Guest Post: Heisenberg Compensators

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Today I have a guest post for you, from an amazing writer I’ve been following for a few months. He has a style I can only dream of, and his crazy ideas are the sort I aspire to as well. If you ever wondered about genre, this is the guy to see. Everyone, Zig Zag Claybourne!

Heisenberg Compensators

“Tell me about the Before-Time, DiJonn,” says the waif.

“It was a time of repetitive wonders…” says the old man, eyes focusing on days he’ll never get back. “When only starship captains were allowed emotional arcs, and fans knew precisely at all times what they were buying…”

Low blow? Not too low. Let’s talk genre. Sci fi. Horror. Fantasy. Literary. Comedy. Erotic. What’d we leave out? (Tractor porn is not a genre. Ignore what Skeeter says.) Genre sets up expectations. From sci fi, we don’t expect deeply emotional romance. From horror, we get blindsided by the inclusion of robots (although we already live in a ghost world thanks to AI and “smart” tech). Fantasy? Get that socio-political layering out of my elven shire! We want what we want, and publishing has made sure we get that. Up till now.

Just this year I’ve read a book that features religion, damnation, time travel, horror, and a fair bit of comedy, not as incidentals but as the very fabric of the book; another where a witch and a technogeek have an on-again, off-again relationship that threatens to destroy the world; I wrote one myself (shameless frikking plug) merging science fiction, adventure, literary, satire and fantasy. It’s been described as “Buckaroo Banzai by way of James Baldwin and Blade”, and in my neck of the woods you mention any one of those three, you have my attention.

I freaking adore genre blending.

Frankenstein: gothic horror environmental philosophical treatise. The Bible: horror, sci fi, poetry, adventure, love story. Lucian of Greece’s True History: travel writing, sci fi, satire straight from the second century. Hell, even Peanuts counts as YA Dystopia (a world where even children need psychological counseling on a regular basis, and happiness is sought but never achieved). Creators have been dipping their chocolate into peanut butter since words became the rage. The blending of genre speaks not only to the sophistication of the world but of the reader herself. The Greek myths were huge soap operas against a backdrop of testosterone and estrogen of unimaginable levels. The African Orishas are sci fi, horror, fantasy, and romance all at the same time. There is no story that is a single thing unless we force it to be so. Unfortunately there’ve been lots of forced marriages in publishing. The world may never know how many writers have felt compelled to funnel what could have been grand ideas into narrow loveless couplings. Imagine The Hitchhiker’s Guide to the Galaxy being pitched today.  It’d either be an indie effort or it’d be pared down to being a buddy comedy with a quick, easy payout. Which is sadness.

The argument against blending says readers will be confused, and an author can’t build a following off of confused readers. Let me throw some names out to Google at your discretion: Sam Delany, CSE Cooney, Harlan Ellison, Kurt Vonnegut, Toni Morrison, Ursula Le Guin, Gene Wolfe, Frank Herbert, Julian May, Terry Pratchett. You can build audience by being intriguing, by being daring, and respecting that a reader’s sense of adventure knows no bounds. One of the best novellas I’ve read in years came out via Tor.com in 2015: Kelly Robson’s Waters of Versailles. It’s fantasy, it’s historical, it’s farce, it’s as much about class structures as Les Miz and it’s deeply emotional. I love it. Kelly is one of the best practitioners out there of blending not only genre but realism, and guess what? You’ll be seeing her name for years. We forget that before there was “genre” there was simply good story.

In the beginning was the word, remember? And the word was good?

Are we seeing an upsurge in people wanting their consumables to do more than comfort them? I think we are. There’s enough familiarity in innumerable aspects of life that people can enjoy the challenge of a many-flavored mental meal, and with indie artists experiencing a boom of reach and availability (check out the indie lighthouse-site Narazu.com) the walls of genre aren’t merely crumbling, suckers are vaporizing. Don’t get me wrong, it’s good to have markers. But it’s also good to know that at any moment of your choosing you can screw the map and go off-road. I titled this little blog “Heisenberg Compensators.” Why? If you’re into Star Trek you know that’s a McGuffin they created for their transporter technology to overcome the principle that the position and the velocity of an object cannot both be measured exactly, at the same time, even in theory. In theory we’re not supposed to be able to bounce about on a quantum level and have all kinds of resulting fun.

I give the human brain credit though. We take disparate bits, beam them into our imaginations, and reassemble them as paranormal detectives, mermaid orphans, mystic adventurers, or starship captains quite literally in love with their ships (hello AI-virtual reality world!). Genre-blending is not only fun to write and read, it leaves both the author and audience (wait for it) energized.

Surprised, even. Pleasantly.

Who doesn’t love that?

BIO STUFF

Zig Zag Claybourne (also known as Clarence Young) wishes he’d grown up with the powers of either Gary Mitchell or Charlie X but without the Kirk confrontations. (And anybody not getting that Star Trek reference gets their sci fi cred docked 3 points.) The author of The Brothers Jetstream: Leviathan, Neon Lights, Historical Inaccuracies, By All Our Violent Guides, and In the Quiet Spaces (the last two under C.E. Young), he believes a writer can be like an actor, inhabiting a delightful variety of roles and genres, but his heart belongs to science fiction.

His fiction and essays have appeared in Vex Mosaic, Alt History 101, The Wayne Review, Flashshot, Reverie Journal, Stupefying Stories, The City (a cyberfunk anthology), UnCommon Origins, Extraordinary Rendition: American Writers on Palestine, and Rococoa (sword & soul/steamfunk anthology).

When not writing (or fiddling on Facebook) he loves promoting great art and posing the Great Questions, such as whether or not anybody will ever be funkier than Prince.

Find him on the web at www.WriteonRighton.com

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