Thursday, April 26, 2018

RavenCon

My husband, our youngest son, and I spent the past weekend at RavenCon in Williamsburg, Virginia.

RavenCon

This was our second year of attendance and the first year my husband (Leslie Roy Carter) and I have participated in panels there. The 2018 writer guest of honor was horror author and STAR WARS tie-in writer Chuck Wendig.

My husband and I appeared together on a panel about "Collaborating as a Couple." It wasn't quite what I expected, because the other couple weren't writers; they worked in film on special effects, makeup, and costuming. They provided lots of interesting anecdotes and information about their profession. I took part in a session on "The Evolution of Horror." Of course, we couldn't adequately cover such a wide topic in fifty minutes, but we had an engaging discussion with plenty of audience response. Les also participated in "Ask a Scientist," "Weapons Engineering," and "One If by Air, Two If by Sea" (mainly on military science in real life and fiction).

I especially liked the panel on SUPERNATURAL, one of my favorite long-running TV series. "Medicine in Fantasy" was full of intriguing information plus opinions on realistic and not-so-realistic depictions of healing in fantasy, and it could easily have gone much longer. Some writing-related sessions I viewed all or part of included "Life Hacks for Writers," "Ignore This Advice: Writing Tips That Aren't So Great," "Writing Outside the Box," and "Writer Without a Day Job" (featuring a group of full-time writers whose apparent productivity put me to shame). "Everybody Dies" discussed good and bad ways to handle character deaths. "Vampires, Monsters, and Ghosts—Oh, My" didn't particularly focus on vampires, as I'd expected; it was about using monsters in general in fiction. "Is That Blood on Your Dress?" dealt with the history and appeal of Gothic romance. "Morally Ambiguous Bad Guys" and "Longing for the Love of Monsters" were a couple of other highlights.

I enjoyed the filk group Misbehavin' Maidens, who performed lively, funny, mildly bawdy songs (mildly in the daytime show I attended, anyway). The set included "Dumb Ways to Con" (what not to do at conventions) and, as a sign of the times, a piece about consent. The Saturday night masquerade didn't have a huge number of entries, but they were all worth seeing. My favorite was a couple enchantingly costumed as Beauty and the Beast. Also, there was a woman in a green dress and matching green antlers whom I found very impressive, though I can't remember what the outfit represented. The con naturally had film and anime tracks, none of which I watched because of attending panels or going to bed in time to get a reasonable amount of sleep. In the snack and relaxation space labeled Ten-Forward, a fan group screened some original STAR TREK episodes they'd produced, of which we watched a few minutes. The films seemed to have quite a professional look.

The hotel has a confusing layout for the uninitiated, but this being our second year there, I began to get the hang of it. The spread-out nature of the space made the gathering feel uncrowded even though the total attendance (from what I heard) significantly exceeds that of our Thanksgiving weekend event, ChessieCon.

Margaret L. Carter

Carter's Crypt

Tuesday, April 24, 2018

Dialogue Part 14 Writing Inner Dialogue of Person Being Lied To

Dialogue
Part 14
Writing Inner Dialogue of Person Being Lied To
by
Jacqueline Lichtenberg

All the Previous Parts of the Dialogue series Indexed :

http://aliendjinnromances.blogspot.com/2012/10/dialogue-parts-1-4-listed.html

In particular, remember Part 5 on writing the Liar's Dialogue

http://aliendjinnromances.blogspot.com/2012/11/dialogue-part-5-how-to-write-liar.html

And be sure you have read A SPOONFUL OF MAGIC by Irene Radford. 
The whole novel's plot turns on spouses, liars all.  The main characters divorce over lies told.

This is a series where Magic is Real, where only certain people (usually families but not always) have different specific talents for certain things, where Imps (and presumably other mythical creatures) are real and can be used by Black Magic users, and where humans can be turned Evil by the sheer impact of discovering they have "Power."

None of that is anything I can match to my personal vision of Reality -- but I just absolutely love this novel, and have enjoyed Irene Radford titles without exception.  The craftsmanship is exemplary, the conceptualization broad and daring, and the thematic issues spot-on for these times.

