Showing posts with label fantasy. Show all posts
Showing posts with label fantasy. Show all posts

Tuesday, February 21, 2017

A look at the poets of the 2017 Rhyslings: Part 1 of 6


We recently closed the nominations for the Rhysling Awards for Poem of the Year for 2017 and now the Science Fiction Poetry Association moves to the epic task of organizing the Rhysling Anthology for our members and the public to read and and review before making their final votes. At least 92 poems were nominated in the short poem category and 60 poems were nominated for the long poem category. 

Our editor, David C. Kopaska Merkel must now do the final review to ensure the nominated poems were indeed published in 2016 and are properly categorized, attributed and we have the permissions to reprint them as necessary for the review of voting membership (who can be found on 6 out of 7 continents). This is no small task.

I am very proud of our members who took the time to find new poems from last year that they really loved, and I already can see why so many of them were chosen. I'm impressed by the diversity of voices and themes reflected in each of these, and I find myself reaffirmed in the tremendous power speculative poetry can have in our lives today to inspire wonder and the imagination, to expand our sense of the possible and to consider what we must remember for the next generations ahead.

So, this series is going to be a rather long post, looking at the profiles of twenty of our nominees at a time, in order to get a sense of them and their journeys, that we all might more fully appreciate what we are reading when the 2017 Rhysling Anthology arrives. So, starting with today's poets, going from left to right:


John C. Mannone
 of Tennessee is one of our distinguished members of the Science Fiction Poetry Association. This year he was nominated for his short poem “Stellar Quake” featured in The New England Journal of Medicine 375:1305 and also  “Adam’s Rendezvous with Dante” in the Last Darn Rites Anthology (Whitesboro Writers, 2016.) What follows is only a fraction of his amazing literary contributions, and I've been honored to work with him in a variety of capacities in the SFPA.

He has over 500 works in venues such as Drunk Monkeys, New England Journal of Medicine, Inscape Literary Journal, Windhover, Artemis, Southern Poetry Anthology (NC), Still: The Journal, Town Creek Poetry, Negative Capability, Tupelo Press, Baltimore Review, Pedestal, Event Horizon Magazine, Syzygy Journal and others. Author of two literary poetry collections—Apocalypse (Alban Lake Publishing) and Disabled Monsters (The Linnet’s Wing’s Press) He is an active member of both the Chattanooga Writers’ Guild (President-elect 2016/2017) and the Knoxville Writers’ Guild.

Outside literary circles, he is a professor of physics and a nuclear consultant. He is active in astronomy outreach and research, he served as a NASA/JPL Solar System Ambassador for the Great State of Tennessee (2008-2014).He is noted for using poetry in the astronomy classroom and is often an invited speaker to astronomy-related events. He had served as senior editor for the Journal of the Society of Amateur Radio Astronomy (2006-2011).


Ace G. Pilkington has published over one hundred poems, articles, reviews, and short stories in five countries and more than sixty publications. He was nominated for his poem“Orpheus," which appeared in the June 2016 issue of The Horror Zine.  Ace is an active member of the Science Fiction Writers of America, and his poetry has appeared, among many other places, in The Christian Science Monitor, America, Poetry Wales, and Asimov's Science Fiction Magazine. He is Professor of English and History at Dixie State University and Literary Seminar director at the Utah Shakespearean Festival Most recently Ace and Olga have lectured together on International Shakespeare and also on The End of the Soviet Union and the Rise of the New Russia. Ace’s play Our Lady Guenevere was first produced in 1997 in the Utah Shakespearean Festival's New Plays series. He has an M.A in modern drama from Utah State University; an M.Litt. in English Renaissance drama from Middlebury College in Vermont; and a D.Phil. in Shakespeare, history, and film from Oxford University.

Ken Poyner is a member of the SFPA and the author of Constant Animals, and his latest collections of poetry—Victims of a Failed Civics and The Book of Robot—can be obtained from Barking Moose Press, Amazon, or Sundial Books.

He often serves as strange, bewildering eye-candy at his wife’s power-lifting affairs. His poetry of late has been sunning in Analog, Asimov’s, Poet Lore, The Kentucky Review; and his fiction has yowled in Spank the Carp, Red Truck, Café Irreal, and Bellows American Review. 

This year he was nominated for his poems “Adolescence” in Star*Line 39.4, “The Robot by the Fireplace” in Eye to the Telescope 20 and “At Issue, the Miramo” in Dreams and Nightmares 103.



Shannon Connor Winward  is the author of the Elgin-award winning chapbook Undoing Winter and a two-time runner up for the Delaware Division of the Arts Fellowship in literature. Her work has appeared in (or is forthcoming from) Fantasy and Science Fiction, Analog, The Pedestal Magazine, Monarch Review, Literary Mama, Star*Line and elsewhere. In between writing, parenting, and other madness, Shannon is also an officer for the Science Fiction Poetry Association, a poetry editor for Devilfish Review, and founding editor of the Riddled with Arrows Literary Journal. She was nominated this year for “Terran Mythology”in  Analog Science Fiction and Fact, October 2016, and “Thirteen Ways to See a Ghost,” a winner of the 2016 SFPA Poetry Contest.


Jane Williams was nominated for  “The Memory Machines”which appeared in The Pedestal Magazine 79.  Jane Williams was born in England and lives in Tasmania, Australia with her partner Ralph Wessman. Since the early 1990s her poems have been published in most major Australian literary journals and newspapers, in periodicals and online in countries including Ireland, USA, Canada, England, Japan, Sweden and India. Her first collection Outside Temple Boundaries won the Fellowship of Australian Writers Anne Elder Award in 1998. In 2005 she was awarded the D.J. O’Hearn Memorial Fellowship and the Bruce Dawe Prize for poems in her manuscript The Last Tourist which was published by Five Islands Press in 2006.

 A selection of her poetry Some Towns and other poems was published as a chap book by Picaro Press in 2007. In 2008 her third book Begging the Question was published by Ginninderra Press. City of Possibilities was published by Interactive Press in 2011 and received an Australian Council grant to fund an Australian reading tour. Her most recent book is Days Like These – selected and new poems 1998-2013 published by Interactive Press.

She has read her poetry at reading venues and festivals around Australia and in Ireland, England, USA, Canada, Czech Republic, Malaysia, and Slovakia. She has an MA in Creative Writing from Canberra University.


Sarah Ann Winn was nominated for her poem “Best of” which appeared in the Found Poetry Review: Bowietry.  She lives in Fairfax Virginia. Her touching and imaginative work has appeared or will appear in Bayou Magazine, Cider Press Review, Day One, RHINO, and Massachusetts Review, among others. Her work has previously been nominated for a Pushcart Prize and Best of the Net, and she was awarded the Gabriela Mistral Poetry Prize, and Ariadne’s Thread Poetry Prize. Her chapbook, Portage, was released by Sundress in February 2015.


Jeremy Paden was nominated for “Song of the Encantado”in Apex Magazine 83. He was born in Milan, Italy and raised in Central America and the Caribbean. He received his PhD in Latin American literature at Emory University and is an Associate Professor of Spanish at Transylvania University and also on faculty in Spalding’s low-residency MFA, where he teaches literary translation. He is the author of two chapbooks: Broken Tulips (Accents Press, 2013) and Delicate Matters (Winged City Press, 2016). The latter collection is comprised of translations. His poems and translations have appeared in such journals as Adirondack Review, Asymptote Journal, Beloit Poetry Journal, California Quarterly, Cortland Review, Drunken Boat, Hampden-Sydney Review, Louisville Review, Rattle, and Words without Borders, to name a few. He is a member of the Affrilachian Poets and resides in Lexington, Kentucky.


