• Fiona McIntosh: Voyager Author of the Month

    Fiona McIntosh was born and raised in Sussex in the UK, but also spent early childhood years in West Africa. She left a PR career in London to travel and settled in Australia in 1980. She has since roamed the world working for her own travel publishing company, which she runs with her husband. She lives in Adelaide with her husband and twin sons. Her website is at www.fionamcintosh.com.

    Her latest book, The Scrivener's Tale, is a stand-alone and takes us back to the world of Morgravia from her very first series, The Quickening:


    About The Scrivener's Tale:

    In the bookshops and cafes of present-day Paris, ex-psychologist Gabe Figaret is trying to put his shattered life back together. When another doctor, Reynard, asks him to help with a delusional female patient, Gabe is reluctant... until he meets her. At first Gabe thinks the woman, Angelina, is merely terrified of Reynard, but he quickly discovers she is not quite what she seems.

    As his relationship with Angelina deepens, Gabe's life in Paris becomes increasingly unstable. He senses a presence watching and following every move he makes, and yet he finds Angelina increasingly irresistible.

    When Angelina tells Gabe he must kill her and flee to a place she calls Morgravia, he is horrified. But then Angelina shows him that the cathedral he has dreamt about since childhood is real and exists in Morgravia.

    A special 10th Anniversary edition of her first fantasy book, Myrren's Gift, will be released in December!

     

     

Dreaming Again – Jack Dann’s introduction continued

Last week we posted the start of Jack Dann’s introduction to Dreaming Again, a new anthology of Australian fantasy. Here’s a continuation of the introduction. We’ll be conducting a Q&A with Jack in coming weeks.

Dreaming AgainI won’t apologize for shooting for the stars, for turning my back on reasonably good stories and reasonably good writers, for wanting only the golden-tipped prose that makes old men think they are young, or makes the hair stand up on the neck, or carry the reader into that detailed day-dream we call sense-of-wonder. I won’t apologize for wanting only those stories that galvanize, that stimulate wonder and thought and laughter…that cause discomfort…that in their small, subtle, and mysterious ways transform all those who encounter them.

And, yes, I’m excited about the stories in this volume. And, yes, this probably sounds like hype. So what? This book isn’t about the editor. It’s about the stories. It’s about the numinous light shows and the Cimmerian darkness created by the talented authors who contributed to this book. It’s theirs…their talent, their ideas, their unique perspectives on life and death and the universe. They are the poets and tale-tellers and culture-changers. They are some of the best writers working in this wild, beguiling land with its great red heart and vast desert expanses. They are some of the best fantasists working in this country edged by blue seas, coral reefs, rainforests, and sophisticated urban culture. It just so happened that I was lucky enough to see these stories first and with great love and respect include them in this showcase collection, this ten year celebratory sequel to Dreaming Down-Under.

In his generous preface to Dreaming Down-Under, Harlan Ellison wrote: “Because the work, all this work, all this fresh, tough, and brilliant work, all these stories, they need no California fantasist to shill for them. They speak for themselves. They have voices. Now, go away; and listen to them.”

Harlan was absolutely right.

You don’t need my introduction or story notes; you just need the stories that are waiting like patient angels—or disguised demons—to embrace you. So I would not take offence if you gave up on this introduction right here and now and started reading the stories. In fact, in this unusual ego-less frame of mind that I seem to have slipped into…I would urge you to do so.

However, should you be in the mood for some shading and perspective and background, I’ll soldier on. After all, this bit of the book is free!

#

Ten years ago, Janeen and I had an agenda. Then as now, we wanted to shake up the established thinking about the “shape” of contemporary writing in Australia: to open up—and redefine—the literary canon to include the non-mimetic side of our literature. We wanted to showcase the very best contemporary stories that pushed the envelope of genre fiction and those stories that used genre tropes or might be considered magical realism. We referred to those stories as “wild-side fiction” to convey that evocative, almost dangerous sense of being right out there on the edge. And we wanted to get the word out to the rest of the world that there was something happening here in Australia.

Here’s a snapshot of how it looked back in 1998: The genre culture was vibrant. Writers and fans were meeting regularly at science fiction conventions, which were rather small and intimate. Mainstream publishers such as HarperCollins Voyager, Pan Macmillan, Random House, and Penguin were developing new lists of Australian fantasy and SF writers; and new, vigorous small press publishers such as Eidolon, Ticonderoga, Aphelion, and MirrorDance were pushing boundaries and publishing some wonderfully quirky and imaginative work. There was healthy competition between the two major Australian genre magazines Eidolon and Aurealis, each featuring cutting-edge fiction by Australian authors. Jonathan Strahan and Jeremy Byrne were editing the annual Year’s Best Australian SF, fantasy, and horror fiction; and although the Australian Ditmar Award (voted on by readers) had been long established, two new professional awards were created: the Aurealis Award and the Turner Award. A generation of hot new talented writers such as Sean Williams, Simon Brown, Lucy Sussex, Stephen Dedman, Aaron Sterns, Paul Brandon, K. J. Bishop, Kate Forsyth, Richard Harland, Ian Irvine, Cecilia Dart-Thornton, Margo Lanagan, Scott Westerfield, Fiona McIntosh, Janeen Webb, and Kim Wilkins were making their bones and pushing the various envelopes; and established professionals such as Garth Nix, Terry Dowling, Damien Broderick, Isobelle Carmody, Sara Douglass, Sean McMullen, Greg Egan, and Rosaleen Love were writing at the top of their form. Harlan Ellison thought we were experiencing a Golden Age of Australian Science Fiction, and, indeed, it sure as hell felt like something was going on. In fact it felt like the heady days of the late 1960s when SF writers in England and the United States challenged genre conventions and started a period of experimentation called The New Wave.

What were we challenging ten years ago?

To be continued …

Dreaming Again will be available throughout Australia in July.

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