I want to talk about reader burnout. I think this is something a lot of readers deal with but I find that being a librarian makes it worse.
I’m a voracious reader. I always have been. It’s a core pillar of my self-identity.
But there are times when I just don’t want to read, sometimes for few days and sometimes for couple weeks or more. I feel guilty about this. Readers read, right? Reading is a good thing and we should all do more of it, right?
I didn’t used to feel this way. I used to read as much as I wanted, when I wanted. And that was that. It was all good.
Some of this sense of guilt started when I became a librarian. As a librarian, I feel a professional obligation to read as widely as I can. It’s part of my job to understand the reading landscape so I can help guide patrons through it.
A lot of this pressure to read more started when I began tracking my annual reading a few years ago. Tracking reading is something a lot of librarians do. I hadn’t ever thought to do it until I saw how popular it is on library Twitter and the librarian blogosphere. For many people, it’s a useful thing.
This review was first published by Booklist on November 15, 2019.
Mainstream histories of sf and fantasy cover the main eras, the big names, the important publications and events. But there’s more to any history than just the mainstream. There are obscure authors, forgotten works, and a plethora of what might have beens, plus the myriad ways sf and fantasy have influenced and been influenced by art, design, architecture, fashion, music, and fandom. Lost Transmissions explores some of these often-overlooked pieces of the history of sf and fantasy. How would the genre be different if Jules Verne had successfully published the first novel he submitted? If William Gibson’s screenplay for Alien III had been made, or if E.T. had been a creepy goblin movie? From the sf fashion of David Bowie’s Ziggy Stardust, to the Afrofuturism of Janelle Monáe’s music, to Soleri’s architecture of arcology (best recognized as Luke Skywalker’s dome house on Tatooine,) to contributed essays by a roster of luminaries reflecting on their favorite obscurities, this is a fascinating enrichment of the history of sf and fantasy.
I’ve had a couple conversations recently which have challenged me to examine this choice more deeply and articulate the reasons why I made it.
It has a great deal to do with my commitment to diversity and building empathy. I support #OwnVoices and #WeNeedDiverseBooks. Sharing stories is how we forge understanding and respect. I want to embody this belief in my personal reading choices.
But I also have a more selfish reason: my own personal entertainment.
My dad likes to tell a story about a man he knew who was the head of a college. Every summer, this man would take a weekend to go out to a cabin in the middle of nowhere, all by himself, unconnected and alone. He brought along a blank notepad and a pen. On the top of the first page, he’d write, “Five Years.” He’d flip a few pages in and write “Ten Years” at the top of the page, and then “Twenty Years” a few pages later. He’d spend the weekend jotting down everything he could think of that he wanted the college to do in the next five-to-twenty years.
One summer, his weekend came to an end and he looked at his notepad. He had four or five things written on the “Five Years” page, just a couple things written on the “Ten Years” page, and nothing under “Twenty Years.” When he got back home, he tendered his resignation. He believed that if he didn’t have a vision for the organization, then he wasn’t the right person to lead it anymore.
This review was first published by Booklist on November 1, 2019.
**STARRED REVIEW** Multi-award-winning Uncanny Magazine has been the preeminent publisher of speculative short fiction, poetry, and nonfiction since 2014, and is renowned for offering its contributors tremendous creative freedom. Authors published by Uncanny are a roster of the greatest sf writers of the present era: Neil Gaiman, N. K. Jemisin, Charlie Jane Anders, Seanan McGuire, Naomi Novik, and many, many more. The works in this anthology are the best of the best in the genre, from science fiction to fantasy to weird tales to poetry, representing a stunning diversity of styles and perspectives, from the Hugo award-winning “Folding Beijing,” by Hao Jingfang to a female empowerment parable, “Monster Girls Don’t Cry,” by A. Merc Rustad. Language and family tie into technology and posterity in “Restore the Heart to Love,” by John Chu; “Clearly Lettered in a Mostly Steady Hand,” by Fran Wilde visits a nightmarish circus freak show; “And Then There Were (N-One),” by Sarah Pinsker is what happens when Being John Malkovich meets Agatha Christie. This anthology contains a gluttonous surfeit of narrative riches. The works in this collection are inventive, gorgeous, occasionally difficult, and immensely rewarding. Truly, the best of Uncanny.