“Werewolf” is a Rhysling-nominated poem by  K.A. Opperman that first appeared in Spectral Realms 4 and he was also nominated for “Invocation of Diana,” which appeared in Eternal Haunted Summer, Summer, 2016.  Opperman is a young poet living in California. His verse has appeared in Weird Fiction Review  and other venues, and he has been steadily making a name for himself applying many formal forms including the sonnet, quatrain, and rhyming couplet. Ann K. Schwader remarked on his debut book, saying “The California Romantic tradition lives on in this ambitious and varied collection. Whether questing for the Crimson Tome through an extended sonnet sequence, celebrating the heights – and hideous depths -- of romantic attraction, lingering in October shadows, or traversing lost Atlantis, these poems are surefooted and unabashedly exotic.” With influences such as Clark Ashton Smith and H.P. Lovecraft, I think it will be quite interesting to see where he takes his work in the future


John Reinhart  is nothing if not prolific among our member at the Science Fiction Poetry Association. This year he has two Rhysling nominations:“Exotic Heads Trimmed Neatly” which appeared in Eye to the Telescope 21 and “The Butterflies of Traxl IV” in The Pedestal Magazine 79. 

He supposedly lives on a farmlette in Colorado with his wife and children. He is a Frequent Contributor at the Songs of Eretz, editor at Poetry Nook, and was awarded the 2016 Horror Writers Association Dark Poetry Scholarship. The author of encircled from Prolific Press, he has three more books due out in 2017.


Terrie Leigh Relf is a lifetime member of the SFPA, an active member of HWA, and is fast at work on her new novel, Walks-with-Two-Spirits. “This year she was nominated for The Old Ones gather” which appeared in Scifaikuest in May, 2016.   

She has over 1,000 publishing credits that include non-fiction, fiction, and poetry. Her articles and columns have appeared in local San Diego publications such as The Peninsula Beacon (and other San Diego Community Newsgroup publications), the OBRag, The Espresso, San Diego Writer’s Monthly, and Vision Magazine. 

Her genre work has appeared in a variety of print and online publications, including several anthologies and collaborative projects such as Confessions: A Nightmare in Five Acts, edited by Joshua Gage, and On the Brink of Never: An Anthology of Apocalyptic Poetry, edited by David C. Kopaska-Merkel.  

She is the author and/or co-author of  Lap Danced by The Muse; My Friend, the Poet, and Other Poems About People I Think I Know; Jupiter’s Eye ;The Ice Queen ;The Poet’s Workshop – and Beyond; The Blood Journey Saga, Book I: Blood Journey co-authored with Henry Lewis Sanders The Blood Journey Saga, Book II: The Ancient One, co-authored with Henry Lewis Sanders The Waters of Nyr; Letting Out The Demons ;The Intergalactic Cookbook with Marge Simon and Sandy DeLuca An Untoward Bliss of Moons; Search for a Kinder Muse with art by Marcia Borell Networking Tips for Writers: Envisioning Success; and The Wolves of Glastonbury, co-authored with Edward Cox. 

And she shows no signs of slowing down. 


Kathleen A. Lawrence has had poems appear in the HIV Here and Now 2016 poem-a-day countdown, two Prince memorial anthologies, Crow Hollow 19, Altered Reality Magazine, The Nancy Drew Anthology, and the SFPA website. A colorful voice in the world of speculative poetry, Kathleen was born in Rochester—home of the Garbage Plate, Kodachrome, and Cab Calloway—and spent most of her youth in a plaid jumper. 

 She left briefly to get a Ph.D., then returned to Central NY in 1992, where she has been an educator for 30 years – teaching Communication, Popular Culture, and Gender Studies at SUNY Cortland.Her poem “Even Friendly Ghosts Can be Scary When You’re 7” won 3rd place in the Short division of the 2016 SFPA contest. This year she was nominated for a Rhysling for “Dorothy Delivered” in Altered Reality Magazine 1.


B.J. Lee has been many things throughout her life including a librarian at The Boston Conservatory, a piano teacher and, more recently, a jazz vocalist. But she has always written. Now she is able to pursue her first love, writing, full-time. She holds a Masters degree in Library and Information Science from Simmons College in Boston. She plays classical piano and African drums. She now lives in Florida with her husband and their toy poodles, Clementine, JoJo, and Lulu. She was nominated for “Riding the Dark” which appeared in Frostfire Worlds in February, 2016.


Daniel R. Jones poem “The woman on the bus encounters time dilation” was nominated for a Rhysling this year after its appearance in Altered Reality Magazine. He is a writer from Indianapolis, IN, and is currently an MFA candidate at Lindenwood University. He’s had work published or has work forthcoming in Parody Poetry, Aphelion, Eye to the Telescope, the South Bend Tribune, In the Bend, Spill Words Press, Time of Singing, and he won an award for best poem in the 2013 edition of Bethel College’s Crossings. He also served as an editorial assistant for the most recent edition of the Lindenwood Review.


Greer Woodward writes short fiction, poetry, lyrics, and plays. This year she was nominated for a Rhysling for *For Quick Sale*” in Lupine Lunes, ed. Lester Smith (Popcorn Press).

For young audiences, her work includes the participation play Don't Sleep Under the Mapou Tree!, lyrics and scenario for the Looking Glass Theatre's production of Jonnycake/Gaspee, and lyrics and co-book for Theatreworks/USA's Sherlock Holmes and the Red-Headed League. For general audiences, she contributed lyrics to choral pieces, commercials, and the Off-Broadway musical revues Pets! and That's Life!, Outer Critics Circle Award nominee for Best Off-Broadway musical. Her genre fiction and poetry is in Twisted Cat Tales, Aoife's Kiss, Scherehezade's Bequest, Shelter of Daylight, Star*Line, and others,. She was an Associate Editor for the anthology series Sybil's Garage.

She's a graduate of Clarion West, one of the founders of the New York City writing group Altered Fluid, and a member of the Writers Support Group at Tutu's House on Hawaii's Big Island.


Alessandro Manzetti is one of our inspiring members of the Science Fiction Poetry Association in Italy, and also a member of the Horror Writers Association. In recent years he's been collaborating frequently with SFPA Grand Master Bruce Boston, including their recent book together, Sacrificial Nights. He's a Bram Stoker Award-winning author, editor, and translator of horror fiction and dark poetry. His work has been published extensively in Italian, including novels, short and long fiction, poetry, essays, and collections. He is the owner and editor-in-chief of Independent Legions Publishing, and an active member, Italy representative, and member of the Board of Trustees of the Horror Writers Association.

As a poet, his work includes the collections Eden Underground, Venus Intervention (co-written with Corrine de Winter). His stories and poems have appeared in Italian, USA, and UK magazines, such as Dark Moon Digest, The Horror Zine, Disturbed Digest, Illumen, Devolution Z, Recompose, Polu Texni, and anthologies, such as Bones III, Rhysling Anthology (2015 and 2016), HWA Poetry Showcase Vol. III, The Beauty of Death, Best Hardcore Horror of the Year Vol. 2, Mar Dulce, I Sogni del Diavolo, Danze Eretiche Vol. 2, Il Buio Dentro, and many others.

