Poem sale, and a future kickstarter

My poem “Baba Yaga Tries to Donate Money” has been accepted for publication at Apex. I am very happy about this! This is a humorous (of sorts) poem about the perils of fundraising.

Speaking of fundraising, this June I am planning to kickstart for an anthology of short, weird, surrealist pieces of up to 1200 words long. The anthology is going to be called An Alphabet of Embers, it will have a cover illustrated by the amazing Galen Dara, and it will be published through Stone Bird Press. Watch this space for more updates!

Tidbits from around the web

Charlotte Ashley’s review column, Clavis Aurea, has migrated from Chizine to Apex. In her first Apex column, Charlotte writes about my story A City on Its Tentacles:

Rose Lemberg paints another ambiguous setting in her stunning story “A City on Its Tentacles” (Lackington’s #1). The City is Luba’s city, a wondrous place on the Undersea where poor people live in carved caves of limestone and the rich in towers of bright red coral. It is a world of sun and salt, music and mystery, and it is entirely a creation of Luba’s dreams, which she must give up in order to heal her daughter, Maya.

It is a very favorable review. It also highlights a certain reading of the story; and while there is no “correct” way to read the story, there are other possible readings. I am very thrilled to have this story reviewed. Many thanks to Charlotte Ashley, and to Ranylt Richildis for giving it a home 🙂

Goblin Fruit has a new issue. I have no work in it. It’s beautiful! I hope you read it.

Alex Dally Macfarlane has a Tor.com column today, “Post-Binary Gender in SF: Poetry’s Potential for Voice,” a part of her post-binary SF series. She highlights two poems from Stone Telling – Bogi Takács’s The Handcrafted Motions of Flight from Stone Telling 7, and Tori Truslow’s Terrunform (Stone Telling 6) – as well as Shweta Narayan’s Sheshnaag from Goblin Fruit. More Stone Telling poems are listed as Other Recommendations, along with Here, We Cross (a collection of queer and genderfluid poetry from Stone Telling), which I edited. I might be slightly biased here. But, you know what, these are very good poems, the column offers an insightful analysis of these poems and so much more; and as for Here, We Cross, I am still very proud of it, and of the poets whose works are collected in it. I hope you take a look.

An audio reprint and a review

“Giant,” my magic realist flash piece about Alan Dundes, will be podcast at Toasted Cake. I love Tina Connoly’s podcast work, and am looking forward to hearing the story in that format.

Sofia Samatar has a lovely review of the first issue of Lackington’s magazine. She has this to say about my story:

A City on Its Tentacles, by Rose Lemberg

There is an octopus in the heart of the Undersea; its every tentacle carries a street, a city, and at night when its people light their reading lamps the octopus shimmers.” The story you tell might save someone. A Rose Lemberg story might save you.

Thank you, Sofia!

Replacing “old” with “hegemonic”

This is an expanded summary of what I said on Twitter (see under @roselemberg). 

Regarding various ongoing conversations in the SFF field, I see, from all sides, multiple references to the speakers’ ages (‘the Young’, ‘children’, the ‘Old’, ‘the Old Guard’, ‘they will die off’) that make me uncomfortable. I am convinced that these labels are unhelpful in both describing and understanding the processes of change in which we participate and which we are witnessing.

I’d like to replace the word “old” with  the word “hegemonic”. What we are seeing is not the “old” versus the”young”, but power brokers reluctant to share that power with those who, for various reasons (age not being one) have not been in hegemonic positions. Nobody is asking the power brokers to give up the power – just to share it. I believe that’s what the backlash is about.

Using “old” or “young” to describe the various sides of this debate is not just inaccurate, it is hurtful. It hurts because it misrepresents that people of various ages are on both sides of this. Young people can and do align with the hegemonic positions; people in their teens, twenties, thirties, forties, fifties, sixties, seventies, eighties and beyond are working for greater diversity and more equal power-sharing in the field. Moreover, those positions are often not binary. There is great intersectionality in both power and its lack.

A very large issue I have with the label “olds” is that it overlooks that we – the non-hegemonic people of various stripes – also have elders. I do not want to ignore our roots, our trailblazers. What we are seeing is not a generational shift but the cumulative work of generations gaining momentum in the now. This momentum brings with it a shift towards greater acceptance of diversity and sharing of power. While generational trends are certainly there, that’s not what it is about at the core, as I see it.

I am also, to put it mildly, not keen on the “die-off” sentiment. I wish the power brokers would get it and share freely. It is not impossible. It has happened, and will continue happening.

On the other hand, power hierarchies tend to self-perpetuate. Which is why waiting for the current power brokers to “die off” is useless. Expecting for any power hierarchy to not self-perpetuate after the expected “die-off” is as futile as politely asking for the power.

Rethinking, reframing, and remaking the power structures; expanding discourse; having painful conversations and learning from them; forming alliances; empowering diverse voices through opportunities, including publishing opportunities (the more lucrative, the better); establishing venues; creating and maintaining our spaces; fighting for safety in our spaces; and of course, creating works of art and disseminating them – while upholding others – is how I see this change happening.

At its core, the change I hope for empowers and expands our field, enriches everyone who participates in it regardless of age and other variables. This change is already well underway.

The Rotten Leaf Cantata

Today, my poem “The Rotten Leaf Cantata” was published as a part of Strange Horizons speculative poetry issue. The issue looks wonderful – with editorial roundtable, reviews, and poetry. I am looking forward to reading it.

