Stuart told File 770, “The letter was workshopped by the entire group, and wasn’t published before they gave express approval so it very much is a group of co-signees.”
The group includes: Charles Payseur, Benjamin C. Kinney, Jennifer Mace, SL Huang, Shiv Ramdas, SB Divya, Jenn Lyons, Sarah Gailey, Paul Weimer, Sarah Pinsker, Claire Rousseau, Maria Haskins, Tasha Suri, Marguerite Kenner, Alasdair Stuart, Jonathan Strahan, Pablo Defendini, Elsa Sjunneson, Brent Lambert, Freya Marske, Julia Rios, Alix Harrow, Gideon Marcus, Janice Marcus, Lorelei Marcus, James Davis Nicoll, Neil Clarke, Cora Buhlert, Charlie Jane Anders, Brandon O’Brien, Erica Frank, Jen Zink, Adri Joy, Fran Wilde, Suzanne Walker, Chimedum Ohaegbu, Navah Wolfe, John Picacio, and Max Gladstone.
The letter says:
We applaud the courage and conviction of the CoNZealand organisers in pivoting to a virtual Worldcon during an unprecedented global event. Their work has been admirable and — in many aspects — both innovative and successful.
We are a group of Hugo Award finalists who identified concerns with our programming when we received our “final schedules” this week, and came together to help CoNZealand recognize and address these issues.
In brief, our key concerns are:
Many Hugo finalists have not been offered programming and panels relevant to their nomination.
We believe that many of our panels cannot be adequately performed without more diverse participants and/or a reframing of the topic.
Communication with Hugo finalists about the financial requirements for participation has been inconsistent or absent, with contradictory information on whether or not we were able to participate in programming without a full attending membership. This issue particularly impacted Black, Indigenous and people of color (“BIPOC”), leaving them more likely than other finalists to receive no programming.
We present our concerns in the hope that these issues represent not intentional choices on the convention’s part but the unavoidable consequences of Worldcon’s discontinuous structure, and the necessary prioritization CoNZealand has had to undertake in order to pivot successfully to a virtual event.
We have tried to be brief and targeted in our recommendations so as to remain sensitive to the time pressure CoNZealand is under. Accompanying this letter is a spreadsheet containing specific examples of the issues above. We have listed (1) which panel topics we are missing; (2) which panels have problematic design or membership; (3) which panels we finalists want off or are willing to leave to create space; and (4) finalists that were deterred from participation due to lack of membership.
Our data are incomplete because we could only recruit a limited number of Hugo finalists to provide input without further delaying the process. Among our group of finalists, about 25% entirely lack relevant panels, and about 45% are dissatisfied with the fit of the programming they have.
We recognize there is a difficult balance to strike when raising concerns to an overtaxed team less than two weeks before an event, however many of us have repeatedly raised these issues or volunteered only to receive no response. We have intentionally not sought to assume ownership of programming items, but we are committed to assisting where possible and desired by CoNZealand. However, we emphasize that our bringing awareness to these issues does not obligate us to single-handedly resolve them.
As part of our offer to assist, we have begun identifying additional and replacement panelists who could add necessary diversity. If CoNZealand lacks sufficient BIPOC attendees, we hope you will provide free attendance to needed panelists who aren’t members. Moreover, there remain issues we cannot address on our own, especially (1) communicating with all finalists whether paid membership is required for programming; and (2) making sure all finalists with memberships are on relevant programming.
We are not united in what actions we intend to take if our concerns are not addressed. Many have already begun the process of asking to be removed from programming in its entirety, while others are actively working to locate replacements for the programming items they feel need improvement. Our focus at this stage remains taking action to make our concerns known, and to support CoNZealand addressing them in the combined spirit of fostering an environment for all to share in the celebration of our genre.
We appreciate your volunteerism in contacting all those people for us. As you know, due to privacy regulations, we cannot contact people more than once without a response from them. We hope they will get in touch with us directly and soon, to see if we can fit them in.
