SF/F, sociology, some recipes. Updates every other Friday.

Month: March 2024

“Doutor Compaixão,” by R. Jean Mathieu

This story, “Doutor Compaixão,” came from a challenge from the inestimable Cat Rambo, namely, take the prompt “A Brazilian math teacher proposes marriage to compassion” and make a story of it.


They called him “the beggar who counts.”

They called him a saint.

They called him “Doutor Compaixão.”

But when the pacification police came in heavy gear with shields and guns, they didn’t call him anything. They said they had never seen the man Pedro Sores Canto.

Word had come from Rebeca Itoh Silviera, down in the city at the university, that a raid was coming to the old favela she had escaped. A man inside the police came to visit his parents and give them the remittance and the bribes he won as a policeman the day before, saying that the raid was seeking out the old math teacher who gave lessons and refused reals for it. No, he did not know for what crime. He was a policeman, how was he to know what crime a man was to be arrested for?

Word reached Pedro Sores Canto as he held a chalkboard to his knee, cracked chalk showing the curve of a bell that held the secrets of all the universe, probably. Word came the same way all his payment came, as a butchered chicken or a jug of beer or a whispered word of forgiveness. The children scattered like crows from the stern faces of their mothers, anxious that the man who had freed Rebeca Itoh Silviera should do the same for their children. If the pacification police took him away, who would teach the children to make numbers dance and speak Portuguesa as the rich in the city do?

“Do not worry for me, Senhora de Assis, Senhora Ventura, Senhora Quintana.” He smiled. “Have compassion for yourselves and your children. Keep a close eye on them tomorrow, and remind them to count.”

As he carried home the butchered chicken and the jug of beer and the terrible news, he thought of Alcione. He had come to Cantagalo, first climbed the steep hills between tar-paper and tin, five years before, latest in a string of hidden places that had been his life since her words to him. He wondered what had become of her. Either dead or married, he decided, a cloud of children underfoot like flies in sweltering winter.

Either way, she had long since departed from him. All that was left of her to him were those words:

“You have no compassion.”

Passion he had had. Passion enough that, in the irrational way of very rational men, he had killed her lover. Passion enough to conceal his love until it burst from him, passion enough to confess it to her after the deed was done.

Compassion was something else again, a limit to converge on and never reach. It was not the passion one could have for a woman, for the woman, for Alcione, but a love for her and everyone and everything. It was as particular as the names of Senhora  de Assis and Senhora Ventura and Senhora Quintana and Vitor Ferraz de Avis and Rebeca Itoh Silviera and Alexandre Cubano Sozinho. It was as grand as Sugarloaf Mountain and deep as the Pacific. It was an idea that he, Dr. Pedro Sores Canto, once the brightest young turk in Brazilian mathematics, could not grasp.

As he had lay in shallow ditches outside São Paulo at night, or slapped mosquitos from his skin and calculated his grim odds of survival on elaborate bell curves in the Amazon jungle, or lay awake watching reflected fires in the tin roof of some favela or another, the bitter sting of Alcione’s other words had left, along with her face, and her voice, and so, insensibly, his obsession had moved from her to the idea, compassion, the idea that was to him a nebulous air and an equation to solve and to her an immediate reality to experience.

It was his attempt to solve the equation and to make the nebulous idea concrete and real that had kept him to the favelas. He had learnt the Buddhist mantras and the Catholic prayers and the strange notions of the poor and criminal Evangelicals he had found himself hiding among. Santa Teresa de Kalkota had stayed with the poor for compassion, so, too, would he. He could have hidden from the authorities a dozen other ways, perhaps even returned to academia. But it was safer in the favelas, and it was in the favelas he would finally solve compassion.

His trail had started in São Paulo a murderer, and ended here, at the top of Cantalgo Hill, in the garret of a brick building that smelled always of frying onions and the human drift, a saint. Doutor Compaixão.

Senhora de Assis had said the raid would come tomorrow. Senhora Ventura tonight. Indeterminate. Very well, he could study his chances. 50% chance they would come tonight, 50% tomorrow. He need only play the probabilities, what his students and their fathers called gambling.

