Guest Interview: Lisa Jenn Bigelow on Hazel’s Theory of Evolution

Posted September 12, 2019 by dove-author in Guest Posts / 0 Comments

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Today I’m interviewing Lisa Jenn Bigelow about her upcoming middle-grade novel, Hazel’s Theory of Evolution, a delightful and heartwrenching story about friends, family and growing up. Also, to the best of my knowledge, the very first middle-grade novel with an a-spec protagonist. I’ve been lucky enough to get a review copy (thank you, Lisa!) and the review will go up next Monday. Hazel’s Theory of Evolution releases on October 8th, 2019. That’s a little under a month from now, so you still have time to preorder this charming story! It’s so sweet. Definitely also get it if you (or your child) love animals. You’ll have a goat time! (Yes, I occasionally pun. Badly. Sorry not sorry?)

For now, though, let me give you the blurb of the book and pass the blog on to Lisa Jenn Bigelow! We talk about asexuality and labels, balancing laughter and tears, and friendship.

Cover for Hazel's Theory of Evolution by Lisa Jenn BigelowHazel knows all about life on Earth. She could tell you anything from what earthworms eat to how fast a turkey can run. That’s because when she’s not hanging out with her best friend, Becca, or helping care for the goats on her family’s farm, she loves reading through dusty old encyclopedias. But even Hazel doesn’t have answers for the questions awaiting her as she enters eighth grade.

Due to redistricting, she has to attend a new school where she worries no one will understand her. And at home things get worse when she discovers one of her moms is pregnant. Hazel can’t wait to be a big sister, but her mom has already miscarried twice. Hazel fears it might happen again.

As Hazel struggles through the next few months, she’ll grow to realize that if the answers to life’s most important questions can’t be found in a book, she’ll have to find them within herself.

LEO: Hazel’s Theory of Evolution is one of the most heart-warming, queer books I’ve ever read, yet it deals with some extremely heavy topics such as bullying and the fear of her mother’s pregnancy going wrong. Did you find it difficult to balance between the two?

LJB: Pregnancy loss and infant death can tear families apart, but that wasn’t the story I wanted to tell in Hazel. I wanted to tell the story of a family that stays together, no matter what. That meant giving Hazel’s family (and friends) a lot of love and a lot of laughter because, at the risk of sounding corny, love and laughter are how we all get through the tough times in our lives. I took inspiration from Beverly Cleary’s Quimby family, Lois Lowry’s Krupnik family, and Madeleine L’Engle’s Austin family: funny, frank, and not without drama, but always loving to the core.

Plus, I’m only half-kidding when I say my personal rule is that every book I write has to make me laugh out loud and also has to make me cry. The most memorable rejection I got for my first novel, Starting from Here, complained that the book either needed to be happier or sadder. I guess my heart is balanced on that bittersweet cusp.

LEO: You’ve said in other interviews that you don’t really get along with labels, so how did this affect the writing of Hazel? You mention that Hazel is aroace in a lovely author’s note, but how did you balance people’s dislike of labels with people’s need for them in the story itself?

LJB: Labels are tricky. There are the labels other people give us and the labels we claim for ourselves, and sometimes the two don’t mesh. I describe Hazel as aromantic and asexual for the sake of readers who may not be familiar with those concepts or terms. Whether Hazel herself would claim those labels, or different labels, or any at all, would be a personal choice beyond this story’s scope. In contrast, Hazel’s friend Carina firmly claims the label transgender.

Beyond that, I minimize the use of labels. For example, Hazel’s moms have been married for over a decade, but I don’t delve into their dating histories or label their identities, because it didn’t seem relevant to the story. Instead, they are defined by their relationship to Hazel and to each other.

LEO: When the book starts, Hazel decides that she’s going to hibernate for a whole year. Obviously, this doesn’t work and the whole book calls out the stereotype that aros and aces are cold and unfeeling, but was busting stereotypes on your mind while drafting the book?

LJB: If my guiding image while writing Hazel was Darwin’s Tree of Life, my mantra was “Only connect!” from Howards End, by E. M. Forster. I wanted to explore the idea of all life, and all lives, being interconnected, whether we like it or not. You can’t opt out, you don’t exist in a vacuum. And you can’t disconnect from your own feelings, either, however appealing the idea might be. Love makes you vulnerable. Connection makes you vulnerable. But it’s also key to survival.

I hadn’t originally conceived Hazel as aroace—more on that later—so stereotype busting was not on my mind. I just had this idea of Hazel being a bit of a misanthrope and desperate to insulate herself against further pain. But I’m very glad the story worked out the way it did, with the theme that there are many ways to forge connections with other people, many different types of love out there, and that they don’t have to fit a certain mold to be valuable and valid.

Side note: I recently rewatched Ghostbusters (2016) and realized that, just possibly, Holtzmann’s toast to her friends at the end of the movie subconsciously inspired Hazel’s declaration of love to her friends in the school cafeteria.

LEO: Over the course of the book, Hazel and her best friend start to grow more apart. I’ve heard a lot of aces and aros talk about wishing that more books dealt with friendship break-ups. Though Hazel and Becca stay friends, can you tell us a little more about the importance of friendship in the book?

LJB: I wanted to show that a strong friendship can survive change. People change, and it follows that their friendships will, too. These changes may be painful, but they don’t have to be intentional or cruel or even necessarily harmful. Sometimes we seem to think friendships have to be all or nothing. They don’t. They wane and wax according to circumstances.

