Items Tagged: Weird Universe

By Marshall Payne

Paul Di Filippo is a protean writer, able to blend disparate fictional elements in his own unique, wildly inventive way. As Cory Doctorow refers to him in the introduction to Paul’s most recent collection, Harsh Oases, “He’s like baking soda in the genre’s fridge, soaking up all its flavors, mixing them together.” Paul’s fiction has appeared in SCI FICTION, F&SF, Cosmos, and many anthologies such as The New Weird and Salon Fantastique, to name just a few. He is the author of ten novels and 13 short story collections, as well as being a regular reviewer for almost all the major print magazines in the field, including Asimov’s, F&SF, Science Fiction Eye, The New York Review of Science Fiction, Interzone, and Nova Express. He lives in Providence, Rhode Island, with his partner, Deborah Newton, a calico cat named Penny Century, and a chocolate-colored cocker spaniel named—according to the author, in a highly unimaginative fashion—Brownie. I am pleased that Paul was able to answer a few of my questions for The Fix.

You’ve been a full-time writer for the past 15 years. What is your writing day like?

My days, like those of most writers, I suspect, attain a startling uniformity, averaged out over time. I arise between 6:30 and 7:00 AM. After chores and breakfast and the indulgence of some newspaper reading (still via old-school print medium; someone has to pay for your free Internet browsing!), I’m at work between 9:30 and 10:00.

Online work—browsing news sites, researching topics, blogging, and answering email—takes up from one to two hours. Then comes some actual creative stuff.

I try to work on only a single project at a time. If a review assignment is on the docket, I might have to devote some time to reading the text for discussion, although a lot of the reading gets done at night. But otherwise I dive into the writing and finish by about 4:00 PM. Then I have to have a walk of an hour or two, to decompress and get some beneficial exercise and do chores.

It’s all rather like the lives of the math monks from Stephenson’s Anathem.

I used to follow the Bradburyian dictum of striving for 1000 words a day in my youth. Now I’m happy with anything upwards of 500. That still allows for 180,000 words a year. Probably more verbiage than any mortal should be allowed to produce. Although just a couple of years ago, I completed my Creature from the Black Lagoon novel—80,000 words—in 70 days.

Can you tell us about your first couple of sales and how your career developed from there?

My actual first sale, while I was still in college, was something of a fluke, to UnEarth magazine in 1977, the same venue that hosted the first stories of Rucker, Gibson, Blaylock, and others. It was a parody of Barry Malzberg’s work. I’m happy to report that after we became pals, Barry was kind enough not to hold this youthful offense against me.

Then I abandoned attempts to write for five years, until 1982, when I decided to push on seriously or perish trying. After nearly three years of constant rejection, I sold two pieces almost simultaneously: one to Ed Ferman at F&SF and one to Ted Klein at Twilight Zone Magazine. Those sales gave me the confidence and courage to soldier on, although rejections still outnumbered sales by a large margin for a long time thereafter.

This meant a succession of days jobs, until about 1993 or so. By then, I had learned how to cobble together any number of small sales to make a bare living. Getting my first book out in 1995 was another milestone and source of income, however small.

During all this, the fiscal and emotional and critical support of mate Deborah Newton made everything possible.

Nowadays, I’m pretty much guaranteed to place any short fiction I write, which makes me feel as if I’ve actually gotten a little better at this odd craft. Or maybe editorial standards have lowered!

For those unfamiliar with the term you coined, “ribofunk,” tell us about it and your fiction based on it.

During the waning days of cyberpunk, I half-jokingly tried to predict the next big movement in SF. I took the prefix “ribo” from the cellular component ribosomes and the musical genre of “funk” and mashed them together, positing hot, passionate, sweaty fiction about speculative biology. I xeroxed a broadside touting this alleged genre and circulated it by mail, and it also appeared in a couple of fanzines.

Having done so, I began to believe my own humorous propaganda, seeing actual story potential therein, and begin to write stories that tried to live up to my prescription. Futuristic stories where the biological sciences are paramount, where human form is mutable, and human-animal hybrids form an underclass.

The movement as such never really materialized, but plenty of writers have seen similar potential in the themes and topics of ribofunk, even if by reinventing my particular wheel. I’d mention Peter Watts, Linda Nagata, and Mark Budz among others.