All the best, Jannie
Shea points to CoNZealand’s inclusion initiative in answer to the letter’s question “whether paid membership is required for programming.” Typically, only people who have bought attending memberships become Worldcon program participants. The introduction to the inclusion initiative explains what help is available:
Marginalised communities are overrepresented in the group suffering the greatest fallout from this pandemic, and as such, we want to ensure that our community does not suffer a loss of its hard-won diversity. We want to lower the barriers for participation for those from underrepresented communities.
We want the convention to be a global one, where all communities and viewpoints are represented, and this fund is intended to help those who would otherwise not be able to participate fully in the activities of the Worldcon.
The initiative upgrades eligible members from supporting to attending memberships. …There are a small number of attending passes available.
CoNZealand is especially challenged in its efforts to answer these needs because, as a virtual convention, it isn’t limited to programming people who can afford to come to Wellington, as would have been the case before the pandemic — it could draw people from everywhere. But like most non-U.S. Worldcons it has a smaller membership base from which to draw the financial support needed to make its budget.
Following the jump is a roundup of Twitter comments from participants.
…First of all the Eleventh World Science Fiction Convention committee called them the First Annual Science Fiction Achievement Awards and not the Hugo Awards. Officially they continued to be called the Annual Science Fiction Achievement Awards for many decades. It wasn’t until 1993 that they were officially renamed the Hugo Awards. Exactly when fans began giving the awards the nickname of Hugo I can’t be entirely sure. However, the earliest mention of the practise I’m aware of appeared in the 1955 Clevention’s Progress Report #4. In an article about the physical aspects of the award appears the following comment:
A great deal of hard work, money and time went into the project of making this “Hugo”, as some people have already dubbed the trophy.
Just who was using the term and how widespread the practise was by this point isn’t made clear in this article. It could be that committee members were aware of the nickname being used elsewhere but I suspect such usage was confined to the committee itself. After all, given that at this point the awards had only been given once and then were seemingly discontinued it seems a bit unlikely that fandom at large had decided to give something they couldn’t be certain would ever be seen again a nickname. Moreover, given that the awards are then continually referred as Hugos in the rest of the article I rather suspect some or all of the committee had not only adopted the term but also wanted to push the idea of calling it that as one way to put their stamp on the awards idea. All speculation of course but it does make for an interesting theory.
(2) BEFORE NUMBERS. And Galactic Journey’s Hugo headline deals with news that’s only a tad more recent — “The 1965 Hugo Ballot Is Out!” They also invite fans to join them for an online discussion on May 23.
… Since the Journey has covered virtually everything on the list, we’ve created a little crib sheet so you can vote in an educated fashion.
(3) AN EPISODE RECAP – SPOILERS? I’M NOT SURE. [By Martin Morse Wooster.] In the May 10 episode of Supergirl, Kara Zor-El and her friends were trying to track down bad guys who called themselves Leviathan. They went to the “United States Congressional Library” which eerily resembles a Canadian public library to talk to a librarian who was a “symbologist”–you know, like the guy in The Da Vinci Code. The symbologist explained that he tried to search for “leviathan”–but all of searches were blocked! Scary!
So they decided to visit “special collections,” which of course was the vault in the basement where The Good Stuff is kept and can only be seen by people with the secret passcode, But just as our hero punches the buttons, the bad guys start shooting at them. How these guntoters managed to get past the security guards is not explained, possibly because the “United States Congressional Library” doesn’t have any security guards.
Any resemblance between the “United States Congressional Library” and the Library of Congress is nonexistent.
…While Fugitive Telemetrymay be the sixth installment in the series, it is something new for this world: a murder mystery. The novella follows Murderbot as it discovers a dead body on Preservation Station, and sets about assisting station security to determine who the body was and how they were killed. Fugitive Telemetry takes place after the events of novella Exit Strategy and before the events of novel Network Effect, and is slated for an April 2021 release.