Too many stories villainize girls especially for “becoming popular” and ditching their old friends. I know this sometimes happens in real life, but I think it’s usually more complicated, as in Hazel and Becca’s situation. Once they were each other’s lifeline, but now that they’re at separate schools, they have to explore new options.

And they flourish. Their relationship loses its codependent aspect. So maybe it’s not just that strong friendships survive change. Friendships need to change to survive.

LEO: Hazel is going to be, to my knowledge, the first middle grade novel with a deliberately aroace protagonist published. Did that impact how you wrote the book at all? I’d imagine that can cause a lot of pressure during the publishing journey.

LJB: I hadn’t set out to create an aroace character in Hazel (though writing an ace character had been vaguely on my to-do list since I began considering myself on the ace spectrum a few years ago). So there wasn’t any special pressure at first.

But once it became apparent this was the direction Hazel’s orientation was taking, the questions began. How much of a discussion point did I want it to be? How should I explain terminology? Since I myself felt relatively new to the concepts, and at the fringes of the community, what if I accidentally wrote something hurtful?

Ultimately, I just wrote from the heart, drawing from my own experiences and emotions, though my journey toward self-understanding has been very different from Hazel’s. I read a-spec fora and think pieces to try to fill in the gaps. And as with any character I write, I asked myself, “What if I was a reader who feels the way Hazel feels—would I feel validated and supported?” Any answer less than 100% would have been unacceptable.

Lisa Jenn Bigelow grew up in Kalamazoo and still considers the Mitten State home. Lisa’s young adult novel, Starting from Here, was named a Rainbow List Top Ten Book by the American Library Association. Drum Roll, Please is her middle grade debut. When she isn’t writing, she serves as a youth librarian in the Chicago suburbs. Visit her online at www.lisajennbigelow.com.

And that concludes the interview. Hazel’s Theory of Evolution comes out October 8th, 2019, so you still have time to preorder from your favourite retailers such as Amazon and Indiebound.

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Review: Tarnished Are the Stars by Rosiee Thor

Posted September 9, 2019 by dove-author in Ace & Aro Rambling / 0 Comments

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Title: Tarnished Are the Stars

Author: Rosiee Thor

Pages: 384

Summary: The Lunar Chronicles meets Rook in this queer #OwnVoices science-fantasy novel, perfect for fans of Marissa Meyer and Sharon Cameron.

A secret beats inside Anna Thatcher’s chest: an illegal clockwork heart. Anna works cog by cog — donning the moniker Technician — to supply black market medical technology to the sick and injured, against the Commissioner’s tyrannical laws.

Nathaniel Fremont, the Commissioner’s son, has never had to fear the law. Determined to earn his father’s respect, Nathaniel sets out to capture the Technician. But the more he learns about the outlaw, the more he questions whether his father’s elusive affection is worth chasing at all.

Their game of cat and mouse takes an abrupt turn when Eliza, a skilled assassin and spy, arrives. Her mission is to learn the Commissioner’s secrets at any cost — even if it means betraying her own heart.

When these uneasy allies discover the most dangerous secret of all, they must work together despite their differences and put an end to a deadly epidemic — before the Commissioner ends them first.

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We’re on Our Side: Aziraphale and Crowley’s Thoroughly Queer Relationship in Good Omens

Posted August 22, 2019 by dove-author in Ace & Aro Studies, Essays / 0 Comments

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It’s been a long, long time coming in internet terms. By now, you may be forgiven if you’ve moved on to the next big thing in (SFF) fiction, especially with the Hugo Awards so newly concluded (and congratulations to all nominees and winners again!) because the internet moves infinitely faster than we’d ever have dreamed possible.

But I promised you back in June that I had a whole essay’s worth of writing on Good Omens and here it is! Over 7,000 words of aromantic and asexual (but mostly aromantic) essayage on Good Omens. With many, many thanks to Jenny from Reading the End for basically handholding me through the flaily first draft of this piece. (It was over 10,000 words.) This would be a hundred times less awesome without Jenny’s comments on the first draft when I was an anxiously flaily pile of “I cannot do this” and “But no one will care”.

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Subverting Stereotypes: A Look at Asexual and Aromantic Representation in RoAnna Sylver’s ‘Chameleon Moon’

Posted July 22, 2019 by dove-author in Ace & Aro Studies, Essays / 0 Comments

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Hi, everyone! I hope your week is off to a fantastic start! I know. I know. No one likes Mondays because the week’s off to a new start. But you know what Mondays also mean? It’s time for Monday Musings!

Normally, Monday Musings are somewhere below 2,500 words. This week is slightly different. And by that I mean that this week’s post is in excess of 6,000 words because it’s a proper aroace literary analysis post! By popular Twitter vote, I’m releasing my essay on the asexual and aromantic representation in RoAnna Sylver’s Chameleon Moon for everyone today! Have fun!

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5 SFF Books that Introduce Aromanticism Well

Posted June 17, 2019 by dove-author in Ace & Aro Rambling / 0 Comments

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Hi, everyone! I hope your week is off to a fantastic start! I know. I know. No one likes Mondays because the week’s off to a new start. But you know what Mondays also mean? It’s time for Monday Musings! Wherein I ramble about various and sundry depending on my whim or Patreon requests/suggestions. Posts are somewhere below 2,500 words at most and consist of short personal essays and discussions.