“The Rotten Leaf Cantata” is a divorce poem. It tore out of me, like my best work does sometimes, because I needed it, because it needed me. It contains a few lies and many truths. I am grateful to Sonya Taaffe, as well as to Sofia Samatar, Mike Allen, and others who supported me in the process of getting it out into the world. I hope you will find it meaningful as well.

P.S. The issue also contains a podcast of the featured work; you can listen to me read this poem out loud.

P.P.S. I did buy a chesterfield.

“A City on its Tentacles”

My short story “A City on its Tentacles” has appeared in the first issue of Lackington’s magazine. It is a very beautiful issue, and my story has been illustrated by the Hugo award-winning artist Galen Dara. The painting captures the story perfectly, and I am beyond pleased.

The issue also contains stories by Amal El-Mohtar, Erik Amundsen, Alex Dally MacFarlane, Helen Marshall, Kate Heartfield, and Christine Mischione, as well as art to accompany each piece. I am looking forward to many more issues of Lackington’s!

A smattering of good news, a whiff of controversy

The ToC for How to Live on Other Planets: A Handbook for Aspiring Aliens (aka Immigrant SF) has been released, and it’s a thing of beauty. I am happy to share a ToC with Ken Liu, Alex Dally MacFarlane, Sonya Taaffe, Nisi Shawl, Mary Anne Mohanraj, Bogi Takács, Bryan Thao Worra, Zen Cho, and oh so many brilliant others.

In other news, my poem “I will show you a single treasure from the treasures of Shah Niyaz” has been nominated for the Rhysling award. Thank you to the person who nominated it! I am noting that this is the sixth year in a row that my work’s been Rhysling-nominated, ever since I started publishing poetry; I am grateful to those who nominated me over the years.

The inaugural issue of Lackington’s is going to go live on Thursday, and I heard that my story will be illustrated by Galen Dara. I cannot wait! Behold the cover:

 

The cover of Lackington's #1

The cover of Lackington’s #1

 

Finally, the new wave of last year’s SFWA controversy. If you haven’t yet seen this and want to see for yourself, I recommend an entry by Natalie Luhrs. Natalie is on Twitter as @eilatan, and you should follow her there if you are so inclined, because she is awesome. I don’t think I have much to say beyond that, except that I was really, really disappointed to see CJ Cherryh’s signature. I used to own every book of hers. Some of these feet-of-clay moments are more painful than others.

Stone Telling 10: Body

The new Stone Telling is here, after a long wait. “Body” is a double issue with 23 poems, and it is especially hard-hittng.

We are now reading for ST11, so if we’ve never published you before, please send us your work. If we have published you before, please nudge other poets our way!

A short post

…to report two poetry acceptances. My poem “Landwork” will appear in Goblin Fruit (spring 2014), and my poem “The Three Immigrations” will be reprinted in How to Live on Other Planets: A Handbook for Aspiring Aliens.

Happy new 2014, everyone!

 

2013 in review

This was a very difficult year for me. I got divorced, started single-parenting my kid after the ex left town, and went up for tenure. My health has been frustrating and often outright scary. While my personal life was in upheaval, some SFF things happened; here they are.

 

Stories published:

Teffeu: A Book from the Library at Taarona,” in Strange Horizons. Locus recommended review.

Theories of Pain,” in Daily Science Fiction.

 

Stories reprinted and translated:

“Held Close in Syllables of Light (reprint), in Best of BCS, Year 4.

“Geddarien” (reprint), Journal of Unlikely Architecture.

Las siete pérdidas de Na Re (Spanish Translation of Seven Losses of Na Re) at Cuentos Para Algernon. Also collected in Antología Cuentos para Algernon: Año I.

 

Stories sold to appear in 2014:

“A City on its Tentacles,” to Lackington’s Magazine.

 

Poems published in 2013:

The Journeymaker, Climbing,” Goblin Fruit, Winter 2013 (short)

The Journeymaker to Keddar,” Goblin Fruit, Winter 2013 (short)

לכבוד אַ סטרונע (Lekoved a Strune)“, Through the Gate 2 (short)

Bone Shadows,” Interfictions Online, issue 1. (long) – this is not really a poem, but an unclassifiable.

I will show you a single treasure from the treasures of Shah Niyaz,” Goblin Fruit, Summer 2013. (long)

Resh,” Through the Gate, 5 (short)

Where the ocean falls into itself,” Apex Magazine. (short)

 

Poems sold in 2013 to appear in 2014:

“Earth Map,” to appear in Mythic Delirium

“Dualities,” to appear in Mythic Delirium

“The Rotten Leaf Cantata,” to appear in Strange Horizons (this was scheduled for late 2013 release, but got delayed).

“Landwork,” to appear in Goblin Fruit

 

Editorial projects:

Stone Telling 9: Menagerie, featuring JT Stewart (who is amazing).

Stone Telling 10 got very delayed due to combined health issues and my personal issues, but we are hoping to get it out in the next two weeks.

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About

Rose Lemberg is a queer, bigender immigrant from Eastern Europe and Israel. Their work has appeared in Lightspeed, Strange Horizons, Beneath Ceaseless Skies, Unlikely Story, Uncanny, and other venues, and has been a finalist for the Nebula, Tiptree, Elgin, Rhysling, and Crawford awards.

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