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The BSFA has extended its deadline for nominations for the BSFA Awards until 10pm GMT tonight. If you are a BSFA member you can nominate online here. Bear in mind that only those works with the most nominations will be shortlisted for voting, so if you want to see a work appear on the ballot, vote for it even if (especially if!) it is already on the list of nominees.

And with that in mind, I'd like to note two of the current nominees:

Best Non-Fiction: The Unsilent Library: Essays on the Russell T. Davies Era of the New Doctor Who (Foundation Studies in Science Fiction), ed. Simon Bradshaw, Antony Keen and Graham Sleight (The Science Fiction Foundation)

Best Art: Cover of The Unsilent Library by Pete Young

Yes, this is a little bit of self-promotion. But I am with Paul Cornell on this; so long as it does not become intrusive or obnoxious, there is nothing wrong with promoting your work. And in the case of The Unsilent Library it was very much a team effort - not only my co-editors, but also our contributors. I have no qualms at all about promoting Pete Young's splendid cover.
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Hmmm. Distinctly average, and rather let down for me by some little goofs.

Nit-picks ahoy! )
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Having thoroughly enjoyed Thus Was Adonis Murdered, I sought out the next two in Caudwell's 'Hilary Tamar' series, and wasn't disappointed. Once again the junior tenants of 62 New Square (and Julia from 63) feed clues to the carefully androgynous Tamar so as to lead to a surprising but logical solution to a mystery in which they have become embroiled. In The Shortest Way to Hades, it is the question of who killed one of the subsidiary beneficiaries of a complex family trust, whilst in The Sirens Sang of Murder the trustees of a Channel Islands tax scheme are being progressively bumped off.

Of the first three books in the series, I'd say TSWtH has the best actual mystery, nicely combining aspects of the relevant area of chancery law with aspects of Tamar's own expertise as a historian. TSSoM perhaps suffers a little by putting the hitherto comic-relief character of Cantrip in the centre of the action, and one has to allow a little dramatic licence to forgive his ludicrously extravagant telexes back to 62 New Square from the midst of the action. Both will be enjoyed by fans of the first though, and Caudwell's prose is as fun as ever, as witness Julia's description of the effect upon the elegant and unflappable Selena of some rather special fudge served up at a party - well, orgy actually - to which the two female barristers have been lured and from which they are too polite to try to escape:

"You will be interested to hear, Hilary, that it had a most remarkable effect—even on Selena after a very modest quantity. She cast off all conventional restraints and devoted herself without shame to the pleasure of the moment. She took from her handbag a paperback edition of Pride and Prejudice and sat on the sofa reading it, declining all offers of conversation."

If there is something that did strike me about the books, it is how little the characters develop over the course of them. There is little sense of them maturing or even ageing, and I rather feel that Caudwell developed her setting and stuck with it, irregardless of the real passage of time. We know that TWAM is set in late 1977, and a reference to the Friday after Easter being the 27th of April puts TSSoM in 1984, despite it having been published in 1989. Even seven years seems far too long a span for the internal chronology of the books though; they all sit in an eternal present where Julia is in her mid-to-late twenties and Cantrip is blithely immune to the maturing effects of time. I've just ordered The Sybil in her Grave, the fourth and final in the series; published a decade after TSSoM, it will be interesting to see how it compares.
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A tempting target, but a dubious tactic

A blog post on why, however fun it is to suggest drowning The Sun in email, it's not actually legal to do so.
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Julia's unhappy relationship with Inland Revenue was due to her omission, during four years of modestly successful practice at the Bar, to pay any income tax. The truth is, I think, that she did not, in her heart of hearts, really believe in income tax. It was a subject which she had studied for examinations and on which she had thereafter advised a number of clients: she naturally did not suppose, in these circumstances, that it had anything to do with real life.

I think it may have been [personal profile] liadnan or [personal profile] legionseagle who first mentioned the legally-themed mystery novels of Sarah Caudwell. A good outline is given here on Caudwell's Wikipedia page and the premise seemed intriguing enough - especially in view of the very positive comments I'd seen on the books - for me to order the first in the series, Thus Was Adonis Murdered.