Actor Peter Capaldi, shows his support for The National Brain Appeal’s Emergency Care Fund – set up in response to the Covid-19 crisis. We’re raising money for staff on the frontline at The National Hospital – and those patients who are most in need at this time. He reads from The Runaway Robot by Frank Cottrell Boyce.
Any devoted audiobook listener can attest: Spending nine hours (or more) in the company of a terrible reader–a shrieker, mumber, droner, tooth whistler, or overzealous thespian–is an experience that can truly ruin a book. A narrator’s voice is not merely a delivery system, an element extraneous to the text, but an integral one–fulfilling, enriching, injuring, or sinking a book.”
She explains this is particularly true with books in the public domain. She notes that Thomas Hardy’s Far From The Madding Crowd comes in a dozen versions. including a superb one by John Lee and readings by Nathaniel Parker and Joe Jameson “are excellent if a little fast.” But “excruciating performers” of hardy’s novel include “a drawling old fogy; a governess on an elocution bender; a sprinter whose words tear along in a blur; and a man who seems to be recording inside a tin can.
This doesn’t have much to do with sf except that she says that Neil Gaiman is a very good reader of his own fiction (I agree). But I thought she made some good points.
(7) PEOPLE WHO KNEW PKD. “The Penultimate Truth About Philip K. Dick” on YouTube is a 2007 Argentine documentary, directed by Emiliano Larre, that includes with Dick’s ex-wives Kleo Mini, Anne Dick, and Tessa Dick, his stepdaughter Tandie Ford, and authors K.W. Jeter, Ray Nelson, and Tim Powers.
(8) WILLARD OBIT. Comedic star Fred Willard, who appears in the forthcoming show Space Force, died May 15 at the age of 86. He gained fame in a long career that included roles in Best in Show, This Is Spinal Tap, Everybody Loves Raymond and Modern Family. More details at People.
(9) TODAY’S BIRTHDAYS.
[Compiled by Cat Eldridge and John Hertz.]
Born May 16, 1891 — Mikhail Bulgakov. Russian writer whose fantasy novel The Master and Margarita, published posthumously, has been called one of the masterpieces of the 20th century. The novel also carries the recommendation of no less than Gary Kasparov. If you’ve not read it, a decent translation is available at the usual digital sources for less than a cup of coffee. (Died 1940.) (CE)
Born May 16, 1917 – Juan Rulfo. Author, photographer. In Pedro Páramo a man going to his recently deceased mother’s home town finds it is populated by ghosts; translated into 30 languages, sold a million copies in English. A score of shorter stories; another dozen outside our field. Here are some photographs and comment. (Died 1986) [JH]
Born May 16, 1918 – Colleen Browning. Set designer, illustrator, lithographer, painter. A Realist in the face of Abstract Realism and Abstract Expressionism, she later turned to magic realism blurring the real and imaginary. See here (Union Mixer, 1975), here (Mindscape, 1973), here (Computer Cosmology, 1980s), and here (The Dream, 1996). (Died 2003) [JH]
Born May 16, 1920 – Patricia Marriott. Cover artist and illustrator, particularly for Joan Aiken (1924-2004); 21 covers, 18 interiors. See here and here. (Died 2002) [JH]
Born May 16, 1925 – Pierre Barbet. French SF author and (under his own name; PB is a pen name) pharmacist. Towards a Lost Future; Babel 3805; space opera, heroic fantasy, alternative history. In The Empire of Baphomet (translated into Czech, Dutch, English, Hungarian, Portuguese, Romanian, Spanish) an alien tries to manipulate the Knights Templar; in Stellar Crusade the knights go into Space after him; 72 novels, plus shorter stories, essays. (Died 1995) [JH]
Born May 16, 1928 – Burschi Gruder. Romanian pioneer and prolific illustrator of children’s books, textbooks, comic books; cover artist; reprinted in East Germany, Moldova, Poland, U.S.S.R., Yugoslavia. See here and here. (Died 2010) [JH]
