Advice for photographers from Martin Parr

I recently came across a manifesto by the documentary photographer Martin Parr. Some of the advice seemed helpful, so I thought I would share it:

1. Look and learn from other photographers.
2. Identify what makes you like their images.
3. Find a subject you feel strongly about.
4. Select the images you like and understand why they are interesting.
5. Do more like that.
6. Keep shooting more images.
7. Acknowledge you will mainly take failures.
8. Get excited by what you have discovered.
9. Don’t wish you could become a famous photographer.
10. If you do, you will fail – wrong priorities.

If you want a copy, you can download a poster of the manifesto from WePresent. One caveat, it is subtitled ‘Ten rules of photography for emerging photographers’. But, as the street photographer Simon Ellingworth often points out, ‘Rules are for people who have yet to discover their artistic intent.’

Naked City: Tales of Urban Fantasy

A review of Naked City: Tales of Urban Fantasy edited by Ellen Datlow (St Martin’s Griffin, 2011)

In The Urban Fantasy Anthology, Peter Beagle and Joe Lansdale set out to define urban fantasy and classify it into a number of sub-genres, which they illustrated by means of a number of carefully selected previously published stories. Ellen Datlow has taken a very different tack in this volume. She has commissioned a series of new stories from a range of authors with the brief that the city in which the story was set should be as important to the story as anything else.

Perhaps most striking is the sheer diversity of the twenty stories in this collection. That diversity is echoed in the title, Naked City, which recalls the documentary/crime photography of Weegee, a crime movie, and a spin-off TV series, which had the catchphrase, ‘There are eight million stories in the naked city, this has been one of them.’ Here we have detective stories, supernatural romance, vampires, soft science fiction, possible steampunk, humour, and outright horror. There is traditional fantasy and there are one or two offbeat stories that refuse to be categorized. There are historical settings and contemporary settings in cities that include London, Berlin, Haifa, and, of course, New York, while other stories are set in cities entirely of the imagination. 

Several are set in existing fictional universes. Of these, I had previously read only Ellen Kushner’s Swordpoint (the novel behind her contribution, ‘The Duke of Riverside’). So this volume gave me a welcome introduction to several new novels and in one or two cases new novelists, notably Jim Butcher and Melissa Marr.

With contributions from the likes of Pat Cadigan, Lucius Shephard, Lavie Tidhar, John Crowley, and Naomi Novik, there are many gems in this collection, but my personal favourite was, undoubtedly, ‘Oblivion by Calvin Klein’, a striking piece by Christopher Fowler. Set in the department stores of London, this story focuses on the city as the home of consumerism. For the protagonist of the story, shopping has become a drug and compensation for the lack of sexual satisfaction in her marriage. Beneath a veneer of biting wit, Fowler has hidden an uncompromising attack on consumerist values. But, for me, the real highlight of this story is his language, which simply makes it a joy to read.

Inevitably in a collection of such diversity, there were some stories I didn’t enjoy. For example, Peter Beagle’s ‘Underbridge’ is well written, but the protagonist is an unpleasant character who meets an unpleasant (and, once the story is set up, rather predictable) end. Another one that didn’t work for me was Jeffrey Ford’s ‘Daddy Longlegs of the Evening’, which read like straightforward horror rather than dark fantasy. For some reason, the urban setting did not seem particularly important in this story (unless perhaps the possessing spider is to be taken as some kind of metaphor for the dehumanizing effect of the city).

Taken as a whole, Naked City is a fascinating snapshot of the state of urban fantasy in 2011. It should be essential reading whether you are an established fan of urban fantasy or someone who is wondering whether this kind of fiction is for you.

(Originally published in Interzone, no, 237, November–December 2011)

The Urban Fantasy Anthology

A review of The Urban Fantasy Anthology, edited by Peter S. Beagle and Joe R. Lansdale (Tachyon Publications, 2011)

It’s raw, it’s vibrant, it’s undeniably popular, but just what is urban fantasy? The editors of this anthology from Tachyon attempt to define the genre by offering us twenty short stories they regard as typical. These stories have been subdivided into three categories: mythic fiction, paranormal romance, and noir fantasy. By way of introduction, Peter Beagle offers a useful critical overview of the book as a whole, while Charles de Lint, Paula Guran, and Joe Lansdale do the same for each of the three subdivisions.

Mythic fiction is the oldest and best established of the three types of urban fantasy. However, as Charles de Lint points out, the term was originally chosen by him and Terri Windling precisely to avoid describing what they were writing as ‘urban fantasy’. It is probably the most easily definable of the three categories. Essentially, mythic fiction refers to any story that takes traditional fantasy tropes and/or mythic elements and places them in a (sometimes loosely) contemporary setting. In this collection, the category is illustrated by stories from Emma Bull, Charles de Lint, Neil Gaiman, Jeffrey Ford, and Peter Beagle. All the stories chosen to represent mythic fiction are excellent reads, but the Jeffrey Ford offering (‘On the Road to New Egypt’) seems rather out of place in this company: there is a surrealism about it that to my mind makes it more akin to the category described here as ‘noir fantasy’.

