Today I’m thrilled to have a couple of excerpts from The Essential Peter S. Beagle to share with you—plus a giveaway! Peter S. Beagle’s fiction includes The Last Unicorn, A Fine and Private Place, The Innkeeper’s Song, In Calabria, the Mythopoeic Award–winning novels Tamsin and The Folk of the Air, and the Hugo and Nebula Award–winning novelette “Two Hearts.” He has also written screenplays, including those for the 1978 animated film The Lord of the Rings, The Last Unicorn, and the Star Trek: Next Generation episode “Sarek.” His plethora of work has earned him both the World Fantasy Life Achievement Award and SFWA’s lifetime achievement award, being named a Damon Knight Grand Master.

Containing illustrations by Stephanie Law, both The Essential Peter S. Beagle, Volume I: Lila the Werewolf and Other Stories with an introduction by Jane Yolen and The Essential Peter S. Beagle, Volume II: Oakland Dragon Blues and Other Stories with an introduction by Meg Elison were released yesterday. (These are also available in one volume as signed limited editions.) Keep reading for more information and one excerpt from each volume beginning with the author’s story notes—and click below for a chance to win a digital copy of both volumes (open internationally) or a print ARC of the second volume (US only)!

Note: The giveaway link has been removed since it is now over.
Cover of The Essential Peter S. Beagle, Volume I Cover of The Essential Peter S. Beagle, Volume II
Click each cover for more information, including the Table of Contents

About THE ESSENTIAL PETER S. BEAGLE: Volumes 1 & 2:

These essential volumes of bestselling author Peter S. Beagle’s (The Last Unicorn) short stories demonstrate why he is one of America’s most influential fantasists. With his celebrated versatility, humor, and grace, Beagle is at home in a dazzling variety of subgenres, evoking comparison to such iconic authors as Twain, Tolkien, Carroll, L’Engle, and Vonnegut. From heartbreaking to humorous, these carefully curated stories by Peter S. Beagle show the depth and power of his incomparable prose and storytelling. Featuring original introductions from Jane Yolen (The Devil’s Arithmetic) and Meg Elison (Find Layla), and gorgeous illustrations from Stephanie Law (Shadowscapes), these elegant collections are a must-have for any fan of classic fantasy.

Story note from Peter S. Beagle

“Professor Gottesman and the Indian Rhinoceros” is still one of my favorites of my own stories. René Auberjonois, a splendid actor and a good friend, always wanted to play Professor Gottesman, if it ever became a movie. When I mentioned that the Professor is Swiss-born, René responded immediately, “Well, I’m Swiss!” I borrowed the character’s name from a dentist who had his office in the Bronx building where I grew up. A very nice, funny man who didn’t believe in Novocain. Scarified my entire childhood, he did. . . .

Professor Gottesman and the Indian Rhinoceros

Professor Gustave Gottesman went to a zoo for the first time when he was thirty-four years old. There is an excellent zoo in Zurich, which was Professor Gottesman’s birthplace, and where his sister still lived, but Professor Gottesman had never been there. From an early age he had determined on the study of philosophy as his life’s work; and for any true philosopher this world is zoo enough, complete with cages, feeding times, breeding programs, and earnest docents, of which he was wise enough to know that he was one. Thus, the first zoo he ever saw was the one in the middle-sized Midwestern American city where he worked at a middle-sized university, teaching Comparative Philosophy in comparative contentment. He was tall and rather thin, with a round, undistinguished face, a snub nose, a random assortment of sandy-ish hair, and a pair of very intense and very distinguished brown eyes that always seemed to be looking a little deeper than they meant to, embarrassing the face around them no end. His students and colleagues were quite fond of him, in an indulgent sort of way.

And how did the good Professor Gottesman happen at last to visit a zoo? It came about in this way: his older sister Edith came from Zurich to stay with him for several weeks, and she brought her daughter, his niece Nathalie, along with her. Nathalie was seven, both in years and in the number of her there sometimes seemed to be, for the Professor had never been used to children even when he was one. She was a generally pleasant little girl, though, as far as he could tell; so when his sister besought him to spend one of his free afternoons with Nathalie while she went to lunch and a gallery opening with an old friend, the Professor graciously consented. And Nathalie wanted very much to go to the zoo and see tigers.

“So you shall,” her uncle announced gallantly. “Just as soon as I find out exactly where the zoo is.” He consulted with his best friend, a fat, cheerful, harmonica-playing professor of medieval Italian poetry named Sally Lowry, who had known him long and well enough (she was the only person in the world who called him Gus) to draw an elaborate two-colored map of the route, write out very precise directions beneath it, and make several copies of this document, in case of accidents. Thus equipped, and accompanied by Charles, Nathalie’s stuffed bedtime tiger, whom she desired to introduce to his grand cousins, they set off together for the zoo on a gray, cool spring afternoon. Professor Gottesman quoted Thomas Hardy to Nathalie, improvising a German translation for her benefit as he went along:

This is the weather the cuckoo likes,
And so do I;
When showers betumble the chestnut spikes,
And nestlings fly.

“Charles likes it too,” Nathalie said. “It makes his fur feel all sweet.”

