaulet [gorgeous old car] that picks him up at midnight) and winds up in Paris in the 1920s, where he meets the Fitzgeralds, Cole Porter, and Ernest Hemingway (the literary crowd he's always idolized), has his novel reviewed by Gertrude Stein, interacts with Dali, Man Ray, and Bunuel, and so on and on. It's every would-be writer's wish fulfillment. He also meets an aspiring costume designer, Adriana, who is a hanger-on with the literarati, the artists' muse and lover. Gil falls in love with her (and she with him), and they have something of a relationship. Then, one night, while they're out walking, they stumble into another time rift (this time, it's a horse-drawn carriage) that takes them to 1890s Paris (the era Adriana idolizes), where they meet Toulouse-Lautrec, Gaugin, and Degas. After watching it on DVD a few weeks ago, the film is now on cable, so I've rewatched pieces of it several times recently (it's on in the background as I'm writing this). The thing that has me thinking about the film right now is the end. Specifically, Adriana decides to stay in her golden age, to design costumes for the ballet. Gil, however, can't bring himself to stay with her, nor for that matter to stay in the 1920s. He returns to his (our) present, and decides to leave his fiancee and stay in Paris to write. So in the most overt interpretation, he's breaking his bonds to the materialistic world with which he doesn't connect, and making the decision to live where and how he ought to. But I've been wondering if his decision is actually showing that Adriana has the courage of her convictions—dropping everything and the world she knows for the world of her dreams—while he is unable to. He's showing courage, but very little (is this an echo of his conversation with Hemingway, who was able to risk his life fighting in war in order to write real life?). I guess it's a good movie, since I'm still thinking about it. But is Gil weak for staying in Paris in 2010, rather than in 1920? | | Wednesday, April 18th, 2012 | | 2:54 pm |
Making the background the foreground: political mistake?
Watching the President's speech in Ohio, and I still, still, am wondering which genius said "politicians will look better, people will be able to relate to them more, if we have people standing/sitting behind them, looking at the camera, when they make speeches." I really, really don't like that image. And of course, odds are one of them is going to pick his nose, let his attention wander, get distracted, or otherwise become the focus of the shot, and all it does it further detract from the person making the speech. | | Tuesday, April 17th, 2012 | | 4:16 pm |
Where'd you leave that pesky editor?
Let us now praise editors: Sure, self-publishing and modern technology lets writers "publish" their work without the evil editor saying "No." But there is still a need for editors, and this article gives you some of the reasoning (although, as an editor, I probably would have trimmed this piece a bit ;) ). | | 4:11 pm |
| | Tuesday, April 10th, 2012 | | 8:14 pm |
Analog recommends Sex and Violence in Zero-G for governments of the world
Don Sakers reviews Allen Steele's collection Sex and Violence in Zero-G (which Fantastic Books recently published ) in the June 2012 issue of Analog Science Fiction and Fact: …the Near Space series "presents a realistic and action-packed modern vision of the industrialization of space and those who make it happen. If the collective governments of the world had any sense, they'd be using these books as texts for ushering in a future worth having." "Never read Allen Steele? Here's a great place to start. If you like Analog, you'll like Steele. Already an Allen Steele fan? Then what are you doing still reading? Go get the book already!" For the full review, follow this link. | | Saturday, April 7th, 2012 | | 11:01 pm |
Fantastic Books' First Hugo Nominee
Fantastic Books is thrilled to announce that Daniel M. Kimmel's Jar Jar Binks Must Die is a Hugo Award finalist, one of five on this year's ballot in the category Best Related Work (for books of non-fiction related to the field of science fiction, fantasy, or fandom). The full ballot is available on this page: http://sfscope.com/2012/04/2012-hugo-award-final-ballot.html. Fantastic is the science fiction and fantasy imprint of Gray Rabbit Publications, a small press publisher that was formed barely two years ago. Jar Jar Binks Must Die… and other Observations about Science Fiction Movies is Fantastic's second non-fiction collection, and first Hugo nominee. As the book title indicates, author Daniel M. Kimmel is not only a film critic with strong opinions, he's also a fan. In this collection of essays, he covers movies from Metropolis (1927), answering the absurd claim that the restoration of this silent classic negated its status as a science fiction film, to how Star Trek, Avatar, Moon, and District 