Hi Djibril, Kathryn. What made you decide to produce this anthology? What are your goals for it?
Djibril: Thanks, Stephen. This anthology will be the third produced under the aegis of Futurefire.net Publishing (after Outlaw Bodies and We See a Different Frontier), and all three are concerned with social-political speculative fiction from the perspective of under-represented viewpoints. The vast majority of the stories we have published reflect the understanding that oppressions are intersectional: so stories about imperialism recognize the fact that colonial oppression is closely tied in with gender oppression, with racism, homophobia and ableism. An anthology that takes as a starting point the marginalization of people with disabilities (both in reality and in literature), also from an intersectional angle, is a close fit to our aims as a press. We hope to raise enough money to produce a full-size, professional rate-paying, properly distributed anthology on this theme, with authors from a wide range of backgrounds and perspectives.
Do you feel that disabled people are under-represented in sf at the moment? If so, would you take the excuse that medical advances may leave fewer people disabled in future?
Kathryn: I would say that realistic representations of people with disabilities are few and far between in SF right now (and have been since the inception of the genre). There are many, many SF stories that address disability in some way but for the most part, those depictions are negative, poorly thought out, and insulting to people with disabilities. The idea that medical advances will “erase” or “cure” disability in the future is extremely dangerous and harmful for two main reasons: (1) it ignores the fact that disability is a social/medical construct (i.e., people create disability through language and medical practices, by environmental, social and political barriers to access), and (2) it tells people with disabilities today, “it’s better if you didn’t exist.” Disability will always be with us if we continue to promote an idealized notion of “normal”—we need to recognize that human bodies exist on a spectrum of physical and mental difference, and that people of all abilities deserve the same rights, freedoms, and access to the resources required to live out the lives of their choosing.
Much sf deals with individuals dealing with physical adversity or communications difficulties, albeit because they are in non-terrestrial situations – do you think that makes the genre naturally suited to addressing larger issues around disability?
Djibril: Maybe, yes. For me, though, the interesting thing about science fiction/speculative fiction is the social-political side of the genre. I see SF not just as a medium for high-tech adventures, for world-changing cyberpunk or magical advances, but also and especially for explorations or imaginings of what we might become as the world becomes different in various ways. A world in which society (or some societies) respect and give access to people with disabilities, as well as other marginalized groups, is as mind-blowing and science fictional as a world with space elevators or teleportation technology. And the interplay between the two is the best of all—how does technology enable and lead to better society? How does a more enlightened society develop different priorities for technology and better uses for communication, space travel, replicators…?
Fans of Doctor Who could argue that Davros is one of the greatest television villains of all time, but his name gets thrown at wheelchair users as an insult. Then there’s the Mekon, mutants, cyborgs – should we be more uncomfortable about the association of disability with villainy in science fiction?
Kathryn: Absolutely! Davros is an excellent example of how disability is used as a sign of villainy and evil in our media, especially in science fiction. We should not only be more uncomfortable about the association of disability with some sort of moral flaw or failing on the part of the disabled person, we should be calling such images out when we see them (as we do for racism, homophobia, sexism, classism, etc.). As you point out in your question, these kinds of hurtful representations impact the lives of real people (e.g., a wheelchair user being called Davros). It is simply not okay for the science fiction universe to be populated by people with disabilities who are either (a) evil or (b) to be pitied and “cured”. These kinds of representations need to change: everyone deserves to see themselves, as they are (and not as cartoon-like villains), in the stories they love to read and watch.
Where should we look for more positive portrayals of disabled experiences in science fiction? Are there books and stories that are well-regarded in the disability community, but haven’t had the same impact in the sf field?
Kathryn: I recently wrote a post for Pornokitsch’s “Friday Five” column on positive representations of disability where I pointed to the work of writers like Larissa Lai, Jacqueline Koyanagi, Morgan J. Locke, James Patrick Kelly, and Nalo Hopkinson. I think it’s important to keep in mind that a writer might put out a book that has a realistic or “positive” depiction of disability but it’s not marketed that way. The disability community is quite diverse and I am not familiar with every part of it (my little corners exists as part of the larger SF and scholarly communities) but there are certainly novels and movies that resonate more strongly with some people with disabilities than others. One fantastic resource for people who read YA literature, for instance, is the Disability in Kidlit blog—you can find excellent reviews and discussions of the portrayal of disability in the YA market there.