 His dark poetry collection Eden Underground won the Bram Stoker Award 2015 and was nominated for the Elgin Award 2016. His dark poetry collection Venus Intervention (co-written with Corrine de Winter) was nominated for the Bram Stoker Award 2014 and the Elgin Award 2015. His collection Sacrificial Nights (co-written with Bruce Boston) was nominated for the Elgin Award 2017. Since 2015, his poems have been consistently nominated for Rhysling Awards. This year he has been nominated for “The Great Unknown” with Bruce Boston, which appeared in Illumen in Spring, 2016, He and Bruce Boston were also nominated for “Legend of the Albino Pythons and the Bloody Child” which first appeared in Polu Texni 18, April, 2016.


Wendy Rathbone
has had dozens of stories published in anthologies such as: Hot Blood, Writers of the Future (second place,) Bending the Landscape, Mutation Nation, A Darke Phantastique, and more. Over 500 of her poems have been published in various anthologies and magazines. She won first place in the Anamnesis Press poetry chapbook contest with her book "Scrying the River Styx." Her poems have been nominated for the Science Fiction Poetry Association's Rhysling award at least a dozen times.

Her recent books include: Lace, book 1 in the vampire fairy series, m/m romance. Scoundrel, science fiction m/m romance novel. "Beneath the Blue Dusk and the Sea," short story collection. and  "Turn Left at November," a brand new collection of poems. This year she was nominated for “Build a Rocketship Contest: Alternative Class A Instructions and Suggestions” which appeared in Asimov's SF January, 2016 issue and “We Shall Meet in the Star-Spackled Ruins” which was a winner of the 2016 SFPA Poetry Contest.


Karen J. Weyant is the author of the chapbooks Wearing Heels in the Rust Belt (Main Street Rag, 2012) and Stealing Dust (Finishing Line Press, 2009). Her poems have been published in 5 AM, Cave Wall, Cold Mountain Review, Copper Nickel, Flyway, Harpur Palate, Poetry East, Spillway and RiverStyx. She has received a New York Foundation for the Arts poetry fellowship and the SUNY Chancellor’s Award for Excellence in Scholarship and Creative Activities. Weyant lives in Pennsylvania and is assistant professor of English at Jamestown Community College in Jamestown, New York. This year she was nominated for her poem “To the Girl Who Ran Through Crop Circles,” which appeared in Strange Horizons on August 18th.



Deborah Davitt was nominated for two Rhyslings this year, “Storm Miners”which appeared in Blue Monday Review in August, 2016 and “Past Imperfect” which appeared in the Summer issue of Poetry Quarterly. Deborah Davitt was born at an Army hospital in Washington state in 1974, but spent the first twenty-two years of her life in Reno, Nevada. She graduated first in her class from the University of Nevada, Reno, in 1997, and took her BA in English Literature with a strong focus on medieval and Renaissance literature.

In 1999, she received an MA in English from Penn State. Since then, she has taught composition, rhetoric, and technical writing, and created technical documentation on topics ranging from nuclear submarines to NASA’s return to flight to computer hardware and software. She has also written a well-received fanfic called Spirit of Redemption that exposed her to a global audience. She currently lives in Houston, Texas, with her family.

Her poetry has been published in Star*Line, Blue Monday Review's Storytime Challenge, Dreams and Nightmares, Silver Blade, Eye to the Telescope, Poetry Quarterly, The Tanka Journal, Inwood, Indiana, with poems pending publication at many other venues. A short-story of hers, "The Cenotaph," appeared in Intergalactic Medicine Show in Sept. 2016.


John William Sexton is one of my favorite Irish poets of the 20th and 21st century, in addition to being an excellent short-story writer, radio script-writer and children's novelist. He also writes under the pseudonyms of Sex W. Johnston and Jack Brae Curtingstall, because of course. His first poetry collections was The Prince's Brief Career (Cairn Mountain Publishing, Ireland 1996), 21 years ago. 

He followed it up a few years later with Shadows Bloom / Scáthanna Faoi Bhláth (Doghouse Books, Ireland 2004), a book of haiku with Irish translation by Gabriel Rosenstock and Vortex (Doghouse Books, Ireland 2005) Petit Mal (Revival Press, Ireland 2009) as well as The Offspring of the Moon (Salmon Poetry, Ireland 2013), all excellent books I personally recommend. 

He has published short stories in the Irish science fiction journal Albedo One. His short story "On a Planet Similar to Ours, the Virgin Mary Says No" first appeared in Albedo One No. 23 and was reprinted in the 2005 science fiction anthology Emerald Eye: The Best Irish Imaginative Fiction (Aeon Press, Dublin 2005).

His fiction has also appeared in The Stinging Fly, Books Ireland and The Journal of Irish Literature.Sexton's poetry has appeared in Poetry Ireland Review, THE SHOp, Southword, The Stony Thursday Book and The Penny Dreadful Magazine. He's been anthologized in Or Volge L'Anno: At The Year's Turning (Dedalus, Dublin 1998), Poets for the Millennium (Bradshaw Books, Cork 1999), Something Beginning With P (The O'Brien Press, Dublin 2004), In The Criminal's Cabinet (Nth Position, London 2004), Our Shared Japan (Dedalus, Dublin 2007), and The Echoing Years: An Anthology Of Poetry From Canada and Ireland (WIT / SCOP / Sir Wilfred Grenfell College, Ireland and Canada 2007).

Sexton was the Fiction Editor for The Cork Literary Review in 2007 and winner of the the Listowel literary festival Poetry Prize for his poem "The Green Owl."  Also in 2007 he was awarded a Patrick and Katherine Kavanagh Fellowship in Poetry. 

Ten years later, he's still going strong, and was nominated this year for a Rhysling for his poems “The Bird Prince,” in Faerie Magazine Summer, 2016, and “Sappho and the Woman of Starlight,” which appeared in Eternal Haunted Summer, Winter 2016.

To Be Continued...

Monday, November 23, 2015

Two poems to appear in Uncanny Magazine in 2016

I was delighted today to receive news that two of my newest poems were accepted for Uncanny Magazine in 2016. In the meantime, be sure to check out their latest issue, which has some wonderful work in it, including new poems by Mari Ness, Sonya Taaffe, and Lisa M. Bradley!

For those of you who are curious, yes, these poems fall firmly in my ongoing Laomagination series. They'll involve some very familiar figures if you've been following my work since DEMONSTRA, but I'd like to think it's also not essential for you to be that familiar with Lao American and Asian mythology and folklore.

The rest will just have to be a surprise until it's published!

Thursday, January 30, 2014

Vietnamese science fiction and literary realism


In 2008, there was an interesting interview in the Vietnamese news with one of their leading science fiction writers, Vu Kim Dung.

One of the striking quotes to me from his interview was his idea that "to write science fiction, an author has to love both the social and natural sciences and be a skillful writer. Moreover, you should have a deep knowledge of social issues. As a writer, an imaginative mind is necessary to create interesting work. First begin writing short stories, then try with novels. You must combine scientific knowledge and literary skill."

I also found it interesting how he made an effort to have science fiction regarded seriously, when he remarked:
"Writing science fiction doesn’t mean basing stories on imagination alone. I have to study science and find scientific evidence. Then I work as a normal writer, finding context and making the stories interesting.

On the other hand, a writer must be creative and predict the future. That’s the big difficulty. The writer’s role is to create what hasn’t been invented. Writing on what already exists creates a story without value."
While I respect his position, I think that remains a key part of the difference between certain Asian nations' traditions and American speculative literature. This question of creating stories with value.

