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It's a joy to welcome Sofia Samatar tonight. She is the author of the novels, Stranger in Olondria, and The Winged Histories, the short story collection Tender, and Monster Portraits, a collaboration with her brother, the artist Del Samatar.
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Dr. Samatar read and discussed her work with students in Roanoke College’s creative writing program on October 22, 2020. Following her reading, Dr. Melanie Almeder, the John P. Fishwick Professor of English and Director of the Roanoke College Visiting Writers and Scholars Program, hosted a Q&A with her. Their discussion is transcribed below.
It's a joy to welcome Sofia Samatar tonight. She is the author of the novels, Stranger in Olondria , and The Winged Histories , the short story collection Tender , and Monster Portraits, a collaboration with her brother, the artist Del Samatar. Her work has received many honors, including the Astounding Award, formerly the John W. Campbell Award, the British Fantasy Award, and the World Fantasy Award. She teaches world literature and speculative fiction at James Madison University. I want to just read you a few things critics have said about her work. NPR named her collection of short stories, Tender , one of the best books of the year and described the stories as daringly exploring the overlap of the familiar and otherness. Carmen Machado, whose reviews of your work I love for their unabashed enthusiasm, described her writing as quote, "perfect," literally perfect. And then she said of Tender , "I have been waiting for a short story collection from Sofia Samatar for what felt like ten million years." And I love that quote because so many of us, when we find your work, it's like I've been waiting ten million years to read something like this. So without further ado, I'll turn the screen over to Sofia Samatar. If you [in the audience] have any questions you would like to ask her, Sofia will read and then we will have a question and answer session. You can start typing any time the questions that you have, thank you.
Okay, thank you. And from what I understand, … Melanie [is] on the case and will let me know if something is going terribly wrong and you can't see or hear me for some reason. Thank you everyone who is out there. Thank you so much to Roanoke College for having me, to the Visiting Writers program, the Department of English and Communication Studies and the Writing Center. And of course, Melanie Almeder and Mary Crockett Hill. Thank you so much for making this happen. We were going to try it in the spring and the pandemic prevented us. So we're doing it now in a different way. And I'm happy that you're there, that you're out there. I heard there's possibly even somebody in Cairo who's signing on tonight.
I want to start by reading a very brief piece by another writer, Theresa Hak Kyung Cha, a wonderful writer who died too young, she was taken from us too young. And she wrote in 1977, a chapbook, an artist's book called Audience Distant Relative. And so I wanted to start by reading a very brief piece from that work, “Audience Distant Relative” by Theresa Hak Kyung Cha:
you are the audience you are my distant audience I address you as I would a distant relative as if a distant relative seen only heard only through someone else’s description.
neither you nor I are visible to each other I can only assume that you can hear me I can only hope that you hear me
So that's Theresa Cha in 1977. And, of course, she's writing about writing and the experience of writing something and sending it out into the world to this audience that you don't know. And she imagines this audience as being a distant relative, somebody maybe in another country where your family came from that you've never seen. You've only heard about them, but they're out there somewhere. And I just find this piece very, very resonant now. Certainly, for those of us who, as writers, as teachers, in many different ways, are interacting in this virtual mode, it's like she said: neither you nor I are visible to each other. Well, you're supposed to be able to see me, so I hope you can, but I can't see you. And so I say with Theresa Cha: I can only hope that you hear me.
And what I would like to read to you tonight before we get into some questions and some conversation together—I want to read a few pieces about mythical and imaginary creatures, a long-term preoccupation of mine, one could say an obsession of mine. These are creatures of the imagination. And it could be the individual imagination, they might be creatures that some person made up, or it could be the collective imagination: monsters and creatures of myth and folklore. I've written about them a lot. And lately I've been thinking of them as “the human non-human.” Of course they're non-human--that's probably the most important thing about a monster or a beast of folklore, that they are non-human. They are there to represent the non-human or to get outside of the ordinary human mode. And yet they are not non-human in the same way as cats or coral reefs or bumblebees, right? Those are non-human things that are here in the world with us. The creatures that we imagine and make up only exist within us; they only belong to the human. So they are at the same time absolutely not human and extraordinarily human. There’s nothing more human, really, than these monstrous creatures that only exist in our imagination. I'm going start with an excerpt from a short story called “Selkie Stories Are for Losers.” This is in my short story collection, Tender. A selkie of course is a seal woman, a mythical creature of Scandinavia and the British Isles. She's a shapeshifter, she lives in the ocean and has the shape of a seal. Sometimes she comes on land and sheds her skin, but she’s always looking to get her skin back again and to return to the sea.
So “Selkie Stories Are for Losers.”
[Editor’s note: The story has been omitted, but you can read “Selkie Stories Are for Losers” as it was originally published in Strange Horizons .]
I'll stop there with that particular story, which is one that uses this mythical creature in order to think about very human experiences--experiences of being in the wrong element, right? The selkie is not in the place where she belongs. And in the story, that becomes a way to think about immigration. It also becomes a way of thinking about other kinds of loss, such as abandonment, because in many of the selkie stories, the woman does have children. And then she has to go back to the sea and she leaves them. So the non-human becomes a way of thinking about very human experience. If you want to buy the book, Tender, and read the rest of that story, that would be excellent. But also if you're not up for that, you can go to the wonderful magazine, Strange Horizons, and you can read it online for free. So if you want to know how it ends, that's the way that you can find that out.
