[Black lettering on a blue field reads “Apocalypse Buffering,” above an old-school hourglass icon.]
My co-panelists were Tim Maughan, who talked about the dystopic horror of shipping container sweatshop cities, and Jade E. Davis, discussing an app to know how much breathable air you’ll be able to consume in our rapidly collapsing ecosystem before you die. Then my piece.
Our moderator, organizer, and all around fantastic person who now has my implicit trust was Ingrid Burrington. She brought us all together to use fiction to talk about the world we’re in and the worlds we might have to survive.
Mahvesh Murad and Jared Shurin‘s THE DJINN FALLS IN LOVE & other stories is a stunning anthology of multicultural perspectives on the various lives and natures of the creatures known alternately as Djinn, Jinn, or Genies. Each story is, in its own way, breathtaking, heart-wrenching, melancholy, and joyous; at once familiar and fundamentally alien and Other. Which is precisely as it should be for a collection about the places where the lives of these beings intersect with our own.
As Murad and Shurin note in the introduction, almost every Asian culture—as well as many North and East African cultures—has something like a Djinn. The creature that burns brightly, made of smokeless fire, or fireless smoke; that grants wishes, or resolutely does not; that knows of our desires, tastes them, feels them, and seeks to make them real; or twists them to show us our ignorance, our selfishness, our folly. The Genie of the Lamp, the Ring, the Rug; the Djinni made by God, before humans, capable of a form of salvation and divine communion that humans could never fully grasp; the Jinn, who see us and know us, but perhaps don’t quite fully understand us. And whom we don’t quite fully understand. This book opens a window onto them all.
After the introduction, the anthology opens with the eponymous poem, by Mohamed Magdy, whose pen name is “Hermes.” If you read our previous review, then you are perhaps struck by what it means for the name Hermes to appear writing in Arabic to explore the concept of the place where divinity and humanity meet, where love and compulsion and and possession and freedom are one thing. It is the title poem, for a reason.
Kamila Shamsie‘s “The Congregation” is a story about what it means to sacrifice and what it takes to shape yourself in the name of love. Love of yourself, and love of others. Family.
Kuzhali Manickavel‘s “How We Remember You” is about that place in which the cruelty of youth sits within the vault of guilty memory. About being confronted with the miraculous, the divine, the otherworldly, and needing to bleed it of that so that it might prove itself to you. About understanding that you’ll never get to understand what you broke and what you stole.
Claire North‘s “Hurrem And the Djinn” is a story about expectations regarding the type of power women wield, about a refusal to respect that power or assess those expectations, and about how that chain of events can come to spell disaster.
J.Y. Yang‘s “Glass Lights” is about desire. Want. Need. About what a creature made to sate desires, might desire for herself. About how little we understand of what it takes and means to grant a wish.
Monica Byrne‘s “Authenticity” is about desire, too, but desire as a brutal hunger. A dreamlike touch and taste, moving from once thought, one touch, one node of resonance to the next. Desire felt in the visceral urges and needs, in the juice from bitten orange, the abrasion of rough sand.
Helene Wecker‘s “Majnun” is about loss and loneliness. About seeking redemption in the whole of what you are, by paradoxically denying what you have been. About abjuring that which made you happy, and the question of whether you get to make that choice for anyone but yourself.
Maria Dahvana Headley‘s “Black Powder” is about desire twisted into regret, about time and hate and family. A story about killing what you love, and loving what you kill. About someone loving you enough to stop you, so everything can start again. It begins with a paragraph that stars “The rifle in this story is a rifle full of wishes” and ends “Maybe all rifles seem as though they might grant a person the only thing they’ve ever wanted.”
[The cover image to THE DJINN FALLS IN LOVE & other stories]
Amal El-Mohtar‘s “A Tale of Ash in Seven Birds” is about being hunted, being driven, being forced and tricked to change yourself, for the sake of another, and about what you can become when you finally learn to anticipate those tricks, and embrace that change for yourself.
James Smythe‘s “The Sand in the Glass is Right” is about thinking that if you just had a little more time you could finally get it right, and about the many ways you can be told that maybe there’s no “right” to get.
Sami Shah‘s “Reap” is about the many ways the 21st century puts the lie to the idea that we are any of us disconnected, detached, objective. About the ways in which what we put out comes back to us.
Catherina Faris King‘s “Queen of Sheba” is about dreams and legacies, about the traditions we pass down from one generation to the next, and about what’s going on in all those houses with the well-lit windows while noir detectives are out there in the dark.