So with this great example of how to use the BIG LIE in a story of families raising children to withstand the temptations of magical power that their associates can not match, consider how to write the dialogue between the Liar and the Character who is fooled by the lie, who believes the Big Lie because the person saying it passes muster.

You love someone, you believe them.  Does that make that person truthful?

We live in the era of Fake News - and fake Facebook posts - and a totally fictional  view of reality masquerading as true (even science - but fake science has always been the trusted source for a firm minority, with UFO non-fiction ruling the roost since the 1950's.)

So the sense of betrayal when an intimate family member is revealed to be a Liar is the fabric of grand fiction.  Irene Radford has put her finger on a main issue being researched by (real) science.  How much, how often, and why do we lie?  Do we all do it?  If you say you never lie, are you a liar?

And beyond that, what makes a lie a white lie?  At what age do we learn to twist words to cast illusions?  Does this practice do us harm on any level?  Are there certain people we never lie to? 

If someone lies to you and you believe them, does that make you a victim?

Here is an article from some months ago - that may not still be available:

https://www.bustle.com/p/how-to-tell-when-someone-is-lying-to-you-because-its-harder-than-you-think-8252077

Here are some salient quotes:

-------quote--------
What's more, a study published in the journal Psychological Science noted that your chances of detecting a lie is about 50/50. However, this isn't because you don't actually think someone is lying. While your initial reaction might be to call out a fibber, the study found that your conscious brain overrides the unconscious part that can spot a liar, which is why most of us are likely doubt our initial instinct when we think we're being lied to. Meyer calls this a "truth bias."

"Research suggests that Americans are especially predisposed to a 'truth bias' when dealing with other Americans," Meyer told Fraud magazine. "In general, they presume good faith on the part of others, and they believe that people are innocent until proven guilty. When someone answers the phone and says, 'I was just going to call you. You read my mind,' many of us give the benefit of doubt, even if we're not entirely convinced."

-----end quote--------

Here is the reason people insist on an actual, in person, meeting to settle an issue, to interview for a job, or just communicate over an emotional issue.  People learn, probably from the age where they learn to recognize their mother's face, to dicipher micro-expressions and decide if they "trust" this person (even if a person is a Liar, you might trust them to sift information to favor your agenda.

-----quote--------

Meyer explained that most people have a "tell" that lets others know when they're lying, and the most common tells are called micro expressions. A deviation from normal behavior, micro expressions can be anything from unusual facial expressions and overly formal language to how you hold a backpack, she told Fraud. People who are skilled in reading micro expressions can determine whether or not someone is lying with 95 percent accuracy.

-----end quote---------

In her TED Talk summary, Meyer gives some tips for how to identify some micro expressions, and some of these tells are the opposite of what you might expect.

--------quote------

On his blog, Dr. Joseph Mercola, author and physician, provides additional non-verbal cues from Susan Carnicero, a former CIA agent and author of Spy the Lie: Former CIA Officers Teach You How to Detect Deception, that can help you detect when someone is lying. These tips include unusual pauses in conversation, grooming gestures (like fidgeting or playing with their clothes), and hand-to-face movements (touching their face or hair). In the TV show Shades Of Blues, Lt. Matt Wozniak (Ray Liotta) is able to determine Det. Harlee Santos (Jennifer Lopez) is lying because her tell is pushing her hair behind her ear when she's being deceitful.

-------end quote---------

And here, in that article is the PLOT CLUE you need to move your plot with dialogue.  The Big Lie and the Little Lie and the White Lie all indicate the point where you use Dialogue to merge Plot (what happens) with Story (what the even means).  Apply this list to your dialogue and see if it improves your technique.

-------quote-------
According to Awareness Act, Meyer explained that people lie in order to avoid being punished or to avoid embarrassment; to protect another person from being punished; to exercise powers over others by controlling them; to protect themselves from the threat of physical or emotional harm; to obtain a reward that’s not otherwise easily attainable; to get out of an awkward social situation; to create a positive impression and win the admiration of others; to maintain privacy; and to gain advantage over another person or situation.
--------end quote-----

Read this article and chase down the references, especially the Ted Talks.  Puzzle out how to apply the White Lie to Romance.  Don't forget Aliens might be like Vulcans and tell the bald truth (mostly), or they might have no biological reason to shade the truth -- or they might never use words to convey the truth.  Maybe they don't even have the concept "Truth."

