Like this.

Last month, I announced that my serial novella collection Zeppelins are What Dreams are Made of was picked up by a small press. Yesterday, I learned that small press was closing, the contract is void, and all rights to the collection have reverted back to me. Since the publication process stalled before I even received an advance, the situation is like I never sold the novellas at all. A slate wiped clean.

So what now?

That’s the problem, really: I’m not sure. Since I wrote the first story in 2010, I’ve submitted it to various magazines. I had a few near-misses where editors held onto it (sometimes for quite some time) but ultimately didn’t accept it. Even that first story is over 7000 words long, meaning it’s too lengthy for most sff magazines. If I had sold that story, the rest in the series probably wouldn’t have followed: you just don’t see serial characters that much anymore. Continue Reading »

As an undergrad in history, I was often warned about reading modern attitudes into people of the past. Yet still I come across those unlikely texts that feel intimately familiar despite being composed in a world so distant in worldview and knowledge than our own. Notably, there’s The Report of Wen-Amon, a papyrus manuscript composed some three thousand years ago in ancient Egypt. Wen-Amon was a priest at the temple of Amon in Karnak, ordered by the high priest Herihor to travel to Phoenicia and obtain cedar wood for a holy barge at the beginning of the eleventh century BCE. The Report is Wen-Amon’s first-person account of his misadventures on the way to Byblos and back, which feels in equal parts Kafkaesque and Douglas Adams-y. He sets out with the gifts required to gain passage through the various kingdoms in Phoenicia, but when he lands at his first port of call, one of his crewmates steals most of the treasures and jumps ship. Wen-Amon tries to get compensation from the King of Dor since the theft took place in his harbour, but the king insists that Wen-Amon is mistaken–since the thief wasn’t one of the king’s citizens, he’s not responsible for repayment. The best he can do is let Wen-Amon stick around while the guardsmen try to find the thief. After nine days pass without any luck, Wen-Amon gets fed up and sails away. Swap out the ship for a plane and the king for a customs official and you have a pretty common story of international travel and theft.

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Guibert de Nogent

The Deeds of God through the Franks is either staggeringly inept or fiendishly brilliant.

It’s hard to determine which, though.

I am convinced that Guibert de Nogent counts among the oddest writers of the twelfth century. He was not a famed intellect in his lifetime, or for a long time after it; but he wrote a lot, including histories, theological treatises and his best-known work, the Memoirs, and he had a small following devoted enough that his works were copied and recopied and survived. Only his Latin style was famously twisty and difficult, probably deliberately so, and his works, even at the time, were considered…weird. Interest in him increased with scholars in the 80s like Colin Morris turning to the Memoirs as a shining example of the twelfth century “discovery of the individual.” Those scholars, largely, glossed over the actual contents, which include bizarre episodes like the story of the man who ate his own semen, Guibert’s encounters with demons and the Devil, a historical account that has little if anything to do with Guibert taking up the latter half of the manuscript, and a set of unrelated tales taking up the end. The Memoirs are open, Guibert introduces threads and themes but never resolves them, his writing shifts between circular and disjointed, punctuated by a singular sense of humour that I’d best describe as “dark.”

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We talk about an obscure 13th-century French verse romance you’ve probably never heard of: The Romance of Eustace the Monk.

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Source of our theme song

Leah Shopkow’s prose translation of Eustace the Monk


A page from the Munich Manual of Magic.

Clerics had a reputation for demon-summoning in the later Middle Ages, an act called nigromancy or necromancy due to some complicated etymological twists. Some theologians condemned most of what we now call “magic” as demon-related and therefore forbidden. Others spent a great deal of time trying to draw the line between acceptable “natural magic” and necromancy. Naturally, the nature of demons played a big part in these arguments, since there was also a great deal of etymological confusion happening between

a) the concept endorsed by ancient Greek philosophers of demons as creatures of pure disembodied intellect that were ultimately neutral (and natural) parts of creation, and

b) the biblical concept of evil desert spirits translated in the Greek Septuagint as “demons.”

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Medieval bestiaries as well as more “scientific” texts like Isidore of Seville’s early encyclopaedia were filled with monsters both humanlike and bestial. These were not only monsters as we’d term them; the act of defining the natural and the monstrous was a going concern in the Middle Ages and the Renaissance. Even at the time, there was something preternatural about monsters, something beyond common belief. They dwelt on the edges of God’s creation, filling up the unexplored nooks and crannies of various maps. They were markers of a terrifying unknown and also messengers of hope: when the intelligent monsters at the world’s end converted to Christianity, then so too would the world end and Jesus return to rule a new one.

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I end up on Marie’s medical-themed podcast Iatropexy, where we talk about William Hurt’s stint as The Doctor.

Not that doctor. The other one.

Alternate Title: The Fault in Our Doctors 

Download the Podcast (right click and select “save as”)

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