They reached the zoo without incident, thanks to Professor Lowry’s excellent map, and Professor Gottesman bought Nathalie a bag of something sticky, unhealthy, and forbidden, and took her straight off to see the tigers. Their hot, meaty smell and their lightning-colored eyes were a bit too much for him, and so he sat on a bench nearby and watched Nathalie perform the introductions for Charles. When she came back to Professor Gottesman, she told him that Charles had been very well-behaved, as had all the tigers but one, who was rudely indifferent. “He was probably just visiting,” she said. “A tourist or something.”

The Professor was still marveling at the amount of contempt one small girl could infuse into the word tourist, when he heard a voice, sounding almost at his shoulder, say, “Why, Professor Gottesman—how nice to see you at last.” It was a low voice, a bit hoarse, with excellent diction, speaking good Zurich German with a very slight, unplaceable accent.

Professor Gottesman turned quickly, half-expecting to see some old acquaintance from home, whose name he would inevitably have forgotten. Such embarrassments were altogether too common in his gently preoccupied life. His friend Sally Lowry once observed, “We see each other just about every day, Gus, and I’m still not sure you really recognize me. If I wanted to hide from you, I’d just change my hairstyle.”

There was no one at all behind him. The only thing he saw was the rutted, muddy rhinoceros yard, for some reason placed directly across from the big cats’ cages. The one rhinoceros in residence was standing by the fence, torpidly mumbling a mouthful of moldy-looking hay. It was an Indian rhinoceros, according to the placard on the gate, as big as the Professor’s compact car, and the approximate color of old cement. The creaking slabs of its skin smelled of stale urine, and it had only one horn, caked with sticky mud. Flies buzzed around its small, heavy-lidded eyes, which regarded Professor Gottesman with immense, ancient unconcern. But there was no other person in the vicinity who might have addressed him.

Professor Gottesman shook his head, scratched it, shook it again, and turned back to the tigers. But the voice came again. “Professor, it was indeed I who spoke. Come and talk to me, if you please.”

No need, surely, to go into Professor Gottesman’s reaction: to describe in detail how he gasped, turned pale, and looked wildly around for any corroborative witness. It is worth mentioning, however, that at no time did he bother to splutter the requisite splutter in such cases: “My God, I’m either dreaming, drunk, or crazy.” If he was indeed just as classically absent-minded and impractical as everyone who knew him agreed, he was also more of a realist than many of them. This is generally true of philosophers, who tend, as a group, to be on terms of mutual respect with the impossible. Therefore, Professor Gottesman did the only proper thing under the circumstances. He introduced his niece Nathalie to the rhinoceros.

Nathalie, for all her virtues, was not a philosopher, and could not hear the rhinoceros’s gracious greeting. She was, however, seven years old, and a well-brought-up seven-year-old has no difficulty with the notion that a rhinoceros—or a goldfish, or a coffee table—might be able to talk; nor in accepting that some people can hear coffee-table speech and some people cannot. She said a polite hello to the rhinoceros, and then became involved in her own conversation with stuffed Charles, who apparently had a good deal to say about tigers.

“A mannerly child,” the rhinoceros commented. “One sees so few here. Most of them throw things.”

His mouth dry, and his voice shaky but contained, Professor Gottesman asked carefully, “Tell me, if you will—can all rhinoceri speak, or only the Indian species?” He wished furiously that he had thought to bring along his notebook.

“I have no idea,” the rhinoceros answered him candidly. “I myself, as it happens, am a unicorn.”

 


 

Story note from Peter S. Beagle

My late friend Pat Derby (with whom I wrote my one as-told-to book, The Lady and Her Tiger) was forever rescuing half-starved wolves, bears, and mountain lions, kept as guardians of their compounds by drug dealers all over hidden wilderness camps in northern California, mostly to ward off, not so much the police and the FBI, as their fellow dealers. I lived in the Santa Cruz area for twenty-two years, during which time it became one of the major sources of marijuana and—far worse—crystal methedrine, which, by the time you read this, may have been officially recognized as the leading cash crop of the state. I knew Trinity County in those days less well than I knew Santa Cruz, Alpine, El Dorado, and Monterey, but the underground economy was the same, and everyone from Sacramento officialdom to boardwalk hippies knew it. This story merely takes the hidden world that Pat Derby showed me a notch further: what if drug dealers employed dragons, instead of lions. . . ?

Trinity County, CA: You’ll Want to Come Again and We’ll Be Glad to See You!

“This stuff stinks,” Connie Laminack complained. She and Gruber were dressing for work in the yard’s cramped and makeshift locker room, which, thanks to budget cuts, was also the building’s only functional toilet. To get to the dingy aluminum sink, she had to step around the urinal, then dodge under Gruber’s left arm as he forced it up into the sleeve of his bright yellow outer coverall.

“You get used to it.”

“No, I won’t. They let me use my Lancôme in school. That smells human.”

“And has an FPF rating that’s totally bogus,” Gruber said. “Anything you can buy retail is for posers and pet-shop owners. Won’t cut it out here.”

Laminack unscrewed the top from the plain white plastic jar on the shelf below the mirror, and squinted in disgust at the gray gloop inside. “I’m just saying. Gack.”