The titular story of your collection, Harsh Oases, is one of my favorites. In “Harsh Oases,” Thomas Equinas, a part horse “mosaic” or “splice,” is entrusted with the creature known as Swee’pee, who will contain all the genetic material of the mosaics that some humans want to eradicate. This is a wildly inventive story. Where did the inspiration for this piece come from?

After the muted success of Ribofunk the story collection, I always wanted to do a ribofunk novel, and so had been accumulating notes towards something vaguely known to myself alone as Harsh Oases. It was to be organized around a succession of strange terrestrial environments made possible by bioengineering. It occurred to me that one way of plausibly visiting all these environments was by having the protagonist being chased from one to another. But why? After I answered that question, the story fell into focus.

But I kept putting off the writing until I was asked to contribute an original work of fiction for my keynote speech at the Monstruous Bodies Symposium at Georgia Tech. At that point, I said, “Let’s be generous and work up all these ideas into novella form.” This type of ultra-concentrated, jam-packed idea story had always impressed me when Bruce Sterling or Rudy Rucker pulled it off, and I wanted a go at the mode. It does require more focus and invention than single-idea stories, though.

But having done a credible job, I think, of getting the rudiments of this scenario into fictional form, I don’t now feel motivated to expand it to novel-length, so the novel version of Harsh Oases will probably never come to be.

I won’t ask you the hackneyed question, “Where do you get your ideas?” Instead, has there been a bizarre or interesting occurrence in life that led to a story idea that just begged “Write me!”?

I got the idea for my story “Rare Firsts,” about a bookseller who encounters a miraculous library, in a dream, and such incidents are pretty rare for me, so that might qualify. But I’m not certain that the most bizarre things in my stories can be directly traced to real-life events. I use bits and pieces of real-life, like all writers. For instance, I heard of a person, via a friend, who was afraid to make left-hand turns because it meant cutting across scary oncoming traffic, and so that person always had to circle around to her destination, and I used that in Joe’s Liver.

I think you have to have lived Lucius Shepard’s life to have amassed really bizarre incidents that you can then fictionalize.

You seem to move from strength to strength in your fiction, mixing genres and tropes in unique ways, never repeating the same story twice. Do you think this has hurt you commercially, and could you describe how you’ve dealt with finding your own unique path in this field?

I alternate styles and genres simply because I can’t stand repeating myself unto boredom—boredom for me, boredom for the reader. I have to assume that an audience exists that will enjoy my core underlying voice in whatever surface manifestation it currently takes.

But having said that, I must admit that finding a certain limited field and plowing it repeatedly is a much surer and quicker path to success. Other writers such as Richard Lupoff have noted this phenomenon. But we butterfly types flit from one flower to another simply because we have no choice. I wouldn’t known how to write a trilogy if I studied from here till Armageddon!

I like to exhaust an idea in one go. Further exploration is thus foreclosed.

You’ve said that one of the biggest misconceptions about your work is that you only write humor. Yet considering the gonzo, humorous approach you often apply to your fiction, I find this one of your most compelling talents. What are your thoughts on humor in our field?

Humor is my baseline mode in fiction. I started out writing satirical essays for my high school newspaper, after all (almost getting expelled in the process; this was the 1960’s after all) and imprinting on the National Lampoon in its heyday, as well as an omnibus volume of the writings of Paul Krassner. Moreover, humor is my approach to daily life and world events. As someone once said, “Life is too important to be taken seriously.” God, if he or she exists, is the biggest humorist of all.

The SF field has had a fairly large number of great comic writers: Sheckley, Tenn, Rucker, Goulart, Laumer. But we’re in a distinct minority. As Woody Allen famously remarked, we’re perceived to be sitting at “the kids’ table.”

But because we’re in a minority, I think a humorous story stands out when found in the slushpile, and might actually get a better chance at being printed.

How do you perceive the use of irony in our field? Is it often misperceived by readers in your work or in the work of other authors?

Irony is dangerous and slippery. People with no radar for it misapprehend the writer’s motives and desired effects, frequently leading to a lynch-mob mentality. But then again, such folks are probably immune to any form of communication other than a two-by-four upside the head.