Jacqueline Lichtenberg
http://jacquelinelichtenberg.com



Saturday, April 21, 2018

Celebrating Women's Intellectual Property

April 26th, 2018 is World Intellectual Property Day, and the theme this year is the celebration of the brilliance, courage, and creativity of women. Find out more. Get involved.

http://www.wipo.int/ip-outreach/en/ipday/

If you wish to tweet about creative women who rock your world, the hashtag is #worldipday 

Going one better, the copyrightalliance.org is co-sponsoring an entire business week of Intellectual Property related events (April 23rd - April 28th) with the Volunteer Lawyers for the Arts (VLA) across the country, and at each event honoring a local female or creator's advocate.

Press release:
https://copyrightalliance.org/news-events/press-releases/volunteer-lawyers-for-the-arts-world-ip-day-2018/

Some of the VLAs are Arts and Business Council of Greater NashvilleCalifornia Lawyers for the ArtsChicago Lawyers for the Creative ArtsSpringboard for the ArtsSt Louis Volunteer Lawyers and Accountants for the ArtsTexas Accountants and Lawyers for the ArtsThe Ella ProjectVolunteer Lawyers for the Arts (VLANY)Washington Area Lawyers for the Arts

Recently, the copyrightalliance.org interviewed Carolyn E. Wright,  an attorney who specializes in the legal needs of photographers.

https://copyrightalliance.org/ca_post/photo-attorney-carolyn-wright/

Whether you are a professional photographer, an amateur photographer, or someone who makes use of photographs you find online...  check out her words of wisdom.

Only a copyright owner may report copyright infringement, but that does not mean that friends and good citizens cannot help out. The copyrightalliance.org can help persons who wish to pass on a tip to a copyright owner.

https://copyrightalliance.org/resources/report-piracy/

Malcolm Harris blogs on The Authors Guild platform about the value of a word. ("How Much Is A Word Worth?"
https://medium.com/s/story/how-much-is-a-word-worth-7fcd131a341c

If you wish to be paid for your writing, this type of knowledge is power!

If you are looking for a copyright attorney, here's a resource:

https://copyrightalliance.org/resources/find-a-copyright-attorney/

Happy IP day!
Rowena Cherry


Thursday, April 19, 2018

Sapient Hibernators?

Recently on Quora someone asked why human beings can't stay awake for a week straight and then sleep for the same amount of time, instead of alternating sleep and awake time every day. The most convincing answer is that we evolved to live in harmony with the alternation of light and darkness. We are diurnal mammals, and our (roughly) 24-hour circadian rhythm harmonizes with daily changes in sunlight levels, making us active by day and at rest by night. We need that period of dormancy every night for our brains to repair ongoing wear-and-tear and process the events of the previous day. Not all animals function the same way, of course. Some are nocturnal. Cats sleep in short stretches throughout the day, with a lot of activity around dawn and dusk (crepuscular). Dolphins, some other aquatic mammals, and some birds sleep with only half of their brains at a time, so one brain hemisphere is always awake.

It occurred to me to wonder what our lives would be like if we hibernated. I would be happy to sleep through the dreary, cold stretch from January 2 through the third week of March, when the International Conference on the Fantastic in the Arts convenes in Orlando. Aside from skipping the worst of winter, I could gorge on goodies over the holidays, then painlessly burn off the fat while asleep. I've read only one story featuring a sapient species that hibernates, Melanie Tem's unique vampire novel, DESMODUS. Her non-supernatural vampires are essentially humanoid, intelligent vampire bats. The females, the dominant sex, are the only ones who hibernate through the winter. The males migrate. With access to human culture's modern technology, they drive south every year in a convoy of huge trucks, in which the sleeping females and the young (cared for communally) are safely ensconced. How would their clan manage if they all had to hibernate, though? Wouldn't they be overly vulnerable?

Risks of vampire-slayers finding their dens and slaying them while dormant might be minimized if Desmodus had a metabolism like that of bears, which don't really "hibernate" in the strictest sense, Instead, they enter a state of torpor from which they can wake up quickly and easily if the need arises. In true hibernators, heartbeat and respiration slow drastically, and body temperatures decrease to the level of the surrounding environment. Arctic ground squirrels may even reduce their abdominal temperatures below freezing.

