Roman’s talking about Max Gladstone’s interesting fantasy series, set in a world in which humans won The God Wars and replaced their deities — or so they thought!
There are six novels in the sequence to date, with more novels and novellas promised this year!
The IAU is naming features on Charon, Pluto’s moon, and have decided to honour Octavia Butler by naming a mountain after her. Butler Mons joins a host of other names celebrating the spirit of human exploration at the furthest reaches of our solar system.
Andrew is presenting Critical Mass, 7pm at Kappys.
With great sadness we mourn the passing of Ursula Le Guin in January of this year. During her literary career she was won numerous awards. Including two Hugos (Left Hand of Darkness and Dispossessed) and four Nebulas (Left Hand of Darkness, Dispossessed, Powers and Tehanu); more Nebula awards than any other author.
There are many aspects of her writing that I appreciate, one of which is her brevity. Her novels are complete, each with a beginning, a middle and an end; offering intrigues, character development, and cathartic conclusions. However in comparison to modern works of fiction I find her novels exceptionally short. I often wonder whether novel length has evolved over time, or was perhaps Le Guin unusually concise?
To address these questions we examine the list Hugo and Nebula winners over the past 65 years, comparing Le Guin’s novels with other winners, and assess how novel length has varied over time.
Cinémathèque at the Mercury starts its After Year Zero mini season with Alexsei German’s Hard to be A God, 7pm Mon 23rd April. This will be the first public screening in Adelaide of this extraordinary film, based on the Strugatsky’s novel.
Also in the season are:
- Stanley Kramer’s On the Beach, 7pm Mon 30th April
- Jeunet & Caro’s Delicatessen, 7pm Wed 2nd May
- Bong Hoon’s Snowpiercer, 7pm Mon 7th May
- Terry Gilliam’s Twelve Monkeys, 7pm Wed 9th May
A four film pass to Cinémathèque screenings will cost you $40 / $30 conc.
Liz Bourke writes in her new column over at Tor.com:
Annihilation is luminous. It’s dizzying and visionary and strange, a balletic question with no certain answer, peculiar and horrifying and layered and gorgeous, and lit from within with its own artistic vision: unified, structurally and thematically, in a way that few Hollywood films ever are. It’s a film that speaks with its silences, embraces them. It layers implication, symbolic meaning, from the opening shot of a dividing and re-dividing cell—revealed by Natalie Portman’s Lena in a lecture to her students to be a tumour cell—to its asides about grief and self-destruction, and from the horrifying wonders (and bewildering horrors) of the Shimmer to the fact that the film is subtly framed as Lena’s narrative, and all things considered (“Lena is a liar,” as Anya Thorensen, played with brilliant intensity by Gina Rodriguez, says in a moment fraught with psychological horror), we can’t be entirely sure about our narrator’s reliability.