Category: Writing

My Friends Write Things

Fiction

  • I Can See Right Through You” – Stop whatever you’re doing now, because Kelly Link has a new story out in McSweeeny’s. This one’s about celebrity, old relationships, and ghost stories. But you didn’t need to know that. All you needed to know is that there’s a new story to read by Kelly Link. That’s all anyone ever needs to know.

Nonfiction

  • The Abyss” – More from Rebekah Frumkin, this time writing for Granta about her experience working as seasonal labor in a haunted house. Also, have you been keeping up with her column in McSweeney’s? You should be! The latest installment, “I Flew Over the Cuckoo’s Nest,” is about her stint in a psychiatric ward in 2013.
  • Double Dare: Point Horror” – A new column from Meghan McCarron and Alice Sola Kim, in which they assign each other reading to review. In this first column they revisit a couple volumes of a classic tweenage horror series.
  • Checklist” – Genevieve Valentine with a caustic and heartbreaking and infuriating piece about the pressures brought to bear on rape victims.
  • Going Aboard” – Ben Shattuck took a trip on a recreation of a ship much like the one in Moby-Dick, and wrote about how time has altered the experience.
  • Tasers, Drones, and Cold Chicken: Inside the Multibillion-Dollar Business of Keeping Me Out of America” – Jose Orduna visits a border security expo and writes about it with powerful, deserved rage.

Poetry

Read My Clever Friends

I have many of them, and they just keep on writing things you should read. Also I’m instituting an new tag, My Friends Write Things, to link all these posts together. I’ve propagated it back through my archives, so clicking that will lead you to a trove of work from my most-loved people.

Fiction

  • The Husband Stitch” – Carmen Machado, one of the best fantasists writing today, in Granta with a gorgeous story inspired by Scary Stories to Tell in the Dark.
  • Mothers” – Carmen Machado again, because she is a force of nature. This time in Interfictions, with a story about two women in a broken relationship who make a baby. Carmen has put personal experience at the service of fiction with astonishing force and efficacy. You can read a little about the writing of this story on her blog.
  • Becoming” – Anna Noyes in Guernica with a story from the point of view of a chimpanzee being raised as a human. I was lucky enough to see an early draft of this memorable story in workshop, and am thrilled it’s found a home.
  • Quality of Descent” – Megan Kurashige in Lightspeed with a story about a man meeting a woman who definitely has wings, and may or may not be able to fly.
  • Ideal Head of a Woman” – Kelly Luce in Midnight Breakfast with a story about a museum employee who has an unusual relationship with a piece of sculpture.

Nonfiction

  • The Gospel of Paul” – Ariel Lewiton writing in the LA Review of Books with a profile of bookseller and new author Paul Ingram. In addition to being a gorgeous portrait of a fascinating man, this is also the best record of the culture of Iowa City that I’ve read.
  • Did Eastern Germany Experience an Economic Miracle?” – Ben Mauk writing in the New Yorker about regional economic variations in Germany 25 years after the fall of the Berlin Wall.
  • Freedom to Fuck Up” – Thessaly La Force interviewing Merritt Tierce about her novel Love Me Back, discussing pregnancy, abortion, and sex in fiction.
  • Reconciliation” – Monica Byrne on the need for reconciliation between the United States and Iran, and how that can begin with connection between individuals. If you’re an American and her article makes you want to visit Iran yourself, she’s also written a how-to for U.S. citizens on her blog.

Poetry

Recent Writing by Friends of Mine

Nonfiction

Fiction

  • A Dismal Paradise” – Ashley Davidson with a story in Five Chapters that really stayed with me. It’s a gorgeous, subtle look at the complicated boundaries of humanity and infirmity. This is a favorite subject of mine, and Ashley has explored it with memorable grace.
  • We Are The Cloud” – Sam Miller in Lightspeed Magazine, with a science fiction story about the exploitation of orphan children that is, by turns, tender and brutal.
  • The Glass Bottle Trick” – Nalo Hopkinson in Fantasy Magazine with a new take on the Bluebeard story. I overdosed on retold folklore a few years ago and haven’t usually been able to enjoy it since, but perhaps I’ve gotten over it, because I liked this. Bit of a linked variables problem, though; I almost always like Nalo’s work.