Gruber smiled. Stuck with a newbie, you could still get some fun out of it. Sometimes. “Make sure you get it every damn place you can reach. Really rub it in. State only pays quarter disability if you come home Extra Crispy.”

“Nice try, but some of us actually do read the HR paperwork we sign.”

“Oh, right,” Gruber said. “College grad.” She gave him a hard look in the mirror, but dutifully started rubbing the D-schmear on her hands and arms anyway, then rolled up her pants legs to get at her calves.

“Face, too. Especially your face, and an inch or two into the hairline. Helps with the helmet seal.”

“Just saving the worst for last.”

Gruber laughed wryly. “It’s all the worst.”

“You’d be the one to know, wouldn’t you?”

“Got that right, trainee.”

By the time they headed out to the Heap, he was throwing questions at her, as per the standard training drill, but not enjoying it the way he usually did. For one thing, she’d actually done a good job with the D-schmear, even getting it up into her nostrils, which first-timers almost never did. For another, she seemed to truly know her shit. Book shit, to be sure, not the real-world shit she was here to start learning . . . but Gruber was used to catching new kids in some tiny mistake, then pile-driving in to widen the gap, until they were panicked and stammering. Only Laminack wasn’t tripping up.

It had begun to bug him. That, and the fact that she bounced. Like he needed perky to deal with, on top of everything else.

He waved back to Manny Portola, the shift dispatcher, who always stood in the doorway to see the different county crews off. It was one of Manny’s pet superstitions, and in time it had become Gruber’s as well, though he told himself he was just keeping the old guy happy.

Laminack waved to the dispatcher as well, which irritated Gruber, even though he knew it shouldn’t. He slapped the day-log clipboard against his leg.

“Next! Name the three worst invasives in Trinity.”

“Trick question.”

“Maybe, maybe not.”

“No,” she insisted. “Definitely. You didn’t define your terms.” Her bland smile didn’t change, but Gruber thought he heard a tiny flicker of anger. Maybe he was finally getting to her. “Are we talking plants or animals here? ’Cause Yellow Star Thistle and Dalmatian Toadflax and Kamathweed are hella invasive, even if the tourists do like the pretty yellow flowers. And if we are talking animals, not plants, do you want me to stick to the Ds, or do you want me to rattle off the three worst things that have ever crawled or flown or swum in here from somewhere they shouldn’t? Which I could. And what do you mean by ‘worst,’ anyway? Because for my money, jet slugs are about as yucky as it gets, and there are a lot more of them up here now than there are China longs. So yeah, I call trick question.”

Gruber definitely wasn’t ready for two weeks of this. “Nobody likes a show-off, Laminack.”

“No, sir.”

“We’re not County Animal Control, and we’re damn well not the State Department of Food and Agriculture or the California Invasive Plant Council. So what do you think I wanted to hear when I asked that question?”

Reaching the Heap, Laminack opened the driver’s-side door for him and stepped back. She didn’t exactly stand at attention, but near enough.

“I think you wanted me to tell you that last year’s baseline survey put quetzals, China longs, and Welsh reds at the top of the list in Trinity, but winter was rough, so it’s too early to know yet what we’ll be dealing with this season. Especially with the pot growers and meth labs upping their black-market firepower.”

“Hunh.” Without meaning to, he found himself nodding. “Not bad, Laminack.”

“Call me Connie, okay? My last name sounds like a duck call.”

Great, Gruber thought. She even bounces standing still.

First scheduled stop of the day was more than thirty miles out of Weaverville, up 299 into the deep woods of Trinity National Forest, almost all the way to Burnt Ranch. Despite everything eating at him, Gruber always found the views in this corner of the county restful, an ease to the soul, and he enjoyed watching Connie begin to get clear on just how big the place was, even in this first tiny taste: 3,200 square miles by outline, same size as Vermont on the map—or all of Texas, if ever God came along and stomped the Trinity Alps out flat—and only 13,000 people to get in the way, the majority of whom lived in Weaverville and Lewiston and Hayfork. The rest were so spread out that words like “sparse” and “isolated” didn’t do the situation justice. Gruber had been on the job for sixteen years, and he knew there were people living in corners of these woods so deep he still hadn’t been there yet.

They turned off onto a tributary road that wasn’t shown on the state-supplied map, and wound uphill for five snaky miles before Gruber stopped the Heap and killed the engine.

“Welcome to your first block party. Another mile or so up, we’re going to do a little Easter egg hunt. You want to guess what kind?”

For the first time this morning, Connie hesitated. Then she caught herself and said, firmly, “Belgian wyverns. I thought maybe doublebacks, for a minute, but that would have been a couple of weeks ago at this latitude. Right?”

Gruber nodded. “Almost all the other Ds are late-summer, early-autumn layers, but wyverns and doublebacks—and Nicaraguan charlies, only we don’t have those up here, not yet, thank God—they lay their eggs in the spring, so they’ll hatch and be ready in time to eat the other Ds’ eggs. Just this side of parasites, you ask me. But some elements of the Asian community think ground-up prepubescent wyvern bones are an aphrodisiac, so there’s always some idiot in the woods willing to try and raise the little bastards. We got an anonymous tip on this place a week ago.”