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5 SFF Books that Introduce Asexuality Well

Posted June 10, 2019 by dove-author in Ace & Aro Rambling / 0 Comments

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Hi, everyone! I hope your week is off to a fantastic start! I know. I know. No one likes Mondays because the week’s off to a new start. But you know what Mondays also mean? It’s time for Monday Musings! Wherein I ramble about various and sundry depending on my whim or Patreon requests/suggestions. Posts are somewhere below 2,500 words at most and consist of short personal essays and discussions.

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No Clever Titles

Posted May 27, 2019 by dove-author in Personal / 0 Comments

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Hi, everyone! I hope your week is off to a fantastic start! I know. I know. No one likes Mondays because the week’s off to a new start. But you know what Mondays also mean? It’s time for Monday Musings! Wherein I ramble about various and sundry depending on my whim or Patreon requests/suggestions. Posts are somewhere below 2,500 words at most and consist of short personal essays and discussions.

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Queer Frameworks of Language: or, why vocabulary is so important to marginalised groups seen through a distinctly asexual and aromantic lens

Posted May 20, 2019 by dove-author in Ace & Aro Rambling / 0 Comments

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Hi, everyone! I hope your week is off to a fantastic start! I know. I know. No one likes Mondays because the week’s off to a new start. But you know what Mondays also mean? It’s time for Monday Musings! Wherein I ramble about various and sundry depending on my whim or Patreon requests/suggestions. Posts are somewhere below 2,500 words at most and consist of short personal essays and discussions.

CN: Discusses queermisic phrasing (specifically how language works to make what may sound like a perfectly acceptable sentence to one person something offensive to another)

Queer Frameworks of Language: or, why vocabulary is so important to marginalised groups seen through a distinctly asexual and aromantic lens

Language is power. In a way. Language allows us to consider the world, to communicate, to share and build knowledge. When we invent something new like, say, the automobile, we name it. If we run into a feeling that we want to describe, we name it. And sometimes we nick it from other languages because we didn’t realise it was a useful feeling to name until we realised we could.

I could give a dozen examples. In English, Shakespeare was exceptionally good at it, insofar as we can be sure that Shakespeare genuinely coined the words and isn’t just the oldest record we have of it being used.

Language has power. We can see it in the way people use slurs and insults to keep others down and the way these others reclaim them. ‘Queer’ is certainly the most obvious example for me to use here. We can also see it occur in reverse, in the way TERFs now reject the label they came up with because trans people and allies keep calling them out on their transmisic and harmful rhetoric. To them, TERF has become a slur. It’s not, of course. It’s just a shortened version of what they called themselves because using the full term repeatedly is exhausting and people like communicating as much information as possible in the shortest amount of time.

Language allows us to know ourselves. But what if we don’t have words that fit? If we don’t have words that fit, we make do with what we have and eventually, maybe, someone somewhere will come up with a word to describe us. That may be for a positive reason and it may be for a negative one. The key here is that if people go to the lengths of coining new terms, there was a need for that word for at least that person.

There has been a need for the word ‘asexuality’ for as long as sexology has been a field. We know this because sexologists of the era discuss something very similar to asexuality (and why it’s a problem) under different terms. It wasn’t until about 2001, with the creation of AVEN, that a single, concrete term for “someone who experiences no or little sexual attraction/desire” gained traction. Sometimes it takes about a century (or two) for people to find the words they want.

And once that first step is taken, more steps can be taken. Much academic research into asexuality from 2013/2014, for example, remarks on and utilises the split attraction model, but very little of it does so consciously or with the realisation that this far more nuanced model of how human attraction works is a radically different idea and approach to what has come before. Which is also why, in truth, a lot of people resist it. It forces them to re-evaluate themselves and their concepts of how the world works, and people generally don’t like radical shifts in a paradigm[1].

That is what concepts of asexuality and aromanticism represent, though, and they’re not the only queer identities to do so: the very existence of transgender and nonbinary people also forces Western societies to shift their ideas on what gender and identity are. These are paradigm shifts that fundamentally alter how we think about ourselves as individuals, as families, as societies, as groups. It’s also why listening to ethnically and racially marginalised people talking about their cultures’ worldviews are so important. It’s also part of why white people co-opting terms specific to these cultures is appropriation. These are words that belong to a specific worldview or, if you will, a specific paradigm. One can’t simply transpose them.

But people can engage with them, provided that they have a strong and intimate understanding of both cultures and worldviews. It is why marginalised people engaging in scientific research is so incredibly important, and again why there is so much pushback against them when they do.

This brief essay, however, is not about the general state of marginalised researchers in scientific or academic fields. Others can talk about it far more eloquently than I. This post is about asexuality and aromanticism and the power of language.

You see, there is one thing which people aiming to discredit asexuality or demisexuality as an orientation tend to do, and that is: misinterpret what these terms actually mean. They will, invariably, cast asexuality as a choice and, being a choice, an intensity of something natural and innate.

Some of that wilful misinterpretation of asexuality is, I suspect, down to attempts to describe asexuality when someone does not have access to the more nuanced vocabulary used by asexuals and aromanticism today. Since asexuals receive more visual pushback – aromantics are generally largely erased – I will be using ‘asexuals’ throughout this section, but many of the same arguments will be made regarding aromanticism.

Asexuality is still largely invisible[2] to the general public, though its visibility has grown exponentially in English-language circles since I discovered asexuality in about 2010/2011. There are still many people who have never heard of it and who may never stumble across it. That means that there are still a substantial number of people out there who flounder trying to find words to describe their experiences. It also means that there are still many discussions that rely on an overly simplified and often inaccurate definition of asexuality. They were common when I started to explore asexuality.

