Mack’s Backs Books of Coventry is hosting their Third Thursday Science Fiction Book Club tonight at 7 pm. the book this week is New York 2140 by Kim Stanley Robinson.
Upcoming meetings at Mack’s Backs include :
October 18 – Witchmark by C.L. Polk
November 15 – Provenance by Ann Leckie
December 20 – The Book of Dust by Philip Pullman
OK, we have a pair of passes to Cleveland Cinemas, who will be showing Star Trek IV at the Capitol Theater on October 3. Just answer this question to enter. Who directed this comedic Star Trek masterpiece?
Email your answer to CelestialAttic2018@celestialattic.com to enter the drawing. Don’t miss the in-person drawings at the Picnic at the End of the Universe.
Immediate family members of Celestial Attic’s owners and employees are ineligible to win. You must be 18 and older to win. No purchase is required to win. Once you’ve won, you are done.
Be sure to check out our sponsors, Cleveland Cinemas, Imaginary Worlds Comics and Collectables, Library of America, Mac’s Backs Books of Coventry, The Malted Meeple, The Mummy and the Monkey’s Thrift Crypt, and Carol and John’s Comic Shop. Read, listen and like for your chance to win during the months of August and September.
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Let’s work together to keep Cleveland Geeky.
I got a chance to read Ursula K. Le Guin: Conversations on Writing. It is a fast read. In just 150 short pages, interviewer David Naimon, host of the Portland-based podcast Behind the Covers, conducted the interview for broadcast by KBOO 90.7 FM in Portland Oregon. The book moves quickly through Le Guin’s thoughts on writing fiction, poetry and nonfiction. This is not as in-depth as some of her other writings about writing. You will find longer, more in-depth interviews elsewhere as well. (See her interview with Bill Moyers for example.) What you get from this book are some of Le Guin’s last thoughts on the subject. If you have never heard her speak on any subject before, there is much here.
Le Guin’s world outlook is heavily influenced by asian religion, Buddhism, the I-ching, Taoism and Naimon digs into that. On some broad level, that Asian worldview influences her work, but not visibly at the macro scale of obvious plot. In many ways, the concepts are so broad and fundamental that they influence the rhythm of EVERY part of her work. Right down to the words. Right down to the rhythm of the words in sentences. Right down to the way words convey the structure of alien thought. She argues forcefully that good prose ignores the current “fads” of writing, digging for something deeper. Good prose follows the rhythm of thought. It is an idea she credits to Virginia Woolf.
I left the book feeling I had gotten the barest taste of her thoughts and it brought back the sorrow and hollowness of her passing. At one point in this book, she discussed the inability to see sexism in the science fiction genre at a book level. Often, modern science fiction will exhibit strong female characters. But, she stresses, when you look at the broad level, the tendencies of the genre are apparent. She cites the fading of C. J. Cherryh from the canon while authors like William Gibson remain. I hope we have changed. I hope that observation isn’t prophecy for her own body of work. It would be tragic if Le Guin joined Cherryh in under-appreciated obscurity. When Ursula speaks, even beyond the grave, even in such a slender volume, we should listen.
Ursula K. Le Guin: Conversations on Writing