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Tag: novella

Kelly Robson Talks about “Gods, Monsters, and the Lucky Peach”

The cover of Kelly Robson's novella "Gods, Monsters, and the Lucky Peach", showing the main character, Minh, standing in a river. Kelly Robson is an award-winning short fiction writer. In 2017, she was a finalist for the John W. Campbell Award for Best New Writer. She was awarded the 2016 Aurora Award for best short story, and has been a finalist for the Nebula, World Fantasy, Theodore Sturgeon, and Sunburst awards.

Her latest novella, Gods, Monsters, and the Lucky Peach was just published by Tor earlier this week, and I was fortunate enough to get an ARC to read beforehand. Lucky Peach may be a shorter work, but this story about a set of environmental specialists in the 23rd century who have been sent back in time to research the ecology of ancient Mesopotamia is a surprisingly hefty examination of ethics, generational strife, and the effects of climate change. Plus, I tore through it in the space of less than 24 hours, so how’s that for an endorsement?

Robson was kind enough to chat with me over Twitter DMs for an hour earlier today, so this interview is hot off the presses. Let’s dive in!

(Note: This interview has been lightly edited for length and clarity.)

Me: So, one of the things I found really interesting about Gods, Monsters, and the Lucky Peach is how the first two parts of chapter 1 really prime the reader to expect a huge, violent conflict — but by the end, the forms of conflict you actually see are completely different. Was that something you wanted to analyze going in, or did that emerge more organically?

Kelly Robson: I knew before I began the first draft that I wanted to have that structure — with a few paragraphs from King Shulgi’s point of view at the beginning of each chapter. And the reason is — really nerdy.


When I was a kid, I imprinted on the novelization of Battlestar Galactica’s (original version) The Gun on Ice Planet Zero — which had that kind of structure. And I loved it so much. So I wanted to use the same structure — it’s like sprinkling candy in between the chapters. And because my main character Minh isn’t really interested in history, I wanted to be able to show what’s going on in Mesopotamia. Does that make sense?

Yes, totally. Part way through the book, I checked Wikipedia and learned Shulgi was an actual historical figure!

He’s so cool.

The wiki entry was pretty sparse about him, beyond the fact that he ruled for a while and was near the beginning of his particular dynasty. What made you decide on him versus any other Mesopotamian king?

I chose Shulgi first, because as far as we know, which isn’t much, his kingship was pretty stable, long lasting, and comparatively enlightened. And because Shulgi was actually a proven athlete, which is a detail that is rather telling. He was famous in his day for running a marathon to preside in a religious ceremony in two places on one holy day. Something like 200 kilometers. Impressive achievement of physical conditioning — especially for someone who must have had a lot of other demands on his time.


Yeah! But apparently long distance marathoners can actually do that.

Damn. I thought that was still out of reach even for contemporary athletes.

So this is something charismatic leaders do to seal their mystique — perform a feat that people consider impossible. That makes them special. It’s a public relations stunt. So I thought, Shulgi, you’re an interesting person! You’re the king for me 😀

And the thing is that the time travel point you chose is pretty early in his reign. It fits in pretty well with TERN’s statements that time travel doesn’t fundamentally affect the timeline. But in the end, we don’t learn enough to know whether that’s true or not. [Note: TERN is the agency that controls access to time travel in the story.]

We don’t know it’s true. Even Fabian — the project’s tactical historian — doesn’t know if it’s true. He just believes what the physicists tell him. But yes, as the writer, I can tell you that time travel doesn’t affect the timeline. I’m not interested in paradoxes.

The big question is, can you really say that what you do in the past doesn’t matter?

And that’s totally the kind of question only Kiki would ask.

Kiki is the moral conscience of the book. And she asks this kind of question because she’s not jaded. She believes in truth, goodness, and justice.

Yes! I remember thinking throughout that I was in complete agreement with her throughout the book.

So am I 😀

It’s a question we come up against in our post-colonial world. How do you go to someone else’s world, use it for your own purposes, and not do violence to the people there? You can’t.

Though I do wonder if you can delve into the generational relationships between Minh’s cohorts and Kiki’s cohorts. Kiki says that her generation is moving away because Minh’s generation has becme too self-centred. But we don’t see a lot of that outside of Kiki’s own perspective.