“So let’s go. I’m ready.”

 

Peter Soyer Beagle is the internationally bestselling and much-beloved author of numerous classic fantasy novels and collections, including The Last Unicorn, Tamsin, The Line Between, Sleight of Hand, Summerlong, In Calabria, and The Overneath. He is the editor of The Secret History of Fantasy and the co-editor of The Urban Fantasy Anthology. Beagle published his first novel, A Fine and Private Place, at nineteen, while still completing his degree in creative writing. Beagle’s follow-up, The Last Unicorn, is widely considered one of the great works of fantasy. He has written widely for both stage and screen, including the screenplay adaptations for The Last Unicorn, the animated film of The Lord of the Rings, and the well-known “Sarek” episode of Star Trek. As one of the fantasy genre’s most-lauded authors, Beagle has received the Hugo, Nebula, Mythopoeic, and Locus Awards as well as the Grand Prix de l’Imaginaire. He has also been honored with the World Fantasy Life Achievement Award and the Comic-Con International Inkpot Award. In 2017, he was named 34th Damon Knight Grand Master of the Science Fiction and Fantasy Association for his contributions to fantasy and science fiction. Beagle lives in Richmond, California.

The Leaning Pile of Books is a feature in which I highlight books I got over the last week that sound like they may be interesting—old or new, bought or received in the mail for review consideration. Since I hope you will find new books you’re interested in reading in these posts, I try to be as informative as possible. If I can find them, links to excerpts, author’s websites, and places where you can find more information on the book are included, along with series information and the publisher’s book description.

Disclosure: I am an affiliate of Bookshop.org, and I will earn a commission if you click through and make a purchase.

It has been some time since the last one of these posts since last month was the twelfth annual Women in SF&F Month! If you missed it, April was dedicated to highlighting some of the many women doing fantastic work in speculative fiction genres and featured a series of guest posts. This included discussions related to women in science fiction and/or fantasy and more general discussions about the genre(s) and what makes them special, as well as sharing about experiences and influences, writing, and creating stories, characters, and/or worlds. All of the 2023 guest posts can be found here.

My birthday is also in April, which means I received some books as gifts. I might cover those next weekend, but due to time constraints, I am just highlighting ARCs and finished copies that came in the mail since last time today. Here are some upcoming releases I’m very excited about!

Cover of To Shape a Dragon's Breath by Moniquill Blackgoose

To Shape a Dragon’s Breath (The First Book of Nampeshiweisit) by Moniquill Blackgoose

This novel—one of my most anticipated books of this year—will be released on May 9 (trade paperback, ebook, audiobook).

Moniquill Blackgoose wrote a guest post for this year’s Women in SF&F Month about representation’s impact on creativity and wanting to provide better indigenous representation than what she encountered as a young reader and writer:

Let me tell you a story about media representation and how it informs creativity.

I was born into a nerdy family. I attended renfaires while still in diapers, and got The Hobbit and The Chronicles of Narnia as bedtime stories. I read Tamora Pierce’s Song of the Lioness quartet, and Anne McCaffrey’s Pern series, and Robin McKinley’s The Hero and the Crown. I adored The Last Unicorn and The Neverending Story and Labyrinth and The Dark Crystal and Willow.

There were no indigenous people in these fantasy worlds, though.

If you want to read a sample from her book, the Penguin Random House website has an excerpt from To Shape a Dragon’s Breath.

 

A young Indigenous woman enters a colonizer-run dragon academy—and quickly finds herself at odds with the “approved” way of doing things—in the first book of this brilliant new fantasy series.

The remote island of Masquapaug has not seen a dragon in many generations—until fifteen-year-old Anequs finds a dragon’s egg and bonds with its hatchling. Her people are delighted, for all remember the tales of the days when dragons lived among them and danced away the storms of autumn, enabling the people to thrive. To them, Anequs is revered as Nampeshiweisit—a person in a unique relationship with a dragon.

Unfortunately for Anequs, the Anglish conquerors of her land have different opinions. They have a very specific idea of how a dragon should be raised, and who should be doing the raising—and Anequs does not meet any of their requirements. Only with great reluctance do they allow Anequs to enroll in a proper Anglish dragon school on the mainland. If she cannot succeed there, her dragon will be killed.

For a girl with no formal schooling, a non-Anglish upbringing, and a very different understanding of the history of her land, challenges abound—both socially and academically. But Anequs is smart, determined, and resolved to learn what she needs to help her dragon, even if it means teaching herself. The one thing she refuses to do, however, is become the meek Anglish miss that everyone expects.

Anequs and her dragon may be coming of age, but they’re also coming to power, and that brings an important realization: the world needs changing—and they might just be the ones to do it.

Cover of Cassiel's Servant by Jacqueline Carey

Cassiel’s Servant (Kushiel’s Legacy) by Jacqueline Carey

This novel, which tells the story of Kushiel’s Dart from Joscelin’s perspective, will be released on August 1 (hardcover, ebook, audiobook).