Born May 16, 1937 — Yvonne Craig. Batgirl on Batman, and that green skinned Orion slave girl Marta on “Whom Gods Destroy”. She also appeared in The Man from U.N.C.L.E., The Wild Wild West, Voyage to The Bottom of the Sea, The Ghost & Mrs. Muir, Land of the Giants, Fantasy Island and Holmes and Yo-Yo. (Died 2015.) (CE)
Born May 16, 1942 – Alf van der Poorten. Number theorist (180 publications; founded Australian Mathematical Society Gazette; Georges Szekeres Medal, 2002) and active fan. One of “Sydney’s terrible twins”. Reviewer for SF Commentary. (Died 2010) [JH]
Born May 16, 1944 — Danny Trejo, 76. Trejo is perhaps most known as the character Machete, originally developed by Rodriguez for the Spy Kids films. He’s also been on The X-Files, From Dusk till Dawn, Le Jaguar, Doppelganger: The Evil Within, From Dusk Till Dawn 2: Texas Blood Money, Muppets Most Wanted and more horror films that I care to list here. Seriously, he’s really done a lot of low-budget horror films. In LA he’s even better known for donuts – i.e., he owns a shop with his name on it. (CE)
Born May 16, 1953 – Lee MacLeod. Four dozen covers, plus interiors, among us. Lee MacLeod SF Art Trading Cards.Batman, Howard the Duck, Pocahontas (i.e. Disney’s). Air Force Art Program. Here are two covers for The Mote in God’s Eye from 1993 and 2000. For his fine art e.g. plein air, see here.
Born May 16, 1962 — Ulrika O’Brien, 58. A Seattle-area fanzine fan, fanartist, con-running fan, and past TAFF winner. Her list of pubished fanzines according to Fancyclopedia 3 is quite amazing — Fringe, Widening Gyre and Demi-TAFF Americaine (TAFF Newsletter). Her APAzines include Mutatis Mutandis, and APAs include APA-L, LASFAPA, Myriad and Turbo-APA. (CE)
Born May 16, 1968 — Stephen Mangan, 52. Dirk Gently in that series after the pilot episode which saw a major reset. He played Arthur Conan Doyle in the Houdini & Doyle series which I’ve heard good things about but haven’t seen. He did various voices for the 1999 Watership Down, and appeared in Hamlet as Laertes at the Norwich Theatre Royal. (CE)
Born May 16, 1969 — David Boreanaz, 51. Am I the only one that thought Angel was for the most part a better series than Buffy? And the perfect episode was I think “Smile Time” when Angel gets turned into a puppet. It even spawned its own rather great toy line. (CE)
(11) DISNEY’S NEXT PLANS FOR THE STAGE. The Washington Post’s Peter Marks not only reports the demise of Frozen on Broadway, but that Disney Theatrical Productions president Michael Schumacher announced several musicals in development, including The Princess Bride, Jungle Book, and Hercules. “Citing the pandemic, Disney puts Broadway’s ‘Frozen’ permanently on ice”.
Schumacher also used the letter to detail other projects in the works — notably, a stage musical version of the 1987 cult movie favorite “The Princess Bride,” with a book by Bob Martin and Rick Elice and a score by David Yazbek, and an expanded stage version of the “Hercules” that debuted last summer in Central Park. Book writer Robert Horn, a Tony winner for “Tootsie,” will be added to the songwriting team of Alan Menken and David Zippel.
(12) PRINCEJVSTN’S FINEST. Best Fan Writer Hugo finalist Paul Weimer’s “Hugo Packet 2020” is available from an unlocked post on his Patreon page. (I have the right URL here but can’t get it to open from the Scroll, which is why I am also including Paul’s tweet).
Facebook is teaming up with telecoms companies to build a 37,000km (23,000-mile) undersea cable to supply faster internet to 16 countries in Africa.
Its length – almost equal to the circumference of the Earth – will make it one of the longest, it said.
It is part of a long-running bid by Facebook to take its social media platform to Africa’s young population.
