Insomniac frolics

List
In the middle of the night I have been tweaking my links list, mostly adding friends in the arts or the occasional reviewer or blogger, but now I am sleepy and will stop. I haven't nabbed everybody by any means, and if you are a friend and indignant not to see your name, drop me a line.

Sexy clockpunk with Southern or Arctic goblin monks (diverse and did I say sexy?)
Lately I've heard more writers complain about how depressing this agent-editor wish list is than anything else--and that's amazing, given all the recent upheaval and changes. I expect the good ones will all forge on doing what they are doing without paying any attention.

Sexy ephemera versus
Makoto Fujimura: What is the five hundred year question? Well, it’s a historical look at the reality of our cultures, and asking what ideas, what art, what vision affects humanity for over five hundred years. It’s the opposite of the Warholian “15 seconds of fame.”

Genre + age categories
Can't we get it through our heads that these are marketing categories? Once we get past separating good books from the others, nothing else matters.

Recommended: Michael A. Morrison interviews Zoran Zivkovic

Here's a link to a long and interesting interview: Zoran Zivkovic with interviewer Michael A. Morrison, the two talking about "middle-European fantastika" and other topics of interest. The first portion is "Fantastika and the Literature of Serbia." The second focuses on the shape of his life in words: "A career in transition: From scholar, translator and publisher to author of fantastika."

Via Jason Erik Lundberg on facebook.  And here's a bite from to allure you to read the whole thing:

ZZ: I am quite aware that the market is the best regulatory mechanism in many human endeavors. But not in all. If there is only the publishing industry—focused entirely, like any other industry, on profit at all costs—we eventually would end up with almost nothing but the most trivial of literature. The situation is governed by a simple equation:  triviality equals popularity equals marketability equals profit. There is definitely something fundamentally wrong with a system in which the decision makers—those who, in the final analysis, determine what we read—are my favorite villains: marketing directors and literary agents. Anna Karenina would have absolutely no chance with these guys. (The world of the publishing industry is the subject of my satirical novel The Book.)

My prime ambition is by no means to become a best-selling author, to get rich. My kind of fiction will always have a limited readership and I have no intention of changing it to make it more “marketable” or to increase the number of my readers. (Actually, even if I wanted to do that, I doubt I would be able.) Much more than quantity I am interested in quality when it comes to readers. My ideal is to have only quality readers, and they are, by definition, a rare breed.

It is no wonder then that all my attempts to find a major US or UK publisher have failed. My fiction simply does not fit the requirements of the publishing industry, at least not in the English language. Besides I am a foreign author. But I have no reason to complain. Nearly all my books have been published in the US and UK by small presses. These are mostly beautiful editions I am very proud of. My three Aio Publishing books are, as graphic products, real objets d’art. Also my seven PS Publishing books are exquisite limited editions.

I see small, independent presses as a sort of resistance movement. The enemy they are resisting is strong and merciless, but not without certain weaknesses. The more trivial books the publishing industry produces, the more small presses can publish quality literature, including translations. And small presses are very fortunate not to have marketing directors and not to need the services of literary agents. They could bring out even Anna Karenina.