Certainly, there's a good deal of American speculative literature written with grand purpose and themes that make a comment on the human condition or seek to build a genuine love of the sciences, but there's also a great body of work that is is created without ulterior motive and grand purpose. Art that is indifferent to its value. That should be something of interest to us, this purity of effort where one has no illusions, no pretensions that what is written will change the face of arts and letters forever, yet one still creates.


I think many writers undermine their texts by trying to create something with 'worth' that ultimately goes into the dustbins of literary history because they become too much a product of their time.  There are some who succeed, but I think art can be extremely interesting when it can accommodate the truly unanticipated.

Vu Kim Dung's position on what science fiction and writers in general must do is something I'm taking note of: "The writer's role is to create what hasn't been invented," because it brings to mind, for me, Marx's classic assertion that "philosophers have only interpreted the world in various ways, the point is to change it".  I would hope that many officials within Marxist-inspired systems can appreciate this and give their speculative fiction writers the latitude to explore and to be ambitious, because good speculative literature does not have to be in contradiction with their value systems, but it will also thrive when it's given broad latitude to imagine.

Monday, January 27, 2014

[Art] My Head II by Anousa Phommeuang


Anousa Phommeuang's "My Head II" which would sell for 1,500 euros. He's a graduate from the Fine Arts School in Vientiane based in Luang Prabang these days. According to his bio, his work has reportedly been "featured in exhibitions in Thailand, Singapore and other countries in SE-Asia," although more specific details than this were not readily available. Of his pieces available online, I consider this one his best. It is rough, but  it's his most imaginative with a competent composition. Like many of the Lao artists in Laos, he is heavily influenced by the cubism, surrealism, and expressionism forms that are still popular among the teachers and students there.

When we see the broader range of his pieces available, we see primarily traditional depictions of Lao women, particularly Lao women minorities especially common to the Fine Arts School in Vientiane. Within that range, several of his pieces are whimsical, others do a fine enough job paying homage to Picasso. But I find only his "My Head" series and "Circle of Life" (below) really step out into the individual and personal expression we would normally applaud in our culture.



"My Head II" in particular captures my attention because of the way it suggests a hierarchy of thoughts and interaction with the community. We see the fantastic and monstrous beast, monks approaching him, the women, and the others near his different sensory organs. It's a fun, imaginative visualization. I only hope one day we might see more pieces like this and that he has the opportunity to present really daring work that surpasses our expectations.

Tuesday, October 08, 2013

[Lao Classic Legends] Horse-Face Keo

Over at the archives in Northern Illinois University they have a number of very rough translations of Lao classic folktales there. Among them is Kaew Na Ma, although I prefer the spelling Keo Na Ma, or Horse-Face Keo.  You can find iterations in Khmer, Thai and many other Southeast Asian storytelling traditions. This should NOT be confused with the North Korean song of the Excellent Horse-Like Lady.

Horse-Faced Keo raises some great questions about bravery, valor, and beauty in Lao culture. I particularly like the aspect that her end goal isn't to stop having her 'horse-faced' form. When a Lao woman pregnant with triplets can defeat a demon army, that's worth a look. She's also a weather forecaster: Able to predict the weather, but not apparently able to change it.

Often, this legend is played for comedy in other cultures. I think it would be interesting to see the subject addressed through the lens of high fantasy, and even horror, considering the prominence of demon armies in this case.

The NIU translation of the story goes three generations to her grandchildren, so there's room for further adventures, and if you read it all of the way, I think you can see there's plenty of room for side-adventures as well.

There's dispute over whether it's a fully 'Lao' story, but I would argue it's been a part of our tradition for long enough that we should still embrace it and build upon it as only Lao writers and artists can. It begins like so:
"King Phuwadon and Queen Nantha of Mithila City had a handsome son named Pinthong. At about the same time, an old couple who lived outside of the capital city had a daughter who looked like a horse. She was called Kaew Na Ma or Horse-faced Kaew. When this girl grew up, she was able to forecast the weather. Her parents and her neighbors loved her in spite of her unattractive appearance...”

Saturday, July 13, 2013

Long Hidden call for Speculative Fiction due July 31st.

Long Hidden has issued a call for speculative fiction set between 1400-1920 C.E. with protagonists marginalized in their time & place. Due July 31. The pay is 5 cents/word. This one has a lot of potential and I strongly encourage you to submit material.

Lao Steampunk: 19th century historical figures to incorporate?

We've discussed a number of interesting alternate history scenarios as they might be seen from a Lao perspective in the past. For writers interested in taking the matter on, here are a few additional figures who might plausibly find themselves in Laos or involved with Lao affairs in a world driven by steam-powered technology, presuming much of the world followed its traditional development in terms of discoveries and intellectual progress.

Hong Xiuquan was a  Hakka Chinese who led the Taiping Rebellion against the Qing Dynasty. Among his accomplishments, he established the Taiping Heavenly Kingdom in much of southern China. He declared himself the "Heavenly King" and brother of Jesus Christ and went about destroying Buddhist and Confucian statues and relics. He ordered the forging of two giant "demons-slaying" swords, approximately 3 feet in length to symbolize his desire to purge China of Confucian influence. His key rebellion takes place from 1850 to 1864. We can see some interesting scenarios emerge if Hong Xiuquan decided to spread his influence further south into the realms of Luang Prabang, Vientiane and Champassak at the time, and where that might have come into conflict with local cultural beliefs.

José Protasio Rizal Mercado y Alonso Realonda, the Filipino nationalist and reformist. Rizal is often noted as a polymath who practiced medicine and was fluent in 22 languages. He was a painter, illustrator and sculptor with literary talents as poet, essayist, and novelist. How might he have interacted with the Lao if he traveled beyond the Phillipines?

Maharaja Ranjit Singh, the founder of the Sikh Empire. Many have noted that the Sikhs allowed men from many religions other than their own to rise to commanding positions of authority. How might figures under his reign have interacted and exchanged ideas with Lao thinkers and diplomats? He had at least four mercenary generals from Europe: Jean-François Allard and Claude August Court from France, and the italians Jean-Baptiste Ventura and Paolo Di Avitabile. Americans also served under him including Josiah Harlan and Alexander Gardner. So it's not impossible Lao and others might have found their way into his service in an alternate history scenario.

Jack the Ripper, who some have considered possibly to have been a sailor or to have escaped abroad, is typically theorized to have fled to the Americas. But what if that's wrong, and he made it to Laos instead, where he was free to mingle around with no one the wiser, his grisly murders perhaps attributed to a weretiger or some other malign spirit. Or perhaps he was a weretiger on holiday all along...

Sunday, October 21, 2012

Alternate Lao History

It's been a little while since we've done a discussion on Steampunk, alternate history and secret history especially from a Lao perspective. There are some perennial questions about the value of creating alternate histories when the real histories as seen from the perspectives of those who lived it are so hard to find to begin with.

So, if I tell you that in 2488, the Lao perfected a six-legged chicken but got bought out by a visiting Colonel Sanders who was serving in an advisory capacity for a foreign agricultural aid program with Pearl Buck, do I as a fiction writer need to feel responsible if someone believes that or spends time trying to debunk the idea?

Or: You haven't read Shakespeare until you've read him in the original Lao. That's always a great tall tale.

How interesting Lao American literature might become if we opted for the "Balderdash" approach to teaching our culture. To present utterly outrageous claims so often that we can only really hold onto our culture by doing enough research to know how and why those claims ARE outrageous.

Given how much the average Lao person knows of their own history right now, a 'straight' telling of our journey certainly hasn't gotten us very far.


In the meantime, here's something that may be of help for emerging Lao writers.