Spurs Season Preview at Boxscore Geeks

The fine folks over at Boxscore Geeks were kind enough to let me write what was probably the easiest team preview of the season. The short version: if you liked last year’s team that dominated the Finals and took home their fifth title, good news! They all came back!

One thing worth noting is that, while the text is mine, the table data comes from Arturo Galletti’s player model. He’s apparently calculating things somewhat differently than in years past, and says an explanation post is forthcoming. I look forward to reading it.

Recent Writing by Friends of Mine

Nonfiction

  • “So This Is New York” – Another personal essay by Evan James, on his first trip to New York and how it doomed the relationship it was intended to strengthen. Includes passages such as, “The image of Martha Stewart gliding into the open-plan work area, trailed by a trotting Chow and two French bulldogs, peppering the air with profanity, made me smile. I still dreamed of working in magazines back then, and hoped to say “fuck” a lot in an editorial office of my own one day.” If you haven’t, also check out his previous Observer piece, “From Brooklyn to P-Town for Bear Week.”
  • “Live Nude Girls” – Genevieve Valentine wrote a crucial piece on the relentlessness of modern attacks on women, as evidenced by the recent attacks on women in the games industry and theft of personal pictures of celebrities. No one cuts to the heart of things quite like Genevieve does.
  • “The Next Generation” – Jonathan Gharrie with a personal essay on bonding with his father over Star Trek, and how the different installments mirror aspects of their lives.

Fiction

  • “Mothers, Lock Up Your Daughters Because They Are Terrifying” – Alice Sola Kim’s story in the current issue of Tin House (I have no idea how long it will be available online) about a trio of teenage Korean adoptees and what happens when they try to use magic to connect with the parents who gave them up. Stick-in-your-skull creepy and beautiful, like all of her stories are.
  • “Cimmeria: From the Journal of Imaginary Anthropology” – Theodora Goss with a Borges-inspired story in Lightspeed. I heard her read part of this at ICFA, and was enthralled. Glad it found a home in Lightspeed so I can learn how it ended.

Poetry

Sale: “The New Mother” to Asimov’s Science Fiction Magazine

It’s been a while since my last one of these announcements. Part of that is because I decided to take a break from submitting stories while I was in grad school, so I could focus entirely on being a student of writing. But grad school is well behind me now, and I’ve begun tentatively sending out my work again. Just as I was back in 2009, I’ve been fortunate to find an appreciative reader in Asimov’s editor Sheila Williams.

“The New Mother” was the heart of my masters thesis. It’s a novella about reproductive rights and motherhood in an alternate present where the spread of a new infectious condition throws established notions about them into question. I spent more time on  it than on any other piece of fiction I’ve yet written, taking it through revision after revision as I learned new things at Iowa. It’s been in my head and on my hard drive, in one form or another, for three years now. I’m thrilled that people are finally going to get to read it.

Map of the Rhetorical Relationships Between Genres

The first day’s discussion in my Writing and Reading Science Fiction course always began with the question, “What is science fiction?” I would solicit ideas from the class and write them on the board. The suggestions from the students would always break down into two broad categories: bottom-up, trope-based definitions, and top-down, descriptive definitions. We would talk about the implicit differences between those two approaches, then I would share and discuss historical definitions of science fiction from Damon Knight, Robert Heinlein, Darko Suvin, Ted Chiang, Ursula Le Guin, and Samuel Delany. These I would intentionally order to build towards Delany’s detailed breakdown of science fiction as a rhetorical mode. Finally, I would show the students this:

MapOfGenresSmall

(click to enlarge)

This is based on a model initially proposed by Farah Mendlesohn in her book Rhetorics of Fantasy. The idea to order the genres as a cycle rather than linearly comes from Michael Swanwick. The inclusion of historical fiction and trope-based subgenres are my own contribution.