Some crowdfunding for books runs aground on the criticism that it’s now possible to publish book in print and ebook without it costing the publisher a penny in production costs. Why do you think the Future Fire’s projects have managed to escape that trap?
Djibril: Ha!—primarily because we’ve never raised enough money to completely cover our production costs, for one thing. But seriously, Futurefire.net is not and never will be a profit-making press: any further income we make after cover our costs will go back to the authors. The idea that there are no production costs at all is a fallacy: yes, you can publish via a print-on-demand supplier (as we do); yes, you can hand-craft e-books using XHTML and Calibre (as I do), but that’s not cost-free. Proofreading and copyediting take time; ISBNs and other production/distribution set-up costs money; marketing and review copies cost money. Even a modest, home-brewed anthology has several hundred dollars worth of set-up costs to recoup from sales. (And all this is without factoring in what we pay the authors.)
Why is it important to you that this be a paying publication?
Djibril: From a very selfish perspective, offering a professional rate of author pay is essential, because you receive many more stories this way; most top-notch authors won’t write for free, but even that aside, you need a slushpile of at least a hundred stories from which to select 12-15 great pieces for a themed anthology. On a more principled note, though, it’s important to pay authors a fair rate because writing is hard, it’s feeding your own blood to a beast that maybe no one else will ever love. Writers deserve to be paid (and this is the editor of a ’zine that pays token or “semipro” rates speaking.) Especially since we are hoping to receive many stories from authors who are underrepresented in speculative fiction—people from outside the Anglo-American world, people with disabilities, and so forth—many of these people are already financial disadvantaged, so paying them a fair rate for their fiction is even more important.
How do you approach the creation of perks for funders of your Indiegogo project? Where have you seen other projects go wrong? Has the good track record of the Future Fire in putting out its crowdfunded books, and the good reviews they’ve had, helped with the subsequent projects?
Djibril: We’re by no means authorities on good crowdfunding practice, but I can say that I’ve learned from my own mistakes with a previous campaign. The first is that a four- or six-week fundraiser run is not a long time, so you have to work really hard to get the word out to all the communities who might be able to help. The successful projects are the ones who have tapped into the enthusiasm and support of their networks of collaborators and allies to help with spreading the word, writing or hosting blog posts, and even providing some of the higher level perks (like the story critiques, book bundles and Tuckerizations in our campaign). And yes, I think the success of previous publications both helps with our reputation, our reach and visibility, and increases the size of our network of friends to call on for help.
When the book opens to submissions, what kind of stories will you be looking for? And what aren’t you looking for?
Kathryn: We definitely don’t want stories of “cure” or that depict people with disabilities (visible or invisible) as “extra special” people that are inspirations to the able-bodied. We want to read stories that place people with disabilities at the centre as three-dimensional characters (with strengths and flaws). We want stories that are informed by an understanding of disability issues and politics, and that are intersectional (addressing race, class, gender, sexuality, etc.). We want submissions from writers that think critically about how prosthetic technologies, new virtual and physical environments, and genetic modifications will impact human bodies, our communities, and the planet. We want to know: “What does an accessible future look like?” We want to read submissions from as many voices as possible.
When do you hope the finished book will be available?
Djibril: Our current timescale is for mid-2015; slightly earlier for reviewers and backers of the fundraiser. We’re not committing to anything right now, but that’s a likely target. You’ll certainly be hearing from us when it is!
Read more about the Accessing the Future Indiegogo project here. The campaign began on August 2 and will close on September 16. Tuckerizations are still available!
Djibril's previous book, We See a Different Frontier, co-edited with Fabio Fernandes, was very good. Read our review here.
No comments:
Post a Comment