Largely adapted from the Martin Stuart Fox chronology of Lao history, and assuming the standard Asian zodiac, for those of you writing historic Lao fiction and other stories, the following can serve as a helpful guideline to get your chronological bearings.

The first year listed is the Lao year, the second year is the European/American calendar year:

1896: Foundation of Lan Xang by Fa Ngum. 1353, Year of the Snake.

2022: Vietnamese invade Lan Xang. 1479, Year of the Pig.

2091: Xetthathirat briefly unifies kingdom of Lan Xang and Lan Na. 1548, Year of the Monkey.

2103: Capital moved to Viang Chan from Luang Prabang. 1560, Year of the Monkey.

2106 to 2118: Burmese invasions of Lan Xang. 1563-75, Year of the Ox to Year of the Pig.

2181 to 2238: Reign of Surinyavongsa. 1638-95, Year of the Tiger to Year of the Pig.

2184 to 2185: First Europeans reach Viang Chan. 1641-42, Year of the Snake to Year of the Horse.

2250, 2256: Lan Xang splits into 3 kingdoms. 1707 and 1713,  Year of the Pig, Year of the Snake.

2322: All 3 kingdoms become tributaries to Siam. 1779, Year of the Pig.

2369 to 2371: Chao Anouvong’s war of independence.1826-1828, Year of the Dog to Year of the Rat.

2363 to 2383: Earliest Hmong migrations into Laos. 1820-40, Year of the Nak to Year of the Rat.

2404: French explorer Henri Mouhot arrives in Luang Prabang. 1861, Year of the Rooster.

2410: French Mekong Expedition maps rivers through Lao territories. 1867, Year of the Rabbit.

2430: Auguste Pavie, first French vice-consul arrives in Luang Prabang. 1887, Year of the Pig.

2436: French seize Lao territories east of Mekong, ceded by Siam.1893, Year of the Snake.

2442: Administrative reorganization of Laos under Resident Superieur 1899, Year of the Pig.

2444 to 2450: ‘Holy Man Revolt’ in Southern Laos. 1901-07, Year of Ox to Year of the Goat.

2450: Franco-Siamese Treaty establishes modern Lao borders. 1907. Year of the Goat.

2451 to 2453: Leu insurrection in Northern Laos. 1908-10, Year of the Monkey to Year of the Dog.

2457 to 2459. Leu revolt in Luang Namtha and Ho Tai revolt in northeast. 1914-16, Year of the Tiger to Year of the Nak.

2462 to 2465: Hmong insurrection in Northern Laos. 1919-22, Year of the Goat to Year of the Dog.

2466: First session of Indigenous Consultative Assembly. 1923, Year of the Pig.

2484: Franco-Thai war leads to Loss of Lao territories on the West Bank of Mekong. 1941, Year of the Snake.

2488: Lao independence declared. 1945, Year of the Rooster.

2493: US recognizes Laos as an independent state. 1950, Year of the Tiger.

2507 to 2516. Secret bombings of Laos. 1964 to 1973, Year of the Nak to Year of the Ox

2518: End of the War for Laos. 1975, Year of the Rabbit.

2555: Present day. 2012, Year of the Nak.

Monday, May 14, 2012

[Steampunk] Decolonizing time: Lao history

We've spoken in the past about the importance of decolonizing time. Not everyone keeps track of time in the same way. It's a little difficult to get a full sense of how Lao observed time in the old days, but here's some initial research that may prove helpful.

It's largely adapted from the Martin Stuart Fox chronology of Lao history, and assuming the standard Asian zodiac. For those of you writing historic Lao fiction and other stories, this may be helpful to get your chronological bearings. The first year listed is the Lao year, the second year is the European/American calendar year.


1896: Foundation of Lan Xang by Fa Ngum. 1353, Year of the Snake.

2022: Vietnamese invade Lan Xang. 1479, Year of the Pig.

2091: Xetthathirat briefly unifies kingdom of Lan Xang and Lan Na. 1548, Year of the Monkey.

2103: Capital moved to Viang Chan from Luang Prabang. 1560, Year of the Monkey.

2106 to 2118: Burmese invasions of Lan Xang. 1563-75, Year of the Ox to Year of the Pig.

2181 to 2238: Reign of Surinyavongsa. 1638-95, Year of the Tiger to Year of the Pig.

2184 to 2185: First Europeans reach Viang Chan. 1641-42, Year of the Snake to Year of the Horse.

2250, 2256: Lan Xang splits into 3 kingdoms. 1707 and 1713, Year of the Pig, Year of the Snake.

2322: All 3 kingdoms become tributaries to Siam. 1779, Year of the Pig.


2369 to 2371: Chao Anouvong’s war of independence.1826-1828, Year of the Dog to Year of the Rat.

2363 to 2383: Earliest Hmong migrations into Laos. 1820-40, Year of the Nak to Year of the Rat.

2404: French explorer Henri Mouhot arrives in Luang Prabang. 1861, Year of the Rooster.

2410: French Mekong Expedition maps rivers through Lao territories. 1867, Year of the Rabbit.

2430: Auguste Pavie, first French vice-consul arrives in Luang Prabang. 1887, Year of the Pig.

2436: French seize Lao territories east of Mekong, ceded by Siam.1893, Year of the Snake.

2442: Administrative reorganization of Laos under Resident Superieur 1899, Year of the Pig.


2444 to 2450: ‘Holy Man Revolt’ in Southern Laos. 1901-07, Year of Ox to Year of the Goat.

2450: Franco-Siamese Treaty establishes modern Lao borders. 1907. Year of the Goat.

2451 to 2453: Leu insurrection in Northern Laos. 1908-10, Year of the Monkey to Year of the Dog.

2457 to 2459. Leu revolt in Luang Namtha and Ho Tai revolt in northeast. 1914-16, Year of the Tiger to  Year of the Nak.

2462 to 2465: Hmong insurrection in Northern Laos. 1919-22, Year of the Goat to Year of the Dog.

2466: First session of Indigenous Consultative Assembly. 1923, Year of the Pig.

2484: Franco-Thai war leads to Loss of Lao territories on the West Bank of Mekong. 1941, Year of the Snake.


2488: Lao independence declared. 1945, Year of the Rooster.

2493: US recognizes Laos as an independent state. 1950, Year of the Tiger.

2507 to 2516. Secret bombings of Laos. 1964 to 1973, Year of the Nak to Year of the Ox

2518: End of the War for Laos. 1975, Year of the Rabbit.

2555: Present day. 2012, Year of the Nak.

Friday, February 24, 2012

[Poem] New Myths of The Northern Land

"Dream," I said,
"Aren’t you tired of making new legends
That no one but I ever hears?"
"Bones," she said,
"Aren’t you ever tired of asking questions
That only I can answer?"

I went back to bed,
Waiting for the new king to arrive,
His talking mirror filled

With dire pronouncements of flame.
From On The Other Side Of The Eye, 2007


February 24th, 1909 is the birthday of August Derleth, a noted Wisconsin writer.

Wednesday, February 08, 2012

2012 Magazine markets for Lao American speculative literature


For Lao American writers seeking places to submit science fiction, fantasy, horror and other stories, reviews and poems to, consider some of the following magazines. Some pay, some do not. Naturally, of those who do pay, some pay well, and others barely provide enough for a cup of cyber-coffee and bus ride home.

But all of the ones listed below are still currently or will be accepting writing in the future.  Some may be more receptive to stories that have overtly Lao or Southeast Asian American elements to them, but this is the sort of thing one finds out only by applying.

