This is the final report from the local writers’ festival I attended in August. It took me a while to get through them all. The last session I attended at the festival was called Frankenstein’s Children. Acclaimed Kiwi Speculative Fiction writers, Elizabeth Knox & Lee Murray debated the influence of Frankenstein on modern literature. Knox is one of my favourite Kiwi authors. I’m a big fan of her Dreamhunter series, which I found transformative and compelling reading (reviewed long ago when I was a member of Goodreads). Knox has an ONZM, is an Arts Foundation of New Zealand Laureate, and won the Prime Minister’s Award of Fiction in 2019. She teaches at Victoria University and lives in Wellington, New Zealand with her family.

Lee Murray is a New Zealand science fiction, fantasy, and horror writer and editor. She is a multiple winner of the Bram Stoker Award and a twelve-time winner of the Sir Julius Vogel Award. She is a well-respected rising star.

It felt like a privilege to sit in on their live-streamed interview. I love hearing how other writers think and how they approach their craft.

Both authors were asked the same question about why they had chosen the spec. fiction genre. “From childhood, the things that most excited me had dragons and ghosts. My imagination went in that direction very early.” Elizabeth Knox said, “You have a reaction to the world, and you want to push against appearances and say, what if? How much do we live in the present; how much do we live in imagination? It’s a penetrating, all-time approach to the state of the human being.”
Lee Murray had done her research. “It was a term coined in the 1960s. It was called Speculative, and it’s developed over time. Ursula le Guin said, ‘It’s about possibilities.’ It’s also about myths and legends, asking what if, and looking at the human condition. It’s new perspectives. It’s changing all the time.”
What a great way of looking at it. Why did the two authors consider their work to be “Frankenstein’s Children”?

“Mary Shelley is considered the mother of spec fiction,” Murray explained. “She wrote Frankenstein at the age of 17 in the 1800s, writing about the resurrection of life with electricity before it was invented. It’s a book about othering. The monster wanted to belong. Shelley couldn’t be published because she was a woman. Spec Fiction is a place for women’s narratives. She was able to show she is intelligent.”
I found this thought-provoking.
Murray went on. “I wanted to write about what mattered to me and things that frighten me. It allowed me to write about things safely. Spec fiction is not this world. It’s not pointing at this person or thing. It gives us a little bit of distance.”
The author neatly skewered one of the reasons this genre drew me to it. I can tell my stories without having to worry about treading on any toes because it’s all make-believe. The genre is a forgiving umbrella. I’m fascinated to hear it is popular. Since the age of seventeen, I’ve been writing spec fiction, but whereas in the 80s publishers told me, ‘No one is interested in fantasy,’ now, suddenly, it’s cool. Or, as Murray said, “It’s the place to be.”

This reminds me of Neil Gaiman’s interview. When asked at a previous festival, did he expect to be where he is today in terms of career, Neil said he never expected to be famous. When he started, he worked in niche areas where no one in those days ever got famous. ‘You didn’t get famous in comic books, fantasy, or children’s writing—I thought I’d be out here with the weird kids. Then it spread out, and now we’re all the weird kids.’ That’s it exactly. Our strange little frowned-upon fantasy corner of the world is becoming more mainstream. Hey, it’s nice to have company.

I am also drawn to writing middle fiction, and maybe there’s a reason for that. Knox said, “There’s a period when young people are entering the world, and they’re refusing it.” I liked that. There’s an inherent kind of rebellion that comes naturally with being young or young-at-heart and trying things out, questioning the status quo. “I think we need fiction more than ever.”

Murray said, “Spec. fiction has a role in social change. It has real value. It’s the new black. It’s the place where the young people are.”
I agree. But you have to write with a lightness of touch. “As soon as you start hitting readers over the head with your message, they don’t want to read it.” Knox said, “I’m an avid reader. But I’m resistant to being told I have to do anything. You can’t step outside reality. Spec fiction is the world outside the consensual reality.”
That’s what makes it so exhilarating.
“I love fairies and Arthurian legends. Even a tragic ending can bring joy because of the shapeliness,” said Knox. “I’m changing my mind about hope. I think it belongs to the things that console us like fiction.”

Wow!
Do you see why Elizabeth Knox is one of my current writing heroes?
I’m proud to write Speculative Fiction or Frankenstein’s Children. It’s fun! How about you? Do you read it or write it?

Talk to you later.
Keep creating!
Yvette Carol

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Good stories are dangerous. Dangerous, anarchic, seductive. They change you, often forever…they challenge our vocabularies and our history. Sometimes they challenge our comfortable morality. And sometimes…they challenge our most basic assumptions. ~ Jane Yolen

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Comments
  1. Interesting narrative Yvette. Great that you got to Hera from such well-respected writers.

    Liked by 1 person

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