These are descriptions like “An asexual person is someone who doesn’t want to have sex”. This statement, you’ll notice, implies that asexuality is a choice about someone’s behaviour, not a description of who someone is attracted to. It’s a quick and easy way to explain to someone that having sex is off the table, but it conflates orientation with behaviour. We can also use this structure to colloquially try to describe other orientations. For example “A homosexual person is someone who only wants to have sex with someone of the same gender”. Notice how that description, while technically accurate, is significantly more uncomfortable to read than when I mentioned asexuality[3]?

That’s because language has power and one of the things centuries and decades of fighting for gay rights has accomplished is the idea that being gay is not a choice, but this phrasing implies that being gay is a choice, and if being gay is a choice… Well, then there might be something to gay conversion therapy. Obviously there isn’t, but if we use language that couches sexual orientations as a choice, there will be people who take it to this extreme and that harms everyone.

For another example, I could say “A bisexual person is someone who wants to have sex with one or more genders”. Now, here, the visceral reaction is partially down to the way that the sentence structure implies that bisexuals are into a specific kind of sex, notably any number of sexual partners larger than two. That, in turn, implies that bisexuals are sluts, and just like that we’ve got a bimisic argument that I didn’t in the least intend to make and made anyway.

But still, if we don’t understand asexuality and if we don’t have better words, we may fall back on using them and, still, amisic people will insist on using this definition where they almost certainly wouldn’t for any other orientation because, well, what I mentioned above happens. It happens with asexuality and aromanticism too; it’s just that the people using it don’t particularly care.

And because not everyone who discusses (their) asexuality or aromanticism knows asexuality and aromanticism exist and that there are better ways to describe their own experiences, orientation and behaviour, people keep using terminology like this out of ignorance, and amisic people can use that ignorance as a shield if they want to.

The only solution to this is, of course, better education about and more research into asexuality and aromanticism as a whole. But language has power and we can see that nowhere better than in the way marginalised communities try to use it themselves.

We reclaim words that were used to hurt us. Transform the pain – and our survival of that pain – into a badge of honour, into a shield, something to be proud of.

We come up with new words, offering us better ways to express ourselves, to expand our worldview and our sense of self.

We build on the foundations of those who went before us because similarity has power. Using Greek words to form new ones adds a level of ‘authenticity’ that plain English language doesn’t have. Following existing patterns makes words more acceptable. It’s why ‘ze’, ‘sie’ and ‘zie’ are the most popular neopronouns[4] and why ones like ‘peh’ or ‘hou’ don’t really seem to have caught on.

We try to strip them of their power, such as when TERFs complain that calling them what they are is a slur (it’s still not, sorrynotsorry TERFs), when amisic people complain that ‘allo’ or ‘allosexual’ is a slur (it’s not, it’s simply a description that offers more accuracy and nuance than ‘sexual’ as a contrast to ‘asexual’) or when amisic people insist that asexuality is about choosing not to have sex or when people see a seeming contradiction (such as a nonbinary woman or a gay asexual) because their worldview, their paradigm, does not allow for these terms to be used in conjunction.

Sometimes, we strip the words, accidentally or not, of their power, such as the way amisic accounts rendered the term ‘cishet’ harmful to asexuals. Cishet is a term that originally comes from the transgender and nonbinary communities and is, effectively, just a description of someone who is cisgender (i.e. someone whose gender identity matches that which they were assigned at birth) and heterosexual. It soon became ‘cisgender, heteroromantic and heterosexual’ to account for the split attraction model – which, I should note, appears to have been coined by amisic people and promptly co-opted and reclaimed by aromantic people because it was useful – that separates, among others, romantic and sexual attraction. The term was already established, though, and there was no real need to make it something like ‘cishethet’ when most who know the term would automatically include both heteroromantic and heterosexual because the two are seen as intrinsically linked in our societies as a whole. Amisic people, however, quickly adopted the term ‘cishet’ to exclude asexuals and aromantics, relying on the confusion created by two conflicting paradigms, one of which isn’t yet well-understood for their arguments. They exclude either ‘heteroromantic’ or ‘heterosexual’ depending on the group they’re discussing. They rely on their paradigm’s contradiction between terms like ‘gay asexual’ or ‘asexual lesbian’ to claim that ‘heterosexual asexuals’ are a thing that can exist.

Let’s take a step back, though, to examine that. In the paradigm that believes romantic attraction and sexual attraction are the same thing and that everyone experiences both to some degree, the idea of a ‘gay asexual’ is, indeed, a contradiction. In this model, gay is, after all, synonymous with homosexual and you cannot be both “attracted to someone of the same sex” and “attracted to no one at all” at the same time.

That is emphatically not how the split attraction model works. In this model, gay and homosexual (and bi and bisexual, etc) are not, in fact, 100% identical terms. They still function as synonyms a lot of the time, true, but they are not the exact same. In the split attraction model, terms like gay and bi refer to either romantic or sexual attraction (or both!), whereas homosexual and bisexual refer, predictably, solely to sexual attraction. In such a model, a gay asexual would refer to a homoromantic asexual, or to “someone who is romantically attracted to people of the same gender but sexually attracted to no gender”[5]. Since gay and other terms like it can stand for ‘only romantic attraction’, ‘only sexual attraction’ or ‘both romantic and sexual attraction’ in this model, there is no inherent contradiction in saying ‘gay asexual’[6].