“Senhora Preto, I must leave tonight,” he told the elderly landlady smoking her hand-rolled at the living room table. “Please tell any visitors I have already gone.”

Senhora Preto nodded, exhaling a little puff. He was not the first tenant to leave suddenly as rumors of another raid swirled around the streets and markets and living room tables. She approved of his good manners in announcing it beforehand, though. It spoke to good breeding.

He climbed the stairs to his garret for the last time. There was not much to pack. Only a few shirts, another pair of pants, the hundred-year-old calculus textbook that Jorge Figueiredo Boaventura’s father had given him many years before, before Jorge had broken his leg and died. Poor child, almost a man, and then…

Pedro Sores Canto sighed. Jorge had died three years before, and all Pedro could rouse in his heart was regret that such a promising mind had been snuffed out like a candle. He muttered prayers for him, but there was no heart in it.

Still, it was nearly fifteen years since Arthur Castilho Nakata had died under his hand and Alcione had left his life forever. Still his death-rattle and her compassion animated him. And he had remembered Jorge’s name, and said prayers for him. He converged on compassion…

The startled cry of Senhora Preto jarred him from his meditations. The pacification police moved fast these days, lightning war, not like the old days. That they would arrive so soon was more than three standard deviations from the mean, less than 0.16% likely. He did not have to look out the tiny window to know that the house was surrounded, that there was no more running for him unless he sprout wings and fly. He would be taken, and tried, and, in the end, executed. Perhaps Alcione would appear, after all these years, to testify against him.

A second cry, from Senhora Preto, stabbing through the shouts and buffets and bullets of the pacification police. It was a cry of pain. Pedro Sores Canto felt something rise in him, a stone in his throat and a balloon in his mind. Senhora Preto had done nothing to earn whatever the pacification police had done to elicit that cry from her. No more than Jorge Figueiredo Boaventura had deserved to die.

No more than Arthur Castilho Nakata had deserved to die.

The room seemed bathed in light, though only a cheap flashlight flickered feebly. He saw there the faces and names of all the students he had taught, all the parents he had consoled, saw again Alcione’s face as it had been when it had driven him to madness, Arthur’s face in serene repose and free of suffering. He saw faces that he knew were attached to the boots storming up the stairs, the voices screaming guttural cries. He saw his own face. They were all individual and crystal clear, they were all as one.

Alcione would never have married him. She had been right, he had no compassion. And now? Had he approached the apex, converged on the limit at last? Or was his teaching, his kindness, his genius of little pains and remembered names, only a “good-enough” approximation?

This was the last unknown in the equation, the last x to solve for. There was a way to solve it.

The stone in his throat was desire. He desired that they all be free of suffering, sinners and saints both, and especially all the fallen, glorious, troubled, human souls in between. He wished it with his whole body, so hard it ached, heedless of the tramp of boots and the oncoming cries.

Alcione would never have married him, but…

“Compassion,” he asked, sinking to his knees on the bare floor, “will you marry me?”

Something inside him said yes, and he felt himself lift as if on wings.

When the pacification police kicked the thin plywood castoff excuse for a door open, they found only an empty room. In confusion, they dripped into the tiny room. Behind his helmet, Vitor Ferraz de Avis muttered a prayer of thanks to Santa Maria, who in her compassion had liberated old Doutor Compaixão.


Think this story was good? Bad? Just plain weird? Let me know in the comments!

Nebula Finalists 2024

Nebula awards (big)

One week ago, the SFWA announced this year’s finalists for the Nebula Awards – with the proviso that Martha Wells has turned down any honors, saying that she’s already got enough praise for her work, and she wants to open the field for other writers to shine. Because Martha Wells is a class act. I will be at NebulaCon again this year, and as before, I’ll be offering my predictions and opinions on the short stories, novelettes, and hopefully novellas before June.

But, on first blush, what do you think of this lineup? Let me know in the comments!