Ready for use by 2024, it will deliver three times the capacity of all current undersea cables serving Africa.
“When completed, this new route will deliver much-needed internet capacity, redundancy, and reliability across Africa, supplement a rapidly increasing demand for capacity in the Middle East, and support further growth of 4G, 5G, and broadband access for hundreds of millions of people,” said Facebook in a blog.
Africa lags behind the rest of the world when it comes to internet access, with four in 10 people across the continent having access to the web, compared with a global average of six in 10.
Bill Murray really missed working alongside Harold Ramis and Rick Moranis while filming the upcoming Ghostbusters: Afterlife.
The legendary comedian admitted as much during his recent interview with Ellen DeGeneres, saying that the pair were “greatly missed for so many reasons,” adding, “They were so much a part of the creation of [Ghostbusters] and the fun of it.”
(16) TOASTS OF THE TOWN. At the #OrbitTavern on Instagram, Creative Director Lauren Panepinto interviews an author about their upcoming book Ann Leckie and Laura Lam in one session) —and teaches viewers how to make the perfect cocktail to pair it with! Replays of their live shows are also available on Orbit’s website.
For example, a couple of days ago they celebrated World Cocktail Day with Alix Harrow.
(17) NESFA PRESS SALE. NESFA Press has announced a 20% discount good through June 14, 2020 on all NESFA Press physical books — with some exceptions. This does not include E-Books, ISFiC books (including the Seanan McGuire Velveteen books), and the following limited-edition books: Stan’s Kitchen by Kim Stanley Robinson and A Lit Fuse: The Provocative Life of Harlan Ellison (limited, boxed edition).
To take advantage of this discount, go to the NESFA Press online store: http://nesfapress.org/, select the titles you wish to purchase, and during checkout enter “COVID-19” in the coupon text field. The 20% will be automatically deducted from the book price.
[Thanks to JJ, Martin Morse Wooster, Cat Eldridge, John Hertz, Andrew Porter, Michael Toman, Chip Hitchcock, Mike Kennedy, and John King Tarpinian for some of these stories. Title credit goes to File 770 contributing editor of the day Kevin Harkness.]
The winners in the 24 competitive categories for the 2020 Audie Awards, including the Audiobook of the Year, were announced by the Audio Publishers Association (APA) on March 2.
The Audie Awards® recognize excellence in audiobook and spoken word entertainment.
At the Audie Awards® Gala a special Lifetime Achievement Award was given to Stephen King.
Winners of genre interest include:
The Ten Thousand Doors of
Januaryby Alix E. Harrow, narrated by
January LaVoy, published by Hachette Audio
Emergency Skinby N.K. Jemisin, narrated by
Jason Isaacs, published by Brilliance Publishing
Full Throttleby Joe Hill, narrated by Zachary
Quinto, Wil Wheaton, Kate Mulgrew, Neil Gaiman, Ashleigh Cummings, Joe Hill,
Laysla De Oliveira, Nate Corddry, Connor Jessup, Stephen Lang, and George
Guidall, published by HarperAudio
The Instituteby Stephen King, narrated by Santino
Fontana, published by Simon & Schuster Audio
other winners are —
AUDIOBOOK OF THE YEAR
The Only Plane in the Sky: An
Oral History of 9/11 by
Garrett M. Graff, narrated by a full cast with Holter Graham, published by
Simon & Schuster Audio
Angels in America: A Gay
Fantasia on National Themesby
Tony Kushner, performed by Andrew Garfield, Nathan Lane, Susan Brown, Denise
Gough, Beth Malone, James McArdle, Lee Pace, Nathan Stewart-Jarrett, Bobby