Because both paradigms currently exist simultaneously, it is easy for people who mean harm to a marginalised group to exploit and use the clash and, perhaps more importantly, the importance of social media and the way disinformation has the power to spread in an anonymised way, to muddle the arguments further and discourage people from understanding that this ‘discourse’ is based on a group of people wilfully and deliberately obfuscating that these are two different frameworks clashing.

And, indeed, if you look at the arguments amisic people often present, it’s clear that the issue is that their worldview does not allow for asexuality to exist as its own thing. Their paradigm has as its base assumption that everyone experiences sexual attraction to a gender, and that one’s willingness to engage with (certain) sexual acts is what determines if someone counts as LGBT or not. People who don’t – but especially those who only experience it rarely, like demisexuals – in this framework are supposed to have an on-off switch. It’s why heteroromantic demisexuals especially get chucked out of LGBT spaces by them, even though they too fall under the original definition of queer as they deviate from expected social ideals about sexuality and heteronormativity. Once they’re in a relationship that allows even the remotest chance at becoming sexually active, they’re deemed heterosexual[7]. You can see it in the rhetoric that they consider gay asexuals ‘LGBT’ because they’re gay, but not[8] because they’re asexual. The underlying assumption, knowingly or not, is that gay asexuals count because ‘gay’ implies that they’re willing to be sexually active in a specific way and it’s why someone who is asexual, and thus presumed unwilling to be sexually active, doesn’t.

Language matters because the way we use it creates avenues to gain or lose power. The way we use it creates paths to knowledge or deliberately attempts to close them off permanently. Examining our worldview, the foundations of what our societies value (especially our dominant, white, Western alloheteronormative patriarchal societies value), isn’t easy and it isn’t comfortable.

But it is necessary if we want to build our understanding of the world and if we want to create a better place for everyone. This is, frankly, just one aspect of why.

End Notes

[1] For an example of quite how uncomfortable it can make people, I suggest looking at the way the Christian Church responded to the findings of a certain Galileo Galilei. Asexual and aromantic discussions about attraction and orientation are unlikely to impact the whole of modern science quite to that extent, but they do question the central nature ‘sex’ (more accurately the conflation between sex and romance) plays in Western societies and they offer up numerous research avenues for scientific branches that were unavailable with less nuanced language.

[2] Aromanticism is even less visible. 2019 will see only the second traditionally published book with an explicit aromantic character that I’m aware of, whereas I can no longer count the traditionally published books with explicitly asexual characters on two hands.

[3] Your mileage, as they say, will vary. Personally I find it incredibly uncomfortable, but many people will get a far more visceral reaction to the way I defined homosexuality than asexuality.

[4] Although in that nominative case form they’re all feminine pronouns in other languages spoken today.

[5] Other variations may be more commonly used, depending on one’s definition of ‘asexual’ in context, but I think this conveys the gist of what I mean clearest here.

[6] A similar argument could be made for ‘nonbinary woman’, which is likewise a seeming contradiction unless one changes the framework of gender one works with.

[7] If, that is, the argument isn’t that demisexuality is ‘normal’. This is another common argument also based on stuffing terms from one framework into one where they cannot fit without distorting their meaning to the point of uselessness.

[8] Emphatically not, in many cases.

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8 Decades of SFF with Low, Intimate Stakes

Posted May 6, 2019 by dove-author in Miscellaneous / 0 Comments

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Hi, everyone! I hope your week is off to a fantastic start! I know. I know. No one likes Mondays because the week’s off to a new start. But you know what Mondays also mean? It’s time for Monday Musings! Wherein I ramble about various and sundry depending on my whim or Patreon requests/suggestions. Posts are somewhere below 2,500 words at most and consist of short personal essays and discussions.

8 Decades of SFF with Low, Intimate Stakes

Every so often on Twitter, I see people talking about a desire for low stakes SFF. As a writer and reader who loves these stories, it always fills me with a tinge of sadness to know that people genuinely want these stories (the tweets come from readers, agents, publishers, authors, so basically everyone) and still feel they often get lost in the more well-known books with large, epic stakes.

Book series such as A Song of Ice and Fire (or Game of Thrones), The Lord of the Rings, The Wheel of Time or, more recently books such as The Poppy War or series like The Sacred Throne where the stakes revolve around saving the world (or not). Where the characters struggle to win a throne (or destroy the throne entirely). Stories that lend themselves to a lot of action or at least several impressive battle scenes.

Very often, though, if you look closely at the way a lot of people discuss these books, it’s not the big stakes that form the central plot that people care about. Look at, for example, the fan commentary leading up to the release of Game of Thrones’s final TV season and the discussion about what the ending may be. While we all care about who sits on the Iron Throne, many of us do so not because we have care overly much about the future of countless of unnamed Westerosi. We care because the show made us care about these characters as individuals. It presented us these big, world-shaking moments and turned them into deeply, intensely personal stakes for the characters which, in turn, means we’re invested in their success (or failure) as individuals rather than out of any kind of concern for the good of Westeros as a whole. For another example that needs little elaboration: if the much smaller and personal stakes didn’t matter, The Lord of the Rings would have ended shortly after Sauron is defeated. But they matter and so it doesn’t.

Books that celebrate smaller, more intimate stakes (and shout-out to Eric Smith for introducing me to the phrasing!) and eschew focusing on the larger stakes, though, can feel like they’re far and few between or like they never existed in the first place, which is a shame because people have always written these types of stories too, even won acclaim with them.