Joscelin’s characterization and relationship with Phèdre were some of my favorite parts of Kushiel’s Dart, so I’m excited to get his side of the story—especially after reading a blog post Jacqueline Carey wrote after turning in the draft. One part in particular that stood out to me was as follows:

Joscelin is a laconic character. That doesn’t change. But he’s also a complex and conflicted character. What he chooses to reveal is just the tip of the iceberg—he’s the embodiment of the phrase ‘actions speak louder than words.’ You’re going to see a lot more of what lies under the surface of those deep waters.

While waiting for its release in August, you can read an excerpt from Cassiel’s Servant on the Tor/Forge Blog.

 

The lush epic fantasy that inspired a generation with a single precept: “Love As Thou Wilt.”

Returning to the realm of Terre d’Ange which captured an entire generation of fantasy readers, New York Times bestselling author Jacqueline Carey brings us a hero’s journey for a new era.

In Kushiel’s Dart, a daring young courtesan uncovered a plot to destroy her beloved homeland. But hers is only half the tale. Now see the other half of the heart that lived it.

Cassiel’s Servant is a retelling of cult favorite Kushiel’s Dart from the point of view of Joscelin, Cassiline warrior-priest and protector of Phèdre nó Delaunay. He’s sworn to celibacy and the blade as surely as she’s pledged to pleasure, but the gods they serve have bound them together. When both are betrayed, they must rely on each other to survive.

From his earliest training to captivity amongst their enemies, his journey with Phèdre to avert the conquest of Terre D’Ange shatters body and mind… and brings him an impossible love that he will do anything to keep.

Even if it means breaking all vows and losing his soul.

Cover of The Blue, Beautiful World by Karen Lord

The Blue, Beautiful World by Karen Lord

This science fiction novel by Mythopoeic Fantasy Award–winning author Karen Lord is coming out on August 29 (hardcover, ebook, audiobook).

This is set in the same universe as the two previous Cygnus Beta novels, The Best of All Possible Worlds and The Galaxy Game. These are both getting new editions including some related short stories, and they are scheduled for release this summer.

I’m excited about The Blue, Beautiful World because of its connection to The Best of All Possible Worlds, winner of the Frank Collymore Literary Award and the RT Reviewers’ Choice Award for Science Fiction. As mentioned in my review, I found it to be thoughtful, entertaining, and surprisingly optimistic given that it follows the aftermath of the destruction of a planet and most of its people—made possible by largely focusing on moving forward and bringing people together.

(If you’re wondering what I mean about The Blue, Beautiful World being connected to The Best of All Possible Worlds, Martha Wells discussed this book a little for Women in SF&F Month in “Deconstructing Epics” and mentioned it includes some familiar characters.)

 

As first contact transforms Earth, a team of gifted visionaries race to create a new future in this wondrous science fiction novel from the award-winning author of The Best of All Possible Worlds.

The world is changing, and humanity must change with it. Rising seas and soaring temperatures have radically transformed the face of Earth. Meanwhile, Earth is being observed from afar by other civilizations . . . and now they are ready to make contact.

Vying to prepare humanity for first contact are a group of dreamers and changemakers, including Peter Hendrix, the genius inventor behind the most advanced VR tech; Charyssa, a beloved celebrity icon with a passion for humanitarian work; and Kanoa, a member of a global council of young people drafted to reimagine the relationship between humankind and alien societies.

And they may have an unexpected secret weapon: Owen, a pop megastar whose ability to connect with his adoring fans is more than charisma. His hidden talent could be the key to uniting Earth as it looks toward the stars.

But Owen’s abilities are so unique that no one can control him and so seductive that he cannot help but use them. Can he transcend his human limitations and find the freedom he has always dreamed of? Or is he doomed to become the dictator of his nightmares?

Women in SF&F Month Banner

Thank you so much to all of this year’s guests for all the wonderful essays and making this another amazing Women in SF&F Month! And thank you to everyone who shared posts and helped spread the word about this year’s series. It is very much appreciated!

Although this year’s series has come to an end, I wanted to make sure there was a convenient way to find all of this year’s pieces for anyone who missed them during April. This was the twelfth annual Women in SF&F Month, which is dedicated to highlighting some of the many women doing fantastic work in speculative fiction genres. Guest posts have included both discussions related to women in science fiction and/or fantasy and more general discussions about the genre(s) and what makes them special, experiences and influences, writing, and creating stories, characters, and/or worlds.

You can browse through all the Women in SF&F Month 2023 guest posts here, or you can find a brief summary of each and its link below.

2023 Women in SF&F Month Guest Posts

Ashing-Giwa, Kemi
The Splinter in the Sky author Kemi Ashing-Giwa wrote about her space opera spy thriller and how it reflects herself and her family.

Bear, Lauren J. A. — “Finding Fantasy, My Postpartum Power”
Medusa’s Sisters author Lauren J. A. Bear shared how reading fantasy by and about women helped her during a time she needed hope and the unique catharsis found in the genre.

Blackgoose, Moniquill
To Shape a Dragon’s Breath author Moniquill Blackgoose shared how the media representation she’d encountered had an impact on what she imagined in SFF stories as a young writer.