Nebula Award for Novel

  • The Saint of Bright Doors, Vajra Chandrasekera (Tordotcom)
  • The Water Outlaws, S.L. Huang (Tordotcom; Solaris UK)
  • Translation State, Ann Leckie (Orbit US; Orbit UK)
  • The Terraformers, Annalee Newitz (Tor; Orbit UK)
  • Shigidi and the Brass Head of Obalufon, Wole Talabi (DAW, Gollancz)
  • Witch King, Martha Wells (Tordotcom)

Nebula Award for Novella

  • The Crane Husband, Kelly Barnhill (Tordotcom)
  • “Linghun”, Ai Jiang (Dark Matter Ink)
  • Thornhedge, T. Kingfisher (Tor; Titan UK)
  • Untethered Sky, Fonda Lee (Tordotcom)
  • The Mimicking of Known Successes, Malka Older (Tordotcom)
  • Mammoths at the Gates, Nghi Vo (Tordotcom)

Nebula Award for Novelette

  • “A Short Biography of a Conscious Chair”, Renan Bernardo (Samovar 2/23)
  • I Am AI, Ai Jiang (Shortwave)
  • “The Year Without Sunshine”, Naomi Kritzer (Uncanny 11-12/23)
  • “Imagine: Purple-Haired Girl Shooting Down The Moon”, Angela Liu (Clarkesworld 6/23)
  • “Saturday’s Song”, Wole Talabi (Lightspeed 5/23)
  • “Six Versions of My Brother Found Under the Bridge”, Eugenia Triantafyllou (Uncanny 9-10/23)

Nebula Award for Short Story

  • “Once Upon a Time at The Oakmont”, P.A. Cornell (Fantasy 10/23)
  • “Tantie Merle and the Farmhand 4200”, R.S.A Garcia (Uncanny 7-8/23)
  • “Window Boy”, Thomas Ha (Clarkesworld 8/23)
  • “The Sound of Children Screaming”, Rachael K. Jones (Nightmare 10/23)
  • “Better Living Through Algorithms”, Naomi Kritzer (Clarkesworld 5/23)
  • “Bad Doors”, John Wiswell (Uncanny 1-2/23)

Andre Norton Nebula Award for Middle Grade and Young Adult Fiction

  • To Shape a Dragon’s Breath, Moniquill Blackgoose (Del Rey)
  • The Inn at the Amethyst Lantern, J. Dianne Dotson (Android)
  • Liberty’s Daughter, Naomi Kritzer (Fairwood)
  • The Ghost Job, Greg van Eekhout (Harper)

Nebula Award for Game Writing

  • The Bread Must Rise, Stewart C Baker, James Beamon (Choice of Games)
  • Alan Wake II, Sam Lake, Clay Murphy, Tyler Burton Smith, Sinikka Annala (Remedy Entertainment, Epic Games Publishing)
  • Ninefox Gambit: Machineries of Empire Roleplaying Game, Yoon Ha Lee, Marie Brennan(Android)
  • Dredge, Joel Mason (Black Salt Games, Team 17)
  • Chants of Sennaar, Julien Moya, Thomas Panuel (Rundisc, Focus Entertainment)
  • Baldur’s Gate 3, Adam Smith, Adrienne Law, Baudelaire Welch, Chrystal Ding, Ella McConnell, Ine Van Hamme, Jan Van Dosselaer, John Corcoran, Kevin VanOrd, Lawrence Schick, Martin Docherty, Rachel Quirke, Ruairí Moore, Sarah Baylus, Stephen Rooney, Swen Vincke (Larian Studios)

Ray Bradbury Nebula Award for Outstanding Dramatic Presentation

  • Nimona, Robert L. Baird, Lloyd Taylor, Pamela Ribon, Marc Haimes, Nick Bruno, Troy Quane, Keith Bunin, Nate Stevenson (Annapurna Animation, Annapurna Pictures)
  • The Last of Us: “Long, Long Time”, Neil Druckmann and Craig Mazin (HBOMax)
  • Barbie, Greta Gerwig, Noah Baumbach (Warner Bros., Heyday Films, LuckyChap Entertainment)
  • Dungeons & Dragons: Honor Among Thieves, Jonathan Goldstein, John Francis Daley, Michael Gilio, Chris McKay (Paramount Pictures, Entertainment One, Allspark Pictures)
  • Spider-ManAcross the Spider-Verse, Phil Lord, Christopher Miller, Dave Callaham (Columbia Pictures, Marvel Entertainment, Avi Arad Productions)
  • The Boy and the Heron, Hayao Miyazaki (Studio Ghibli, Toho Company)

Philosophy (in a Teacup): Joe Gremillion

In this edition of Philosophy (in a Teacup), I sit down with author, community organizer, and NaNoWriMo leader Joe Gremillion. Joe Gremillion spends his time writing and critiquing fiction, leading local hikes, and photographing landscapes. His website, like his novel, is in perpetual development. But if you don’t mind the figurative sawdust then head over to www.joephotos.art.