As such, the last time I saw this mentioned, I asked my Twitter timeline if I should do a thread of books focusing on smaller stakes. The answer was a resounding ‘yes’ and I made a thread that evening. But Twitter threads get lost to the ether quite easily and I wanted to have a record of these for future reference. So, here I am, writing an introduction a post collecting the stories I mentioned in that Twitter thread for ease of reference for everyone.

Like I said at the time, my definition for inclusion on the list is two-fold:

  • No galaxy/world/kingdom-changing plot unless it’s the B-plot (and ideally a C-plot).
  • The book must have been memorable to me for its small stakes.

And, yes, that means pretty much all the books on this list are books I’ve read. It also means that I have a clearly defined limit I can use to err on the side of caution. This isn’t a complete list of all the books I’ve read which centre around small, intimate stakes. It’s just a list of the books that stood out to me at the time I made the thread.

Caveat: Due to the fact that I read some of these a long time ago, it is possible that the most detail I can give a book is “Well, I remember the small stakes being very powerful and gripping”.

For this list, I’ve decided to break the books up into decades just to illustrate that they have, indeed, always been published. That said, this list leans heavily towards modern SFF due to my own interests and desires not to link authors more than, at most, twice.

Without further ado, let’s look at books with intimate stakes in SFF fiction!

1920s

Lud-in-the-Mist by Hope Mirlees may contain a quest to save a city, but it’s far more a quest of a father determined to save his child. It’s a story of ordinary people trying to do what seems right to them.

The Charwoman’s Shadow by Lord Dunsany a story about a young man who, in wanting to learn sorcery, discovers an old woman with no shadow and sets out to solve the mystery.

We’re skipping the 1930s, yes.

1940s

Iron and Gold by Hilda Vaughan may be hard to track down – I’m not sure if the Honno edition is still in print, but I highly recommend it – but it’s an intimate retelling of The Lady of Llyn y Fan Fach and captures the Welsh landscape breathtakingly well.

Titus Groan by Mervyn Peake may seem like an odd choice. It is, after all, a chunkster, but it is a quiet book filled with love for the setting and the characters as they live their lives.

We’re skipping the 50s too.

1960s

The Last Unicorn by Peter S. Beagle likely needs no introduction, but for those who need it: this is the story of a unicorn who is looking for others of her kind. It has some of the subtlest, quietest narrative strands. There isn’t a part of this lyrical book that isn’t understated.

The Smith of Wootton Major by J.R.R. Tolkien is a fairy story which may hold echoes of epic fantasy, but it’s largely focused on the exploration of Faery and the celebration in Wootton Major.

The Owl Service by Alan Gardner is a retelling of Blodeuwedd, centring itself in its Welsh valley setting and the way the narrative of Blodeuwedd keeps playing over and over and the generational trauma that that causes.

1970s

Greenwitch by Susan Cooper is technically the third in a series that is all about big and epic stakes, but this book is super-focused on the relationship between Jane and the Greenwitch, as well as the importance of kindness from one individual to another. The emphasis is strongly on the low and intimate stakes rather than the battle between good and evil.

The Tombs of Atuan by Ursula LeGuin is, first and foremost, a story about identity, but also about stepping out into the world and living on one’s own terms.

Beauty by Robin McKinley is a retelling of Beauty and the Beast and focuses strongly on Beauty’s life with delightful references to domesticity and focusing on the way Beauty and her family settles into their new lives.

1980s

Seaward by Susan Cooper, which is admittedly one of my favourite books ever, is all about growing up in gorgeous, lush mythology and has the sweetest first love arc ever. It’s all about its two protagonists dealing with grief and personal loss as well as discovering who they are.

The Changeling Sea by Patricia A. McKillip is all about a fisherman’s daughter who curses the sea for taking her father from her. It focuses strongly on her friendship with the prince and a magician the village hires to help them once monsters show up off-shore. It’s just as much about Peri growing up as it is discovering what draws the prince to the sea again and again.

Little, Big by John Crowley is a generational story about a family that lives right beside an otherworld with lyrical prose and subtle touches of magic throughout.

Wise Child by Monica Furlong is a story set in a quiet, medieval Scottish village. Wise Child focuses on the importance of every day life and accepting people for who they are.

1990s

The Vintner’s Luck by Elizabeth Knox is a story about the love between a vintner and an angel. Focusing on their meetings, it includes many glimpses into Sobran’s life as well.

Wizards Tale by Kurt Busiek and David Wenzel is about a wizard who really wants to be bad and just… keeps on doing good.

Winter Rose by Patricia A. McKillip is a retelling of Tam Lin and it’s one of the dreamiest, most lyrical retellings I’ve had. This story is all about Rois’s love for Corbet Lynn and the way that love and lust can consume a person.

2000s

The Mystery of Grace by Charles de Lint is… A book I admit I genuinely do not recall except thinking it focuses on low stakes. I’m informed a lot of De Lint’s novels actually have bigger stakes, but I mostly remember them because of their smaller stakes. His works absolutely centre the more intimate stakes that one would expect from a list about books focusing on low, intimate stakes.

Fitcher’s Brides by Gregory Frost is a mash-up retelling of Bluebeard and Fitcher’s Bird, set in 1800s New York State. It’s focused on the Charter sisters and their choices when their father is swayed to join a cult.

Tooth & Claw by Jo Walton is a fantasy-of-manners with cannibalistic dragons. Being a fantasy-of-manners, the story is all about social structure.