I think we must distinguish between “pure” irony, which always has a component of rueful empathy, and cruel snarky irony. I try to stick to the former.

You’ve been known to use pop culture media and show business tropes—50s TV and old movies, etc.—in your fiction for speculative extrapolation. What is it about these tropes that appeals to you?

As a boomer, I was raised during the explosive expansion of mass media into all niches of life. The sheer volume of music, TV, films, advertising, comics, etc., that poured into my life—and the lives of my generational peers—and which thrilled me means that when I’m casting about for a touchstone or narrative format, I often come upon pop culture items first.

The good part of this is that you can make an instant, shorthand connection with your audience—if they possess the same reference points. The bad part is that you can lose your audience if they don’t. And also, such shorthand allusions can make a writer lazy in developing his or her own descriptive or inventive powers. You rely too much on a consensual shared image created by someone else.

If you were stranded on a desert isle and only had a few books by one author as your literary diet, who would that be?

I would certainly have to select the complete oeuvre of Thomas Pynchon. He encapsulates good writing, a keen wit, and a probing dissection of history, character, and insanity in the twentieth century.

Name a few writers who have influenced you more than others as regard to craft and technique? How were you influenced?

Looking at my shelves, I see vast quantities of all the great SF writers of the twentieth century: Brian Aldiss, Michael Moorcock, Robert Heinlein, Poul Anderson, Andre Norton, Clifford Simak, A. E. van Vogt, Philip K. Dick, Samuel Delany, J. G. Ballard—dozens of others. I ingested their work at a rapid pace as a teen, internalizing story structures, styles, themes, tropes in a sponge-like fashion. I just knew from the start that I wanted to emulate these great writers, reproducing for my as-yet-unknown readers the same frissons the masters gave to me. Hopefully, I’ve distilled all their nectar into my own brand of honey.

Once in college, I glommed onto such luminaries as Thomas Wolfe, William Faulkner, J. P. Donleavy, Henry Thoreau, Charles Dickens, and Vladimir Nabokov, bringing their currents into my ocean of story. It’s hard now for me to discern individual motes from each writer. But I can only attest to the subconscious influence and psychic debt they have all left in me. It’s hard to imagine being a writer in a vacuum, 100% self-taught and self-created. I think that’s an impossibility, in fact.

How do you think short SF/F has changed over the last 25 years? For the better? For the worse?

As genre fiction has gained greater respect and technical chops, and begun to blend with the mainstream, it’s come to resemble the mainstream more. Less van Vogt and more Kelly Link. Also, the shapes of stories are less pruned and diagrammatic, more nebulous and shaggy. As critic John Clute told me, when I mentioned that the stories in Harry Harrison’s anniversary collection, 50 in 50, were ineluctably of another era: “The world is not narrated that way any more.”

SF’s pulp genes are becoming recessive, in both theme, content, form, and style. I guess we’re all adults now.

Tell us about Weird Universe.

Weird Universe is a new blog formed by me, Chuck Shepherd of News of the Weird fame, and Alex Boese, proprietor of the Museum of Hoaxes. Basically, we just strive to amuse and enlighten by presenting a daily mix of oddball news and cultural arcana. People seem to like us—assuming they’re as warped as we are!

Do you have any advice for younger writers trying to break into the field? Not only the business aspect, but as to learning craft and technique as well.

1) Read Bradbury’s Zen and the Art of Writing.
2) Find and follow Heinlein’s five simple rules for the professional writer.
3) Read Jack Kerouac’s “Essentials of Spontaneous Prose.”
3) Be tough and compassionate, on yourself and others.
4) Don’t give up too soon.
5) Have fun.

What are you working on now?

I need to begin my long-delayed sequel to A Year in the Linear City, to be titled A Princess of the Linear Jungle. I think there’s enough idea-space left in this universe after the first book to merit one of my rare sequels, but I’ve still been hesitating because newer ideas beckon more alluringly. Charles Stross just blogged about how the book after the one you’re working on always is more appealing than the current project, and I think that’s true.

Then I need to pick up an as-yet fragmentary novel to be titled Up Around the Bend, a post-apocalyptic headtrip.

After that, all is grey churning fog of potentiality!

What’s are your plans for the future? Aspirations? Goals?