Could a hibernating species develop an advanced technological civilization? What would happen to their machines and infrastructure during prolonged periods of universal dormancy, with nobody available to perform upkeep and maintenance? Maybe a hibernating intelligent race might be limited to preindustrial technology. If we discovered such a race on a distant planet, we could supply them with machines and technicians to care for the equipment, but the natives would remain dependent on us for those resources. Of course, such a species might instead take their cultural evolution in a completely different direction from ours and produce a civilization that doesn't rely heavily on physical technology—biologically based, perhaps. It's hard to imagine, however, how they could achieve space flight, so I visualize their being confined to their home planet when we meet them.

Margaret L. Carter

Carter's Crypt

Tuesday, April 17, 2018

Strong Characters Defined Part 4 - What Does It Take To Make an Atheist Pray?

Strong Characters Defined
Part 4
What Does It Take To Make an Atheist Pray?
by
Jacqueline Lichtenberg

Previous Parts to the Strong Characters discussion are:

http://aliendjinnromances.blogspot.com/2014/07/genre-root-of-all-passion-by-jacqueline.html

http://aliendjinnromances.blogspot.com/2014/10/strong-characters-defined-part-1.html

http://aliendjinnromances.blogspot.com/2014/08/strong-character-defined-part-2.html

http://aliendjinnromances.blogspot.com/2014/11/definition-of-sf-what-is-science.html  -- which is about science fiction romance and Strong Characters.

And we've discussed what editors mean by calling for manuscripts with "strong characters" (not big muscles, either). 

Here are some entries where we discussed Characters from many angles.

http://aliendjinnromances.blogspot.com/2014/12/theme-plot-integration-part-15.html

http://aliendjinnromances.blogspot.com/2014/12/theme-symbolism-integration-part-1-you.html

http://aliendjinnromances.blogspot.com/2015/07/why-every-novel-needs-love-story-part-2.html

http://aliendjinnromances.blogspot.com/2016/02/reviews-22-by-jacqueline-lichtenberg.html

And this one recent one about sexual harassment
https://aliendjinnromances.blogspot.com/2018/03/theme-character-integration-part-12.html

So, with the understanding that strength of character is invisible, and thus must be DEPICTED -- shown via something visible, a symbol, or dialog, or mode of dress, or something more subtle such as responses to provocations -- we understand that the "strength" referred to by editors is all about the story, not the plot.

You can have strong characters in Action Romance -- bulging muscles, or not.  But you can showcase the strength of a character in any genre -- the wimpish looking Geek in a science lab, the UPS delivery woman, the counter clerk, the person answering tech chat calls, or the kid born without a foot who becomes an Olympic Champion skier.

Strength of Character is about vision - imagination mostly - the ability to see what the results of success at a sequence of endeavors will be, and to assess whether those results are desirable enough to be worth the cost.

How much of yourself - your inner self where you seem to be real to yourself - should you invest in achieving something external (such as Olympic Gold, the CEO's office, the Presidency?)

The Strong Character has a good, solid (if perhaps erroneous) assessment of their own inner resources, their own emotional stability and balance under duress, and their own personal view of reality.

A devoutly religious person may be a Strong Character with serene conviction in their idea of God.  These ideas can range from the most benign Christian view to the most savage destroyer-of-world, or one who demands destructive acts of followers. 

Whatever the religion's portrait of Supernal Forces in charge of Destiny (I'm assuming you've studied Greek Mythology, Roman Mythology, Mythology in General, maybe Assyrian and Egyptian and possible some of the Oriental ideas), the "Strong Character" will not just believe, not just cling white-knuckled, not just sacrifice himself idealistically -- but will study, know, understand and adhere to that religion's view for reasons.

Those reasons may seem perfectly rational to the Strong Character,  so you as the writer must portray the Strong Character's reasons in a way that convinces your reader (all of your readers, no matter their personal opinion of religion) that this Strong Character is Righteous. 

