Paul Di Filippo
Paul Di Filippo
Paul Di Filippois an American science fiction writer. He is a regular reviewer for print magazines Asimov's Science Fiction, The Magazine of Fantasy and Science Fiction, Science Fiction Eye, The New York Review of Science Fiction, Interzone, and Nova Express, as well as online at Science Fiction Weekly. He is a member of the Turkey City Writer's Workshop. Along with Michael Bishop, Di Filippo has published a series of novels under the pseudonym Philip Lawson...
NationalityAmerican
ProfessionWriter
Date of Birth29 October 1954
CountryUnited States of America
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Any debut novel is usually a case of spitting into the wind - or, just maybe, casting your bread upon the waters. Without an established audience in place, first-time authors have to hope for resonant word of mouth and a receptive reviewer or three.
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Blending consensus historical events and personages with imaginary occult forces is a strong recipe for counterfactual storytelling goodness that combines the best of two worlds: resonant history with wild-eyed fantasy.
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Certainly the highest posthumous praise that can be conferred upon any writer is the assertion that his or her writing permanently altered the literary landscape for the better, opening new textual doors and engaging new readers. That the author's oeuvre was essential and irreplaceable and transformative.
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Critics, at least generally, want to regard works of fiction as independent entities, whose virtues and failures must be reckoned apart from the circumstances of their creation, and even apart from the intentions of their creator.
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Everyone can guess what 'Corn Flakes' tastes like, even if you've never had them. But what, pray tell, does 'High School Musical' or 'Spider-Man' cereal possibly taste like? In this late era, we have reached the ultimate deracination between product image and what actually sits on our spoon.
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As many authors have said, if the writer is not surprised by events, then chances are that the reader will not be either, and grow bored.
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That was asking a lot of my readers, I realized, but I was trying to write the novel I would most enjoy decoding.
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What had happened was this. When still young, I had gotten the idea from somewhere that I might be able to write... Maybe the deadly notion came from liking to read so much. Maybe I was in love with the image of being a writer. Whatever. It had been a really bad idea. Because I couldn't write, at least not by the bluntly and frequently expressed standards of anyone in a position to offer any encouragement and feedback.
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The emotional tone or affect of the tale should be hot and engaged, not remote and dispassionate.
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Immensely clever and libidinously hilarious.The most astonishing thing about Love in a Dead Language is its ingenious construction. Insofar as any printed volume can lay claim to being a multimedia work, this book earns that distinction.
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Every new generation of SF writers remakes cyberpunk - a genre often laced with dystopian subtexts - in its own image.
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Thomas Pynchon surely inaugurated or crystallized a new genre in 1963 when he published 'V.' The seriocomic mystery or thriller with one foot set in the present and one in various historical eras received its postmodern baptism from Pynchon.
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War has always been a part of science fiction. Even before the birth of SF as a standalone genre in 1926, speculative novels such as 'The Battle of Dorking' from 1871 showed how SF's trademark 'what if' scenarios could easily encompass warfare.