After drawing this diagram on the board I would explain that, as a writer, it is most useful to think of genres as different rhetorical modes, which is a different way of using the word than that employed by publishers or bookstores. Indeed, when you think of genre as being a rhetorical mode, many of the things that a publisher calls “genres” are actually subgenres, that is, trope-based definitions like many of those written on the board at the start of the conversation. For example, the YA “genre” often has its own section in a bookstore, but in fact the only distinguishing characteristic of YA fiction is the age of the protagonist. Any of these rhetorical modes can exhibit the trope of having a young protagonist, and so “young adult” appears on the diagram as a subgenre within every genre.

I also explained to the class that the boundaries between the genres aren’t firm. I would describe the variables of expectation  and explicability as like two knobs, with “real” at one end of their range and “unreal” at the other. Starting with mimetic fiction, both knobs are turned all the way to “real.” As you move around the diagram you are turning both knobs, until they are both pointing all the way to “unreal” at immersive fantasy. Then, in the step from immersive fantasy to science fiction, you turn the explicability knob back to “real.” (As Mendlesohn puts it, “The more immersive the fantasy, the closer to being science fiction.”) Finally, you start turning the expectation knob back towards “real” and move through historical fiction back to mimetic fiction.

A couple of caveats: though Mendlesohn begins with a linear relationship between the genres of fantasy in her book, she later abandons it for a model in which liminal fantasy is the origin point for all the other modes of fantasy. In that model, liminal fantasy is a central node from which the other fantasy genres branch out. So while I found value in the cyclic model as a pedagogical tool for convincing students to think about genres as rhetorical stances, it doesn’t represent the endpoint of Mendlesohn’s scholarship. Also, the diagram’s treatment of liminal fantasy, a category which Mendlesohn first defined, is rather brutally over-simplified. As I was usually teaching classes on writing science fiction, I allowed myself to hand-wave that aspect of the chart so as not to let an unfamiliar genre distract from my main point. But the one semester when I taught a class on fantasy writing I thought it appropriate to go into the concept of liminal fantasy in much greater detail.

I’m releasing this image under a creative commons license, so anyone who wishes can use it in their classroom.

Creative Commons License
Rhetorical Map of Genres by Eugene Fischer is licensed under a Creative Commons Attribution 4.0 International License.
Based on a work at https://www.eugenefischer.com/wp-content/uploads/2014/06/MapOfGenresSmall.png.

Recent Writing by Friends of Mine

Nonfiction:

Fiction:

  • “How to Get Back to the Forest” by Sofia Samatar – A visceral SF short story about the industrialization of education and those people who sometimes flash through your life with a bravery you’ll never match.
  • “History” by Thomas Gebremedhin – Thomas was one of a very few of my Iowa contemporaries with whom I never managed to share a workshop. So it was a delight to finally encounter his fiction in this lonely, lyrical little story.
  • “Stethoscope” by Ben Mauk – Ben I had workshop with many times, and this is one of the most memorable stories I’ve read in draft form. Seriously, it has stuck in my head for three years now. This is a long, free excerpt, with the full text available to subscribers to The Sun.

My Last Class as a Professor of Science Fiction

So it came to pass that my time as a professor of science fiction writing for the University of Iowa ended. Today my students had their final workshop of the semester. And, as I’ve done three times before, I sent them into the future with a companion. Here is my last class, robots at the ready.

Writing and Reading Science Fiction, University of Iowa, Spring 2014

Writing and Reading Science Fiction, University of Iowa, Spring 2014

When I arrived at Iowa for graduate school it was with an appointment in the Rhetoric department. At the time it was unclear if I was ever going to get to teach fiction, let alone genre fiction, which had never been a dedicated course here before. But I was fortunate enough my second year to get a fellowship that came with two semesters of Fiction Writing. I did one as a science fiction course and one as a fantasy course, and the response was overwhelmingly positive. So much so that the University accepted my proposal for a science fiction writing class based on the curriculum I’d designed, and the Writers’ Workshop hired me to teach it. It’s been a wonderful, rewarding two years of sharing my passions with engaged and eager students. Even at my lowest during these years I always enjoyed going to teach my classes. I’m ready to move on, but I’m really going to miss doing this.