Bonnin, Elisa A. — “Breaking the Mold, or ‘What even is neurotypical anyway?’”
Dauntless and Stolen City author Elisa A. Bonnin discussed autism, writing, and defaults—and her realization that some of her characters she’d thought were neurotypical may not be after all.

Chao, A. Y. — “Mirrors and Doorways”
Shanghai Immortal author A. Y. Chao discussed erasure, her Chinese Canadian diaspora identity, and what it means to feel seen in stories.

Cruz-Borja, Vida — “‘New myths’ and the people who tell them”
Song of the Mango and Other New Myths author Vida Cruz-Borja discussed mythology, appropriation, and the “new myths” of her collection.

Davenport, N. E. — “Why I Write Confident Heroines”
The Blood Gift Duology author N. E. Davenport shared why it’s important to her to write women who are proud and outspoken about their achievements.

Deane, Maya
Wrath Goddess Sing author Maya Deane wrote about literary realism—what it means for a story to be “realistic” and how fantasy’s refusal to be so makes it powerful.

Elsbai, Hadeer — “The Doctoress on a Donkey: Finding Transformative Fantasy in History”
The Daughters of Izdihar author Hadeer Elsbai wrote about researching Egyptian history and using real-life inspirations in fantasy fiction.

Frost, Sienna — “A World You Don’t Belong”
Obsidian: Awakening author Sienna Frost shared about why she writes and publishes as an indie and discussed the amazing superpower of creating fictional worlds that live on in others’ imaginations.

Kaner, Hannah — “Don’t damsel your fury”
Godkiller author Hannah Kaner discussed women’s anger and the experiences that led her to make her main character “a woman who never learned how to be small in a world that didn’t expect it of her.”

Okosun, Ehigbor — “Myth and Magic, Seen and Unseen”
Forged by Blood author Ehigbor Okosun discussed her writing journey, the magic of stories, and what led her to create her debut novel and main protagonist.

Older, Malka
Centenal Cycle author Malka Older shared how rereading Watership Down as an adult inspired thoughts on fiction and the past that went into her science fiction novel The Mimicking of Known Successes.

Penelope, Leslye — “When Fantasy and STEM Collide”
Song of Blood & Stone author Leslye Penelope shared about how she found her way to computer science and how it fits with writing fantasy.

Weekes, Gemma — “Coming Home to Magic”
“(Dying of) Thirst” author Gemma Weekes, whose story appears in Glimpse: An Anthology of Black British Speculative Fiction, discussed her love of fantasy and the power that lies within books and stories.

Wells, Martha — “Deconstructing Epics”
The Murderbot Diaries author Martha Wells wrote about using different structures in fantasy and science fiction epics and discussed a few SFF books that do this in addition to her fantasy novel Witch King.

Women in SF&F Month Banner

Today’s guest is fantasy and science fiction writer Moniquill Blackgoose! Her fantasy novel To Shape a Dragon’s Breath, the first book in a new series that will be released on May 9, is described as following “a young Indigenous woman [who] enters a colonizer-run dragon academy—and quickly finds herself at odds with the ‘approved’ way of doing things.” I’m excited she’s here today to discuss media representation, writing, and creativity!

Cover of To Shape a Dragons Breath by Moniquill Blackgoose

Let me tell you a story about media representation and how it informs creativity.

I was born into a nerdy family. I attended renfaires while still in diapers, and got The Hobbit and The Chronicles of Narnia as bedtime stories. I read Tamora Pierce’s Song of the Lioness quartet, and Anne McCaffrey’s Pern series, and Robin McKinley’s The Hero and the Crown. I adored The Last Unicorn and The Neverending Story and Labyrinth and The Dark Crystal and Willow.

There were no indigenous people in these fantasy worlds, though.

The first time I experienced an indigenous person in an SF/F/H setting was Disney’s Peter Pan — and anyone familiar will know there are….problems with that representation. I was about six years old.

Dances With Wolves came out when I was seven years old.

The second time I experienced an indigenous person in an SF/F/H setting was in Orson Scott Card’s Tales of Alvin Maker series — and anyone familiar will know there are….problems with that representation. I was ten or eleven years old.

Disney’s Pocahontas came out when I was twelve.

These were the media influences that acknowledged that indigenous North American people existed at all. Most simply didn’t.

When I was a kid, I wrote a sci-fi story about space exploration and first contact. It had a huge ensemble cast — a hugely diverse cast too, with tons of POC. I even had characters with disabilities and non-binary genders. This was mostly because my ideas about what sci-fi was and what characters could be in it were largely informed, at the time, by Star Trek and the Star Wars prequels and Independence Day and The Fifth Element and Men in Black and The Matrix. They were stories with POC in them, characters with disabilities, characters who were from disparate cultures and had disparate identities and ways of being.

My story didn’t have any indigenous people in it, though. Because indigenous people never existed in future narratives.

When I was a kid, I also wrote a fantasy story about a plucky young woman uncovering her secret past and learning to do magic. There was not a single person of color in it. There were groups facing oppression — but they were represented by light-skinned or animal-featured nonhumans. This was mostly because my ideas about what fantasy was and what characters could be in it were largely informed, at the time, by JRR Tolkien and CS Lewis, by Disney and Don Bleuth and Jim Henson. Stories with no POC in them, where everyone was able-bodied and white and usually thin and pretty (extra points for ‘pretty’ being described as ‘fair’) unless they were EVIL.