The man, the myth.

Thank you for joining us! Tell us more about your book/ series/ short story work.

My sci-fi novel in development tells the story of people from conflicting ideologies who learn to see each other’s side. Pressure’s on as the antagonist exploits an ecological disaster and people’s fears. It started with a different premise — or more like a challenge. How many boring sci-fi tropes could I tweak, break, or parody? But over time it turned serious and led to some new ideas.

Why do you write speculative fiction? / What is speculative to you?

I’ve enjoyed reading about distant worlds since I was knee-high to a tribble. How would people adapt to a world whose day lasts nine hours? How do you enforce laws when everyone can vote by flying to a different planet? On an airless moon, is making air a type of farming? What are seasons like when you have two suns? 

These aren’t real, or even realistic. But they’re based on contemporary physics, which gives them a connection to our world, our lives. Even better, “contemporary” is the crucial qualifier. When I started writing stories, we assumed that other stars had planets but didn’t know for sure. Now astrophysicists have a list of more than 3,000 and some are beyond anything we thought possible. Reality keeps challenging imagination.

Where do you find inspiration for your stories?

I’m an introspective sort. Many of my ideas come from juxtaposing absurd ideas and asking questions. My favorite is to play either “five steps of what if” or “five steps of why don’t.” A bit of worldbuilding from my novel began with, “what if space stations didn’t have outside walls?” I asked myself five times before coming up with a concept that did more than reinvent space habitats. It also created the basis for my novel’s premise.

“What if” and “why don’t” works for story concepts too. The Planet of Hats trope is useful in a short story or single episode, but got I tired of entire cultures defined by one trait. So one day I juxtaposed two ideas: “why don’t Klingons wear t-shirts?” Laugh if you will, but that was my first step. The second was, why don’t Klingons have self expression?” Then, “why don’t we see Klingon artists? Or plumbers? Or hair color specialists? It is a good day to dye.” Extrapolating on humorous ideas led me to create a caste-based system with unique beliefs and history from which two of my MCs hail. 

Earlier I mentioned two protagonists with conflicting ideologies. This caste-based society was the second. But the more I developed the second, the more I changed the first to contrast against it. From Klingons wearing peace-sign shirts came, “what if self-expression was compulsory?” 

What is your favorite sci-fi, fantasy, or horror trope? / What is your favorite sci-fi subgenre? 

You may have noticed that I don’t like tropes themselves, but I have a few go-tos. The Fish Out of Water Character is always fun (and useful when introducing readers to strange new worlds). The Mentor/Apprentice or Jaded-Soul/Eager-Explorer pairs often appear in my stories. Binary stars — a classic. The Hero’s Journey is a solid framework … but lately I’ve started exploring the Heroine’s Journey too. And then there’s the old favorite: Peter’s Evil Overlord List.

What is your favorite speculative fiction book (besides yours)? / What is your favorite speculative short story?

My current favorite is Project Hail Mary by Andy Weir. I enjoyed how it balances explaining science while advancing the plot; two unlikely characters who make assumptions that baffle each other; how the story unfolds using the ol’ “amnesia” plot to let the story unfold naturally.

What is your favorite unusual speculative fiction story? / What is the most unusual story or book you’ve written?

Hard to answer that with anything except The Hitchhiker’s Guide to the Galaxy. But there were others:

What is the world you long to see?

Mine. I’ve slogged away at this for years. I love it and I hate it and I’ve quit it three times and it won’t leave me alone aarrrrgh.

Join Project Outreach! Joe Gremillion said so!

How do nature and your photography influence your writing?