Fortunately for the students of the University of Iowa, the class isn’t going away. It has been so successful that the Writers’ Workshop is keeping it around for next year. It will be taught by Van Choojitarom, a brilliant science fiction writer and friend, who would have been my own choice to take over for me if I’d had a say. I’ve shared all my materials with him, and know that he’ll bring the same enthusiasm to the course that I did. I also know that he’ll find ways to make it inimitably his own, and that the students will be better off for it.  While many of the specialty writing courses in the catalogue are just jobs for their instructors,  Writing and Reading Science Fiction, for another year at least, will continue to be a labor of love.

It’s a point of great pride that I’ve been able to create something here that will last after I’m gone. I’m very grateful to the Writers’ Workshop and the University of Iowa for believing in me enough to give me the chance to try.

The Bookbinder’s Guide to Destroying the Universe: three views of the magnitude of the Library of Babel

Jorge Luis Borges’ story “The Library of Babel” has long been an obsession of mine. The 1941 short story1 posits a library that contains every possible book-length2 combination of words. It’s probably my second-favorite short story; I think about it all the time and teach it whenever I can. I once even wrote a program to output the digits of 251,312,000, the number of distinct books the Library of Babel contains, which produced a 2Mb text file of mostly zeros. So when my friend Tony Tulathimutte (about whom I’ve written before) asked me to consult on a “Library of Babel”-inspired essay he is writing on the algorithmic generation of literature, I was happy to help. Tony asked:

Even if 251,312,000 is beyond astronomically large, I’m interested in getting as close as possible to a non-theoretical implementation of the Library. Can we work on a Fermi estimate of what it would take to assemble the library? Like, if we distributed the workload to every computer on Earth, or used the world’s fastest supercomputer (China’s Tianhe-2, 33.86 petaflops), or even assembled a Douglas-Adams-style Deep Thought Computational Matrix made of human brains (the human brain runs at an estimated 36.8 petaflops)? Or if Moore’s law holds, at what point would the processing power on Earth suffice to create the Library within the lifespan of the universe.

This is a completely reasonable question, but one that illustrates just how unnatural it is to think about numbers that are “beyond astronomically large.” The number of books in the Library of Babel is so big, no set of adjectives can meaningfully capture its hugeness. After all, things like petaflops or the computational capacity of the human brain are also too big to really conceptualize. So it makes sense that one might treat them all as members in equal standing of the Numbers Too Big To Think About club. But they aren’t. Here are three illustrations of the absurd magnitude of the Library of Babel.

1. Time

First we’ll look at the initial question, how long would it take to generate the Library of Babel? Instead of addressing it the way Tony suggests, though, let’s approach the problem from the opposite direction: what is the fastest it’s possible to imagine generating the Library of Babel?

The Heisenberg uncertainty principle implies that there is a smallest possible size something can be, and a shortest possible time in which something can happen. These minimum quantities are built in to the basic workings of the universe, and are called the Planck units. The Planck time is equal to about 5.391 x 10-44 seconds. It isn’t physically possible for an event to occur in less time than that. Let’s imagine that we have computers capable of generating one Library of Babel Book (LoBB) per unit of Planck time. How many of these computers? Let’s be ambitious: through some impossible alchemy, we will now turn every single atom in the observable universe into a computer capable of generating one LoBB per unit of Planck time.

There are on the order of 1080 atoms in the observable universe. So let’s say we have that many computers… what’s that? Oh, you’re asking, “but what about dark matter?” It’s true. Scientists think there might be five times as much dark matter in the universe as there are atoms. So let’s be generous and bump it up ten times. We’ll say with have 1081 computers, each of which generates one LoBB per unit of Planck time. So, if we have 1081 computers generating about 1043 LoBBs per second, that means we generate 10124 LoBBs every second, 10131 LoBBs per year.