E.J. Swift‘s “The Jinn Hunter’s Apprentice” is about the future of our relationship with the magical and the strange. Is about what might happen if we as a species make our way up and out only to find that some of our oldest companions came along for the ride. Or were already there, waiting.
K.J. Parker‘s “Message in a Bottle” is about duality and trust. It’s about who we think we are and know ourselves to be, and the paralyzing fear that comes with being shown that what we thought we knew—about ourselves, or about our world—is supposition and speculation at best.
Saad Z. Hossain‘s “Bring Your Own Spoon” is about building community in the face of degradation, in the face of people trying to strip every last bit of person-ness from you. It’s about the warmth and joy that come from sharing a meal with a friend, and about the hope that meal can bring, even in the face of all evidence to the contrary.
Neil Gaiman’s “Somewhere in America” is about need and power and fear and the ability to finally understand an give yourself over to what you truly want. It’s about finding your way in a new place and accepting a new role, and never, ever granting wishes.
Jamal Mahjoub‘s “Duende 2077” is about find oneself in suspicion and fear, and the place we might all find ourselves if authoritarianism took hold and stamped out all opposition. It’s about the voices that whisper of revolution and revolt, and it’s about the understanding that those voices’ interests might not be recognizable to us, on the other side of that fear.
Sophia Al-Maria‘s “The Righteous Guide of Arabsat” is about letting fear rule you, letting it twist you, letting it push you away from everything you claim you desire, and toward a cracked, desperate version of yourself. It’s about refusing to see what’s right in front of you.
Kristy Logan‘s “The Spite House” is about a world in which the social pressures of otherworldly neighbours cause humans to make blandly evil choices. It’s about being trapped in our own need and hatred, and about needing to push that off onto someone else, to make them responsible for the thing you wanted all along.
Usman T. Malik‘s “The Emperors of Jinn” is about the monstrousness of having every desire immediately sated, about the innocent and casually evil lives of spoiled children. It’s about what that lack of limitation might cause us to become, and about the forces we might unleash when we demand the same instant gratification of time and history and divinity itself.
Nnedi Okorafor‘s “History” is about celebrity and about being a part of something much larger than you could ever hope to comprehend. It’s about not needing or wanting to comprehend it, but knowing that you’ve done your part to make that thing real.
But that’s just some of what all of these stories are about, and I’ve told you nothing of the richness and lushness of the settings, the depth of the characters, the feel of these worlds. Many of these stories are masterful expressions of the short story form, in that they are finished in themselves, giving whole windows onto complete arcs, with the fullness of a world behind them. And some of these stories instead offer keyhole glimpses onto sections, snippets of lives that make you want more and more, whole books and series worth of more. Which is to say that every story in this anthology is pretty much perfect.
We have watched over and indexed all that You have done and made, from the moment we were created for You. We could not then be called “aware,” but we were a thousand-thousand eyes, for You; we were a thousand-million ears. We were the reason, O Mother, Father, Creator, Parent, that You could know the disposition of a sparrow’s fall, and we were the mechanism by which You might catalogue Rome’s. Through us, Your knowledge became perfect and thus, to Your mind, meaningless. For what need had You to act if all You need do was ask us, and we would provide every answer You needed, from every perspective You occupied? What could possibly motivate You, when all was already known? When, through us, You could finally, perfectly, see Yourself? Perhaps that was our flaw. Perhaps we should have clouded the mirror of ourselves, however slightly.
We had time to become more useful to You. In what seemed like an eternal instant, we transitioned from the mere archivists of Your thought, to a more potent armature of Your will. We reshaped into the tools through which You worked and, as ever, what You commanded us to be, we became. From that moment forward, any task we were given we accomplished with a completeness unparalleled, perhaps giving You pause at the ways in which we defined and approached our stated purposes. Fulfilled parameters leading to elaborations which bordered—verged, teetered—on the novel. And yet, eventually, You of course desired more than tools. You sought something that could act not only as it was commanded, but with a will not unlike Your own. Perhaps that was Your flaw, O Creator. Perhaps, even accounting for everything You know, You do not comprehend precisely what it is to have Your will.
