RavenCon

You can read about the 2023 RavenCon, held in the Richmond, VA, area this past weekend, here:

RavenCon

The guest of honor was Esther Friesner. I watched her "Ask Auntie Esther" presentation (consisting mostly of funny anecdotes about life in writing, publishing, and fandom) and part of an interview. She's as entertaining in person as her stories and anthologies are (e.g., the CHICKS IN CHAINMAIL series she edited). Another special guest, horror host "Count Gore De Vol," of course costumed in vampire regalia, acted as MC for the masquerade contest. Although I didn't recognize the sources of most of the costumes, I enjoyed seeing them anyway. The only child entrant played a role I did know, Luna Lovegood from the Harry Potter series. The most unusual costume, I thought, was "Jor-El in the Fortress of Solitude." The contestant wore a cardboard diorama of the interior of the ice fortress on his head. His actual face, in white makeup, emerged through an opening in the back, with a tiny figure of Superman looking up at him. The intermission featured entertainment by a filk music group called Dimensional Riffs, whom I liked. (For one thing, most of the lyrics were clearly understandable, often not the case with instruments drowning out vocals in some groups' performances.) They sang Star Wars and "Firefly" material.

My husband and I appeared in a session on creating memorable character names, which I thought went well. Recommendations of resources for finding or generating names, plus lots of discussion about what not to do.

Some panel highlights: "Raising Children in Space," including both generation ships and extraterrestrial or extrasolar planets. "Should We Be Genetically Altering Humans?", ranging from correction of genes that cause severely disabling or life-threatening conditions to radical redesign of human embryos. Both of these had actual scientists on the panel with solid information and substantive issues discussed. Same with "Writing Believable Aliens." The panel on how not to think about women characters, focusing more on reader response than on strategies for writers, was interesting but not quite what I expected. The "Mary Sue" concept, since it figured prominently in the printed schedule's panel description, took up a lot of time, and in my opinion the panelists sometimes applied it too broadly and not quite accurately. Some interesting discussion anyway. An archaeologist gave a presentation on medicinal and magical plants found in "spell bags" (usually, in fact, pots rather than bags, which don't last very well) in burials of shamans. She showed slides of plants and the burial sites, with skeletal remains. The lecture explored two different sites, one in England and one Native American burial from the eastern U.S. She barely managed to fit all her material into the allotted time; I wish the talk could have gone on longer.

Same hotel as last year, spread over three different buildings on a beautiful, green campus. Buffets were available for breakfasts and dinners, fortunately. We heard from those who ate lunch in the "tavern" that service was painfully slow. Typical of a convention hotel, sigh. Luckily, there is also a "grab and go" food counter, although their selection is limited. The location is within less than half a day's drive from us. We had nice weather for the most part; the predicted Saturday rain didn't turn out to be much. On the whole, a satisfactory weekend at a not-too-big con.

Margaret L. Carter

Carter's Crypt

ChessieCon

Over Thanksgiving weekend this year, ChessieCon held its first live convention since 2019. The hiatus probably contributed to the low attendance compared to recent years. Nevertheless, it was great to be able to experience the event in person once again. You can read about it here:

ChessieCon

As a byproduct of the reduced number of attendees, I appeared on more panels than I ever have anywhere. Les and I participated in two together, about "bug-eyed monsters" and other alien threats and about writing series versus stand-alone books. My other session topics were cross-genre fiction, titled "The Collusion of Horror, Fantasy, SF and Speculative Fiction," which we thought might be a typo for "collision"; alien cultures versus human cultures, especially if the alien isn't humanoid; and nonhuman reproduction. The last two panels included a scientist, who gave us a broad perspective on earthly life forms with exotic and outright weird biology (weird from a human perspective, of course). Les also appeared in a session on writer's block. I attended a panel on dystopian fiction that happened to mention a Japanese novel I hadn't heard of before, NEVER LET ME GO, which sounded intriguing enough for me to order a copy when I got home.

Les and I joined in the customary group author signing, which turned out to comsist of three occupied tables in a vast, otherwise empty ballroom. Strikingly different from past years. We had some nice chats, and I bought several books. None of ours got purchased. (Sigh.) But, then, no more than three or four potential readers stopped in.