Minh’s generation, in Calgary and the other habs, are basically not willing to retire. They’re mostly rugged individualists and workaholics. They believe that they are the only people who can be trusted to do the important jobs. That means that with the economic contraction that time travel has created for the above-ground habs, that there are few opportunities for young people. Sounds familiar, doesn’t it?

In a way, it’s all an illusion. The habs have universal basic income. Nobody has to work. But people like to work! They like to know their time is well spent and valuable. Kiki yearns to do important work. Kiki and her generation don’t want to feel their potential is going to waste.

But if there’s UBI, I’m not sure how that plays into the fact that debt, and banks, play such a large part in Minh’s decisions. As for the modern-day parallels, I totally see those.

Yup. So in this world — and this is implied, not delved into — economic competition, investment, and debt happens between the Habs, Hives, and Hells (basically these are all city-states). Personal debt is a function of accounting that allows you to access luxuries or easier/quicker access to some services, or more personal living space in your city.

So, Kiki is in debt because she’s young. Minh isn’t because she’s been working for 60 years. But Minh’s type of expertise isn’t valued by the Bank of Calgary, so she’s not comparatively rich.

Ah, so it’s not actually a representation of money per se, but really a representation of privilege (for which money is a pretty good proxy).

Totally. What the banks really want is to have people whose expertise is sought out by other cities, then they can trade that person’s time for economic advantage.

I find it really interesting, though, that all things considered, Minh’s goals are incredibly valuable — long term ecological rehabilitation. So in one sense her refusal to retire is greed, but in another sense it’s a form of selflessness.

Yes — she has spent her whole life pursuing her passion, and you don’t retire from that. She did try — she became a professor who helped establish the University of Tuktoyaktuk and started teaching others to do what she does, but that venture collapsed when time travel was invented.

I worked for environmental scientists for 15 years, and what they really like — what’s easiest for them — is to do all the work themselves. Having to work with other people on a project is so much more work than doing it all themselves.

And they HATE mentoring people. Too much work! They’d rather work for 20 hours a day than wrangle other people to do the same work in less time. If they do it all themselves, then they know it’s all done right — or they way they think is right, anyway.

And thus Kiki’s choice to change her body to get on the mission.

Such a bad decision, Kiki! But you know, when I was 23, I would have done exactly the same thing.

I like how her choice is shown to be a painful one, but not a limiting one, ultimately.

It’s not limiting, but there would be social consequences if she ever wants to go back to Jasper, to be with her generation.

From your perspective, would you say that the society of Gods, Monsters, and the Lucky Peach is more or less ableist than ours?

Overall the world is much less ableist than ours. In the habs, the above-ground cities where the plague babies are the dominant social group, it’s much less ableist. Some of the other cities — the Hives and Hells — would be slightly more ableist than the Habs.

I believe the future includes disabled people. Some people write the future like everyone’s going to be physically perfect, and that’s just not realistic. There will always be disabled people, and their contributions are just as valuable as anyone else’s.

And in the future, the ways in which people can adapt to different levels of ability will be far beyond what we can probably think of today. As you show with Minh’s prostheses, and also Kiki’s.

Totally. Which is the same right now. People can use prostheses to be extra-human — jump higher, run faster. Little difference between a prosthetic leg and a snowboard, really.

Are there any plague babies at TERN? Because I wonder if the cavalier way the time travellers treat past human lives is a manifestation of an overall lack of compassion or understanding of the value of human life, no matter the form or time it takes.

Right. No, there’s no plague babies at TERN. TERN is the time travel division of CEERD, which is an economic think tank, and they’re a bit insular. They’re not a hive, hab, or hell, but an independent economic unit kind of like a university, which leases living space from other habs, hives, and hells. They’re kind of like venture capitalists.

Basically, CEERD really likes playing economic games with other city states. And they play to win. So yes, you nailed it. Compassion and understanding of the value of human life? Not a priority for CEERD. Which is the essence of evil, really.

So in a way, it’s almost like the members of the time travel crew represent a spectrum of morality. From Fabian being the worst, to Minh, to Hamid, to Kiki.

Interesting! Yeah. Totally. Hamid’s off the scale, though. All he cares about is animals. 😀

He’d have loved memes and cat gifs. 😛


Moving back towards Shulgi, was he one of the major seeds of Gods, Monsters, and the Lucky Peach, or did he get fitted in further along in the creative process?