The term ‘paranormal romance’ immediately put me in mind of Buffy the Vampire Slayer, the Twilight saga, and Laurell Hamilton’s Anita Blake novels. Paula Guran’s take on the category certainly overlaps with those works, but she puts more emphasis on ‘kickassitude’ and detective-style plots than on any element of romance. The stories chosen to represent this category are by Charles de Lint (again), Kelley Armstrong, Norman Partridge, Carrie Vaughn, Patricia Briggs, Bruce McAllister, Suzy McKee Charnas, and Francesca Lia Block. Again it is a strong selection of stories. My particular favourite was Patricia Briggs’s ‘Seeing Eye’, perhaps because I have a soft spot for paranormal detective stories.

Finally, Joe Lansdale introduces what in their wisdom the editors have decided to call noir fantasy. I think this is a misnomer because, to my mind, it suggests a connection with film noir and hardboiled crime fiction; it leads me to expect a cynical take on the world, a morally ambiguous (possibly darkly humorous) central character, and possibly an erotic dimension that is not constrained by (or at least is in tension with) conventional attitudes. In fact, the term ‘noir fantasy’ leads me to expect precisely what Paula Guran highlighted about ‘paranormal romance’. However, for Joe Lansdale it clearly means (urban) fantasy with a strong component of horror and/or surrealism. The stories presented here as ‘noir fantasy’ are a disparate collection by Thomas Disch, Susan Palwick, Holly Black, Steven Boyett, Joe Lansdale, Tim Powers, and Al Sarrantonio. They are all twisted, dark and surreal . . . but noir? Of these, I found Susan Pawlick’s ‘Gestella’ (a werewolf betrayed by her human lover) and Steven Boyett’s ‘Talking Back to the Moon’ (ex-werewolf and centaur on a road journey in a post-apocalyptic California) particularly memorable.

The sheer diversity of stories anthologized here does a good job of highlighting the breadth of contemporary urban fantasy. I am less convinced by the editors’ attempts to classify the stories. But more important is the fact that they have brought together an excellent collection of stories that showcases the best of urban fantasy writing (however you define it). Definitely a must read!

(Originally reviewed in Interzone, no. 236, September–October 2011)

Creation’s Diversity: Voices from Theology and Science

A review of Willem B. Drees, Hubert Meisinger and Taede A. Smedes (eds), Creation’s Diversity: Voices from Theology and Science (London: T&T Clark, 2008)

Creation’s Diversity is a selection of papers from the 2006 ESSSAT meeting in Romania. The title indicates that the editors have chosen them to offer the reader a variety of perspectives on the diversity of creation. After two introductory chapters, the papers are organized into two sections of six chapters each: ‘A Diversity of Visions of Creation’ and ‘Sustaining Creation’s Diversity’.

The first introductory chapter, by Willem Drees, simply offers an overview of the book itself. Its companion piece, by Patriarch Daniel Ciobotea of the Romanian Orthodox Church, is an interesting call for dialogue between science and religion. Unlike many similar calls, this one is rooted in Eastern Orthodoxy and specifically the theology of Dumitru Staniloae (whose work deserves to be much more widely known among Western Christians).

‘A Diversity of Visions’ offers six quite disparate perspectives on creation/nature. First we are offered a Gaian perspective of the biosphere by the feminist theologian Anne Primavesi. While I am sympathetic to the holistic view of the environment she presents, I was disturbed that there was no acknowledgement of the potential for ecofascism in this approach. In contrast to Primavesi’s focus on the history of nature, Regine Kather offers a philosophical exploration of humans as the products of nature, concluding that value is intrinsic to nature. David Goodin offers a fascinating Eastern Orthodox perspective on the Leviathan passages of the Old Testament from which he gleans a timely ecological message about the intrinsic value of creation. With his chapter, Christopher Southgate draws our attention to suffering within the evolutionary process. He revisits the concept of kenosis to suggest how the suffering of creatures might be reconciled with the notion of a benevolent creator. Alfred Kracher explores the popular myth that technology and nature are in opposition. The section ends with an article by Tony Watkins on new cosmologies and sacred stories, which calls for a re-imagining of our relationship with the environment by means of metaphors drawn largely from deep ecology and a new transcultural creation myth based on evolution.