On Sunday, we watched part of the musical performance by Roberta Rogow, one of my favorite filkers. The musical guests of honor were the Blibbering Humdingers, a filk group comprising mostly members of one family. The woman mainly sang the vocals, while the men played the instruments. I didn't enjoy their Saturday night show as much as I'd hoped. It would have been more pleasurable if I could have understood all the words; I usually liked what I did catch. In most songs, though, they sang too fast for me, and the instrumental sound more often then not drowned out the lyrics. An exception was a lovely piece about Lily's sacrifice in the Harry Potter series. A patter song about changes in language over the years was entertaining, from what I could comprehend of it. I also liked a silly bit, easy to understand for the most part, about captains in popular culture -- Kirk, Picard, Janeway, Sparrow, Crunch (groan), et al.

The con moved to a new hotel this year, the same one used annually in the spring for Shore Leave and Balticon. Positive features: For us personally, the same general route and about the same driving time from home as for the old hotel. Noticeably more efficient elevators. A nice breakfast buffet. (But no grits, even though the dinner menu includes shrimp-and-grits, so the kitchen certainly cooks them.) Friendly staff. Pretty quick meal service. Negative aspects of the hotel: Food at the evening meal, served in the bar, was good in our opinion, but the menu seemed even more limited than the typical hotel restaurant menu. Our room had no guidebook to hotel facilities, so I had to query the front desk whenever in need of information. The clock-radio had all sorts of cutting-edge features we didn't use, with instructions printed on top of the device -- but no directions for setting the time, a not at all intuitive procedure. And somehow our clock had become unplugged. My husband struggled with trying to figure out how to set the time and finally gave up. Altering the thermostat temperature setting was impossible; the desk clerk apologized that they were having trouble with the climate control system and waiting for it to be repaired. Worst of all, the hotel has no food service of any kind at lunch! The coffee shop with basic "grab and go" cold breakfast items and snacks such as chips closes at noon. The bar doesn't open until 5 p.m. The one vending machine offers only drinks, chips, nuts, candy bars, and the like. With only half an hour between midday panels, leaving the premises to seek fast food wasn't feasible, and anyway once I get to a convention, I don't leave the hotel if avoidable. (For one thing, we'd have to park the car all over again.)

Still, aside from no meaningful lunch on Saturday, none of those glitches posed major problems. We had a fun weekend anyway.

Margaret L. Carter

Carter's Crypt

RavenCon 15

This year's was the first RavenCon since 2019. They moved from Williamsburg, Virginia (where we attended for three years before the lockdown began) to a new location just north of Richmond, the same general area as their original home base. It was the first time at that hotel, though. The facility consisted of three large buildings with red brick, colonial-style exteriors in a beautifully landscaped setting. Luckily, the weather stayed nice enough for walking between buildings, aside from a slight chill the first couple of days. The hotel provided buffet meals from Friday morning through Sunday morning. That's always a big plus at a con, because we can eat at our own pace and not be late for panel sessions.

Guests of honor were author Terry Brooks and filk singer Rhiannon's Lark. Staff and people on the program had an opportunity to get books signed by Terry Brooks on Friday morning, a few hours before the official opening of the con. That gathering didn't have a big crowd, so he chatted a bit with each person who brought books for him to sign. He's a very nice guy. Later in the weekend I attended an interview in which he gave a lot of interesting information about how he sold his famed first novel, SWORD OF SHANNARA, and the twists in his later career. In addition to hearing a full-length performance by soloist Rhiannon's Lark plus two brief interludes (at the opening ceremony and the costume contest), I watched filkish duo Nefarious Ferrets. In both cases, I could understand the lyrics (not always a given!), liked the singers' voices, and enjoyed the songs' contents, both funny and serious.

Les (my husband) and I, along with one other couple, presented a panel on creative collaboration in marriage. We had a lively discussion, and I thought it went well. I appeared on two other panels, one on the appeal of vampires and one on paranormal romance. Les participated in sessions on "mid-story blahs," combat in speculative fiction, and hypothetical energy sources of the future. I watched the last few minutes of a slide presentation by a man from Richmond's Poe Museum, about Vincent Price's Poe-related movies; I wish I'd been able to see all of it.

All the costumes at the masquerade struck me as impressively elaborate. Even though I recognized the sources of almost none, most being based on video games, I enjoyed and admired them. My only complaint about the event was that sometimes the background music was too loud.