Remember, do your research and read a few issues ahead of time to get a feeling for whether or not your work would be a good fit with them. Don't send science fiction splatterpunk short stories to a journal that only accepts fantasy poetry, for example.

As always, caveat scriptor. Most have been vetted for reliability and good terms regarding their publishing rights and professionalism, but one should do their research on other writers experiences with them when you can. Most of these journals should provide interesting opportunities and good homes for many of your works.

Good luck!
  1. 365 Tomorrows http://www.365tomorrows.com/  
  2. Albedo  http://www.albedo1.com/index.html
  3. Allegory http://www.allegoryezine.com/  
  4. Analog http://analogsf.com/0611/issue_11.shtml  
  5. Andromeda Spaceways http://www.andromedaspaceways.com/  
  6. AntipodeanSF http://www.antisf.com/  
  7. Aoife's Kiss http://samsdotpublishing.com/aoife/main.htm  
  8. Apex http://apex-magazine.com
  9. Aphelion http://www.aphelion-webzine.com/  
  10. Asimovs http://www.asimovs.com/  
  11. Aurealis http://aurealis.com.au/  
  12. Bewildering Stories http://www.bewilderingstories.com/  
  13. Big Pulp http://www.bigpulp.com/  
  14. Brain Harvest http://www.brainharvestmag.com/  
  15. Chizine http://chizine.com/  
  16. Digital Dragon Magazine http://www.digitaldragonmagazine.com   /  
  17. Electriic Velocipede http://www.spacewesterns.com/  
  18. Emg-Zine http://emg-zine.com/  
  19. Everyday Weirdness http://everydayweirdness.com/  
  20. Expanded Horizons http://www.expandedhorizons.net
  21. Fabulist http://www.the-fabulist.org/yarns/  
  22. Fantasy and Science Fiction http://www.sfsite.com/fsf/  
  23. FlashShot http://www.gwthomas.org/flashshotindex.htm  
  24. Future Fire http://www.futurefire.net/  
  25. Goblin Fruit http://www.goblinfruit.net
  26. Grantville Gazette http://www.grantvillegazette.com/  
  27. Ideomacer http://www.ideomancer.com/  
  28. Indian Science Fiction & Fantasy http://www.indianscifi.com/  
  29. Innsmouth Free Press http://www.innsmouthfreepress.com
  30. Jupiter Science Fiction http://www.jupitersf.co.uk/  
  31. Kaleidotrope http://www.kaleidotrope.net/  
  32. Kissed by Venus http://kissedbyvenus.ca/  
  33. Leading Edge Magazine http://www.leadingedgemagazine.com/  
  34. Lightspeed Magazine http://www.lightspeedmagazine.com
  35. Locus Magazine http://www.locusmag.com/    
  36. Luna Cat http://www.lunacat.net/  
  37. M-Brand SF http://mbranesf2.blogspot.com/  
  38. Morpheus Tales http://www.morpheustales.com/  
  39. Neo-Opsis http://www.neo-opsis.ca/  
  40. New Bedlam http://www.newbedlam.com/  
  41. On Spec http://www.onspec.ca/  
  42. Pigasus http://www.pigasuspress.co.uk/  
  43. Polu Texni http://www.polutexni.com/  
  44. Polyphony http://wheatlandpress.com/polyphony/index.html  
  45. Presto Strange-O http://prestostrangeo.wordpress.com/  
  46. Quantum Muse http://www.quantummuse.com/  
  47. Raven Electrick http://www.ravenelectrick.com/  
  48. Raygun Revival http://www.raygunrevival.com/  
  49. Reflections Edge http://www.reflectionsedge.com / 
  50. Residential Aliens http://residentialaliens.blogspot.com/  
  51. Revolution Science Fiction http://revolutionsf.com/  
  52. Scifi Space http://www.scifispace.com/  
  53. SF Reviews http://www.sfreviews.net/  
  54. SFrevu http://www.sfrevu.com/  
  55. SF Worlds http://www.sf-worlds.com/  
  56. Shimmer http://www.shimmerzine.com/  
  57. Silver Thought http://www.silverthought.com/  
  58. Some Fantastic http://www.somefantastic.us/  
  59. Space and Time http://spaceandtimemagazine.com/wp/  
  60. Space Squid http://www.spacesquid.com/  
  61. Starburst http://www.visimag.com/starburst/  
  62. Strange Horizons http://www.strangehorizons.com/  
  63. Surprising Stories http://surprisingstories.dcwi.com   
  64. Tales of the Unanticipated http://www.totu-ink.com  
  65. Tangent Online http://www.tangentonline.com/  
  66. Ticonderoga http://ticonderogaonline.org/  
  67. Tiny Globule  http://www.thetinyglobule.net
  68. Titles Goes Here http://www.title-goes-here.com/  
  69. TTA http://www.ttapress.com/  
  70. Vestal Review http://www.vestalreview.net/  
  71. Zone http://www.zone-sf.com/   
If you have additional journals to suggest, please let us know!

Thursday, February 02, 2012

2011 Rhysling Nominations open


Although I still maintain my objection that the Rhyslings should also have a category for whole books of speculative poems, rather than just short-form or long-form poems, nominations for speculative poems first published in 2011 are open until 2/15 for members of the Science Fiction Poetry Association. You must be a member of SFPA to nominate; however, the poem's author need NOT be an SFPA member.

Last year's winners were:

Short Poem Category
First Place "Peach-Creamed Honey" by Amal El-Mohtar
Second Place "Binary Creation Myth" by Karen A. Romanko
Third Place "Dogstar Men" by C.S.E. Cooney

Long Poem Category
First Place "The Sea King’s Second Bride" by C. S. E. Cooney
Second Place "Dark Rains Here and There" by Bruce Boston
Third Place "Wreck-Diving the Starship" by Robert Frazier

This year, I suspect Ann K. Schwader will be particularly competitive, having recently examined her 2011 book, Twisted in Dreams, a volume of Lovecraftian poetry edited by S.T. Joshi, but also more than that. Twisted in Dreams. As I mentioned before, whole books are not considered by the Rhyslings.

I'm personally also looking forward to seeing if any pieces by Kristine Ong-Muslim, Anchalee P. Roberts, Burlee Vang, Andre Yang, Oscar Bermeo, Barbara Jane Reyes or Shweta Narayan can and will be put forward. But who are some of the people you hope to see nominated?

Tuesday, January 31, 2012

The Science Fiction Poetry Handbook and science fiction poetics

Next week, I'll be giving a lecture to a class in New York on fantasy, horror and science fiction poetry, or what we tend to call speculative poetry these days. To that end, this week and next I'll be discussing a number of issues and opportunities related to the subject that may be of assistance.

One of the leading organizations on the subject is the Science Fiction Poetry Association, founded in 1978 by the writer Suzette Haden Elgin. One can only imagine the initial number of eyebrows raised at the notion. In 2005, Elgin published The Science Fiction Poetry Handbook through Sam's Dot Publishing, which has also published my two collections, On The Other Side Of The Eye (2007) and BARROW (2009).


As a quick background, Arkansas resident Suzette Haden Elgin is also a novelist, known for Coyote Jones and The Ozark Trilogy. She also has a number of non-fiction books under her belt including The Gentle Art of Verbal Self Defense, Genderspeak and How to Disagree Without Being Disagreeable. Alas, given the tenor of much of today's political debates, clearly many would-be candidates have not read these. She's been retired since 1980 and had run the Ozark Center for Language Studies.