There are 251,312,000 possible LoBBs, which is on the order of 101,834,097. At a rate of 10131 LoBBs per year, it will take 101,833,966 years to finish making the whole Library, or on the order of 10106. Take a quick look at Wikipedia’s timeline of the far future. You’ll notice that the time when we finish making the Library at the fastest imaginable rate would be one of the last items on the list, coming well after the entire universe is a cold, dead, iron cinder.

So the answer to Tony’s question is: never.

2. World Enough

But maybe you noticed that I cheated a little. I said I would consider the fastest it’s possible to imagine generating LoBBs, but calculated based on the fastest it would be physically possible to make them. We can imagine things faster than that, though. We can imagine just snapping our fingers and–poof!–a complete Library of Babel made in an instant. So, why not? Let’s consider that case. We now have the power to instantly assemble a Library of Babel.

Assemble it… out of what? I mean, what are we going to make the literal books out of? Not out of atoms; we already said that there are, generously, 1081 atoms worth of matter in the observable universe. Even if we could somehow encode a LoBB in every atom, we wouldn’t come close to making 10106 of them. Not even if we could make a LoBB out of every subatomic particle.

The universe just doesn’t have enough stuff in it to make the Library of Babel.

3. Vaster Than Empires

So let’s add more stuff. We’ve already given ourselves the power to instantly reconfigure every atom in the universe. Why not give ourself the power to make new matter out of nothing while we’re at it? What happens then?

Turns out, even if we could conjure enough new matter to make the Library of Babel, the universe itself would be too small to hold it.

There’s a weird and fascinating result from black hole physics called the holographic principle, which says that all the information needed to describe a volume of space, down to the minutest quantum detail, only ever takes as much space to encode as the surface area of the volume.3 That is, if you wanted to write down all the information necessary to perfectly describe every detail of what’s inside a room, you would always be able to fit all the information on just the walls. In this way, the entire universe can be thought of as a three dimensional projection of what is, on the level of information, a strictly two dimensional system. Sort of like a hologram, which is 2D but looks 3D, a metaphor from which the principle gets its name.

In any normal region of the universe, the amount of information in a given volume will actually be much less than what you could encode on its surface area. For reasons having to do with thermodynamics that are too complicated to go into here, when you max out the amount of information a volume of space can contain, what you have is a black hole.4 Now, remember those Planck units from the beginning? Length was one of them; there’s a smallest possible size that the laws of nature will let something be, and we can use that length to define a new unit, the Planck area. The most efficient possible encoding of information, per the holographic principle, is one bit per unit of Planck area, which is on the order of 10-70 square meters.

The observable universe has a radius of around 4.4 x 1026 meters. That gives it a surface area on the order of 1053 square meters, which means it can hold 10123 bits of information. That’s just the observable universe though; the whole universe is much, much bigger. We aren’t sure exactly how much bigger, it isn’t observable. But inflationary universe theory, which just got some strong confirming evidence, provides an estimate that the whole universe is 3 x 1023 times larger than the part of the universe we can see. Carry out the same calculations, and the estimated size of the whole universe means that it can contain 10170 bits of information. As for the Library, if you assume that it takes a string of at least six bits to encode one of a set of 25 characters, then the whole Library of Babel would require a number of bits on the order, once again, of 10106. Even if we demiurgic librarians do violate the law of conservation of energy to bring the Library into being, the entire universe would collapse into a black hole long before we finished our project.

So: the Library of Babel is so large that the universe isn’t going to be around long enough to make it. And even if it was, there isn’t enough matter and energy to do it. And even if there was, before that point all of reality as we know it would be destroyed. That is how extreme things can get when you start dealing with “beyond astronomically large” numbers.


  1. There is a version of the story online, but I much prefer the translation by Andrew Hurley in Collected Fictions. 

  2. As described by Borges: 25 symbols, 40 symbols per line, 80 lines per page, 410 pages. 

  3. I’ve previously posted a video to an excellent introduction to the holographic principle. You can find that here

  4. This is because, physically speaking, information is the same thing as entropy.