Not much. I enjoy landscape photography but see it as a separate hobby. Although it does change my perception of the world. And the vast array of our natural world is incredible, when you think about it. How insects fly is amazing. It’s also fun to see how photographers capture different photos of the same person to tell different stories. Photography tech keeps advancing, which is often overlooked in sci-fi worldbuilding. If someone invents, say, an antigravity device, we rarely see its failed prototypes — much less offshoots, spinoffs, or surprise applications.

(What if we turned an antigravity device upside down? Would it double gravity? Imagine a gymnasium where weight lifting and aerobics were the same thing. Hmm, where’s my pen?)

So except for changing my perceptions, inspiring alien ecologies, observing human behavior, and adding dimension to worldbuilding by watching technology advance, what have the Romans done for us?

Bonus question: Novels or short stories? Which do you prefer to read? Which do you prefer to write?

Novels. Definitely. Endings are my personal antagonists, and writing novels keeps them further away from me than short stories.

Three Tools of Writing: Writing with Cadres

As I discussed in the introduction, Orson Scott Card is a terrible human being. He deserves the condemnation he’s got over the past twenty years. But he’s also the guy who wrote Ender’s Game, and, what is better, Pastwatch and “Unaccompanied Sonata.”

And he’s the guy who wrote How To Write Science Fiction and Fantasy, which is still on my shelf.

I wouldn’t trust him with my teenage daughter, but I trust him to know how to write, and keep writing.

Example stories: Mazghunah, The City Sunk, The City Risen

Among many other interesting (and sometimes dated) advice, in How to…, Card talks about what he calls the MICE Quotient. MICE stands for

  • Milieu
  • Idea
  • Character
  • Event

This isn’t, like so many others, a way to figure out what story to tell (he has other chapters for that, as do we), but rather, to figure out how to tell it. And that is an altogether subtler magic.

Because so many ideas, so many stories, can be told as any of them, and it’s up to us as writers to pick the one that best suits the kind of story we want to tell, and how we want to tell it. Let me introduce them.

Milieu

A milieu is a place, a setting. The conventional structure for this is “story begins when protagonist comes to the place, ends when they leave (or decide to stay).” All portal fantasies (including Wizard of Oz, Peter Pan, and Flash Gordon) are milieu stories. A whole lot of other stuff can happen while the protagonist is there (defeating a Wicked Witch and unmasking the Wizard, for example) but the promise the story makes at the beginning is that the end is when the protagonist either stays or goes.

Idea

An idea story starts with a question, and ends with an answer. Card cites a lot of Golden Age SF that basically romanticized the scientific method, I’ll go ahead and cite literally all mystery novels instead. No Time starts with the question, “who kills Gooch?” And although there’s a lot of fate vs. free will philosophy and a romance with his wife and a temptation with Maria, the story ends when Gooch gets his answer. Same with Sherlock. Same with that hot popular TV show about the detective/doctor/policeman confronted with a strange occurrence and tasked with figuring it out and solving the mystery.

Character

A character story, in Card’s view, is a story where the protagonist starts in one place in society and either winds up in another or gets stuck where they are. They can either be happy or unhappy about their initial place, their ultimate destination, or both. It starts when the character realizes they’re unhappy (either because their life has just been taken from them, or because they just can’t take it any more). This can be a bride who gets cold feet but ultimately decides to go through with the wedding, or a Horatio Alger hero who goes from rags to riches, or Raskolnikov going from prospective murderer to repentant sinner.

Character stories are subtle stories, and can make great subplots, too, because the story happens inside a person – how their actions and perceptions change, even if the external world does not. Many generational stories and immigrant tales, taking the family itself as the character, are character stories as they find their place in society and either accept that place or start the cycle of struggle over again.

Event

There is a rent in the world, and someone has to fix it. This can be the emergence of a Ring of Power and awakening of a dark lord, or a flood swamping the town, or the death of a patriarch leaving a power vacuum. We can learn things, people can change, but the beginning and end of the story is “the thing is broken” and “the thing is now fixed.” Characters can remain static – Card cites Indiana Jones, but ultimately his literary forebear Doc Savage is the perfect example. Someone has ground Prosper City to a halt and at the end Prosper City lives up to its name again – and Doc is the same rich globe-trotting knight-errant as ever.

The power here is that each of these frames provide different spectacles, in the French, different cadres to run the story by. Let’s work an example.