The Science Fiction Poetry Handbook is the first official book of the Science Fiction Poetry Association, although they produce a fairly regular newsletter, Star*Line.

To Elgin, personally, there are three key elements of science fiction poetry:

"1. A science fiction poem must be about a reality that is in some way different from the existing reality.

2. It must contain some element of science as part of its focus.

3. It must contain some element of narrative-some "story" element."

This is principally her personal definition, mind you. But it's an interesting starting ground. To that end, one might expect that for horror and fantasy poetry, the key change is in principle 2: "It must contain some element of horror or fantasy as part of its focus," would be the presumed, logical iteration.

I do think there's a nice out for science fiction poetry in Elgin's definition in that she does not strictly include 'accurate science.' Although one might argue it's inferred.

I think the field has diversified dramatically today in terms of the languages, styles, and subject matter that ask to be considered science fiction poetry. So, I personally weigh in that there are some parts of the Elgin definition that can be quibbled with, and lead me to prefer the term speculative poetry.

If we're going to call it science fiction poetry, then, by the use of the word fiction, there must be a narrative.

But there are forms of poetry that are not strictly narrative in the conventional sense. Symphonic or tone poetry comes immediately to mind, which had its roots in the dada movement and other examples of surrealist and absurdist poetry. Hugo Balls' "Gadji beri bimba" which is the inspiration for the Talking Heads song, "I Zimbra" is a good example of poetry absent of narrative. To me, it's almost a European koan. But it's not impossible to create poetic work with elements clearly influenced by the imagination we normally reserve for science fiction, fantasy and horror.


To me, a poem, if we choose to write a poem, should clearly be a poem, and not a short story or a novel with bad formatting.

We see in books like Toby Barlowe's Sharp Teeth, an interesting example of the speculative prose poem. While it deals with lycanthropes in modern California, it would not strictly be considered science fiction under the Elgin definition. Under that definition, we would have to look for where science must be a focus in part of the poem. It's possible to find it, but it also feels like we're stretching it.

Ridiculous as it is, the notorious satire Elektronik Supersonik is a fairly good example of an experiment in science fiction poetics set to music, but not necessarily a coherent narrative.



This is part of why I prefer the term speculative poetry. To me it catches a wider swath of some of the interesting things being done in the field. The term speculative poetry can encompass the scifaiku movement, for example.

One ongoing point of interest is how we will see the development of multicultural speculative poetics. 

What is interesting to a speculative poet in one culture, might not even be considered speculative poetry in another.  There may be critique regarding the use of language and repurposing of cultural symbols and myths, or the degree to how far someone presents a reality unlike our existing reality. 

If alt-history poetics is just starting to emerge, what will happen within multicultural or post-colonial alt-history poetics? Is it science fiction poetry to present sonnet about a world where French did not colonize Indochina, for example? Or do we need to incorporate something outlandish such as steampunk technology to fully cross the threshold?


There can be some humorous exchanges that emerge with speculative poetry. One's use of an alien language or language such as that in Caroll's Jabberwocky might not get called out, but bad French or English grammar, questionable romanization of Indian or Lao, or misuse of the Oxford comma and punctuation? That's fair game.

I've had poems called out for suggesting that the legendary nak could be found at the Talaat Sao marketplace in Vientiane, for example.

The Science Fiction Poetry Handbook provides some interesting things to consider. Elgin asks us to consider how a poem looks, how it sounds, and how we choose words to make our poems successful. These are good ideas that can be applied and considered in any form of poetry. She discusses the additional challenge a poet faces when one has to address the suspension of disbelief, or the credibility gap.

How does Poe engage us in "The Raven" that we so readily accept a big black bird coming in to a narrator's room to perch upon a bust and taunt's him with the word "Nevermore!"

There's great deal of world-building in Homer's The Iliad, Dante's Inferno or Chaucer's Canterbury Tales, but how do we get to the point where we say: Ok, I understand the rules of this poem and what can and can't happen here so that suddenly this becomes fantastic and interesting, but not so ridiculous I give up on it.

The ghost of Virgil can lead a man through the layers of hell, but speculative poets today can have a hard time getting their audiences to go with them to Mars. These are some of the questions that can intrigue those of us who are working with speculative poetry.

For several of us working with Lao American literature, speculative poetry and fiction is of interest to us for the liberty we have to address sensitive taboo topics or gaps and unresolvable conflicts in the historical record. For many other cultures, I imagine there will come a point where they, too will start to discover the possibilities inherent within this approach.

Some find a metaphor of wolf totems, the grass mud horse or river crabs useful to them. Others may turn to more traditional symbols or try to create ones that serve as a better stand-in to address our present and emerging concerns. Planet of the Apes, Godzilla and Night of the Living Dead are significant examples of how we engage in social critique through speculative literature.

In the 20th and 21st century, it's been a while since a poem in English has captured the imagination and consciousness of the community, particularly a speculative poem, but there is ample precedent, such as the Aeneid or Orlando Furioso that we should consider.

To be fair, we should expect the process will also create some very, very terrible things once in a while:


But we press on!

Friday, January 20, 2012

Lao Steampunk: Steaming up historical Southeast Asians


One of the big responsibilities a writer of steampunk set in Southeast Asia, whether in Lan Xang or elsewehere, is to find a way to make interesting presentations on alternate possibilities of figures who are historically significant to us, but not necessarily widely known or documented by the other major powers of the time.

A significant quandary is that unfortunately the vast majority of history regarding particular figures veers towards hagiography and deification of royal figures and their supporters. This runs counter to many of the counter-culture aesthetics of steampunk. From a more practical standpoint as a writer, this can also lead to considerable controversy, even potential accusations of lese-majesty unless one writes such figures as mary sue/marty stu paragons. And what would the point of that, if one is merely interested in reinforcing the existing narrative of those who have historically been in power?

There is a certain irony in being unable to attribute deeply imaginative qualities, interactions and conversations to those whose biographies already have some significant liberties taken with them.

Conversely, I can also see how many of us might have a reluctance to take on such figures because so much of their biographies have been significantly distorted, or 'enhanced' sometimes to meet the literary and socio-political needs of colonial powers. One might also object to taking on such figures whose stories are told in ways to justify the perpetuation or eradication of different power structures in the region. One nation's heroes are another's insubordinate rebels, another's visionaries are foreign puppets. Freedom fighters might be seen as mercenaries, bandits or merely nuisances.

Bearing all of that in mind, we still need to try and start somewhere, just so we know what our options might be. So who are some of the significant figures in Southeast Asia that might be interesting to address within steampunk and other alternate history literature?


Phra Bat Somdet Phra Poramenthramaha Mongkut Phra Chom Klao Chao Yu Hua also known as Rama IV or King Mongkut: Thailand A fairly obvious choice for the era. I wouldn't focus a steampunk story based on Anna Leonowens historically very limited interaction with him. Because of the way he embraced new ideas, even from the West, Rama IV is regarded as "The Father of Science and Technology" by many Thai today. That all but asks for a deeper examination of how he might have approached retro-futuristic technologies and culture.

I would also take note of his brother, Prince Isaret. The astrologers at the time indicated that Prince Isaret was also capable of being a good monarch. Historically, Rama IV had his brother crowned as King Pinklao, a second king who was known for his command of foreign languages and diplomatic relations. In this, there is certainly interesting wiggle room to explore 'behind-the-scenes' socio-political negotiations.

