Starting tomorrow afternoon, I’ll be at this year’s Readercon. Readercon was one of the first conventions I went to as a newly-published writer, all the way back on 2003, and it has remained among the most consistently rewarding professional gathering I attend. Here’s my schedule, for anyone who happens to be at the con:
Friday July 11
2:00 PM EM Fearful Symmetries Group Reading. Gemma Files, John Langan. Fearful Symmetries is a new all-original anthology edited by Ellen Datlow, published by Chizine Publications.
7:00 PM E Autographs. Glen Hirshberg, John Langan.
8:00 PM F Creating and Embodying Genres. John Clute (leader), Samuel Delany, Chris Gerwel, John Langan, Yves Meynard. In discussions of literature there is a tendency to identify books that establish a genre as separate from books that embody that genre, as if the former creates the conditions which the latter successfully fulfills. Consider for instance Anne Rice’s Interview with a Vampire vs. Laurell K. Hamilton’s Guilty Pleasures, Philip K. Dick’s The Man in the High Castle vs. Harry Turtledove’s Southern Victory Series, and Michael Moorcock’s The Warlord of the Air vs. K.W. Jeter’s Infernal Devices. What is the relationship between such books? Is it only historical distance that makes us look at a book one way instead of another? And what about works contemporary to but eclipsed by the genre-creators and/or embodiers—where do they fit in?
Saturday July 12
11:00 AM ENL Absent Friends. Michael Cisco, John Langan (leader), Sonya Taaffe, Gordon Van Gelder. In the past year, the field has lost many beloved writers, editors, artists, and fans. Come join us as we celebrate their lives and work.
1:00 PM CO The Shiny, Candy-like Zombie: Commoditizing the Undead. Scott Edelman, Max Gladstone, Catt Kingsgrave, John Langan, Sarah Langan (leader). On Twitter, M. John Harrison wrote about the appeal of zombies: “You can hate them without feeling wrong. You can kill them like eating sweets. Then you’re hungry again & you can kill more. They’re fully dehumanised. There’s no off-season, no moral limitation. They’re the *enemy*. What’s not to love? They’re what we really want.” So do we like zombies because they’re the consumer-friendly, ambiguity-free face of implacable evil? Are they, in fact, the most perfectly commoditised monsters?
7:00 PM CO Reading: John Langan. John Langan. John Langan reads an excerpt from the novel-in-progress, The Tunnel.
Sunday July 13
11:00 AM F The Shirley Jackson Awards. Chesya Burke, F. Brett Cox, Jack Haringa, John Langan, Sarah Langan, Kit Reed, Paul Tremblay. In recognition of the legacy of Shirley Jackson’s writing, and with permission of the author’s estate, the Shirley Jackson Awards have been established for outstanding achievement in the literature of psychological suspense, horror, and the dark fantastic. Jackson (1916–1965) wrote classic novels such as The Haunting of Hill House and We Have Always Lived in the Castle, as well as one of the most famous short stories in the English language, “The Lottery.” Her work continues to be a major influence on writers of every kind of fiction, from the most traditional genre offerings to the most innovative literary work. The awards given in her name have been voted upon by a jury of professional writers, editors, critics, and academics, with input from a Board of Advisors, for the best work published in the calendar year of 2013 in the following categories: Novel, Novella, Novelette, Short Story, Single-Author Collection, and Edited Anthology.
12:00 PM G Horror for Diverse Audiences. Gemma Files, Nicholas Kaufmann, John Langan (leader), Shira Lipkin, Jennifer Pelland, Shveta Thakrar. Stereotypes and -isms often come from the id, from a place of deep fear. Horror writers have made use of this for ages, particularly describing monsters and monstrousness in ways that evoke racial anxiety, sexual anxieties, and fears of bodily change. However, that only works if your audience is in the racial majority, sexual majority, and able-bodied. What is the place of horror based on normalized fears for someone who doesn’t or can’t identify with the norm? How can writers effectively write horror for diverse audiences with diverse fears and anxieties? Can horror be a tool for expanding social empathy and social justice?
If you see me, please feel free to come up and introduce yourself. At my autograph session on Friday, I’ll have a special gift for the first few people who show up, so if you want something signed, please bring it.