Cannavale, and Edie Falco, published by Penguin Random House Audio
Becoming,written and narrated by Michelle
Obama, published by Penguin Random House Audio
BEST FEMALE NARRATOR
Nothing to See Hereby Kevin Wilson, narrated by
Marin Ireland, published by HarperAudio
BEST MALE NARRATOR
Kingdom of the Blindby Louise Penny, narrated by
Robert Bathurst, published by Macmillan Audio
So You Want to Start a Podcast?, written and narrated by Kristen
Meinzer, published by HarperAudio
FAITH-BASED FICTION & NON-FICTION
How the Light Gets In by Jolina Petersheim, narrated
by Tavia Gilbert, published by Oasis Audio
City of Girls by Elizabeth Gilbert, narrated
by Blair Brown, published by Penguin Random House Audio
American Moonshotby Douglas Brinkley, narrated by
Stephen Graybill, published by HarperAudio
More Bedtime Stories for Cynicsby Kirsten Kearse, Gretchen
Enders, Aparna Nancherla, Cirocco Dunlap, and Dave Hill, narrated by Nick
Offerman, Patrick Stewart, Alia Shawkat, Ellen Page, Jane Lynch, John Waters,
Anjelica Huston, Wendell Pierce, Mike Birbiglia, Rachel Dratch, Matt Walsh,
Nicole Byer, Harry Goaz, Aisling Bea, and Gary Anthony Williams, published by
LITERARY FICTION & CLASSICS
The Water Dancerby Ta-Nehisi Coates, narrated by
Joe Morton, published by Penguin Random House Audio
Charlotte’s Webby E.B. White, narrated by Meryl
Streep and a full cast, published by Penguin Random House Audio
The Only Plane in the Sky: An
Oral History of 9/11 by
Garrett M. Graff, narrated by a full cast with Holter Graham, published by
Simon & Schuster Audio
The Chestnut Manby Søren Sveistrup, narrated by
Peter Noble, published by HarperAudio
NARRATION BY THE AUTHOR or AUTHORS
With the Fire on High, written and narrated by
Elizabeth Acevedo, published by HarperAudio
Grace Will Lead Us Homeby Jennifer Berry Hawes,
narrated by Karen Chilton and Jennifer Berry Hawes, published by Macmillan
Evil Eye by Madhuri Shekar, narrated by
Nick Choksi, Harsh Nayaar, Annapurna Sriram, Bernard White, and Rita Wolf,
published by Audible Originals
Devil’s Daughterby Lisa Kleypas, narrated by
Mary Jane Wells, published by HarperAudio
Hey, Kiddoby Jarrett J. Krosoczka,
narrated by Jarrett J. Krosoczka, Jeanne Birdsall, Richard Ferrone, Jenna
Lamia, and a full cast, published by Scholastic Audio
YOUNG LISTENERS (up to age 8)
The Pigeon HAS to Go to School!, written and narrated by Mo
Willems, published by Weston Woods
The Baltimore Science Fiction Society (BSFS) released the names of the five finalists for its 2019 Compton Crook Award for best first novel in the science fiction, fantasy, and horror genres. The finalists are:
Mike Chen – Here and Now and Then
Alix Harrow – The Ten Thousand Doors of
Ada Hoffman – The Outside
Arkady Martine – A Memory Called Empire
Sarah Pinsker – A Song for a New Day
The award includes a
framed award document and, for the novel’s author, a check for $1,000 and an
invitation to be the Compton Crook Guest at Balticon, the BSFS annual
convention, for this year and the following year.
The 2020 Balticon will
be held May 22-25, 2020 at the Renaissance Baltimore Harborplace Hotel.
Baltimore, Maryland. For more information visit www.balticon.org.
Members of BSFS selected the finalists by reading and rating debut novels
published between Nov 1, 2018 and October 31, 2019. The Compton Crook Committee
examined nearly 80 debut novels and BSFS members read and rated over 40 books.
The finalist round of reading and rating will close April 10th and
the winner will be notified on Sunday, April 12th and announced to
the public on Monday, April 13th.