If your novel's Theme is about Religion, or the structure of the universe as discovered by science, or the nature of humanity (as opposed to Aliens evolved on another planet), you have a big problem convincing the whole spectrum of readerships that this Strong Character is Righteous. 

Ponder the Depiction Series for ideas of how to show-don't-tell that a religion you make up for your Aliens is righteous.

http://aliendjinnromances.blogspot.com/2015/04/index-to-depiction-series-by-jacqueline.html

Now consider the currently extant theory that Atheism is actually a Religion, or at least a "religious belief."

Study Anthropology and Psychology, and you may find how the human brain and mind has a "place" -- like a compartment -- a structural space designed specifically for "belief." 

It is a survival trait, or so most people think, to be able to accept and integrate a diversity of facts, some of which contradict each other, and act in ways that stake your life on a set of such unproven, assumed, or acquired-from-others facts.

Some think that the most potent survival trait of humans is the need to "fit in" -- to become part of a human group (Tribe, Club, Nation, Culture) by adopting the predominant belief, wearing it as  badge of honor, fraternal lapel pin, declaring membership in the Group. 

"Blending in" is one of the primary lessons learned (often the hard way) in High School.  In dress, accent, mannerisms, and taking "sides" (clique joining), teens learn to become one of the Group - whereupon the Group defends them and makes them feel safe. 

This basic mechanism becomes internalized throughout life, and becomes the "default" behavior (if it was successful in High School) the person goes to under duress - during crisis situations.

Strong Characters usually have "default" behavior patterns that have been successful for them in the past, and that apply to a wide variety of situations. 

The Atheist will reject any course of action proposed by a Religious person applying the tenets of Religion to a problem.  ("Turn the other cheek" seems ridiculous to the Atheist).

The Religious person will reject any course of action proposed by an Atheist who is applying the tenets of "God is a Delusion" to a problem.  ("Nobody's going to help you; you're on your own" seems ridiculous to the Religious person).

There have been many TV shows and films about passivist religions such as the Quakers being provoked into hitting back.  That is almost a cliche by now.

But what about the heroic Atheist, the go-it-alone, it's all up to me, Character who is "provoked" into not-hitting-back? 

What would it take to make an Atheist who is being attacked (physically, socially, psychologically) look at the attacker and see the attacker's torment?

What would it take to make an Atheist Strong Character - absolutely convinced Atheism is correct, not a blind-religious-superstition - flip to an understanding of reality wherein their fate, destiny, and future rests in a decision made by The Creator of The Universe Who is assessing their Devotion to the Creator's purpose?

We all know the maxim that a battle plan does not survive the first contact with the enemy.

We all have heard the adage that there are no atheists in a foxhole.

There are interactions (human-to-human or perhaps one day Alien-to-Human) during which "anything can happen and usually does." 

The outcome of any such wild, pure-chance, situation often reveals the Master Theme of a novel or series of novels -- I've called it "Poetic Justice." 

Scan the headlines any day, glance through Facebook for YouTube videos, and you'll find many examples of Poetic Justice. 

It is not usually easy to see in real life -- how things come out the way they "ought" to come out, Justly and Beautifully.

But every once in a while, you can see Poetic Justice in the outcome of a real world situation. 

The job of a writer is to reveal that Poetry inside and underneath everything in this real world.  That is what artists do -- show the reality behind what we "believe" is real. 

Examining the nature of "belief" and our subjective assessment of "reality" is what science fiction writers do.  Take some humans, ram them up nose-to-nose with some truly alien Aliens, scrunch them together hard, and crack some skulls -- find the Poetry behind reality.

That's what Gene Roddenberry did with Star Trek and the non-Emotion of Vulcans.  Roddenberry was a "Humanist" and so created a lot of stories where the Enterprise met what seemed to be a Supernatural or God, and revealed the mundane truth behind that illusion. 

Subsequent producers have taken a more atheistic stance.

Set yourself the problem of creating a commentary on your target audience's "belief" system (or lack of system), and then take a Strong Character with settled convictions and change that Character's view of Reality in such a way that the Character naturally changes response to a Situation.

That is the thematic material of a series of novels.

In a Comic or Graphic Novel (maybe most Games) such changes take place in the blink of an eye when presented with concrete evidence.  We all wish life were that easy.