I’d like to write a book that would do honor to all my influences, and to the genre, and which would illuminate this inexplicable condition we call life, and which would make readers ecstatically happy and terminally sad, and which would make me rich!

The Weird Universe explores a human and natural cosmos that is not only stranger than we imagine, but stranger than we can imagine. The usual suspects are Paul Di Filippo; Alex Boese, curator of the Museum of Hoaxes; and Chuck Shepherd, purveyor of News of the Weird.

Recent posts:

  • Well-known billionaire cashes 13-cent check
    Back in 1990, Spy magazine conducted an experiment in "comparative chintziness." Its goal was to find out "Who is America's cheapest zillionaire?" Or, put another way, "how cheap are the rich?" To determine this they sent various rich people each a check for 13 cents, and then waited to see who would actually cash such a tiny check. Two people did: Donald Trump and the Saudi Arabian businessman Adnan Khashoggi. And yes, they made sure to send the checks to the home addresses of the rich people, and not to their accountants. So that the recipient would have to do a little bit of work to cash the check. Springfield News-Leader - June 6, 1990
  • Akmo Hair Grower
    Unlike most patent remedies, there is no information that I can find for Akmo. I wonder what ingredients were in it. Original ad here. I assume it could be safely used with this product. Second ad here.
  • School chief shot a moon
    October 1978: Cleveland School Board President John E. Gallagher Jr. was charged with a misdemeanor and fined $100. The prosecutor explained the reason for the charge to the press: "He shot a moon — that's what he did." A state trooper had witnessed Gallagher, who was a passenger in a car driving north along I-271, pull his pants down and expose his bare buttocks to his brother, who was driving in a passing car. Gallagher pleaded no contest. The Akron Beacon Journal - Nov 1, 1978
  • Nation’s Ugliest Students
    Holy Microaggressions, Batman! Imagine the stink such a stunt would cause today. Which generation of students seems more resilient, well-adjusted and good-natured to you? Original article here.
  • Operation Sleep
    In 1957, the Woodlake road camp prison in California began an experiment in convict rehabilitation. It was called "Operation Sleep." The idea was to use sleep learning to reform convicts. As the prisoners slept, they heard the soothing voice of a psychiatrist speaking the following script: Listen, my inner self, remember and obey this creed of life: Live relaxed, completely and utterly relaxed... Love, rule my life. Love God, my family, and others... Have faith... work with others... Face life without fear, be calm, unafraid... Know myself and my faults... live without alcohol... Alcohol is a poison. I do not need alcohol. Abstain with ease. Alcohol is repulsive to me... I am truly happy. I give my life to my family, to my friends, and to the world. I am filled with love and compassion for all, so help me God. The script had been written by the County's Public Defender, John Locke, with help from a local Presbyterian minister, Rev. Glen Peters, and a hospital therapist, Robert C. Lally. They described Operation Sleep as "a type of brain-washing — but not the type used by the totalitarians." Unfortunately, there doesn't seem to be any data on whether the experiment actually had an effect of criminal behavior. The superintendent of the prison noted, "We have had excellent cooperation from the inmates. But of course, it is too early yet to tell what effect it will have. We won't know until after the men have been released and face the temptations of freedom again." The picture at the top is from Newsweek (Dec 30, 1957), and shows one of the prisoners who participated in the experiment. The fact that he's sleeping with a dog seems a little strange. I guess the inmates got to keep pets in this prison. Wilmington Morning News - Oct 11, 1957 Update: I found a news story from 1961 offering a 3-year update on Operation Sleep. I'm actually surprised that the prison kept the experiment going for that long. Public defender John Locke claimed that the experiment had been showing positive results, but said they needed to keep it going for another 3 years to be sure. From the Ottawa Citizen - Feb 21, 1961: For three years now the sleep therapy program has been in operation. Locke and his associates are careful to admit that it will be at least three years more before anything conclusive can be deduced from the careful check they keep on prisoners after their release. Almost from the beginning though, the guards at the road camps noticed that the young inmates did not cause the same amount of trouble they had created formerly and were surprised when prisoners started coming to them for counsel. What is probably most indicative of the therapy's effect is the decrease in alcoholism revealed by surveys among ex-prisoners.
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    Death-dealing war instrument of mass destruction compared to treasured hymn. Original ad here.