The second section focuses on ‘Sustaining Creation’s Diversity’. Again it consists of six chapters from a variety of perspectives. It begins with Sam Berry objecting to the concept of ‘sustaining diversity’, which appears in much of the current literature to suggest the maintenance of a status quo. He prefers to speak of ‘developing sustainably’. Unfortunately, this concept also has a track record in the literature. Perhaps we should be speaking instead of nurturing diversity. In the next chapter, current threats to biodiversity are picked up and explored in some detail by Jan Boersema. Having been presented with a call to nurture diversity and dire warnings about threatened loss of the same, there follows a short paper in which Chris Wiltsher plays devil’s advocate. He argues, contrary to popular opinion among environmentally minded theologians, that nurturing the diversity of creation is not a clear theological virtue. Peter Kirschenmann explores the more general question of whether there are moral principles that would oblige us to maintain biodiversity. His conclusion is that such ‘sustainable development’ has to be rooted in an ethic of responsibility. Zbigniew Liana shifts the emphasis from biodiversity to cultural diversity. He proposes a Popperian approach to pluralism, which would allow an acceptance of the kind of philosophical and religious diversity apparent in this volume without descending into relativism or scepticism. Finally Dirk Evers draws the book to a close by examining the nurturing of diversity as a theological task in a climate of religious pluralism.

The editors have certainly succeeded in representing the diversity of opinions as to how to relate environmental engagement in the context of religious convictions. The contributors are certainly not of one mind, nor do their papers direct the reader to a particular set of conclusions. But this lack of an overarching argument does have the virtue that the book allows a view into an ongoing discussion. Sadly, there is little evidence of interaction between the chapters. I think the book could have been made more useful by allowing the authors to write short responses to each other’s papers.

My main reservation about the book is that it doesn’t really live up to the title. The emphasis is all on diversity, but judging by the content of these papers most of the authors seem blithely unaware that ‘creation’ is not merely a synonym for ‘nature’. For a book of this kind to ignore the very real theological distinction between the two is a major shortcoming. However, in spite of that reservation, this book remains a useful contribution to the continuing dialogue between theologies and the sciences on environmental issues.

God is great

Robert Jenrick has been making headlines by arguing that anyone shouting ‘Allahu Akbar’ should be immediately arrested. As you can imagine, he has been called out as Islamophobic. Ironically, he is also being anti-Christian by demonizing a phrase that Arabic-speaking Christians might well use at, for example, protests about the conflict in Gaza.

The phrase is not uniquely Islamic. ‘Allah’ is merely the generic term for God in Arabic and is used just as much by Christians as by Muslims. If you don’t believe me, here are some words on the subject from Archbishop Theodosios of Sebastia of the Jerusalem Patriarchate:

‘We Christians also say Allahu Akbar. This is an expression of our understanding that the Creator is great.’

‘Allahu Akbar is an expression of our faith.’

And, in response to a question about whether the term is used in church:

‘Of course. . . . Allah is not an Islamic term. This is a word used in Arabic to indicate the Creator who’s made the world we are living in.

‘We, say glory be to Allah in all times. We say Allah a lot during our liturgy. It’s erroneous to think that the word Allah is only used by Muslims.’

Worldcon 2024

The 82nd World Science Fiction Convention (Worldcon) is taking place at the Scottish Events Campus in Glasgow later this week (its third visit to the city). There will lots going for anyone interested in science fiction and fantasy. In addition to the annual Hugo Awards ceremony, there will be the usual big setpiece events (this year including the premiere of an opera based on a libretto by Ken MacLeod), book signings, readings, and literally hundreds of panels and workshops (the online schedule lists no fewer than 961 items!).

I plan to be there, of course, and (if I have the energy) may manage 16 of those items. Top of my list will be the launch party for Gallus (a new collection of short stories by members of the Glasgow SF Writers’ Circle). But I am also particularly looking forward to a couple of panel discussions about the place of faith and religion in science fiction and fantasy.

If you are in or around Glasgow and have an interest in SF or fantasy, it’s not too late to register (or you can just turn up and register as a day visitor). Come to think of it, you don’t even have to be in Glasgow – there will also be an extensive programme of online events.

Orthodox parish of Vézelay, France: an appeal

An acquaintance of mine, Fr Stephen Headley, is rector of the Orthodox parish of St Germain and St Étienne in Vézelay. So, as you can imagine, I took note last week when I saw on orthodoxie.com that the parish is appealing for funds to assist with urgent repairs.

Their building, known as the Romanesque House, is located on a small alleyway near the basilica. As the name suggests, it is an example of Romanesque civil architecture and one of the oldest houses in Vézelay. Sadly, the building’s southern buttress and a connecting retaining wall are in very poor condition and now threaten the integrity of the building as a whole.

The parish has launched a campaign in conjunction with the Fondation du Patrimoine to raise €30,000 in order to pay for these essential repairs. If you feel moved to contribute, you can do so on the website of the Fondation du Patrimoine.

The self-betrayal of evil

Some wise words from John McGuckin:

The face of evil is urbane and habitually masks itself in the present aeon of world history. It can even seek to mimic the good, and tries to fool even the elect, if such a thing were possible. Evil always betrays itself, however, for the simulation of the good is difficult for it, and its innate characteristics of agitation, spitefulness, lies, and hostility to what constitutes the peaceful good of others cannot help showing themselves at critical junctures. (The Orthodox Church, p. 234)

Agitation, spitefulness, lies, hostility to the peaceful good of others – a good summary of the attitude of the authoritarians, populists, and (crypto-)fascists who currently afflict the body politic.