9 may have made 2009 a "miracle year" for the genre. Along the way he looks at neglected works like Things to Come (1936), explains why remakes aren't always bad, and how seeing E.T. in an empty screening room changed his mind about Steven Spielberg. About the author: Daniel M. Kimmel is a past president of the Boston Society of Film Critics. When it was discovered he is also a science fiction fan he started getting invitations to participate at a number of SF Conventions, which he continues to do. He reviewed for the Worcester Telegram and Gazette and now writes for Northshoremovies.net. He is a correspondent for Variety, the "Movie Maven" for the Jewish Advocate and teaches film—including a course on SF and horror—at Suffolk University. His essays on classic science fiction films have appeared in several publications including Clarkesworld, Space and Time, and the Internet Review of Science Fiction. He is the author of a history of FOX TV, The Fourth Network (2004) which received the Cable Center Book Award. His other books include a history of DreamWorks, The Dream Team (2006) and I'll Have What She's Having: Behind the Scenes of the Great Romantic Comedies (2008). About the Hugo Awards: The Hugo Awards (www.TheHugoAwards.org) are awards for excellence in the field of science fiction and fantasy. They were first awarded in 1953, and have been awarded every year since 1955. The awards are run by and voted on by fans. The Hugo Awards are awarded each year at the World Science Fiction Convention (WorldCon). Voting for the awards is open to all members (attending and supporting) of that year's WorldCon. The Hugo Awards are named after Hugo Gernsback, a famous magazine editor who did much to bring science fiction to a wider audience, and is known as the Father of Magazine SF. Gernsback founded Amazing Stories, the first major American SF magazine, in 1926. Born in Luxembourg in 1884, he moved to New York City in 1905 and became a naturalized American citizen. Gernsback died in 1967. About Fantastic Books: Fantastic Books (www.FantasticBooks.biz) is the speculative fiction imprint of Gray Rabbit Publications, LLC. Fantastic Books publishes new and reprint speculative fiction titles in both beautiful, long-lasting print-on-demand editions and electronic editions. Reprinted authors include James Gunn, Tanith Lee, S.N. Lewitt, Michael Moorcock, Mike Resnick, and Norman Spinrad. Recent new titles include Allen Steele's collection Sex and Violence in Zero-G, T. Jackson King's YA novel Little Brother's World, and Daniel M. Kimmel's nonfiction Jar Jar Binks Must Die. All Gray Rabbit and Fantastic titles are available from the major online retailers, and are distributed via Ingram to physical bookstores. Owner/publisher Ian Randal Strock also edits SFScope.com, and has been a science fiction editor and writer for more than two decades. | | Wednesday, April 4th, 2012 | | 3:54 pm |
| | Tuesday, April 3rd, 2012 | | 1:56 pm |
I was just listening to the President's Q-and-A with press editors, and yesterday listened to his joint press conference with the President of Mexico and the Prime Minister of Canada. He seems to be struggling more for the right words, with his pauses mid-sentence more pronounced than I recall. Anyone else notice this? | | Tuesday, March 27th, 2012 | | 1:37 pm |
The Supremes take on health insurance law
I'm paying some attention to the arguments before the Supreme Court about the massive health insurance law, specifically the mandate requiring the purchase of health insurance. And each time, I keep going back to the question of why the debate is over health INSURANCE rather than health CARE? I keep wondering if health CARE would be more affordable if we weren't dealing with health INSURANCE, because as I see it, insurance only works if everyone wants to take the gamble (pays for the insurance), but fewer than one or two percent of the people actually wind up using it. If one in ten people use the insurance to pay for something, and the system was perfectly efficient, then every person would have to pay 10% of the cost (but of course the system is not 100% efficient: there's paperwork, and the health insurance companies' profit, and other inefficiencies). But somehow, we've all been co-opted into the mind set that health INSURANCE is an absolute requirement for health CARE, thus requiring the insurance companies' existence. I'm still not sure I agree with the Canadian one-payer (government-provided) model of health care, but if the law stands requiring everybody to buy health insurance, I'm having trouble seeing our system doing it better than the Canadians'. | | Tuesday, March 20th, 2012 | | 3:35 pm |
I'm back
A sudden family emergency kept me from the computer and Lunacon for the last week. Sorry to all I missed; I'm back. Things are better, thanks for asking. |
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