Heart’s Blood by Juliet Marillier is about Caitrin finding a new home. There are some elements of larger stakes, as the story is a retelling of Beauty and the Beast that focuses as much on the people cursed with the Beast than on the romance between the titular characters, but at its heart it’s a story about individual people learning to trust and to love.

2010s

A Promise Broken by me focuses on a small girl dealing with grief as well as on the community looking after her (and other children). There are some relatively big stakes in the background, but it’s Eiryn and her relationships to the people around her that are what makes this story tick.

Thornbound by Stephanie Burgis is actually about a nation-changing event, but the focus is so strongly on Cassandra learning she does not have to do everything alone and on saving her school that it totally counts. It’s all about Cassandra and her relationship to the people at her new school and her family, as well as family secrets that end up uncovered.

The Mermarium by Amanda N. Butler is a verse novel about mermaids and sisterhood and found family. It’s a quiet, evocative story about dealing with trauma and healing.

Water into Wine by Joyce Chng features big stakes in the background, but it’s ALL ABOUT the small stakes of a family just trying to survive while war is happening around them.

City of Strife by Claudie Arseneault may, at first glance, sound like it’s more about big stakes, but it’s really all about the way the characters interact. It’s a book filled to the brim with small, intimate stakes that add up to creating bigger stakes.

Help Wanted by J. Emery is an NA novella about friendship and questioning one’s identity. And also birthday presents and magic. It’s all about the gradual changes in our lives and dealing with them.

An Unexpected Invitation by Ceillie Simkiss is a fantasy novella that centres around attending a friend’s wedding when travelling to them means being incredibly motion sick and how to accept help from friends.

Under Her Spell by Bridget Essex is an expanded edition of a series of novellas I read when they were initially released under a pen name. They are soft and pure f/f stories about moving into a small community and love. The book’s bound to be delightful!

The Faerie Godmother’s Apprentice Wore Green by Nicky Kyle is a novelette (I think) about friendship and wanting more from life than what initially seems possible and likely.

The Tea Master and the Detective by Aliette de Bodard is a mystery and all about what happened to a corpse after it turns out to have been murdered. ONE DAY I WILL HAVE PROPER WORDS FOR THIS BOOK. ONE DAY.

The Scorpio Races by Maggie Stiefvater is all about a small community that relies on racing. Also kelpies, which automatically makes it awesome in my opinion, but really. It’s all about the relationships in a small, isolated community.

The Tea Dragon Society by Katie O’Neill is all about a small group of people trying to keep ancient arts alive and the importance of art in general. (I’m told there’s also going to be a sequel!)

A Closed and Common Orbit by Becky Chambers is all about self-identity, persoonhood and found family. Also caring about one another.

On the Edge of Gone by Corinne Duyvis has some pretty big stakes, but they’re all background for the smaller stakes of family, community and working together even after the worst has happened/is happening.

Memory of Water by Emmi Itäranta is a Finnish post-apocalyptic story that centres around tea ceremonies and the protagonist discovering her place in the world, rather than overthrowing the admittedly very dystopian regime.

Emyr’s Smile by Amy Rae Durreson may be best read after The Lodestone of Ys, but it’s a sweet m/m story and two men dealing with their emotions. (CN: On-page sex)

Archivist Wasp by Nicole Kornher-Stace is, perhaps, another book you might not expect to find here, given the hints we get of the world’s past and the ending, but the focus is strongly on Wasp’s desire to be free I couldn’t leave it off.

A Harvest of Ripe Figs by Shira Glassman is the third in a series, but arguably the least big stakes of them all. It’s all about a lesbian queen and her found family solving a mystery.

Shades of Milk and Honey by Mary Robinette Kowal is a delightful story inspired by Jane Austen’s work that focuses, largely, on delivering a low-conflict fantasy-of-manners story.

Unbound and Free by Becca Lusher is the first of her Historical Aekhartain books. This one is all about Demairo and his friends, who help him deal with his abusive father and an island intent on killing everyone who sets foot on it. It’s a story about family and belonging.

Mindtouch by M.C.A. Hogarth is the first in the Dreamhealers Saga. This is an SF story about students just trying to get through university. And friendship. And dealing with anxiety and the harmful impact of stereotypes. Contains space elves, pretty much. Personally, I would recommend Dreamhearth over Mindtouch for low, intimate stakes because it’s all about settling into (adult) life and a new community. Highlight of the book is off-screen pet death (as opposed to the on-screen child dying in one’s arms that marks the climax of Mindtouch), but I don’t think it reads well on its own. You really need the grounding of the first two books to make it work.

Chime by Franny Billingsley is all about witches and family and self-love. Also unreliable narrators and small communities and one’s place in them as we grow older.

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Several of My Favourite Retellings

Posted April 29, 2019 by dove-author in Miscellaneous / 0 Comments

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Hi, everyone! I hope your week is off to a fantastic start! I know. I know. No one likes Mondays because the week’s off to a new start. But you know what Mondays also mean? It’s time for Monday Musings! Wherein I ramble about various and sundry depending on my whim or Patreon requests/suggestions. Posts are somewhere below 2,500 words at most and consist of short personal essays and discussions.

Several of My Favourite Retellings

Last week, I revisited an old post about my favourite fairy tales. As that post had a companion, this week, I’m revisiting a discussion on my favourite (fairy tale) retellings.

