The Coode Street Podcast

In amongst the hurly burly of the end of the year and putting together the Coode Street Advent Calendar, Gary and Jonathan found time to sit down with long-time friend of the podcast (and most frequent guest!) Kij Johnson.  We last spoke when Kij's most recent short story collection, The Privilege of the Happy Ending was published. Since then, Kij has been busy working on writing and developing role playing games, most notably the adaption of her fabulous novel The River Bank, which is out now in a gorgeous edition from Kobold Press with stunning art from Kathleen Jennings. In addition to all that, we talked about books, reading, and for a good while, the nature of farce. As always, our thanks to Kij for making time to talk to us. We hope you enjoy the episode as much as we did recording it.

The end of the year is fast approaching, we're behind on episodes and we're keen to end the year on a high note. So this year we're going back to something we did in 2022. We’ve invited 24 creators of some of this year’s best and most interesting books to join us for ten minutes or so to talk about what they’re reading now, their favourite holiday reads, what they had out this year, and what they’ve got coming out in the year ahead. It’s a Coode Street Advent Calendar if that’s your thing, or just a run-up to December 24 for book lovers. Today’s guest is the wonderful Arkady Martine, whose Hugo nominated novella Rose/House is coming out in a brand new edition.

The end of the year is fast approaching, we're behind on episodes and we're keen to end the year on a high note. So this year we're going back to something we did in 2022. We’ve invited 24 creators of some of this year’s best and most interesting books to join us for ten minutes or so to talk about what they’re reading now, their favourite holiday reads, what they had out this year, and what they’ve got coming out in the year ahead. It’s a Coode Street Advent Calendar if that’s your thing, or just a run-up to December 24 for book lovers. To kick off the Advent Calendar, December 1st's guest is the wonderful Nina Allan whose incredible novel A Granite Silence was released earlier this year.

The World Fantasy Convention was held in Brighton, England two weeks ago. Gary and Jonathan both attended, so we shouldn't be surprised that they were jetlagged and not making to much sense when they recorded this ramble a week ago. As always, we hope you enjoy it!

Our guest this week is the remarkable Kemi Ashing-Giwa, whose new novel The King Must Die is out in November. We talk about science fantasy—or whether genre labels mean much at all to the new generation of writers—her own influences, her well-received first novel, the space opera The Splinter in the Sky, and even her current scientific work on mass extinctions and the loss of her family home in the California wildfires earlier this year. As always, our thanks to Kemi for making time to talk to us today, and we hope you enjoy the episode.

This week we have a lively conversation with the remarkable Ken Liu, whose new thriller All That We See or Seem introduces a new protagonist, the gifted hacker Julia Z, in a tale that explores the growing role of AI, the possibility of a technology of shared dreams, a variety of near-future surveillance tech, and some pretty fearful players with even more fearful schemes. A dramatic shift from his epic fantasy/historical world of the Dandelion Dynasty series or the earlier classic short stories, it seems to represent an exciting new dimension in Ken’s career.

In a rare shorter episode, we chat about the late and much missed Chelsea Quinn Yarbro, with whom Jonathan and Gary had strangely similar encounters some years ago, and her early career as an SF writer before her decades-long success with her Saint-Germain series of vampire novels. That leads, briefly, to considering midlist vs. niche authors, before we get into some of the odd features of American copyright law as revealed by the recent Anthropic AI settlement.

With Gary recently returned from Worldcon in Seattle, we chat a bit about the Hugos (mostly avoiding second-guessing the results), which leads to some discussion of the differences between Hugo, Nebula, and World Fantasy Awards.  Jonathan raises an intriguing question about the novella category, with its rather reductive word-length definition of the form. But what, other than length, really distinguishes a novella from a short story or a novel? We talk a bit about favorite novellas, and specifically a 2013 Locus survey in which readers voted on the best novellas from 2000-2010. Which of those would still make the list today, and how has Tordotcom’s program of standalone novellas affected our view of the form? Of course, we ramble a bit about other matters and some interesting new and forthcoming books we’re excited about. Then, finally, we shut up.

Join China Mieville, a renowned British science fiction and fantasy writer celebrated for his Bas-Lag novels, as he reflects on 25 years since the release of 'Perdido Street Station.' He shares insights into his youthful creativity and how it evolved over the years. The conversation delves into breaking fantasy norms, his struggles with fan expectations, and the legacy of his beloved series. Mieville also touches on literary movements and the impact of sociopolitical contexts on storytelling, revealing his thoughts on the balance between authorial freedom and audience connection.

In this week’s episode, we’re joined by two of our most exciting writers, each of whom has a new book out in August. Charlie Jane Anders’ Lessons in Magic and Disaster offers a wonderful combination of witchcraft, academia, and generational family tensions, while Annalee Newitz’s Automatic Noodle features a team of robots trying to establish a noodle shop in a San Francisco recovering from California's devastating war of secession with the rest of the U.S. We touch upon everything from writing in a believable 18th century voice to the challenges faced by a queer family and a trans protagonist, representing nonhuman points of view, the possibilities of a post-dystopian fiction, and balancing nonfiction and journalism with fiction writing. As always, Annalee and Charlie Jane make for a lively and unpredictable discussion.