I am going to switch gears now and talk about some monsters. This time, they’re not mythical creatures of folklore, but creatures that are made up by myself and my brother. I hope you can see the screen that I believe I am sharing right now, Audience Distant Relative! And I’d like to read a couple of pieces from this book [Monster Portraits], which was a lot of fun to put together. As you can see from the cover, my brother is a wonderful artist. He does a lot of work with pen and ink. For his day job, he's a tattoo artist in Jersey City. So, if you're in the area, you can mention my name and see if you can get a discount.
Anyway, this is a book that we did together. And the process of the book was that he would draw these creatures that he's so wonderful at creating, and then he would send me the images, and I would write to them. So I would kind of meditate and think about these monsters. And it was a very interesting process because along the way, I mean, in the beginning, I was just kind of trying to make up a story for each monster. But as we continued, I started really becoming very curious about monsters as cultural figures. What kind of work are they doing? Why do they exist everywhere? Why do we need them? What are we trying to say with monsters? What are they doing for us? So I did a lot of research, which was very, very interesting, reading about monsters as a cultural form. And the result was this book, Monster Portraits. And the premise of the book is that we have a journalist and her brother and they are going out to study monsters. I'll read a couple pieces from this.
[Editor’s note: “The Field” and “The Huntress” are omitted, but you can read “The Field” in this excerpt from Rose Metal Press and “The Huntress” as it was originally published in Tin House . ]
I think I'll read one more monster piece and then another thing that is not published. So it will be a Roanoke College exclusive! And then we'll have some conversation, some talk. So this next piece, this next little monster portrait that I'm going to read, is called “The Shadow Beast.” And this piece has some quotes, some quotations from other things that I was reading, some of the research that I was doing as I was working on the book. Throughout this book, whenever there are those little pieces of material that I've quoted, it's in italics. And then there are notes at the back that let you know where those quotes are coming from. But you can't see the italics. So I'm just gonna kind of raise my hand when one of those italics appears. And hopefully you can see me on this screen at the same time. I honestly don't know, distant relative!
That is what I am going to end with as far as Monster Portraits goes. And then I do want to share something with you that nobody has ever seen before. This is not only something that I wrote recently, but also a fun game you can play. It’s a game the surrealists liked. And what you do to play this game is, you take a newspaper article and rewrite it, giving it a different meaning and sort of transforming it. You use the newspaper article as a jumping-off point. And that's what I did for this little piece which is called “Where Have All the Fairies Gone.” So now we're back to folklore with the fairies.
[Editor’s note: “Where Have All the Fairies Gone” is omitted.]
I'm going to stop there. That is not quite at the end of that piece which, probably not that hard to guess, is based on an article from National Geographic which is about the disappearance of insects. Thank you for listening everyone. I am ready if there are questions.
There are questions and thank you so much. Before we get started, I heard a rumor, is it your birthday on Saturday?
Our wonderful reference librarian, who's a magical human being, Piper Combo, texted me that your birthday is Saturday. So we wish you a happy birthday.
We're glad you're in the world writing. And we do have a number of questions. How about the first one connected to the piece that you read that you worked on with your brother Del? It’s a question about how did the collaboration—or did it—change the way you approached writing? How was it different than writing your own novels and short stories?
Yeah, that's a great question. One way that it was different in a very, very good way was that there was no blank page. When I started each piece, I had this wonderful image in front of me that I could use to kind of jumpstart my imagination, which is wonderful. And it's something that I think is related to this sort of little surrealist experiment that I was reading at the end there, where sometimes there's a wonderful sense of play that can develop when part of the burden of invention is lifted. And that was something that really happened with Monster Portraits, which made it a pleasure to work on.
Wonderful, his drawings are just incredibly intricate and beautiful—talk about world-building! Here's another one, someone saying, “I want to thank you so much for zooming in to read to us. Last year I got to read ‘Walkdog’ and I really enjoyed it. I was thinking about the piece you read at the beginning of the webinar and how when we write, we often do so to an imagined, invisible audience. ‘Walkdog’ is almost an epistolary written to an off-screen, off-page teacher character. When you're writing, do you ever write to someone in particular? Or is it more like you write to amuse yourself and move from there?”
Oh, that's a great question. Well, when it comes to writing, I think amusing yourself is incredibly important. I'm very much for self-indulgence. Often when you do the thing that you really want to do the most, it’s the thing that you think no one will like, right? Because it's so weird that only you like it. But in my experience, that will often have the most reach and touch the most people. So I write for myself, absolutely. But it's also important for me when I'm working on a story to know who is telling this story and why. And I really, really love first-person writing. In fact, in the short story collection, Tender--when we were putting that collection together, my editors and I realized that one of the things these stories had in common was that they were all first-person. And so what I do with that first-person writing is inhabit a character, and that person has something to say, and someone that they want to say it to. I have some stories that are kind of like a journal this person needs to write, they're trying to work something out. I have stories that are letters. I have a story like “Walkdog” that is a paper that’s written for a teacher. So it's not so much that I, as a writer, am writing for a particular someone, but the person who is telling that story is.
Great, and this is a question that I think is linked to you describing the storytellers. How do you balance out withholding information from a reader and revealing information?
Yeah, not super well. I tend to err on the side of withholding information. Over time, it's something that I've been teaching myself: to actually give the reader the freaking information that they want and that they're waiting for and not be so subtle. When I’ve had stories published in magazines, very often, the editing comments are, “I don't understand this, this doesn't make sense, why, what, tell us more.” And I have a huge fear of hitting people over the head. Like to me, that's the wor
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