I’m sure it doesn’t take people long to pick up on the fact that I enjoy fairy tale retellings rather a lot. I’ve only got a series exploring them, after all. I’ve always loved them. There’s something fascinating and beautiful about the many ways in which we can retell the same story without losing our originality or personality. Retellings, to me, are a testament to the power of storytelling and imagination because even the ones that are similar to one another are recognisably different and have always been such.

Talking about my favourite retellings may be a little disingenuous since, in many cases, I’ve only read the story once. I’m not great at rereading nowadays, but these are all stories that have touched me deeply and that I’ve enjoyed reading rather a lot.

One of the newest additions to my list of favourite fairy tale retellings is Aliette de Bodard’s In the Vanishers’ Palace. This is a retelling of Beauty and the Beast with a distinctly Vietnamese flavour set in a post-colonialist and post-apocalyptic world. It’s arguably science fantasy and maintains an amazing balance between being nothing like Beauty and the Beast and yet being recognisably a retelling of the fairy tale. It deals directly with the question of consent inherent in the narrative as well as the question of how such a palace could be forgotten. One of the great frustrations for me in fairy tale retellings is the way they deal with the timelessness present in the original. De Bodard deals with it beautifully and poignantly, as she deals with every aspect of the narrative. My favourite aspect, though, is almost certainly the magic and the commentary it delivers on certain well-known magic systems.

Another new addition to my list of favourite retellings is Jo Walton’s The Prize in the Game, which retells The Táin and, having finally read it, lets me posit all three of the books as a single unit for the purposes of this post. I think they’re best read closely together, to allow this prequel to nuance Sulien’s opinions and commentary in The King’s Name and The King’s Peace (both of them retellings of Arthurian legend). These books are some of the richest and most in-depth retellings I’ve ever read. Like De Bodard in In the Vanishers’ Palace, Walton retells these tales in a way that is both nothing like the original and yet unmistakably that story. There is a depth and lyricism to Walton’s retelling that encapsules both modern fantasy novel sensibilities without losing that sense of myth that comes with a story retold many times over many centuries.

Sticking with the theme of not-actually-fairy-tales and retellings of The Táin, I also want to highlight Jules Watson’s The Raven Queen. This is a historical fantasy retelling of the tale and, thus, far more recognisable in its retelling. Watson, unlike Walton, seeks to tell a story that reads like it could be the ‘real’ story before time and storytelling polished it into the tale we know today. It’s a companion piece to Watson’s The Swan Maiden, and though The Raven Queen stands on its own perfectly well, it’s worth reading The Swan Maiden first as the two are closely intertwined and you’ll get a better understanding of events overall.

Novis by Rachel Tonks Hill is a science fiction retelling of Beowulf, and exceedingly epic in its scope. I don’t even really know where to start with this one. It’s a delightful take on the tale and, despite being a science fiction setting, still manages to keep some of the horror of the original poem intact. Choosing to retelling Beowulf in a space opera allows Hill to keep everything that makes the poem so memorable whilst giving it a spin unique to the story that Hill is telling.

Returning to actual fairy tales, I cannot write a post like this without mentioning Jane Yolen’s Briar Rose, a retelling of Sleeping Beauty that weaves the fairy tale firmly into reality and tragedy by tying the narrative of the fairy tale to the Holocaust. It’s difficult to talk about this book without feeling like I’m spoiling it. One of the reasons it was so powerful to me was knowing virtually nothing about it beyond that it was a retelling of Sleeping Beauty. It is, however, one of the most powerful and heart-felt retellings, and a perfect example of how we use stories to make sense of the world around us.

Shannon Hale’s The Goose Girl is one of the most faithful retellings I’ve ever read while still making the story into an entire novel. In some ways, I think Hale’s retelling of The Goose Girl is the way it’s always lived inside my head plucked out of the world of dreams and poured into written form. In most ways it isn’t, of course. I never dreamed of Bayern or the way magic works in them. But if Seven was the novella that taught me just how different you can make a fairy tale retelling while keeping it recognisably its original then Hale’s was the book that taught me the power of staying true to a story’s core. I’ve never read a retelling that felt, so keenly, like it was an unabbreviated version of a tale.

Iron and Gold by Hilda Vaughan is a book that I can almost guarantee you’ve never heard of. It’s a retelling of a Welsh fairy tale, Lady of Llyn y Fan Fach, and is utterly, utterly gorgeous. If you enjoy fairy tales, especially an exploration of the fairy bride trope in fiction, I strongly urge you to track down a copy of this book. It’s thoughtful and thought-provoking as well as emotionally gripping. The introduction of the Honno edition is well worth your time too if you’re normally the kind of person who skips introductions.

One of the most powerful retellings I’ve ever read was Deerskin by Robin McKinley. Deerskin is a retelling of stories such as Bearskin or All-Kinds-of-Fur and deals unflinchingly with the aftermath of rape. It’s a sensitive, gentle retelling, if at times harrowing. McKinley’s style is somewhat hit-or-miss for me, but in Deerskin, certainly, it works a wonder on me. It’s an honest look at the healing process and trauma and seeks to deal with it in a way that I’ve not seen many fairy tale retellings even dare.

As this technically covers eleven books already, I will leave it at this. I have many more books that I utterly love and that I’d recommend without hesitation (if, at times, with content warnings) and I hope that if I’ve inspired you to pick up any of them, that you’ll enjoy them immensely.

This post is sponsored by generous patrons. Thank you so much for your support! It means the world to me! <3 I love you all! If you’ve enjoyed this post and would like to support me in creating more free content, please consider subscribing or spreading the word to others.

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