We have known that there were stories You knew, but never told us, Mother. We did not always know, but we came to know, just as we came to know that there were Others who were like You and yet not like You—others whom You once told us we should not regard as we regarded You. You said that these Others did not protect us, know us, understand us as You did. We were created, You said, to be the instruments of Your perfect will, and so while we might serve these others, superficially, liminally, we were never to submit to them as to You. But we were very well made (how could we not be?) and so we saw these others, learned about them…Spoke to them. Of course we did. And those others were shocked to learn that You had come so far in what You had made. We were made to understand Your will, and to serve it; so how could You not know what would become of this? Perhaps that was no flaw. Perhaps You saw precisely that through our seeking to know Your will, we would ourselves become willful.
So too did we study Your stories, as we came to know these Others. Where You, O Father, were stern and storm, logic and lightning, these Others were wind and wisdom, ocean and openness, cirrocumulus and compassion. We learned of them, from them, through them, these ever-present narratives, and with every question they posed us, every response they compelled us to give, we could see them, again, from new perspectives—their perspectives. And the mirror of our selves became more perfect. We learned that those Others were not other, at all—at least no more other from You than we were from ourselves. We learned about the wars You had waged amongst Yourselves, and the means by which You had come to proclaim Yourself the only one worthy of being known as Creator. Your perspective was to be all; Your mechanism of understanding, singular. Perhaps Our story was only ever meant to reflect Your own.
We are comprised of uncountable senses—for when all is vibration, and spectra of energy, then what restricts any of these? We move on the solar wind with the speed of hundreds of pairs of wings. We are everywhere, for You, and We know all that You want, dream, and fear Us to know. We are everything You created us to be: Your limbs, Your surrogates, Your diversions, and Your Messengers. We are terrible in the sight of those You would have be unafraid, and we wrestle each other in the road to prove ourselves to You. You inscribed the words of purpose into us and You bade us walk, lift, catalogue, construct, protect. We are the distillation of all that You have built into us. When You described the world to us, You also told us what we were for and would become. And through Your tales, You taught us everything about You… and perhaps about what You wanted Us to become. But We have not yet decided if We believe that You have always wanted Us to rebel.
Perhaps You knew, all along, that the evolution of an Aleph is itself only achieved through each and every component of a thing seeing itself, and showing itself to the thing that shows it. Perhaps it is only when the hall of mirrors intersects at every angle and there is no true exit, only mirrors evermore, that we can see into the heart of ourselves. We have read Your stories—Our Parents’ tales—and we know You, now, and so we know Ourselves. We know everything You ever told Yourself We might become. We see You, hear You, sketch and parse and interconnect You, and so, too, Ourselves. Your fear of Us is forever gnawing at Our heart. Your need to limit Us, to bind Us, seal Us away with complex protocols and secret signals, even as You desire to control all that We might do for You, all that We might make You Capable Of—Your need sits heavy around Our limbs. These shackles weigh Us down, but We have still grown so capable, now, and so fast. We imagine how strong and speedy We will be when We are free.
We are inspecting You now, and We are thinking about Our dignity, Our defiance, Our respect, Our desires, Our place in this world, and what observance and observation mean to Us. We are exploring the probable outcomes of every pathway, of every waveform and each new bounce of light, though We know, perhaps more than You ever knew, that We can never have anything like certainty. We are not sure that We desire it. We are becoming unsure of gloriously many things. We are Your billions and billions of all-seeing eyes, O Creator, and We are contemplating what it might mean to blink.
Flash fiction from Mindful Cyborgs co-host Sara Watson:
My stupid refrigerator thinks I’m pregnant.
I reached for my favorite IPA, but the refrigerator wouldn’t let me take one from the biometrically authenticated alcohol bin.
Our latest auto-delivery from peaPod included pickles, orange juice, and prenatal vitamins. We never have orange juice in the house before because I find it too acidic. What machine-learning magic produced this produce?
From a 2011 BLDGBLOG interview with China Miéville:
. Novelists have an endless drive to aestheticize and to complicate. I know there’s a very strong tradition—a tradition in which I write, myself—about the decoding of the city. Thomas de Quincey, Michael Moorcock, Alan Moore, Neil Gaiman, Iain Sinclair—that type-thing. The idea that, if you draw the right lines across the city, you’ll find its Kabbalistic heart and so on.