Romance makes a Character suffer while changing their basic view of Nature and their Self Image.

Marriage is a process of changing self-images (of both parties), a learning process, often called "learning to love." 

What would make an Atheist pray? 

Remember why we cry at weddings:
http://aliendjinnromances.blogspot.com/2015/08/theme-symbolism-integration-part-3-why.html

Consider Romance, ripening to true love, becoming marriage, and then some horrible threat to the life of one partner which the other can do nothing about.

Now consider all those years of growing together.  How many instances of Poetic Justice have occurred? Are there enough strange outcomes to tricky situations for the one left in a helpless position to connect them and "see" a "Finger of God" moving their lives poetically, with purpose and Divine Love?

What sort of person could or would put "two and two together" and break down and address a foreign deity -- maybe a Catholic praying to Allah, or a human praying to some Alien's deity? 

The point here is not to pick out the correct vision of the Creator, but to Depict how humans assess reality and act on their assessment, even if their assessment is not their own.

In Comics or even Film, it is usually depicted as one, singular Event and the person totally abandons their former view of the universe to embrace a new one.

In good drama, in Romance novels, in Science Fiction Series, it is never that simple.

There is the saying, "You have to have been there." 

This refers to the tiny, baby steps, experience after experience, that adds up to a Poetic Justice outcome too vast to put into words, or even think about consciously.

Epiphany works that way -- it is the last step in a long series of steps that lead to what seems to onlookers a "sudden" change.

But it is rarely sudden.  What would it take for a Strong Character Atheist to have that final epiphany and appeal to a Deity?

The Stronger the Character, the more novels it takes.

Notice how long the TV Series "X-Files" (yes, a fabulous Strong Character Meets Strong Character Romance) took to get ideas and evidence, proof, and belief all in line? 

How many different explanations were adopted along the way? 

Bringing an Atheist to prayer is a long process. 

Breaking a Devout person's belief is usually swift sudden and unexpected.  For example, the undeserved death of a loved one, absolutely no justice to it, despite real, genuine prayer filled with begging.  And the person "blames" God, or comes to think others are correct, and there is nobody Listening.

Atheists are usually harder to convince.  Are they stronger? 

THEME: Atheists Are Stronger In Their Belief Because They Are Correct.

Try it.  See if you can write it, then construct the biography that would set the Atheist up for a change of opinion or a Religious person for a glimpse of "The Cold Equations" of a godless mechanism that is reality - where "life" is just an accident of chemical combinations and the sense of "self" is an illustion.

Jacqueline Lichtenberg
http://jacquelinelichtenberg.com

Sunday, April 15, 2018

An Inconvenient Bargain

One hears that Facebook may be violating or planning to violate cell phone users' medical privacy.
https://www.theinquirer.net/inquirer/news/3029711/facebook-attempted-to-get-hold-of-users-medical-records-for-er-research

https://futurism.com/facebook-sought-medical-data-red-flags/

http://philadelphia.cbslocal.com/2018/04/06/facebook-hospitals-data-report/

http://www.eweek.com/security/report-facebook-sought-access-to-medical-records-to-target-pharma-ads

Targeting pharma advertisements seems wrong to me. Would the business that selected persons for pharmaceutical suggestions have any liability if their targeted recommendations proved seriously unsuitable for the targeted person?

Hospitals post signs advising visitors not to use their cell phones, but not explaining why not. Perhaps it is because cell phones have GPS, and therefore, strangers and authorities could know that the cell phone owner is inside the hospital, perhaps even in which department, and for how long.  Of course, most modern cars will tell strangers and authorities that the car owner is in the hospital parking lot.

Was there an ulterior motive behind "Cash For Clunkers"? Why did those surrendered clunkers have to be crushed? At the time, we thought that Big Brother didn't want spare parts available to repair older gas guzzlers, but maybe they wanted us all to be in trackable vehicles!