Shulgi was the seed. There was a Mesopotamia exhibition at the Royal Ontario Museum, and it was fascinating. Alyx and I went about five times. One of the items they had there, from the British Museum, was a statue of a king carrying weapons which were specifically meant for killing monsters. Alyx and I were fascinated, because…

Imagine you’re this king, you have your monster-killing weapons, and your job is to kill monsters — keep the kingdom safe! But you’ve NEVER seen a monster! What do you think about it???

This was the seed for the whole story. What does this king think when no monsters show up? And what if monsters come and they’re not monsters at all?

Lucky Peach also hit a particular button for me, which is trying to explain modern technology to ancient people if time travel existed. Like, would you be able to explain a combustion engine or electricity to Julius Caesar?

Or even weather systems? You wouldn’t have the vocabulary.

Oh my god, yeah.

And if you tried to paraphrase to explain, it would sound all mystical.

Yes! “Electricity is lightning, but bottled in wires.”

“The air is more dense” “How can air be dense?” “Well, molecules…” “What??”

“The warm air is less strong than the cold air.” “That’s just dumb.”

Oh man. It’d be hard.

I think that about wraps it up,  but I do have one final question: In honour of Pi Day, what is your favourite flavour of pie?


And that’s that! This chat was a delight, and I appreciate Kelly’s time. You can learn more about Gods, Monsters, and the Lucky Peach on Tor’s website.

The movie poster for Arrival, an adaption of Ted Chiang's novella "Story of Your Life"

30 Days of Reviews: Story of Your Life by Ted Chiang

November is National Novel Writing Month (NaNoWriMo). In the spirit of the month, instead of writing 50,000 words in 30 days, I’m going to write a short review every day, up to a maximum of 300 words. Think of it is NaNoReMo (National Novel Review Month). This month I’ll do short reviews of books, varieties of tea, and even individual short stories as the mood strikes. So read on!

The movie poster for Arrival, an adaption of Ted Chiang's novella "Story of Your Life"I’m going to cheat here today because Ted Chiang’s novella “Story of Your Life” is not a new read for me. However, I want to talk about it because the movie adaptation, Arrival, will be released this coming weekend.

A few years ago, Lightspeed included “Story of Your Life” in an electronic issue for monthly subscribers. It was my introduction to Ted Chiang’s work. And oh man, I honestly think this story has ruined me for all his others, as almost none of them I’ve read have affected me as deeply.

“Story of Your Life” uses a combination of perspectives, including sections told in the second person, to tell the story of a woman whose knowledge of linguistics proves key to establishing and maintaining first contact with an alien species. She works in conjunction with a physicist, whose attempts to cross the linguistic divide are centred on math. However, not only are the aliens different from us in a linguistic sense, but also in their perception of the universe.

The key insight is that because these aliens have bodies with radial symmetry, their concept of time is not linear. They do not have a “front” or “back”, so they don’t have a “before” or “after”. This perception of the world also shapes their syntax and communication.

Chiang’s slow reveal is masterful. And when you realize who the narrator is talking to and how, and why, it’s heartbreaking.

When I first heard that “Story of Your Life” was being adapted into a movie, I was perplexed. I had no idea how something so intensely cerebral could be translated successfully onto the screen. Early reviews indicate that while Arrival is not exactly the same as its source material, it’s just as thoughtful, intelligent, and emotionally resonant. I’m overjoyed to hear this.

Binti by Nnedi Okorafor

Binti by Nnedi Okorafor: Alienation and Alien Nations

Binti by Nnedi OkoraforTitle: Binti
Author: Nnedi Okorafor
Publisher: Tor
Format: eBook
Rating: 4 out of 5
How I got it: Bought it through the Kobo website

I’ve talked before on this blog about how I need to diversify my reading. One of the steps I’ve taken towards this was buying Binti by Nnedi Okorafor. Okorafor’s work is something I have a lot of trouble truly appreciating, because her experiences and her writing approach are very different from what I’m used to — and I want my reaction to change.

In particular, I read her award-winning novel Who Fears Death in 2012 and left it feeling angry, confused, and frustrated. My review of Who Fears Death was not positive: I disliked the pacing, the characters, the ending, and the plot. However, I’m realizing that the problem isn’t her writing, but the fact that I’m not reading with the right mental tools in place.