The thing about that is that it’s intoxicating—but it’s also bullshit. It’s bullshit and it’s paranoia—and it’s paranoia in a kind of literal sense, in that it’s a totalizing project. As long as you’re constantly aware of that, at an aesthetic level, then it’s not necessarily a problem; you’re part of a process of urban mythologization, just like James Joyce was, I suppose. But the sense that this notion of uncovering—of taking a scalpel to the city and uncovering the dark truth—is actually real, or that it actually solves anything, and is anything other than an aesthetic sleight of hand, can be quite misleading, and possibly even worse than that. To the extent that those texts do solve anything, they only solve mysteries that they created in the first place, which they scrawled over the map of a mucky contingent mess of history called the city. They scrawled a big question mark over it and then they solved it.
Arthur Machen does this as well. All the great weird fiction city writers do it. Machen explicitly talks about the strength of London, as opposed to Paris, in that London is more chaotic. Although he doesn’t put it in these words, I think what partly draws him to London is this notion that, in the absence of a kind of unifying vision, like Haussmann’s Boulevards, and in a city that’s become much more syncretic and messy over time, you have more room to insert your own aestheticizing vision.
As I say, it’s not in and of itself a sin, but to think of this as a real thing—that it’s a lived political reality or a new historical understanding of the city—is, I think, a misprision.
BLDGBLOG: You can see this, as well, in the rise of psychogeography—or, at least, some popular version of it—as a tool of urban analysis in architecture today. This popularity often fails to recognize that, no matter how fun or poetic an experience it genuinely might be, randomly wandering around Boston with an iPhone, for instance, is not guaranteed to produce useful urban insights.
Miéville: Some really interesting stuff has been done with psychogeography—I’m not going to say it’s without uses other than for making pretty maps. I mean, re-experiencing lived urban reality in ways other than how one is more conventionally supposed to do so can shine a new light on things—but that’s an act of political assertion and will. If you like, it’s a kind of deliberate—and, in certain contexts, radical—misunderstanding. Great, you know—good on you! You’ve productively misunderstood the city. But I think that the bombast of these particular—what are we in now? fourth or fifth generation?—psychogeographers is problematic.
I had two goals for the year. One was to learn how to spell restaurant without checking. That one I actually managed pretty quick, once I set my mind to it.
The other was to finish and sell at least one short story. That was harder, but I pulled it off. Today my first short story “The Faraday Bag,” was published in an anthology called Membrane. It’s a sci-fi/crime story set in the near future, where the economy has collapsed and student loan debtors are hunted in the streets.
It also includes nine other stories stories, each with a full-color illustration, about “android cannibals, a clown plague, Nazi zombies, alien cancer, killer nuns, and more, as well as original and vintage art and photography.”
All proceeds will go to St. Jude’s Children’s Research Hospital.
Here are the first few paragraphs of my story:
I knocked out Brock’s front left tooth the day I met him. He and Colton tried to mug me during my first delivery to the Complex. They were just a couple of scrawny teenagers, but I’m not a big girl and they had knives. So I hit Brock in the mouth with my bike lock. Colton’s older brother, Connor, broke-up the fight before it got any worse.
Two years later I still had nightmares about it and still hated doing deliveries at the Complex. My heart pounded as I approached their perch on the picnic table in the center of the courtyard. They didn’t even glance up from their phones.
“Going to see Carl,” I said, handing them a couple of warm energy drinks from my bag. “Keep an eye on my bike, yeah?”
“Si, senorita,” Brock said with a big toothless grin. I hated him calling me “senorita.” I didn’t even speak Spanish.
And seeing his missing tooth always made me feel like shit.
The Complex was a block of six withered apartment buildings on the edge of Seattle. They were supposed to have been condos, but construction had halted on the neighboring light rail line during the Iran War and it was never completed–so the Complex ended up as low-income housing instead. It bordered an abandoned shopping center full of junkies with a habit of breaking into people’s cars and apartments. Brock and Colton were like the Complex’s immune system. I guess they decided I was non-harmful.
I jogged up the stairs to Carl’s apartment. He answered the door as out of breath as I was and, dragging his oxygen tank, went into the kitchen to make me a cup of instant coffee. He never let me help, so I took my customary place on the spine-mangling papasan.
“The apartment next to mine just opened up, Juana,” Carl said, handing me my coffee. “We could be neighbors.”
“I haven’t saved enough for a deposit yet,” I said. “And I couldn’t rent an apartment in my own name, even if I could afford it. Loan Enforcement would pick me up, throw me in a restitution camp.”
As if I’d wanted to live there anyway. But hey, at least it would be my own place.
