In This Edition of
The BookBrowse Review
The BookBrowse Review
Published January 24, 2024
ISSN: 1930-0018
The BookBrowse Review
Published January 24, 2024
ISSN: 1930-0018
Contents
Highlighting indicates debut books
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Literary Fiction
Historical Fiction
Short Stories
Essays
Poetry & Novels in Verse
Mysteries
Thrillers
Romance
Fantasy, Sci-Fi, Speculative, Alt. History
Biography/Memoir
History, Current Affairs and Religion
Science, Health and the Environment
Literary Fiction
Historical Fiction
Poetry & Novels in Verse
Thrillers
Romance
Fantasy, Sci-Fi, Speculative, Alt. History
Biography/Memoir
Kij Johnson Biography
Kij Johnson is a writer of short stories, novels and occasional other things. Her first sale was in 1987 to a small Minnesota magazine, Tales of the Unanticipated; since then she has sold more than fifty shorter works of fiction, as well as poems, nonfiction, and game materials. Her books include The Fox Woman (Tor, 1999); Fudoki (Tor, 2003, a finalist for the World Fantasy Award); the short story collection At the Mouth of the River of Bees (Small Beer Press, 2012, a finalist for the World Fantasy Award); The Dream-Quest of Vellitt Boe (Tor.com, 2016, winner of the World Fantasy Award); and The River Bank, a sequel to Kenneth Grahame's The Wind in the Willows (Small Beer Press, 2017). There was also a Star Trek: The Next Generation book with bestseller Greg Cox, Dragon's Honor.
She is a three-time winner of the Nebula Award (2010, 2011, and 2012), and the World Fantasy Award (2009, 2017, and 2019), and a winner of the Hugo Award (2012), as well as winning the French Grand Prix de l'Imaginaire (2017), the Theodore Sturgeon Memorial Award (1992); the Crawford Award (1999); and others. Her short stories include the award-winners "Fox Magic," "26 Monkeys, Also the Abyss," "Spar," "Ponies," "The Man Who Bridged the Mist," and "The Privilege of the Happy Ending." She's been translated into seventeen languages, and her work has been optioned for Hollywood twice.
In the past, she's had all the cool jobs: managing editor for Tor Books, Collections and Graphic Novels Editor for Dark Horse Comics, Continuity Director and Creative Director for various worlds at Wizards of the Coast/TSR, a subject matter expert for Microsoft, and a manager for user educations groups in several tech companies.
Currently, she lives in Lawrence Kansas with a cat, Jurat.
This biography was last updated on 10/15/2023.
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Interview
Kij Johnson on writing The Privilege of the Happy Ending, a collection of speculative and experimental stories that explore animal intelligences, gender, and the nature of stories.
Even now, every story I write is a conscious craft experiment, whatever else
it is. It was very early in my fiction-writing life that I realized the kinds of
stories I wanted to write would happen only if I forced myself past the
margins of what I thought I already knew how to do, what I think of as my
glibnesses. Even at the beginning I knew I loved vocabulary and lyricism,
and I had intuitively developed an understanding of the uses for scenic and
narrative writing. I also had a lot of experience with interiority and feelings because of all that bad poetry and journalling in high school and college. It seemed evident that if I worked hard on just those things, I could within a
year or two write publishable — maybe even popular! — fiction that was
atmospheric and full of feels. I also could tell that this would get boring for
me — I had read plenty of author notes from writers, Arthur Conan Doyle,
Fredric Brown and others, who grew to hate their comfortable niches.
As a child I had read obsessively in a lot of adult genres. I loved SF
and fantasy, but I read a lot more mysteries and romances, and then there
was horror, biographies, history, the classics, science. I didn 't always
understand what I was reading, and I learned to love that slight insecurity.
What's this word mean? Why are they acting this way? Why is this bit being
told out of order? It was like peeking through a keyhole into the adult world
where (I assumed) everyone understood everything. Not quite understanding what I was reading was a feature, not a bug, and it invariably
led to me trying to figure it out. My answers weren't always canon — I was
convinced that "misled" was the past tense of the verb to misle, and my
takeaway from Anna Karenina was, don't get married — but they satisfied
me in ways that the conventional and correct answers sometimes don't. So,
when I started writing, I was especially interested in all the things I didn't
know yet. I didn't want to be good at writing fantasies or vampire stories,
which I knew pretty well. Well, I did want to be good at them, but I didn't
want to be good at just them.
Early on I realized that the way to improve was to play to my
weaknesses: every time I started to do something rather well, move on to
something I don't know as much about. I set myself challenges every time,
big or small, based on form or voice or content. As time has gone on, many
of the challenges engage with immersion and estrangement. How deeply
can I involve a reader in my tale, to the point where they forget they are
sitting in a chair? What sorts of deep engagement are possible, if any, in a
story told as a list, or in 200 words? What rewards have to be offered to
sustain the reader through a story that is not, in fact, a story? This has
meant that I alternate stories between somewhat conventional narrative
forms and unconventional forms that challenge what a story is.
Two of the works in this collection, "The Dream-Quest of Vellitt Boe"
and "The Ghastly Spectre of Toad Hall" are the result of my interest in
making sense of other peoples' work for myself, the way I used to as a child.
I had questions about HP Lovecraft and Kenneth Grahame's work, about the
mechanics of their voices and the absence of women in their work, and
writing stories engaging directly with this gave me a chance to answer them
for my own satisfaction, if no one else's.
Unless otherwise stated, this interview was conducted at the time the book was first published, and is reproduced with permission of the publisher. This interview may not be reproduced or reprinted without permission in writing from the copyright holder.
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