I was a young Seaconke Wampanoag woman. None of my characters ever, EVER, were. Because people like me didn’t exist in stories like that. My artistic vision and my creative process were hugely affected by the stories I’d been told my entire life. I did not imagine POC characters in fantasy stories, but I did imagine them in sci-fi stories. Because I’d been told by the stories I’d been fed from early childhood that POC could exist in the future, but not in fantasy; fantasy was generally set in mythical whitelandia not really resembling Europe, and if POC were even mentioned they were from exotic foreign lands to the south and the east (and they were seldom characters, certainly never core characters).

Indigenous North American people simply didn’t exist at all.

Every story I’m able to tell is informed by every story I’ve ever been told.

I didn’t start writing SF/F/H stories with indigenous protagonists until I was in college.

We’re currently in the middle of an indigenous author renaissance — Darcie Littlebadger’s Elatsoe and A Snake Falls to Earth. Cherie Dimaline’s The Marrow Thieves and Hunting by Stars. Katherena Vermette’s A Girl Called Echo series. Love After the End: An Anthology of Two-Spirit and Indigiqueer Speculative Fiction edited by Joshua Whitehead and Love Beyond Body, Space, and Time: An Indigenous LGBT Sci-fi Anthology edited by Hope Nicholson. I love seeing these works, and I love being part of this new literary movement, telling the story of a young woman (who is unapologetically indigenous) who bonds with a dragon and must go among her colonizers to prove herself worthy of such an honor.

I want better representation for young indigenous readers than what I got.

I want to help tell those stories.

Photo of Moniquill Blackgoose Moniquill Blackgoose began writing science fiction and fantasy when she was twelve and hasn’t stopped writing since. She is an enrolled member of the Seaconke Wampanoag Tribe, and a lineal descendant of Ousamequin Massasoit. She is an avid costumer, and an active member of the steampunk community. She has blogged, essayed, and discussed extensively across many platforms the depictions of Indigenous and Indigenous-coded characters in sci-fi and fantasy. Her works often explore themes of inequality in social and political power, consent, agency, and social revolution.

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Today’s guest is science fiction author Kemi Ashing-Giwa! Her novel coming out July 11, The Splinter in the Sky, is described as “a diverse, exciting debut space opera about a young tea expert who is taken as a political prisoner and recruited to spy on government officials—a role that may empower her to win back her nation’s independence.” I’m excited she’s here today to tell us more about it and the role of family!

Cover of The Splinter in the Sky by Kemi Ashing-Giwa

The Splinter in the Sky is a space opera spy thriller about a tea specialist-turned-assassin who embarks on a mission to save her sibling and avenge her fallen lover. It’s a story that examines the far-reaching effects of imperialism and colonialism, as well as the simultaneous commodification, absorption, and erasure of culture. It explores how systems of oppression—and the beliefs sustaining them—rise and fall. But most importantly, The Splinter in the Sky is a story about family.

I am a child of immigrants. My mother is from Trinidad, my father is from Nigeria. My mother’s mother moved from Grenada, and her father sailed to the Carribbean from China. (The “Ashing” in my surname comes from Hua Ching, which British officials found too difficult to pronounce.) My extended family is collectively fluent in five or six languages. (Not I, though. My first language was actually Spanish, but I lost all fluency because everyone spoke English to me after I was about five. Alas and alack!) At home, wooden statues stand between porcelain vases in glass cabinets; carved masks hang above inlaid folding screens. Despite living in a veritable melting pot, being multiethnic in America is certainly an experience. (For example: for most of my life, demographics forms allowed for the selection of only a single race.)

When I was querying my debut, I didn’t quite know how to explain that while I certainly drew from Western African influences while weaving a far-future world, I pulled from East Asian ones as well. My story isn’t exactly Afro- or Africanfuturistic, and it’s not silkpunk either. (On that note, there’s a lengthy conversation to be had about the literary propensity to lump every single science fiction or fantasy book written by African- and Asian-descended people into these categories.)

Many authors who write about their own cultures, or whose secondary worlds are inspired by their own cultures, feel a great deal of pressure to be completely “authentic.” To be “correct” in their representation. And it’s exhausting. A hard lesson to learn as a writer is that you simply cannot please everyone. All you can really do is try to please yourself. I gave up trying to write the Perfect Multiethnic Space Opera a few pages into the first draft and instead did what I actually wanted to do, which was to toss in bits and pieces of my own melange of an upbringing whenever and wherever I pleased.

I’m sure some will find that odd. But The Splinter in the Sky truly feels like it’s mine, in every sense of the word. It feels like it’s my family’s. And if I’ve failed at everything else with this book, at least I’ve succeeded in being authentic to myself.