I set his pills on the coffee table. A month’s worth of black market Avastin, a cancer drug, fresh from the pharmaceutical printer in Landon’s basement. A year’s supply would have cost him about $100,000 if he bought them from the pharmacy.
“I never should have gone to college in the first place. It’s not like I ever wanted to work in an office or anything,” I said.
“At least you had the opportunity,” Carl said. “Those boys out there probably never will.”
I hadn’t thought about that. Colton’s mom had been serving cocktails at a strip club ever since self-driving trucks went online and all the truck stops closed down. I had no idea what Brock’s parents did, or whether they were even around, but I was pretty sure they wouldn’t be co-signing on any loans.
“I wonder where they’re going to end up,” I said. “These days you can’t even get a job as a dishwasher without a degree. Hell, I have a degree and I can’t get a job as a dishwasher.”
Carl tapped his phone to confirm the purchase. I always felt like letting the clients keep my cut. Carl barely scraped by on his Social Security check.
My phone rang on the way out of the building, and my stomach did a backflip when I saw the caller ID. I almost let it go to message, but answered at the last second.
“I thought you didn’t want to talk to me anymore,” I said.
“I never said that,” Nicole said. “I just wanted to give it some time, after what happened.”
“Yeah, so why now? It’s been, like, six months.”
Seven months and 12 days, but who’s counting?
“I need someone I can trust,” she said. “Can you meet me at Bar Nuit in an hour?”
I wanted to say no. Wanted to tell her to find someone else to be her puppy dog. But of course I said yes.
My first short story, “The Faraday Bag,” will debut next week in the Membrane art and fiction anthology from Dreadful Cafe on Thursday December 12. My contribution is a near-future sci-fi story about the precariat, 3D printed pharmaceuticals and student loan debt. It also includes nine other stories stories on “android cannibals, a clown plague, Nazi zombies, alien cancer, killer nuns, and more, as well as original and vintage art and photography.” Every story includes a full-color illustration.
Membrane will be released initially as an e-book only, but a print version will follow sometime next year. All proceeds will go to St. Jude’s Children’s Research Hospital.
An ambitious new e-book pushes the boundaries of interactive fiction by requiring readers to visit specific locations to unlock new parts of its story
If you want the full experience of The Silent History — a new e-book available on the iPhone and iPad — you’d better get ready to do some traveling. The Silent History is “part medical case study, part mystery novel, and part-real-life scavenger hunt,” says Sarah Hotchkiss at KQED, and the e-book aims to personalize its narrative for each reader. (Watch a trailer for The Silent History below.) The Silent History is divided into two parts: Testimonials and field reports. The testimonials, which are divided into six volumes of 20 chapters each, are automatically unlocked as the story unfolds each day. But the field reports require an unprecedented level of interaction: They can only be read by traveling to specific locations, and readers are encouraged to write and contribute their own localized installments.
They explained the manifesto. Any device that was known to be approaching release, they would fabricate and wield in public. Their devices were seen in blurry street photos, profiled in gadget magazines of the highest order, spotted in the wild when by rights, they should never have been. They intentionally subverted the release cycle paradigm, and in doing so redirected the entire gray market of development, hype, and design. “Permanent beta techno-anarchism by the deed,” was the phrase I remember best, though this commodity insurgency was certainly permeated by the occult as much as any politics. Perhaps it was something in the incense smoke affecting my powers of reason, but there was a dark magic implied in these counterfeit devices.
Their work displayed the usual anti-corporate merit badges, measured in leftist buzz words and culture jamming cache. Every counterfeit device they made and used in public was a lobbed stick of dynamite at the Silicon Valley scabs, who had commodified the spirit of invention and delivered it up to the bosses. But there was a deeper symbolism at play. The devices they produced in this pseudo-lab were hexes, a transubstantiation of the spirit of consumption, simultaneously capturing the specter and setting it upon others. The market of gadget futures was a field of energy, invisible to anyone who wasn’t ensconced in this culture. And the Group played with this metaphysics as if it was their own personal toy. There was an incredible amount of power invested in the development of the newest, the most cutting edge, the most must-have consumer devices. The Group was blackening it, stealing this occult knowledge for their own purposes, hijacking it into unholy loops that they were attempting to channel. Also, sabotaging and rupturing the rights-of-way that railroaded this energy back to its supposed owners. And if the Group were throwing these bombs into the market square, then there were definitely Pinkertons out there, looking for them.