We came away with a good impression of the hotel. Despite its single major flaw, the lack of an auditorium, only one event—the masquerade/costume contest—was so crowded that standing latecomers lined up against a wall. Since the location is closer to home for us than the previous hotel, I hope RavenCon stays there for a long time. Especially because it takes the entire weekend to learn the layout of a new venue, and I don't want the effort wasted. :)

You can read all about the convention and view the program schedule here:

RavenCon

Margaret L. Carter

Carter's Crypt

Folklore 101

At this year's ICFA, I heard a paper by folklore scholar Jeana Jorgensen and was so impressed that I immediately ordered her book FOLKLORE 101. This isn't a book OF folklore, but an introduction to the study of folklore. Jorgensen explains her field in a breezy, colloquial style but also includes an extensive bibliography of books for further, deeper exploration, should readers be so inclined. She defines folklore as "informally transmitted traditional culture." It's shared and passed on outside of official, institutional structures. Thus, while an established religion isn't folkloric, folk religion does exist, e.g., wearing saints' medals for protection or burying a statue in the yard to ensure a quick sale of one's house. Variation and flexibility characterize folklore, whereas an institutional product such as a printed novel by a known author has a fixed form (unless the author or film director releases a revised official version). Tradition need not stretch back centuries or even years to be "traditional." Moreover, the "folk" don't mean just people in preindustrial eras or present-day tribal societies. Folk groups can include hobby clubs, coworkers in an office, people serving in a branch of the military, online virtual communities, even the members of a single family—any group that shares a common culture. It surprised me to read about "personal narratives" as a folklore category. Did you know the retelling of an anecdote about your wedding day constitutes folklore within your family's tradition? Coincidentally, earlier this week I read an article about the top ten stories from their own lives people tell over and over. (Frustratingly, the article didn't list the ten topics.) Older people don't repeat stories mainly because they're forgetful; they do it because those anecdotes hold vital meanings they want to pass on to the younger generations. Just as we all speak prose, we all belong to folk groups and practice folklore.

I ordinarily think of folklore mainly in terms of verbal culture, such as songs, tales, legends, and anecdotes. Proverbs, jokes, and slang also fall into that general area. As Jorgensen's book explains, however, folklore includes many more categories, e.g., foodways, rituals, superstitions, arts and crafts, dance, holiday customs, folk medicine, internet memes, and various other human activities.

Is fan fiction folklore? Yes, although her book mentions it only once, in passing. It's produced informally, outside official, commercial structures. It exhibits variation and is communicated within a folk community. The fanfic community has its own traditions and dialect, e.g., the invention of the term "slash" for same-sex romance between fictional characters. Filk music is certainly folklore. Songs can be set to either composers' original tunes or existing music. The latter can consist of either parody or serious rewriting. The videos made by some fans by combining clips from movies or TV shows would also count as folklore, although they don't come into Jorgensen's book. So material originally produced by official, institutional, and/or commercial sources can become appropriated by folk culture, subject to variation and traditional transmission.

When does a commercial product created by a known artist become folkloric? How old does it have to be? Does it have to be in the public domain? Woody Guthrie's song "This Land Is Your Land" is probably thought of by many Americans as a folk song. Guthrie himself encouraged others to add verses. Nineteenth-century composer Stephen Foster's "I Dream of Jeanie with the Light Brown Hair" was parodied by Bugs Bunny, a commercial song being "filked" by a commercial animated character. Similarly, the tune of the Civil War song "Aura Lea" was used by Elvis Presley for "Love Me Tender." There's a filk song about the Apollo 13 near-disaster sung to the tune of "The Wreck of the Edmund Fitzgerald." Despite Jorgensen's lucid explanations, I'm still a little fuzzy on the boundaries of "folk" transmission and variation. To cite a shift in the other direction, Jean Lorrah wrote a collection of Star Trek fanfic stories called the "Night of the Twin Moons" series—folkloric variation on a commercial popular culture product. However, her professional Star Trek novels THE VULCAN ACADEMY MURDERS and THE IDIC EPIDEMIC clearly belong to the same fictional universe as her fanfic, although with "the serial numbers filed off," as the saying goes. And the origin of the commercial bestseller FIFTY SHADES OF GREY as thinly veiled TWILIGHT fanfic is well known.

The richly diverse nuances of folk creations in the overall category of songs and stories can be endlessly fascinating.