Now that I’ve read Binti, I’m still not sure I understand all Okorafor’s work has to say, but I “get” a lot more of it than I did before.

Binti Ekeopara Zuzu Dambu Kaipka of Namib is one of the secluded Himba people of Namibia. Like her father, she is a master harmonizer and can “tree”, or reach a meditative state that allows her to commune with the mathematical flow of the universe. Although everyone expects her to take her father’s place and ignore the outside world, Binti has her sights set on greater horizons. Without her family’s knowledge, she’s accepted a full scholarship at Oomza University, one of the most prestigious in the universe. Binti opens as its title character sneaks away from home to the spaceport that will take her to her new life.

She experiences culture shock immediately once she leaves the comfort of her home. Her skin is dark, but both it and the plaits of her hair are covered in otjize, a mix of red clay and essential oil. The people that surround her, like the Khoush women, have rarely seen anything like it. Travel aboard the living ship from Earth to Oomza Uni comes with its own form of culture shock, but the other students on the ship, like her, are mathematically gifted and their enthusiasm and curiosity allow them to build new friendships.

At this point in the story, I was expecting that Binti would follow the well-worn path of Harry Potter and so many other children’s stories. You know: the story of outsiders continually feeling like outsiders — of teasing, of culture shock, of long-term ostracization followed by the triumphant revelation that everyone else was Wrong All Along because Binti is the Special One.

But then the story pivots and does something really interesting: something goes horribly wrong on Binti’s ship, and she’s the only survivor of an attack by the Meduse, an alien race who have long been at war with both humans and other species.

At this point, the story shifts from a fish-out-of-water narrative to a hostage situation. But then it pivots again when the Meduse reveal that they plan to infiltrate the university because a priceless possession belonging to their chief has been stolen, and they want to retrieve it. Because of Binti’s unlikely survival and her ability to communicate with them, she convinces the Meduse to have her act as their ambassador in order to protect the university.

Ultimately, Binti finds an unusual solution to the problems plaguing all parties and helps form a new truce between the humans and the Meduse. She is a kind of Special One after all, but because she was in the right place at the right time, with the right tools — she isn’t necessarily a Chosen One. Even so, her new status as a student and mediator fills her with self-doubt, because she knows that her family will never truly understand the choices she’s made. That sense of alienation and self-doubt is the most strongly sustained emotion throughout the story.

That being said, there are still things I find unsatisfying about this novella, even if it confounds my expectations in the best kind of way. Although Binti manages to convince Oomza University to give back what it stole, how she manages to do this remains mysterious. The revelatory speech that is supposed to be the crux of stories like this ends up falling flat instead, caught up in telling over showing:

I spoke of Okwu and how my otjize had really been what saved me. I spoke of the Meduse’s cold exactness, focus, violence, sense of honor, and willingness to listen. I said things I didn’t know I’d thought about or comprehended. I found words I didn’t even know I knew. And eventually, I told them how they could satisfy the Meduse and prevent a bloodbath in which everyone would lose.

I was sure they would agree. These professors were educated beyond anything I could imagine. Thoughtful. Insightful. United. Individual. The Meduse chief came forward and spoke its piece, as well. It was angry, but thorough, eloquent with a sterile logic. “If you do not give it to us willingly, we have the right to take back what was brutelly stolen from us without provocation,” the chief said.

I’m not 100% sure, but I think this scene has been written the way it is because Okorafor is trying to subvert the script that stories of this type follow. We didn’t get the fish out of water trope at the beginning, and we’re not going to get the rousing/martyred peacekeeper at the end.

There’s a lot going on under the surface of the story — I get the sense that the world of Binti is a wide one, with eons of history behind it that are only hinted at in the plot itself. There are lots of tantalizing storylines left dangling. For example, what exactly is the special device that Binti carries that proves to be her salvation? What is so special about the otzije she wears, and what gives it such healing properties?

Most importantly, exactly how much has humanity advanced when, in this far future, people are still doing the same sort of anthropological, cultural, and historical theft as they are in the world of today?

Like I said, there’s still a lot I’m sure I’m missing, but I think I understand more than I did before.

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