The Baltimore Science
Fiction Society (BSFS) has been giving out the Compton Crook Award for best
first novel since 1983. Past winners have included Donald Kingsbury, Elizabeth
Moon, Michael Flynn, Wen Spencer, Maria Snyder, Naomi Novik, Paolo Bacigalupi,
Myke Cole, Charles Gannon, Ada Palmer, and Nicky Drayden. Last year’s winner
was R.F. Kuang for The Poppy War.
BSFS named the award
in memory of Towson State College Professor of Natural Sciences Compton Crook,
who wrote under the name Stephen Tall, and who died in 1981. Professor Crook
was active for many years in the Baltimore Science Fiction Society and was a
staunch champion of new works in the fields eligible for the award.
Fulfilling File 770’s motto “All Bradbury all the time,” here’s a new roundup of links about the popular writer.
TIDE FOR FIRST. Extra Sci Fi
unexpectedly anoints him “Ray Bradbury – Grandfather of the New Wave.”
We talked a little bit about Ray Bradbury on our Fahrenheit 451 episode, but he contributed so much more to the world of literature and science fiction. While he may not be “technically” considered a part of the New Wave sci fi, but he certainly influenced it. His works touch on the fantastical, the psychedelic, and even the theological. So why did Ray Bradbury refuse to consider himself a science fiction writer, even when his stories were filled with space travel and other technological wonders? Let’s explore!
BEFORE THE CENTERFOLD. Vocal reproduces
Bradbury Interview” that originally appeared in Genesis. Because
that was a men’s magazine, the interviewer spent a disproportionate amount of
time trying to get Ray to explain why he didn’t put sex in his stories. But
they did ask a few other questions…
Genesis: How do you feel after you’ve finished a book?
Bradbury: Every time a book is published, there’s two things that happen—the day a book goes into the mail I am one up on death, you know? I say, “Okay, death, there you go. One more right in the chops!” and then after the book is published I carry it around with me for about a week. It’s my baby. I can hardly believe it’s there and I keep staring at it and this seems terribly egotistical but I think it’s only natural because you love it so. People say, “What’s new?” and you say, “Well, here it is! Now that you ask, here it is in my hand.” Those are happy times.
There’s a well-known rule about not judging books by their covers, but that’s nuts. The entire point of a book cover is to show you what’s inside. The fact that the book covers don’t actually prepare a person for what’s inside doesn’t mean we should stop using them as a source of information. It just means the cover designers should be doing a better job.
… The printed word has not gone unmourned. Social media is flooded with nostalgic images of textbooks and battered paperbacks, and the best-selling candle scents are “Indie Bookshop” and “Library Dream.” The surviving cable networks fill slow news cycles with tours of defunct paper mills and interviews with bitter authors who failed to transition from novels to experiences. Last week, the Public Broadcasting Service uploaded the first part of its four-part retrospective “The Written Age,” which featured David Brett, associate professor in the University of Vermont’s recently rebranded department of English and experiential literature. “Virtual reality has given us a post-literacy landscape more grimly banal than Bradbury could ever have imagined, where it is not necessary to burn books because no one wants to read them anyway,” Dr. Brett concluded. “Gutenberg would weep. We ought to weep with him.”
But I, for one, remain dry-eyed. Books may be dead, but the stories themselves — those unruly creatures we trapped in paper and pixels, the narratives that delight and dismay and define us — are still very much alive.
MAGIC-MAKING RELIC. Los Angeles magazine ran a series in 2013 celebrating “the history of Los Angeles as told through 232 objects” leading up to the city’s then-numbered 232nd anniversary. One of them was “DispL.A. Case #71: Ray Bradbury’s Typewriter”.
… Bradbury was a futurist, but never used a computer; he continued to type all of his 30 books and 600 short stories on a typewriter. This Royal KMM was manufactured in 1947 and was in Bradbury’s home during a documentary film shoot. Producers mentioned they needed a vintage typewriter for a scene recreating Bradbury’s early years and he offered them this Royal….
[Thanks to John King Tarpinian, Andrew Porter, and SF
Concatenation’s Jonathan Cowie for the stories.]