Let’s say I have in mind a Doña Ana Lucía story, where she goes to the zeppelin-cities of Lakshmi to recover the Jade Monkey from an old flame and restore it to Firstdown Colonial on Prithvi. The old flame has turned evil, and not only won’t release the Monkey, but tries to kill Doña Ana Lucía for it. However, a more dangerous enemy emerges seeking the Monkey, killing the old flame, leaving Doña Ana Lucía to avenge their death and escape with the Monkey (and a ton of regrets).

A neat plot, but it’s not really a story yet, is it?

If I wanted to play this as a milieu story, that’s simplicity itself – Doña Ana Lucía arrives on Lakshmi, conducts all her business there, cradles her dying ex in her arms, bewails the senseless death, confronts the killer, and …leaves. Circle opens, circle closes. Very useful if I want to play up how she’s a fish out of water, or take a tour of the place from the eyes of a newcomer, or maintain an outsider’s eye on the action as it proceeds.

If I wanted an idea story, the ultimate fate of the relic would remain in doubt for a long ways into the story. It would open as soon as Doña Ana Lucía asks “where is the Jade Monkey?” and end only when she lays eyes on it, over all the bodies she had to leave to get there. This would be an altogether murkier and more noirish story than the milieu version, which could be fun if I wanted to play with the relationships and ambiguous characters, and focus on Doña Ana Lucía’s intellectual prowess in cutting through all the fog and mystery to the truth behind it all – no matter who it costs her.

If I wanted to do it as a character story, I’d have her start after the Jade Monkey …but ultimately seek reconciliation with the old flame. She’d have a friend or idol decision, and likely fail it, having that moment of reconciliation only as the ex lay dying in her arms, and spend the rest of the story avenging their death to atone for the lost years they could have had together. If she gets the Jade Monkey at all, it will be a Pyrrhic victory and a bitter taste in her mouth. The focus of the story would be on the attempted reconciliation – and the vengeance to follow, with the Monkey increasingly incidental.

If I wanted to do this as an event story, the Monkey would have some kind of cosmic significance – the centerpiece of the Jade Scholars’ Hall’s museum, her museum, and she’s a laughingstock unless and until she gets it back. Or it rightfully belongs to the tribe descendant from the artist that carved it, and they are not really a people without it, and justice demands she retrieve it for them. She can romance her ex, narrowly evade death, avenge them…but the story ultimately ends when she returns the Monkey to where it belongs, stands back, and sees how the world has been put back in place.

I have written all four of these. I have written all four of these with la Doña. It takes a bare-bones plot description (and sometimes not even that) and makes it into a story, with color and shade and focus. It’s a set of spectacles, and I can take up the red ones and all appears bloodied or the yellow ones and all appears honeyed. I see different things from each view, and choose the ones I want to wear while I work this particular plot, this idea.

Take one of your own stories, one of freewritten children of a Bradbury list as breathed through Goldberg, and try on different MICE quotients on them before you parcel them out in quarters like Dent. See how many stories you can tell out of one magical noun in a list.

Next time, we’ll bring it all together.

“Doña Ana Lucía Serrano y la Caja de Venuswood,” by R. Jean Mathieu

That’s right. After years of preparation, Doña Ana Lucía Serrano’s first adventure, “Doña Ana Lucía Serrano y la Caja de Venuswood is now available! Get your copy today!

Doña Ana Lucía Serrano y la Caja de Venuswood
Cover design by Melissa Weiss Mathieu. Cover art by Kim Schmidt.

The taste of her goodbye kiss lingered on Doña Ana Lucía’s lips as they threw her over the drumhead.

In this thrilling installment, Doña Ana Lucía Serrano falls into the clutches of interplanetary heiress Anni Talavalakar, whose venuswood box contains a secret that could implicate half the Six Worlds of Earth! But how are the sinister criminal Syndicates involvedBlackmailed by a mysterious figure, Doña Ana Lucía will need all her wits and skill to avoid death by a Syndicate bullet or dishonor over the interplanetary airwaves.

Will she succeed?

Can she succeed?

Find out, in the pages of “Doña Ana Lucía Serrano y la Caja de Venuswood!”