Photo of Kemi Ashing-Giwa Kemi Ashing-Giwa was born and raised in sunny Southern California, where she grew up on a steady diet of sci-fi and fantasy. She enjoys learning about the real universe as much as she likes making ones up. A recent graduate of Harvard University, where she studied integrative biology and astrophysics, she is now pursuing a PhD in the Earth & Planetary Sciences department at Stanford University. Her debut novel, The Splinter in the Sky, will be published by Saga Press/Simon & Schuster in summer 2023. Her debut novella, This World Is Not Yours, will be published by Tor Nightfire/Macmillan Publishers in 2024.

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Today’s guest is N. E. Davenport, aka Nia Davenport! She’s the author of The Blood Gift Duology, which starts with The Blood Trials. The first book in this science fantasy series is described as a “fast-paced, action-packed debut [that] kicks off a duology of loyalty and rebellion, in which a young Black woman must survive deadly trials in a racist and misogynistic society to become an elite warrior.” The concluding volume, The Blood Gift, was just released last week. I’m delighted the author is here today with “Why I Write Confident Heroines.”

Cover of The Blood Trials by N. E. Davenport Cover of The Blood Gift by N. E. Davenport

Why I Write Confident Heroines
by N.E. Davenport

It’s interesting that male characters and female characters are often held to different standards. A reader might approach a story that features an arrogant male protagonist and adore the character trait. The hero is praised as enthralling and charismatic simply for being audacious. When the same character traits of brazenness and extreme confidence get assigned to a protagonist who identifies as a woman or young girl, some readers immediately perceive the heroine as too arrogant and critique the character for not being humble enough. This isn’t merely a trend observed with books, it happens with TV shows, movies, and even in real life arenas where education and the workplace are concerned.

I imagine that for a portion of society, it’s a thinking rooted in antiquated ideas, stereotypes, and sexism that must be interrogated, subverted, and dismantled. I purposefully write my heroines, as well as most of my secondary female characters, to possess extreme confidence in themselves, their abilities, their value, their strengths, and their physical appearances. In fact, most of my female characters may even skew toward being a tad bit vain, and I don’t think there is anything wrong with that. Often, young girls and women are made to feel like we need to shrink ourselves and not shine as bright, so others feel better about themselves. Young girls are too often overtly or covertly taught not to be vocal about their strengths and achievements because it’s “improper” and a reflection of “poor etiquette.” I don’t ascribe to any of this. Younger girls and women should be able to be unapologetically and unabashedly proud of their achievements and joyfully vocal about them without criticism.

This may be a constant struggle for some of us in the real world, but that’s the beauty of science-fiction/fantasy. I can make my worlds, their rules, and how they operate be entirely what I want; I can make them part escapism, even when they’re interrogating or subverting prejudices. In my SFF worlds, women are proud, confident, bold, arrogant, and very vocal about their strengths and achievements. They’re extraordinary, they are aware that they’re extraordinary, and they let the world around them know they’re extraordinary. Yes, they brag a lot. Because why not? If nobody could beat me in a fight, or if I was the ruler of a powerful realm, or the fiercest dragon rider, or an infamous pirate captain—I’d endlessly brag about those feats too!

In my debut science fantasy, THE BLOOD TRIALS, and its sequel, THE BLOOD GIFT, I created a heroine that I’m super proud of and admire the heck out of. I created a young woman, Ikenna, who has achieved at nineteen years of age what it took me a bit longer to accomplish. She knows her worth, recognizes her value, adores herself, understands her strengths, and is her own greatest champion. And she’s boastful. Without an ounce of embarrassment, shame, or misplaced guilt, Ikenna does not hesitate to proclaim to the world that she’s extraordinary—and she ensures those who’d belittle her to place themselves on a pedestal of false superiority never forget it.

I spent a good amount of my own youth yearning to be the type of person who projects an effortless confidence in themselves. That younger version of me didn’t quite know how to achieve this until my mid twenties. I’ve overcome this personal challenge in the present day. In many ways I’m a lot like the heroines I write and I’ve never experienced more joy. There’s something profoundly fulfilling in being sure of yourself and knowing you’re spectacular—even while living in a world that tries to tell you daily that you should be more humble and that you aren’t good enough. I didn’t focus much on my race or ethnicity while drafting this guest post, but I am a Black woman and existing as a Black woman within a world where anti-Blackness pervades the globe is one factor that carried my greatest challenges regarding learning to be confident and sure of myself when I was a young girl. They’ve been hard won achievements, and I celebrate them now (while lessening old stings) through writing heroines that have the fortune and joyful experience of recognizing how truly amazing they are from day one and making the world recognize it too.

Photo of N. E. Davenport Nia “N.E.” Davenport is the Science Fiction/Fantasy author of The Blood Gift duology (Harper Voyager), Out of Body (Balzer+Bray), and Love Spells Trouble (Bloomsbury). She’s also a member of the Hugo-nominated FIYAHCON team, in which she helps organize the SFF convention’s programming. She attended the University of Southern California and studied Biological Sciences and Theatre. She has an M.A. in Secondary Education. When she isn’t writing, she enjoys vacationing with her family, skiing, and being a huge foodie. She’s an advocate for diverse perspectives and protagonists in literature. You can find her online at www.nedavenport.com, on Twitter @nia_davenport, or on Instagram @nia.davenport, where she talks about binge-worthy TV, fun movies, and killer books. She lives in Texas with her husband and kids.