I am very glad I did. Even in a year where I've read Reamde and the whole of A Song of Ice and Fire so far published, Thus Was Adonis Murdered is likely, I suspect, to remain one of my most memorable reads. It helps of course that I am familiar with the world of English barristers, which is not so very far even now from Caudwell's depiction of it in the late-1970s setting of the book. I am by no means sure that all readers will be snorting in mirth quite so much as I was, but by heavens, Caudwell nails it:

Henry is the Clerk at 62 New Square. From references which will from time to time be made to him some of my readers, unfamiliar with the system, may infer that Selena and the rest are employed by Henry under a contract more or less equivalent of one of personal servitude. I should explain that this is not the case: they employ Henry. It is Henry's function, in exchange for ten per cent of their earnings, to deal on their behalf with the outside world: to administer, manage and negotiate; to extol their merits, gloss over their failings, justify their fees and extenuate their delays; to flatter those clients whose patronage is most lucrative; to write reproachfully to those who delay payment for more than two years or so; to promise with equal conviction in the same morning that six separate sets of papers will be the first to receive attention. By the outside world, I mean, of course, solicitors: nothing could be more improper than for a member of the English Bar to have dealings, without the intervention of a solicitor, with a member of the general public.

Caudwell's style is one which, I suspect, you will love or loathe. Her characters are so arch you could construct a treatise on architecture out of them, whilst the extent to which much of the first two-thirds of the book comprises letters from one character being read out and sardonically dissected by her friends may test the patience of those accustomed to more dynamic plotting. But for those who find Caudwell to their taste, there is a rich feast indeed. Few novels feature seduction via the Finance Act, or indeed detailed expositions of the tax implications of domicile that nonetheless drive a key part of the plot. And any graduates of Oxford are likely to enjoy the regular barbs aimed at those who studied at less, well, Oxonian universities:

Cantrip is a Cambridge man – it is not always easy to understand what he says. ‘Nobbled? By whom, Cantrip? Or, to adopt the Cambridge idiom, who by?’

At times the writing can feel old-fashioned: Caudwell's female characters are almost invariably referred to by their forenames, while males go by surname alone. In other respects though Thus Was Adonis Murdered is almost surprisingly liberal; gay relationships, or the possibility of them, are taken for granted, as is casual pleasure-seeking sex. (A number of reviews I found commented on the extent to which Caudwell consciously inverts expectations of male-female seduction; the character of Julia bemoans at length the necessity to flatter a man's mind in order to get access to his body.)

Talking of sex, or rather gender, another oft-remarked-upon aspect of Thus Was Adonis Murdered is the care that Caudwell takes never to specify whether Professor Hilary Tamar is male or female. I am confident that there are reams of analysis and speculation on this point; for my part, I found myself picturing Tamar as a woman, albeit a rather asexual one.

One oddity, given Caudwell's background as a barrister, is that she has Tamar refer to one of the younger characters as Tamar's former pupil. In the context of the Bar, that would normally imply that Tamar was the barrister who had trained said character as an apprentice, but it's made clear that Tamar's knowledge of law ends in the early medieval period and that she/he is a purely academic lawyer. So why not say 'student' - is this, perhaps, the Oxford idiom?

(As a legal aside, Caudwell is quite prescient when, in Chapter 13, she has Selena muse about the scope of overturning the arrangement she suspects Kenneth has with Eleanor as an abuse of bargaining power against a young artist. Although the ball had already been set rolling in this respect in Macaulay v Schroeder Music Publishing Co. Ltd [1974] 1 W.L.R. 1308 it was not until a string of cases in the early 1990s - involving artists such as George Michael, the Stone Roses and Frankie Goes to Hollywood, that the doctrine really established itself. Given that Thus Was Adonis Murdered is set in 1977 - see the newswire report quoted in Chapter 5 - one likes to imagine that Selena went on to do quite well for herself representing exploited young pop stars.)

The mystery itself - who killed the handsome young Inland Revenue employee whose murder Julia is suspected of during a holiday in Venice - is tied up nicely, with a twist that one might have seen coming with a lot of careful thought. I have already placed orders for the next two books in the series, and anticipate regretting that Caudwell died before writing more than four.
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The Wedding of River Song

Did I enjoy it? Yes. Did it wrap up the Amy/River plot arc? Sort of. Did it work as an exposition of time travel. Um, I have serious doubts.

Yes, of course there are spoilers )
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Originally posted at my Dreamwidth account; checking that it turns up on LJ.
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(Manually crossposted from LJ)

Monday evening and Tuesday saw the first Physics for Fiction event at Imperial College's Astrophysics Group, organised by Dave Clements with the support of the Science Fiction Foundation. The idea behind P4F was to bring together science fiction writers and astronomers so that the writers could be exposed to some of the latest research in areas that might be of relevance or interest to them and to give scientists a chance to talk with people who could communicate aspects of their work through writing fiction that reflected it. I was luck enough to attend in my capacity as Dave C's gopher and event photographer; behind the cut are some of my pictures.

Lots of pictures )

Hi!

Jun. 20th, 2009 09:41 pm
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This is my DW account. For the moment, I mostly post as major_clanger on LiveJournal, but I should start doing more here soon.
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