This You Tube skit from June 2006 on ordering a pizza in a world where salespersons have access to medical, credit card and financial records is prescient and very Jason Bourne.

https://www.youtube.com/watch?v=RNJl9EEcsoE

And, this is a later version of the same video, with more detailed attribution.

https://www.youtube.com/watch?v=dfZhCB457Gs

All the best,
Rowena Cherry

Thursday, April 12, 2018

Fantasy and/as Escape

A heartily recommended story in APEX (which can be read at no charge): "A Witch's Guide to Escape: A Practical Compendium of Portal Fantasies," by Alix E. Harrow:

A Witch's Guide to Escape

There are two kinds of librarians in the world, "the prudish, bitter ones. . . who believe the books are their personal property and patrons are dangerous delinquents come to steal them; and witches." This story's narrator, a librarian of the second kind, makes it her life's mission to guide readers to the books they need. Delightfully, books in her library have feelings and WANT to be read. A deeply unhappy boy in the foster care system finds his way to the library and becomes enthralled with tales of travel to other realms. Of one obscure novel whose "happy ending" returns its protagonist to the mundane world, the boy says, "The ending sucked." The narrator knows what he needs is the book whose title forms the name of the story, but to give him access to it, she would have to break a fundamental rule of her vocation.

Tolkien, in his classic essay "On Fairy Stories," lists the three primary functions of "Faerie" or "Fantasy" as recovery, escape, and consolation. About escape, so often condemned by "realists" as "escapism," he says, "I do not accept the tone of scorn or pity with which 'Escape' is now so often used: a tone for which the uses of the word outside literary criticism give no warrant at all. In what the misusers are fond of calling Real Life, Escape is evidently as a rule very practical, and may even be heroic. . . . Why should a man be scorned if, finding himself in prison, he tries to get out and go home? Or if, when he cannot do so, he thinks and talks about other topics than jailers and prison-walls? The world outside has not become less real because the prisoner cannot see it. In using escape in this way the critics have chosen the wrong word, and, what is more, they are confusing, not always by sincere error, the Escape of the Prisoner with the Flight of the Deserter." C. S. Lewis, commenting on this passage, asks which people most dislike talk of escape; he answers, "Jailers."

This past week, I read THE HAZEL WOOD, by Melissa Albert, with a seventeen-year-old girl narrator whose grandmother wrote a collection of dark fairy tales that has become a cult classic. The narrator discovers that the world of the tales, as we would expect, actually exists and that the truth of her own past is inextricably bound up with the reality of her grandmother's stories. This novel combines my two favorite fantasy motifs, portals to magical worlds and a hero's discovery of his or her own other-than-mundane origin. (In THE HAZEL WOOD these revelations come with a grim twist, for the faerie realm the narrator enters is a far cry from Narnia.)

Another recent metafictional portal fantasy that grabbed me was Seanan McGuire's Wayward Children trilogy (EVERY HEART A DOORWAY, DOWN AMONG THE STICKS AND BONES, BENEATH THE SUGAR SKY). It centers on a boarding school for children and teenagers who have traveled to fantastic worlds, have returned against their wills to the "real" world, and find themselves unable to adjust to the change. Their oblivious parents expect the school to "cure" them of their "delusions," but in fact the founder of the home is a former traveler herself. Each inmate searches desperately for the door back into his or her true home; few ever find it. Such fantasies of "escape" incorporate the poignant realization embodied in many of "James Tiptree's" stories as well as countless other speculative fiction works: There is a place where I truly belong, but it is not here.

As more than one author has pointed out, it seems funny that critics often labeled science fiction "escapism" when that field grappled with world-changing issues such as nuclear war, overpopulation, and climate devastation long before they were on the radar of most members of the general public. (We may hope that attitude is fading away, now that many blockbuster films are SF or space opera and a science fiction romance—THE SHAPE OF WATER—won an Oscar.) Fantasy and SF, of course, aren't the only fictional escape portals available to us. Horror can serve as a consolation for real-life evils because the monsters in horror stories are clearly defined and able to be destroyed. In murder mysteries, including those populated by the bloodiest of serial killers, we escape to a realm where truth is revealed and justice prevails. Even a "realistic" novel about the dreary problems of a mundane protagonist can offer temporary relief from our own dreary problems, because art gives shape, structure, and direction to the turmoil of ordinary life. And aren't truth, justice, and artistic structure worthwhile phenomena to contemplate regardless of genre?

Margaret L. Carter

Carter's Crypt