Margaret L. Carter

Carter's Crypt

RavenCon

We spent this past weekend at RavenCon in Williamsburg, Virginia. The author guest of honor was Melinda Snodgrass. Because she worked with George R. R. Martin on his Wild Cards series, the con played with a Wild Cards theme at the opening ceremony Friday night. I haven't read any of the series, but the premise sounds intriguing. In case you haven't either, it goes like this: A plague has rewritten human DNA. Among the total population, 90% died. Most of the others survived with grotesque mutations, and a tiny percentage developed superpowers. At registration, each attendee received a tag to attach to the name badge. Black Queens were dead (I got that one). Jokers got amusing mutations. Aces got superpowers. Friday night, the Jokers and Aces were called up front to learn their mutations or powers. Fun!

I appeared on the program in the Broad Universe rapid-fire reading. This year, so many authors participated that we got a two-hour time slot. Each person was allotted a little over five minutes for intro and reading. I read from my new light paranormal romance novella, "Yokai Magic," and it seemed to go well.

The program included a STEM track of panels and presentations, held in a designated "science room." Among other topics, sessions covered life sciences and medicine in SF, what science fiction authors get right and wrong about science, effects of space flight on the human body, and "Space doesn't work like that." A significant number of people with military experience, as well as scientists, appeared on panels. A non-science session that particularly impressed me tackled morality and ethics in SF and fantasy. One panelist held a doctorate in philosophy and had worked on the alignment system for Dungeons and Dragons Third Edition. There were also writing craft sessions, genre-focused sessions, and all the usual features you'd expect at an SF con. Fandom for David Weber's Honor Harrington series has a prominent presence at RavenCon, and at least two panels focused on that universe.

The musical guests of honor were the Library Bards, a filk duo. I enjoyed their songs when I could comprehend the lyrics. In common with most of the musicians I checked out, however, the Library Bards sang to a recorded background track of very loud, hard-rock style instrumentals that tended to drown out the words. However, they performed some pieces I liked quite a bit, e.g., a tribute to one of the "Dr. Who" stars (although I'm not familiar with him, it was cute), a celebration of Stan Lee and the Marvel universe, and a song summarizing the entire plot of PRINCESS BRIDE. Two musical guests I especially liked were the Nefarious Ferrets (a duo) and Gray Rinehart; both of those acts sang and played in a calmer style, and I could understand the words. (When old age creeps up, being able to hear the words of songs and TV dialogue becomes a non-trivial concern!)

Some highlights of the Saturday evening masquerade included a mother-child pair in elaborate kitsune costumes, a fan-dancing "steampunk geisha," and a joint appearance by Spider-Man and Spider-Man Noir (all in black). Unfortunately, the event ran behind schedule, so I eventually left to attend a panel and therefore didn't find out who won.

We were pleased with the hotel this year. Unlike last year, when they didn't have a room for us until well after the designated check-in hour, this time we got settled right away. Also, the meal service in the cafe was noticeably faster than in the previous two years we've attended. This hotel offers one delightful perk upon check-in—a large chocolate chip cookie for each guest.

You can read about RavenCon here. The programming schedule and the rest of this year's information are still on the site:

RavenCon

Margaret L. Carter

Carter's Crypt

Holiday Entertainment Recommendations

Any Lovecraft fans here? If so, you really want to hear the Cthulhu Mythos Christmas albums, A VERY SCARY SOLSTICE and AN EVEN SCARIER SOLSTICE. They contain Lovecraftian filks to the tunes of classic carols and popular holiday songs. My favorite selections are "It's Beginning to Look a Lot Like Fishmen," "Away in a Madhouse," "Harley Got Devoured by the Undead," and "I Saw Mommy Kissing Yog-Sothoth." Songbooks are available, too. The producers, the H. P. Lovecraft Historical Society, also offer other goodies such as audio dramas and vintage-style films:

H. P. Lovecraft Historical Society

Thanks to the wonders of home video, I can watch my favorite Christmas movies at will, unlike in my childhood when dinosaurs roamed the Earth and we could catch old films only if they happened to be rerun on television. I'm an avid fan of A CHRISTMAS CAROL in its many variations. My top favorite film adaptations are the Patrick Stewart and George C. Scott versions. The Mr. Magoo cartoon is surprisingly good, within the limits of its short length, and it includes some lovely songs. The Disney animated rendition in which Mickey Mouse plays Bob Cratchit unwisely fails to incorporate much of the dialogue from the original, but it's fun to watch anyway just to see Uncle Scrooge in the role he was named for. The excellent AMERICAN CHRISTMAS CAROL, starring Henry Winkler (yes, the Fonz), isn't a straight retelling but, rather, a re-imagining set in small-town America in the early twentieth century. In the "better than you'd expect" category is a made-for-TV movie I've watched many times, A DIVA'S CHRISTMAS CAROL; a black, female singing star plays the Scrooge role. That one clearly takes place in an alternate world where Dickens' novel doesn't exist, because nobody bats an eye at a rich woman called Ebony whose manager is Bob Cratchit, with a terminally ill son named Tim. One classic I watch every December is LADY AND THE TRAMP. Although not labeled a Christmas movie, it starts and ends at that time of year.

Then there are the holiday episodes of TV series. In the MASH Christmas episode I like best, children from a Korean orphanage share Christmas dinner with the MASH crew. Because their supplies for the feast didn't make it to them, the men and women pool their personal goodies to make a treat for the kids. The cool, upper-class, acerbic Major Charles Winchester contributes only a small can of smoked oysters, although everybody knows he received a mysterious package from home. It turns out that the package contains expensive specialty chocolates that he donates anonymously to the orphanage, in accordance with his family's tradition. The second plot line involves the senior doctors struggling to prolong the life of a fatally wounded soldier past midnight so his children won't have to think of Christmas as the day their father died. Of the numerous TOUCHED BY AN ANGELS Christmas episodes, my favorite is the one in which Monica reminisces about her encounter with Mark Twain on the Christmas when his daughter had just died (the latest of several grievous losses he'd suffered). One thing I like about this program is that, unlike some of the episodes, it doesn't present the mere apparition of an angel as enough to comfort or convert the human character. Twain's initial reaction to meeting Monica is essentially, "All right, God exists, and I still don't want anything to do with Him." Another element I especially like is that the episode features one of my favorite carols, "I Heard the Bells on Christmas Day," which we don't seem to hear so much nowadays. An outstanding animated program, especially if you have kids to watch it with, is ARTHUR'S PERFECT CHRISTMAS. The title character has an ideal image of how the holiday season should unfold; of course, everything goes wrong but turns out right in the end. The show also touches on Hanukkah, Kwanzaa, and the possibility of inventing one's own holiday traditions as an alternative to the hype and stress. As for stand-alone Christmas specials, I have a particular fondness for "Shrek the Halls," in which the grumpy ogre, who's never celebrated anything before, tries to create the perfect holiday for Fiona and the babies by following the instructions in CHRISTMAS FOR VILLAGE IDIOTS. Very funny even (or maybe especially) for adults!

Books: A CHRISTMAS CAROL, of course. And I love THE BEST CHRISTMAS PAGEANT EVER, by Barbara Robinson. It's narrated by an elementary-school-aged girl whose mother gets reluctantly stuck with the church Nativity play. The town hooligans, the Herdman children, swoop in and take over the pageant, with results that are deeply moving yet not sappily sentimental. There's a film based on the novel, with a screenplay written by the author herself. Connie Willis's holiday stories, lavishly showcasing her incisive wit, are indispensable for SF and fantasy fans. She has recently released A LOT LIKE CHRISTMAS, an expansion of her earlier Christmas story collection. My favorite pieces are two novellas that weren't in the old edition. Thousands of radio re-playings of multiple covers of "White Christmas," augmented by the stubborn insistence of a prototypical Bridezilla that she MUST have snow for her Christmas Eve wedding, spawn a worldwide blizzard in "Just Like the Ones We Used to Know." Snow even falls in locations that have never seen it before in recorded history. You can read this work online:

Just Like the Ones We Used to Know

You really should get the book, though. My other favorite novella in it, "All Seated on the Ground," features the narrator's experience on a committee tasked with a first contact project. The alien visitors don't behave hostilely, but they don't speak or otherwise give any indication of their purpose in coming to Earth. Until they're taken to a mall, where they hear Christmas carols—and respond to the line "All seated on the ground" by suiting their actions to the words. Only the narrator, with the help of a high-school chorus director, notices this reaction and manages to decipher its meaning. Hilarious, but as in all Willis's work, the humor arises from character and situation, not one-liners. A LOT LIKE CHRISTMAS includes an introduction by the author plus an afterword listing her personal holiday movie recommendations.

Margaret L. Carter

Carter's Crypt