Chao Anou or Prince Anouvong: Laos. For stories set in the 1800s, Lao would most likely want to address the figure of Chao Anou, and what might have happened if things had gone differently at the beginning of the century. Historically, Chao Anou made a number of military errors and miscalculations that led to the end of Lan Xang and the sacking of Vientiane, among other unfortunate issues. Chao Anou came into conflict with Lady Mo, also known as Thao Suranari and General Sing Singhaseni. There aren't many records of Chao Anou's subordinates during this time.

Chaleunsilp Phia Sing: Laos. Born in the old royal capital of Luang Prabang, around 1898, he was the royal chef and master of ceremonies to the kings of Laos at the Royal Palace in Luang Prabang. From what we know of him, he was also a Lao renaissance man, being a physician, architect, choreographer, sculptor, painter and poet. He served as a mentor to the Laotian princes of the early 20th century, and accompanied them when they studied at the University of Hanoi in the 1920s. He literally wrote the book on Lao cooking. While we don't have many notes on what he was like otherwise, and he was born a little later than works well for most steampunk stories, he provides a good model for what someone serving the Lao royal courts could have been like who weren't royalty themselves.

Pa Chay Vue: Hmong. He was prominent from 1918 to 1921, a little later than most steampunk historical figures. Pa Chay Vue is chiefly noted for leading a Hmong revolt against the French. He is potentially a VERY interesting figure to examine in an alternate history story. A charismatic orphan who began in the Vietnamese province of Lao Cai, over the years significant number of legends that have emerged regarding him, many elevating him to a messianic figure, although French colonial forces largely regarded him and those who followed him as lunatics.



Trung Sisters: Vietnam. Although they are figures from the first century (at least up until 43 AD), an interesting alternate history might examine what different directions their legacy might have taken, or what might have happened if they had emerged later in Vietnamese history. That's of course a lot to try and take into consideration. But these two sisters led the first resistance against occupying Chinese following nearly 250 years of domination. As some historians note, between the legend of the Trung sisters and Trieu Thi Trinh, there's evidence that Vietnamese society was very matriarchal and open to women leaders.

Emperor Tự Đức: Vietnam  is more contemporaneous to the other figures I've listed here than the Trung sisters. He had to deal with a near-constant spate of internal rebellions which had become routine for the Nguyễn Dynasty. Throughout this era there were hundreds of small rebellions and uprisings against them.

Ultimately fearing a loss of power and potential death at the hands of rebels,  Tự Đức opted to sign away the southern Vietnam to be a French colony and accepted the status of a French protectorate. This was an enormously unpopular decision, and encouraged people such as Trương Định to denounce the emperor, refusing to recognize the treaty. Smallpox had left Tự Đức impotent , and despite his large harem, he left no heir when he died in 1883. According to legend he cursed the French with his dying breath. As I mentioned earlier at the beginning of our steampunk inquiries, had Emperor Minh Mạng succeeded in developing and implementing steamboat technology, Tự Đức might have had a very intriguing and impressive navy to work with which would have changed many aspects of the geopolitical landscape.

King Norodom: Cambodia. Regarded by many as the first modern Khmer king, he was credited with saving Cambodia from disappearing altogether, making a decision to have Cambodia become a French protectorate rather than be swallowed up by Vietnamese and Siamese interests of the time. While we might today wonder at the wisdom of the decision, it was a calculated risk to preserve his people's culture. His brother, Prince Si Votha, engaged in open rebellion against the French colonials in Cambodia. Historically, people note this wasn't because of desire for independence from the French but out of jealousy regarding his brother's coronation. Prince Si Votha rebellion wasn't regarded as the act an independence fight but more of a nuisance and an aspiring usurper of the Cambodian throne.


In 1906, a number of Cambodian court dancers of the Royal Ballet of Cambodia inspired the famous French sculptor Rodin so much that he followed the company from Paris to Marseilles in 1906 to sketch them and produced over 150 of his most famous illustrations from their visit as part of King Sisowath's entourage. It's an interesting story with many possibilities to an alternate historian.

Alternate historians working in Southeast Asia will find it significantly challenging but rewarding to recover the names and accounts of figures within the Khmu, Mien, Tai Dam, Lahu, Akha, and other cultures who have primarily oral traditions for preserving their history. This is especially in light of recent discussions over Zomia, which seems well-suited for examination in an alternate history story, especially steampunk.

But who are some of the Southeast Asian historical figures you think might be interesting to examine through an alternate history lens?

Wednesday, January 18, 2012

Quetzalcoatl and the Nak


One of the interesting legends to examine cross-culturally is the Mexican deity Quetzalcoatl, who is depicted at times as a plumed serpent and other times as a human being. Quetzalcoatl was considered the god of the wind, wisdom and life.

In contrast, the mythical nak of the Lao are often connected to bodies of water, such as the rivers, lakes, and oceans, and they were symbolic of fertility, wisdom and immortality. The nak are capable of also appearing as human beings.

From a speculative literature point of view, it might be interesting to consider the possibilities were the two to ever meet, especially given both cultures' later engagement with colonial powers. But would they find other interesting points of commonality or conflict worth exploring?

Stories of a plumed serpent named Kukulcan emerged around 500 BC to AD 900, and around the end of the 12th century, the king of the Toltecs, Topiltzin conferred upon himself the title of Quetzalcoatl. At some point, the Aztecs incorporated legends of the feathered serpent Quetzalcoatl into their pantheon.

According to one legend, after a series of conflicts and  the treachery of his nemesis Tezcatlipoca, Quetzalcoatl was said to have left the Americas on a raft of entwined serpents, sailing to the east, although the Aztecs predicted one day he would return.


In Lao art, the nak appear on the balustrades of temple causeways and platforms, personifying the rainbow, bridging the earthly and celestial worlds. Increasingly, a number of free-standing nak are appearing at Lao cultural centers such as the wat Lao, many in more dynamic positions than have been previously presented in the past.

Wednesday, January 11, 2012

Antique Burmese Naga / Nak

This is a rare example from Burma of a naga, or what Lao would consider a nak, in a part-human form.



He's fashioned from terra-cotta. Some distinctive features include the trident and the overall pose. The arm bands, bracelets, and the tie of the belt are also significant in identifying the region he's from. He was sold by an antique dealer to a private collector for an unknown sum and his location is currently unknown. He was 17 1/2 inches high. Given the amount of detail, and the rarity of such images, I think he's rather amazing and sure to inspire a great many stories.

We would consider the position unusual because it's very casual, yet serious. One might typically expect it standing in a sentinel pose or a fierce state of readiness. It would have been very interesting to have known who sculpted him and who purchased him over the years and where he was displayed.

Tuesday, January 10, 2012

Lao Steampunk: Tattoo research

Over at Vanishing Tattoo, Lars Krutak has a well-researched article on traditional tattoos and customs of Southeast Asia, including Laos, with a number of illustrations and photos of tattoo examples from the early 20th century.


As Krutak points out, tattoos in Southeast Asia were not sought for strictly aesthetic reasons but for spiritual protection. He writes: "Largely administered by holy monks, sagacious tribal elders, and layman tattooists, the esoteric art was not only believed to provide its wearers with indelible protection from a variety of misfortunes, but also the mystical power to influence other peoples’ behavior, carry the deceased safely into the afterlife, or simply increase a person’s “luck.”


There's a lot that can be said about the power of ink and the written word and art and its connection to the supernatural, but for the time being, I'll let Krutak's article speak for itself. It's excellent as inspiration for writers seeking to understand the many different customs and beliefs one might encounter in Laos and Southeast Asia.